{"id":2085877,"date":"2025-10-12T14:53:04","date_gmt":"2025-10-12T14:53:04","guid":{"rendered":"https:\/\/celebrity.land\/en\/?p=2085877"},"modified":"2025-10-12T14:53:04","modified_gmt":"2025-10-12T14:53:04","slug":"diane-keaton-10-essential-movies","status":"publish","type":"post","link":"https:\/\/celebrity.land\/en\/diane-keaton-10-essential-movies\/","title":{"rendered":"Diane Keaton: 10 Essential Movies"},"content":{"rendered":"<p><\/p>\n<div data-article-body=\"true\">\n<p class=\"mb-4 text-lg md:leading-8 break-words\">The original Mafia wife, the O.G. rom-com kook, the early 20th-century feminist author, the late 20th-century modern woman navigating both the tumultuous Me Decade and the you-can-have-it-all 1980s \u2014 these roles might have been memorable in the hands of numerous actors. <a rel=\"nofollow\" target=\"_blank\" href=\"https:\/\/www.yahoo.com\/entertainment\/movies\/articles\/diane-keaton-nobody-fool-224424175.html\" data-ylk=\"slk:Diane Keaton;elm:context_link;itc:0;sec:content-canvas;outcm:mb_qualified_link;_E:mb_qualified_link;ct:story;\" class=\"link  yahoo-link\">Diane Keaton<\/a> made them iconic. From her breakthrough role in <em>The Godfather<\/em> to her memorable turn as a playwright navigating treacherous romantic waters in <em>Something\u2019s Gotta Give,<\/em> Keaton \u2014 <a rel=\"nofollow\" target=\"_blank\" href=\"https:\/\/www.yahoo.com\/entertainment\/movies\/articles\/diane-keaton-annie-hall-godfather-190602935.html\" data-ylk=\"slk:who died yesterday at the age of 79;elm:context_link;itc:0;sec:content-canvas;outcm:mb_qualified_link;_E:mb_qualified_link;ct:story;\" class=\"link  yahoo-link\">who died yesterday at the age of 79<\/a> \u2014 never failed to add depth, humanity, and both strength and a sense of vulnerability to every character she played. Here are 10 of our favorite turns from the late, great actor.<\/p>\n<p class=\"mb-4 text-lg md:leading-8 break-words\"><strong>More from Rolling Stone<\/strong><\/p>\n<h2 class=\"mb-4 text-xl font-bold md:text-2xl\">\u2018The Godfather\u2019 (1972)<\/h2>\n<figure class=\"relative mb-4\">\n<div class=\"relative\"><button aria-label=\"View larger image\" class=\"group absolute bottom-3 right-3 size-10 md:size-[50px] lg:inset-0 lg:size-full lg:bg-transparent\" data-ylk=\"elm:expand;itc:1;sec:image-lightbox;slk:lightbox-open;\"><span class=\"absolute bottom-0 right-0 rounded-full bg-white p-3 opacity-100 shadow-elevation-3 transition-opacity duration-300 group-hover:block group-hover:opacity-100 md:p-[17px] lg:bottom-6 lg:right-6 lg:bg-white\/90 lg:p-5 lg:opacity-0 lg:shadow-none\"><svg viewbox=\"0 0 22 22\" aria-hidden=\"true\" class=\"size-4 lg:size-6\" width=\"22\" height=\"22\"><path d=\"M12.372.92c0-.506.41-.916.915-.916L21 0l-.004 7.712a.917.917 0 0 1-1.832 0V3.183l-6.827 6.828-1.349-1.348 6.828-6.828h-4.529a.915.915 0 0 1-.915-.915M1.835 17.816l6.828-6.828 1.349 1.349-6.829 6.827h4.529a.915.915 0 0 1 0 1.831L0 21l.004-7.713a.916.916 0 0 1 1.831 0z\"\/><\/svg><\/span><\/button><dialog aria-label=\"Modal Dialog\" aria-modal=\"true\" class=\"fixed inset-0 z-4 size-full max-h-none max-w-none bg-white hidden\"\/><\/div><figcaption class=\"relative text-sm mt-1 pr-2.5\">\n<p>\u2018The Godfather\u2019 (1972)<\/p>\n<\/figcaption><\/figure>\n<p class=\"mb-4 text-lg md:leading-8 break-words\">When most people mention this towering 1970s touchstone \u2014 the perfect melding of old Hollywood scope and New Hollywood grit \u2014 they talk of Brando, Pacino, Coppola, the endless quotes that remain part of pop lexicon (\u201cI\u2019ll make him an offer he can\u2019t refuse\u201d). Diane Keaton isn\u2019t usually the first person people mention, but make no mistake: she\u2019s an absolutely <em>essential<\/em> part of this American masterpiece. Her character, Kay Corleone, isn\u2019t just the audience surrogate, observing the culture and customs of this Italian-American clan from the perspective of an outsider and thus letting us in to that world as well. She\u2019s the moral center of the film, the one who calls Michael Corleone out for bartering his soul and making it all about business instead of being personal. Even Kate\u2019s insistence that <a rel=\"nofollow\" target=\"_blank\" href=\"https:\/\/www.youtube.com\/watch?v=G7tK-3EUJ9A\" rel=\"nofollow noopener\" target=\"_blank\" data-ylk=\"slk:\u201csenators and Presidents don\u2019t have men killed\u201d;elm:context_link;itc:0;sec:content-canvas\" class=\"link \">\u201csenators and Presidents don\u2019t have men killed\u201d<\/a> (who\u2019s being naive now, Kate?) suggests a rosy view of the world that counteracts the violent reality of her boyfriend\u2019s Mob mentality. Her reading of that line says it all. And when that door is closed on Kay in the film\u2019s final shot, Keaton makes sure you see the loss on Kay\u2019s face. She\u2019d reprise the character to great effect in <em>The Godfather: Part II<\/em> \u2014 her \u201cthis must all end\u201d scene remains absolutely devastating \u2014 and return for <em>Part III<\/em> decades later. But her breakthrough movie role established Keaton as someone we\u2019d follow anywhere. Watching her was an offer we could never refuse. <em>\u2014David Fear<\/em><\/p>\n<h2 class=\"mb-4 text-xl font-bold md:text-2xl\">\u2018Annie Hall\u2019 (1977)<\/h2>\n<figure class=\"relative mb-4\">\n<div class=\"relative\"><img alt=\"\u2018Annie Hall\u2019 (1977)\" loading=\"lazy\" width=\"960\" height=\"640\" decoding=\"async\" data-nimg=\"1\" class=\"rounded-lg\" style=\"color:transparent\" src=\"https:\/\/s.yimg.com\/ny\/api\/res\/1.2\/3WoUD.rfd.OOz_lmvcWMGQ--\/YXBwaWQ9aGlnaGxhbmRlcjt3PTk2MDtoPTY0MDtjZj13ZWJw\/https:\/\/media.zenfs.com\/en\/rollingstone.com\/ed760804785265adce2abe422072faaf\"\/><button aria-label=\"View larger image\" class=\"group absolute bottom-3 right-3 size-10 md:size-[50px] lg:inset-0 lg:size-full lg:bg-transparent\" data-ylk=\"elm:expand;itc:1;sec:image-lightbox;slk:lightbox-open;\"><span class=\"absolute bottom-0 right-0 rounded-full bg-white p-3 opacity-100 shadow-elevation-3 transition-opacity duration-300 group-hover:block group-hover:opacity-100 md:p-[17px] lg:bottom-6 lg:right-6 lg:bg-white\/90 lg:p-5 lg:opacity-0 lg:shadow-none\"><svg viewbox=\"0 0 22 22\" aria-hidden=\"true\" class=\"size-4 lg:size-6\" width=\"22\" height=\"22\"><path d=\"M12.372.92c0-.506.41-.916.915-.916L21 0l-.004 7.712a.917.917 0 0 1-1.832 0V3.183l-6.827 6.828-1.349-1.348 6.828-6.828h-4.529a.915.915 0 0 1-.915-.915M1.835 17.816l6.828-6.828 1.349 1.349-6.829 6.827h4.529a.915.915 0 0 1 0 1.831L0 21l.004-7.713a.916.916 0 0 1 1.831 0z\"\/><\/svg><\/span><\/button><dialog aria-label=\"Modal Dialog\" aria-modal=\"true\" class=\"fixed inset-0 z-4 size-full max-h-none max-w-none bg-white hidden\"\/><\/div><figcaption class=\"relative text-sm mt-1 pr-2.5\">\n<p>\u2018Annie Hall\u2019 (1977)<\/p>\n<\/figcaption><\/figure>\n<p class=\"mb-4 text-lg md:leading-8 break-words\">Keaton had been cast opposite Woody Allen in the original 1969 theatrical production of <em>Play It Again, Sam,<\/em> which would be the beginning of a long romantic relationship and an even longer, indelible professional collaboration. Her work playing against the actor-director in the 1972 film version of that Bogart-worshipping comedy, as well as <em>Sleeper <\/em>(1973) and <em>Love and Death<\/em> (1975), helped establish her as a first-rate comedian and the perfect foil for Allen\u2019s perpetually fumbling nebbish \u2014 but it\u2019s his 1977 tribute to Keaton that made her a bona fide movie star. From the moment she utters Annie\u2019s signature \u201cLa di da\u201d \u2014 <a rel=\"nofollow\" target=\"_blank\" href=\"https:\/\/www.yahoo.com\/entertainment\/celebrity\/articles\/life-lurves-diane-keaton-160000214.html\" data-ylk=\"slk:a term Keaton took from her own real-life repertoire of phrases;elm:context_link;itc:0;sec:content-canvas;outcm:mb_qualified_link;_E:mb_qualified_link;ct:story;\" class=\"link  yahoo-link\">a term Keaton took from her own real-life repertoire of phrases<\/a> \u2014 we are as enamored of this kooky, lovely, neurotic New Yorker as Alvy Singer is. The outfits alone were enough to make the title character an icon and spur a fashion trend of baggy suits and floppy hats, yet it\u2019s the way in which Keaton turns an intellectual ditz (or maybe she\u2019s a ditzy intellectual?) into a three-dimensional, full fleshed-out modern woman. It garnered her an Oscar, and Keaton would work on and off with Allen for the next few decades. But this remains the highlight of both their work together and Keaton\u2019s Seventies \u201cIt girl\u201d era. La di da indeed. <em>\u2014DF<\/em><\/p>\n<h2 class=\"mb-4 text-xl font-bold md:text-2xl\">\u2018Looking for Mr. Goodbar\u2019 (1977)<\/h2>\n<figure class=\"relative mb-4\">\n<div class=\"relative\"><img alt=\"\u2018Looking for Mr. Goodbar\u2019 (1977)\" loading=\"lazy\" width=\"960\" height=\"640\" decoding=\"async\" data-nimg=\"1\" class=\"rounded-lg\" style=\"color:transparent\" src=\"https:\/\/s.yimg.com\/ny\/api\/res\/1.2\/T.pWTx1j5yGzq.WYKioxhw--\/YXBwaWQ9aGlnaGxhbmRlcjt3PTk2MDtoPTY0MDtjZj13ZWJw\/https:\/\/media.zenfs.com\/en\/rollingstone.com\/878eba8c641b89c6a2ead3459f3de74d\"\/><button aria-label=\"View larger image\" class=\"group absolute bottom-3 right-3 size-10 md:size-[50px] lg:inset-0 lg:size-full lg:bg-transparent\" data-ylk=\"elm:expand;itc:1;sec:image-lightbox;slk:lightbox-open;\"><span class=\"absolute bottom-0 right-0 rounded-full bg-white p-3 opacity-100 shadow-elevation-3 transition-opacity duration-300 group-hover:block group-hover:opacity-100 md:p-[17px] lg:bottom-6 lg:right-6 lg:bg-white\/90 lg:p-5 lg:opacity-0 lg:shadow-none\"><svg viewbox=\"0 0 22 22\" aria-hidden=\"true\" class=\"size-4 lg:size-6\" width=\"22\" height=\"22\"><path d=\"M12.372.92c0-.506.41-.916.915-.916L21 0l-.004 7.712a.917.917 0 0 1-1.832 0V3.183l-6.827 6.828-1.349-1.348 6.828-6.828h-4.529a.915.915 0 0 1-.915-.915M1.835 17.816l6.828-6.828 1.349 1.349-6.829 6.827h4.529a.915.915 0 0 1 0 1.831L0 21l.004-7.713a.916.916 0 0 1 1.831 0z\"\/><\/svg><\/span><\/button><dialog aria-label=\"Modal Dialog\" aria-modal=\"true\" class=\"fixed inset-0 z-4 size-full max-h-none max-w-none bg-white hidden\"\/><\/div><figcaption class=\"relative text-sm mt-1 pr-2.5\">\n<p>\u2018Looking for Mr. Goodbar\u2019 (1977)<\/p>\n<\/figcaption><\/figure>\n<p class=\"mb-4 text-lg md:leading-8 break-words\">\u201cI\u2019d rather be seduced than comforted,\u201d Keaton\u2019s schoolteacher Theresa Dunn tells someone early on in Richard Brooks\u2019 adaptation of Judith Rossner\u2019s bestseller \u2014 and her character will spend the rest of the film searching for Mr. Right (or Mr. He\u2019ll-Do-for-Tonight) in search of both seduction and comfort. Seen now, this take on the then-burgeoning trend of singles bars feels dated in every way <em>but<\/em> Keaton\u2019s extraordinary performance \u2014 she somehow manages to make Dunn feel like both a symbolic stand-in for every woman trying to navigate choppy social waters and the sort of everywoman you\u2019d see on the subway. Seriously, name another actor circa 1977 who could hold their own against a manic Richard Gere in a jockstrap, flailing his arms around while holding what appears to be a day-glo knife! Keaton makes you feel this woman\u2019s loneliness and hopefulness without making her seem pitiful or desperate; the play of emotions that runs across her face during that Gere sequence, or when she realizes that the final date she takes home is less stable than she\u2019d realized, gives you everything without saying a word. <em>\u2014DF<\/em><\/p>\n<h2 class=\"mb-4 text-xl font-bold md:text-2xl\">\u2018Reds\u2019 (1981)<\/h2>\n<figure class=\"relative mb-4\">\n<div class=\"relative\"><img alt=\"\u2018Reds\u2019 (1981)\" loading=\"lazy\" width=\"960\" height=\"640\" decoding=\"async\" data-nimg=\"1\" class=\"rounded-lg\" style=\"color:transparent\" src=\"https:\/\/s.yimg.com\/ny\/api\/res\/1.2\/cOgz23m_pSjj.7b4xdERDA--\/YXBwaWQ9aGlnaGxhbmRlcjt3PTk2MDtoPTY0MDtjZj13ZWJw\/https:\/\/media.zenfs.com\/en\/rollingstone.com\/7fac1131a3a56294c9f53b98dd942f2d\"\/><button aria-label=\"View larger image\" class=\"group absolute bottom-3 right-3 size-10 md:size-[50px] lg:inset-0 lg:size-full lg:bg-transparent\" data-ylk=\"elm:expand;itc:1;sec:image-lightbox;slk:lightbox-open;\"><span class=\"absolute bottom-0 right-0 rounded-full bg-white p-3 opacity-100 shadow-elevation-3 transition-opacity duration-300 group-hover:block group-hover:opacity-100 md:p-[17px] lg:bottom-6 lg:right-6 lg:bg-white\/90 lg:p-5 lg:opacity-0 lg:shadow-none\"><svg viewbox=\"0 0 22 22\" aria-hidden=\"true\" class=\"size-4 lg:size-6\" width=\"22\" height=\"22\"><path d=\"M12.372.92c0-.506.41-.916.915-.916L21 0l-.004 7.712a.917.917 0 0 1-1.832 0V3.183l-6.827 6.828-1.349-1.348 6.828-6.828h-4.529a.915.915 0 0 1-.915-.915M1.835 17.816l6.828-6.828 1.349 1.349-6.829 6.827h4.529a.915.915 0 0 1 0 1.831L0 21l.004-7.713a.916.916 0 0 1 1.831 0z\"\/><\/svg><\/span><\/button><dialog aria-label=\"Modal Dialog\" aria-modal=\"true\" class=\"fixed inset-0 z-4 size-full max-h-none max-w-none bg-white hidden\"\/><\/div><figcaption class=\"relative text-sm mt-1 pr-2.5\">\n<p>\u2018Reds\u2019 (1981)<\/p>\n<\/figcaption><\/figure>\n<p class=\"mb-4 text-lg md:leading-8 break-words\">Sold as an epic historical romantic drama, this portrait of early-20th-century Communist activist John Reed had the sweep of <em>Gone With the Wind<\/em> or <em>Doctor Zhivago. <\/em>But neither Vivien Leigh nor Julie Christie had a role as substantial as the one Diane Keaton was gifted by director Warren Beatty \u2014 that of feminist author Louise Bryant, who falls for Reed but never loses her fiery independence in the process. After a decade earning acclaim in the <em>Godfather <\/em>pictures and as a frequent muse for Woody Allen, Keaton found another gear here, displaying a cutting intellect that was far removed from the softer, sweeter characters of her earlier career. But Bryant\u2019s defiance is nicely complemented by the character\u2019s vulnerabilities, giving Keaton a chance to do a love story across a grand canvas that nonetheless feels intimate in the way her best performances always did. And who can forget <em>Reds<\/em>\u2019 closing stretches, in which Bryant goes to that crowded train station in the hopes that her true love Reed might appear \u2014 her anticipation turning to panic turning to despair, and then at last to tearful gratitude. <em>\u2014Tim Grierson<\/em><\/p>\n<h2 class=\"mb-4 text-xl font-bold md:text-2xl\">\u2018Shoot the Moon\u2019 (1982)<\/h2>\n<figure class=\"relative mb-4\">\n<div class=\"relative\"><img alt=\"\u2018Shoot the Moon\u2019 (1982)\" loading=\"lazy\" width=\"960\" height=\"640\" decoding=\"async\" data-nimg=\"1\" class=\"rounded-lg\" style=\"color:transparent\" src=\"https:\/\/s.yimg.com\/ny\/api\/res\/1.2\/E3jDx86.VAmu7lqVUsWTFQ--\/YXBwaWQ9aGlnaGxhbmRlcjt3PTk2MDtoPTY0MDtjZj13ZWJw\/https:\/\/media.zenfs.com\/en\/rollingstone.com\/82d24c8b6f6001d54e1190995b73ec29\"\/><button aria-label=\"View larger image\" class=\"group absolute bottom-3 right-3 size-10 md:size-[50px] lg:inset-0 lg:size-full lg:bg-transparent\" data-ylk=\"elm:expand;itc:1;sec:image-lightbox;slk:lightbox-open;\"><span class=\"absolute bottom-0 right-0 rounded-full bg-white p-3 opacity-100 shadow-elevation-3 transition-opacity duration-300 group-hover:block group-hover:opacity-100 md:p-[17px] lg:bottom-6 lg:right-6 lg:bg-white\/90 lg:p-5 lg:opacity-0 lg:shadow-none\"><svg viewbox=\"0 0 22 22\" aria-hidden=\"true\" class=\"size-4 lg:size-6\" width=\"22\" height=\"22\"><path d=\"M12.372.92c0-.506.41-.916.915-.916L21 0l-.004 7.712a.917.917 0 0 1-1.832 0V3.183l-6.827 6.828-1.349-1.348 6.828-6.828h-4.529a.915.915 0 0 1-.915-.915M1.835 17.816l6.828-6.828 1.349 1.349-6.829 6.827h4.529a.915.915 0 0 1 0 1.831L0 21l.004-7.713a.916.916 0 0 1 1.831 0z\"\/><\/svg><\/span><\/button><dialog aria-label=\"Modal Dialog\" aria-modal=\"true\" class=\"fixed inset-0 z-4 size-full max-h-none max-w-none bg-white hidden\"\/><\/div><figcaption class=\"relative text-sm mt-1 pr-2.5\">\n<p>\u2018Shoot the Moon\u2019 (1982)<\/p>\n<\/figcaption><\/figure>\n<p class=\"mb-4 text-lg md:leading-8 break-words\">For many, Keaton epitomized the independent woman of the 1970s. In Alan Parker\u2019s bruising domestic drama, she\u2019d put a face to the growing number of divorcees in the early 1980s. As one half of the couple that disintegrates before your eyes, Keaton\u2019s Faith Dunlap is forced to deal with her unfaithful husband George (played by Albert Finney) and tries to find love amongst the ruins of her situation with a contractor (Peter Weller) building their tennis court. You would not call their parting amicable. Everyone remembers the sheer viciousness of the fights in this film \u2014 trust us, they <em>are<\/em> brutal \u2014 and the bitterness quotient is off the charts. But it\u2019s Keaton\u2019s quiet moments in the film that gut you when you rewatch it now, from the shellshocked look on her face as the Dunlaps drive home after a formal event, to Faith smoking a joint in the bath <a rel=\"nofollow\" target=\"_blank\" href=\"https:\/\/www.youtube.com\/watch?v=rgo9TCt5Zww\" rel=\"nofollow noopener\" target=\"_blank\" data-ylk=\"slk:and softly singing the Beatles\u2019 \u201cIf I Fell.\u201d;elm:context_link;itc:0;sec:content-canvas\" class=\"link \">and softly singing the Beatles\u2019 \u201cIf I Fell.\u201d<\/a> It\u2019s somehow the most beautiful and devastating moment in a movie filled with sound and fury, and it\u2019s all Keaton\u2019s doing. <em>\u2014DF<\/em><\/p>\n<h2 class=\"mb-4 text-xl font-bold md:text-2xl\">\u2018Crimes of the Heart\u2019 (1986)<\/h2>\n<figure class=\"relative mb-4\">\n<div class=\"relative\"><img alt=\"\u2018Crimes of the Heart\u2019 (1986)\" loading=\"lazy\" width=\"960\" height=\"636\" decoding=\"async\" data-nimg=\"1\" class=\"rounded-lg\" style=\"color:transparent\" src=\"https:\/\/s.yimg.com\/ny\/api\/res\/1.2\/2Gh8gtbJYNgu5imSrXiCtA--\/YXBwaWQ9aGlnaGxhbmRlcjt3PTk2MDtoPTYzNjtjZj13ZWJw\/https:\/\/media.zenfs.com\/en\/rollingstone.com\/8f0f69d08294e54a06a89536de152150\"\/><button aria-label=\"View larger image\" class=\"group absolute bottom-3 right-3 size-10 md:size-[50px] lg:inset-0 lg:size-full lg:bg-transparent\" data-ylk=\"elm:expand;itc:1;sec:image-lightbox;slk:lightbox-open;\"><span class=\"absolute bottom-0 right-0 rounded-full bg-white p-3 opacity-100 shadow-elevation-3 transition-opacity duration-300 group-hover:block group-hover:opacity-100 md:p-[17px] lg:bottom-6 lg:right-6 lg:bg-white\/90 lg:p-5 lg:opacity-0 lg:shadow-none\"><svg viewbox=\"0 0 22 22\" aria-hidden=\"true\" class=\"size-4 lg:size-6\" width=\"22\" height=\"22\"><path d=\"M12.372.92c0-.506.41-.916.915-.916L21 0l-.004 7.712a.917.917 0 0 1-1.832 0V3.183l-6.827 6.828-1.349-1.348 6.828-6.828h-4.529a.915.915 0 0 1-.915-.915M1.835 17.816l6.828-6.828 1.349 1.349-6.829 6.827h4.529a.915.915 0 0 1 0 1.831L0 21l.004-7.713a.916.916 0 0 1 1.831 0z\"\/><\/svg><\/span><\/button><dialog aria-label=\"Modal Dialog\" aria-modal=\"true\" class=\"fixed inset-0 z-4 size-full max-h-none max-w-none bg-white hidden\"\/><\/div><figcaption class=\"relative text-sm mt-1 pr-2.5\">\n<p>\u2018Crimes of the Heart\u2019 (1986)<\/p>\n<\/figcaption><\/figure>\n<p class=\"mb-4 text-lg md:leading-8 break-words\">It\u2019s the holy trinity of 1980s heavy-hitting actresses (had Meryl Streep been involved, this would be like <em>The Avengers<\/em> for the era\u2019s strong, name-above-the-title screen women). And you could not ask for a finer trio than Sissy Spacek, Jessica Lange and Diane Keaton to tackle Beth Henley\u2019s Pulitzer-winning play about three Southern sisters dealing with the aftermath of a crime \u2014 specifically, one that doesn\u2019t just involve the heart but the body of one of their husbands. Returning to their family home in Mississippi, the Magrath ladies each have their own way of dealing with the situation at hand; for Keaton\u2019s wallflower-ish Lenny Magrath, that means fretting that the family will be torn apart by scandal and mourning a youth that\u2019s passed her by. It\u2019s very much an ensemble piece, and the joy of the film is watching these three stars play off each other. But that doesn\u2019t mean that Keaton doesn\u2019t have her stand-out moments, or can take a simple scene involving the eating of her chocolates and turn it into <a rel=\"nofollow\" target=\"_blank\" href=\"https:\/\/www.youtube.com\/watch?v=wz3F89aSu2c\" rel=\"nofollow noopener\" target=\"_blank\" data-ylk=\"slk:an aria of rage and built-up resentment;elm:context_link;itc:0;sec:content-canvas\" class=\"link \">an aria of rage and built-up resentment<\/a>. <em>\u2014DF<\/em><\/p>\n<h2 class=\"mb-4 text-xl font-bold md:text-2xl\">\u2018Baby Boom\u2019 (1987)<\/h2>\n<figure class=\"relative mb-4\">\n<div class=\"relative\"><img alt=\"\u2018Baby Boom\u2019 (1987)\" loading=\"lazy\" width=\"960\" height=\"636\" decoding=\"async\" data-nimg=\"1\" class=\"rounded-lg\" style=\"color:transparent\" src=\"https:\/\/s.yimg.com\/ny\/api\/res\/1.2\/Xx8TP4k_YorOjU.MJiJQiA--\/YXBwaWQ9aGlnaGxhbmRlcjt3PTk2MDtoPTYzNjtjZj13ZWJw\/https:\/\/media.zenfs.com\/en\/rollingstone.com\/936ba1284dad7bce3ee8c68f440db665\"\/><button aria-label=\"View larger image\" class=\"group absolute bottom-3 right-3 size-10 md:size-[50px] lg:inset-0 lg:size-full lg:bg-transparent\" data-ylk=\"elm:expand;itc:1;sec:image-lightbox;slk:lightbox-open;\"><span class=\"absolute bottom-0 right-0 rounded-full bg-white p-3 opacity-100 shadow-elevation-3 transition-opacity duration-300 group-hover:block group-hover:opacity-100 md:p-[17px] lg:bottom-6 lg:right-6 lg:bg-white\/90 lg:p-5 lg:opacity-0 lg:shadow-none\"><svg viewbox=\"0 0 22 22\" aria-hidden=\"true\" class=\"size-4 lg:size-6\" width=\"22\" height=\"22\"><path d=\"M12.372.92c0-.506.41-.916.915-.916L21 0l-.004 7.712a.917.917 0 0 1-1.832 0V3.183l-6.827 6.828-1.349-1.348 6.828-6.828h-4.529a.915.915 0 0 1-.915-.915M1.835 17.816l6.828-6.828 1.349 1.349-6.829 6.827h4.529a.915.915 0 0 1 0 1.831L0 21l.004-7.713a.916.916 0 0 1 1.831 0z\"\/><\/svg><\/span><\/button><dialog aria-label=\"Modal Dialog\" aria-modal=\"true\" class=\"fixed inset-0 z-4 size-full max-h-none max-w-none bg-white hidden\"\/><\/div><figcaption class=\"relative text-sm mt-1 pr-2.5\">\n<p>\u2018Baby Boom\u2019 (1987)<\/p>\n<\/figcaption><\/figure>\n<p class=\"mb-4 text-lg md:leading-8 break-words\">The Eighties had its share of comedies about women in the corporate workplace, from<em>\u00a09 to 5\u00a0<\/em>to\u00a0<em>Working Girl<\/em>. In the middle of those classics is\u00a0<em>Baby Boom<\/em>, the first collaboration between Keaton and Nancy Meyers. She stars as J.C. Wiatt, a career-obsessed yuppie who inherits the baby of a cousin she has not seen since 1954. She eventually abandons New York \u2014 and her banker boyfriend, played by Harold Ramis \u2014 and moves to rural Vermont, where she goes full MAHA and invents natural baby food. It had only been a decade since<em>\u00a0Annie Hall<\/em>, but Keaton had spent recent years starring in dramas; it\u2019s almost like she was storing all this anxious, comedic energy, waiting to unleash it. Not a single second of this 110-minute film is wasted as she has one<a rel=\"nofollow\" target=\"_blank\" href=\"https:\/\/www.youtube.com\/watch?v=adxwpSdHj90\" rel=\"nofollow noopener\" target=\"_blank\" data-ylk=\"slk:\u00a0hysterical meltdown\u00a0;elm:context_link;itc:0;sec:content-canvas\" class=\"link \">\u00a0hysterical meltdown\u00a0<\/a>after another, like when her literal well has run dry and she vents to the repair man \u2014 so deeply that she\u00a0<a rel=\"nofollow\" target=\"_blank\" href=\"https:\/\/www.youtube.com\/watch?v=jUkqho3OUos\" rel=\"nofollow noopener\" target=\"_blank\" data-ylk=\"slk:falls backwards;elm:context_link;itc:0;sec:content-canvas\" class=\"link \">falls backwards<\/a>\u00a0into the snow. Revisiting the film years later, she was surprised by her own performance. \u201cI watched,\u201d\u00a0<a rel=\"nofollow\" target=\"_blank\" href=\"https:\/\/www.vulture.com\/2025\/10\/a-kooky-conversation-with-nancy-meyers-muse-diane-keaton.html\" rel=\"nofollow noopener\" target=\"_blank\" data-ylk=\"slk:she said;elm:context_link;itc:0;sec:content-canvas\" class=\"link \">she said<\/a>, \u201cAnd I thought, \u2018My God, I don\u2019t know how I did that.\u2019\u201d <em>\u2014Angie Martoccio<\/em><\/p>\n<h2 class=\"mb-4 text-xl font-bold md:text-2xl\">\u2018Father of the Bride\u2019 (1991)<\/h2>\n<figure class=\"relative mb-4\">\n<div class=\"relative\"><img alt=\"\u2018Father of the Bride\u2019 (1991)\" loading=\"lazy\" width=\"960\" height=\"636\" decoding=\"async\" data-nimg=\"1\" class=\"rounded-lg\" style=\"color:transparent\" src=\"https:\/\/s.yimg.com\/ny\/api\/res\/1.2\/XTnDeBCSf.gni.jqZpa4YA--\/YXBwaWQ9aGlnaGxhbmRlcjt3PTk2MDtoPTYzNjtjZj13ZWJw\/https:\/\/media.zenfs.com\/en\/rollingstone.com\/2c398e5f7ff4d6b962a064b12a3711c8\"\/><button aria-label=\"View larger image\" class=\"group absolute bottom-3 right-3 size-10 md:size-[50px] lg:inset-0 lg:size-full lg:bg-transparent\" data-ylk=\"elm:expand;itc:1;sec:image-lightbox;slk:lightbox-open;\"><span class=\"absolute bottom-0 right-0 rounded-full bg-white p-3 opacity-100 shadow-elevation-3 transition-opacity duration-300 group-hover:block group-hover:opacity-100 md:p-[17px] lg:bottom-6 lg:right-6 lg:bg-white\/90 lg:p-5 lg:opacity-0 lg:shadow-none\"><svg viewbox=\"0 0 22 22\" aria-hidden=\"true\" class=\"size-4 lg:size-6\" width=\"22\" height=\"22\"><path d=\"M12.372.92c0-.506.41-.916.915-.916L21 0l-.004 7.712a.917.917 0 0 1-1.832 0V3.183l-6.827 6.828-1.349-1.348 6.828-6.828h-4.529a.915.915 0 0 1-.915-.915M1.835 17.816l6.828-6.828 1.349 1.349-6.829 6.827h4.529a.915.915 0 0 1 0 1.831L0 21l.004-7.713a.916.916 0 0 1 1.831 0z\"\/><\/svg><\/span><\/button><dialog aria-label=\"Modal Dialog\" aria-modal=\"true\" class=\"fixed inset-0 z-4 size-full max-h-none max-w-none bg-white hidden\"\/><\/div><figcaption class=\"relative text-sm mt-1 pr-2.5\">\n<p>\u2018Father of the Bride\u2019 (1991)<\/p>\n<\/figcaption><\/figure>\n<p class=\"mb-4 text-lg md:leading-8 break-words\">Right after\u00a0<em>The Godfather Part III<\/em>, Keaton played a very different wife \u2014 the calm, cool, and collected kind, who bails her stubborn husband (Steve Martin) out of jail after he refuses to buy a pack of twelve hot dog buns instead of his desired eight. In this remake of the 1950 comedy <em>Father of the Bride,<\/em> Nina Banks was the comedic foil to her uptight and neurotic spouse, who just can\u2019t accept the fact that their daughter, Annie (Kimberly Williams), is getting married. Nina genuinely likes her charming, soon-to-be son-in-law (George Newbern) and the whimsically weird wedding planner Franck Eggelhoffer (Martin Short). But instead of just playing an agreeable housewife who shakes her head at her husband\u2019s ridiculous antics \u2014 that wedding was $250 a head! \u2014 Keaton brought depth to Nina, making her grounded, logical, and pretty damn funny. She was given even more to work with in the 1995 sequel, when Nina gets pregnant alongside her daughter, and George sells the house without telling her. Keaton shines with every line in that film, too, like when Annie asks her if she took a photo of their favorite tree before they move. \u201cJust a roll, honey,\u201d she tearfully replies. <em>\u2014AM<\/em><\/p>\n<h2 class=\"mb-4 text-xl font-bold md:text-2xl\">\u2018The First Wives Club\u2019 (1996)<\/h2>\n<figure class=\"relative mb-4\">\n<div class=\"relative\"><img alt=\"\u2018The First Wives Club\u2019 (1996)\" loading=\"lazy\" width=\"960\" height=\"647\" decoding=\"async\" data-nimg=\"1\" class=\"rounded-lg\" style=\"color:transparent\" src=\"https:\/\/s.yimg.com\/ny\/api\/res\/1.2\/IcCSs.jHlIEGn.EUDFnEew--\/YXBwaWQ9aGlnaGxhbmRlcjt3PTk2MDtoPTY0NztjZj13ZWJw\/https:\/\/media.zenfs.com\/en\/rollingstone.com\/e0ec65956cadcb94dc9662bd5656699c\"\/><button aria-label=\"View larger image\" class=\"group absolute bottom-3 right-3 size-10 md:size-[50px] lg:inset-0 lg:size-full lg:bg-transparent\" data-ylk=\"elm:expand;itc:1;sec:image-lightbox;slk:lightbox-open;\"><span class=\"absolute bottom-0 right-0 rounded-full bg-white p-3 opacity-100 shadow-elevation-3 transition-opacity duration-300 group-hover:block group-hover:opacity-100 md:p-[17px] lg:bottom-6 lg:right-6 lg:bg-white\/90 lg:p-5 lg:opacity-0 lg:shadow-none\"><svg viewbox=\"0 0 22 22\" aria-hidden=\"true\" class=\"size-4 lg:size-6\" width=\"22\" height=\"22\"><path d=\"M12.372.92c0-.506.41-.916.915-.916L21 0l-.004 7.712a.917.917 0 0 1-1.832 0V3.183l-6.827 6.828-1.349-1.348 6.828-6.828h-4.529a.915.915 0 0 1-.915-.915M1.835 17.816l6.828-6.828 1.349 1.349-6.829 6.827h4.529a.915.915 0 0 1 0 1.831L0 21l.004-7.713a.916.916 0 0 1 1.831 0z\"\/><\/svg><\/span><\/button><dialog aria-label=\"Modal Dialog\" aria-modal=\"true\" class=\"fixed inset-0 z-4 size-full max-h-none max-w-none bg-white hidden\"\/><\/div><figcaption class=\"relative text-sm mt-1 pr-2.5\">\n<p>\u2018The First Wives Club\u2019 (1996)<\/p>\n<\/figcaption><\/figure>\n<p class=\"mb-4 text-lg md:leading-8 break-words\">As Annie MacDuggan-Paradis, an anxious housewife jilted by her husband for their therapist, Keaton offered empathy for those struggling to find agency at a marriage\u2019s end. Her chemistry with her <em>First Wives Club<\/em> co-stars Bette Midler and Goldie Hawn \u2014 who reportedly first suggested Sally Field for the role of Annie \u2014 was undeniable and charmingly compelling. Together, they were impossible not to root for, and Annie\u2019s comeuppance, when she finally stood up for herself and took over her husband\u2019s ad agency, urged cheers. The film wouldn\u2019t be complete without the trio performing their own take on Lesley Gore\u2019s hit \u201cYou Don\u2019t Own Me\u201d \u2014 an anthem for anyone trying to find their feet. Keaton often reflected on how much fun it was to shoot this movie, and it\u2019s a sentiment the viewer can feel. She was someone who truly enjoyed her work. <em>\u2014Emily Zemler<\/em><\/p>\n<h2 class=\"mb-4 text-xl font-bold md:text-2xl\">\u2018Something\u2019s Gotta Give\u2019 (2003)<\/h2>\n<figure class=\"relative mb-4\">\n<div class=\"relative\"><img alt=\"\u2018Something\u2019s Gotta Give\u2019 (2003)\" loading=\"lazy\" width=\"960\" height=\"664\" decoding=\"async\" data-nimg=\"1\" class=\"rounded-lg\" style=\"color:transparent\" src=\"https:\/\/s.yimg.com\/ny\/api\/res\/1.2\/zd.OdxvT4a.2BPjV_hY2XA--\/YXBwaWQ9aGlnaGxhbmRlcjt3PTk2MDtoPTY2NDtjZj13ZWJw\/https:\/\/media.zenfs.com\/en\/rollingstone.com\/4e0c85f56a0282c2d8263c03779aa4d2\"\/><button aria-label=\"View larger image\" class=\"group absolute bottom-3 right-3 size-10 md:size-[50px] lg:inset-0 lg:size-full lg:bg-transparent\" data-ylk=\"elm:expand;itc:1;sec:image-lightbox;slk:lightbox-open;\"><span class=\"absolute bottom-0 right-0 rounded-full bg-white p-3 opacity-100 shadow-elevation-3 transition-opacity duration-300 group-hover:block group-hover:opacity-100 md:p-[17px] lg:bottom-6 lg:right-6 lg:bg-white\/90 lg:p-5 lg:opacity-0 lg:shadow-none\"><svg viewbox=\"0 0 22 22\" aria-hidden=\"true\" class=\"size-4 lg:size-6\" width=\"22\" height=\"22\"><path d=\"M12.372.92c0-.506.41-.916.915-.916L21 0l-.004 7.712a.917.917 0 0 1-1.832 0V3.183l-6.827 6.828-1.349-1.348 6.828-6.828h-4.529a.915.915 0 0 1-.915-.915M1.835 17.816l6.828-6.828 1.349 1.349-6.829 6.827h4.529a.915.915 0 0 1 0 1.831L0 21l.004-7.713a.916.916 0 0 1 1.831 0z\"\/><\/svg><\/span><\/button><dialog aria-label=\"Modal Dialog\" aria-modal=\"true\" class=\"fixed inset-0 z-4 size-full max-h-none max-w-none bg-white hidden\"\/><\/div><figcaption class=\"relative text-sm mt-1 pr-2.5\">\n<p>\u2018Something\u2019s Gotta Give\u2019 (2003)<\/p>\n<\/figcaption><\/figure>\n<p class=\"mb-4 text-lg md:leading-8 break-words\">Keaton collaborated with Nancy Meyers four times over her career, but no film was quite as satisfying as <em>Something\u2019s Gotta Give.<\/em> It was classic rom-com fare, but with a twist: Meyers rejected the idea that these sorts of movies had to star young actors, allowing Keaton and Jack Nicholson to the opportunity to prove that loves comes to all ages. She brought a sweetness to Erica, a successful playwright who hasn\u2019t succumbed to the bitterness of divorce. It was easy to see why the youthful Julian (Keanu Reeves) was so infatuated with her \u2014 the audience was too. She won the Golden Globe, and earned several additional nominations, including for Best Actress at the Oscars. The film memorably featured Keaton undressing for a comedic scene with Nicholson and she later told <em>Interview,<\/em> \u201cIt wasn\u2019t my idea of a good time, but it was such a wonderful movie. And of course, I did the thing that I thought I would never do. So what does that say about me?\u201d <em>\u2014EZ<\/em><\/p>\n<p class=\"mb-4 text-lg md:leading-8 break-words\"><strong>Best of Rolling Stone<\/strong><\/p>\n<p class=\"mb-4 text-lg md:leading-8 break-words\">Sign up for <a rel=\"nofollow\" target=\"_blank\" href=\"https:\/\/cloud.email.rollingstone.com\/signup\/\" rel=\"nofollow noopener\" target=\"_blank\" data-ylk=\"slk:RollingStone's Newsletter;elm:context_link;itc:0;sec:content-canvas\" class=\"link \">RollingStone&#8217;s Newsletter<\/a>. For the latest news, follow us on <a rel=\"nofollow\" target=\"_blank\" href=\"http:\/\/bit.ly\/31XsHSx\" rel=\"nofollow noopener\" target=\"_blank\" data-ylk=\"slk:Facebook;elm:context_link;itc:0;sec:content-canvas\" class=\"link \">Facebook<\/a>, <a rel=\"nofollow\" target=\"_blank\" href=\"http:\/\/bit.ly\/2TkcoeG\" rel=\"nofollow noopener\" target=\"_blank\" data-ylk=\"slk:Twitter;elm:context_link;itc:0;sec:content-canvas\" class=\"link \">Twitter<\/a>, and <a rel=\"nofollow\" target=\"_blank\" href=\"http:\/\/bit.ly\/2TntOHq\" rel=\"nofollow noopener\" target=\"_blank\" data-ylk=\"slk:Instagram;elm:context_link;itc:0;sec:content-canvas\" class=\"link \">Instagram<\/a>.<\/p>\n<\/div>\n<p><em> \u2018 The preceding article may include information circulated by third parties \u2019 <\/em><\/p>\n<p><em> \u2018 Some details of this article were extracted from the following source www.yahoo.com \u2019 <\/em><\/p>\n","protected":false},"excerpt":{"rendered":"<p>The original Mafia wife, the O.G. rom-com kook, the early 20th-century feminist author, the late 20th-century modern woman navigating both the tumultuous Me Decade and the you-can-have-it-all 1980s \u2014 these roles might have been memorable in the hands of numerous actors. Diane Keaton made them iconic. From her breakthrough role in The Godfather to her [&hellip;]<\/p>\n","protected":false},"author":2,"featured_media":2085878,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"om_disable_all_campaigns":false,"_jetpack_memberships_contains_paid_content":false,"jnews-multi-image_gallery":[],"jnews_single_post":[],"jnews_primary_category":[],"jnews_social_meta":[],"footnotes":""},"categories":[25172],"tags":[392216,392768,392769,377209,354222],"class_list":["post-2085877","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-entertainment","tag-diane-keaton","tag-kay-corleone","tag-louise-bryant","tag-the-godfather","tag-woody-allen"],"jetpack_featured_media_url":"https:\/\/celebrity.land\/en\/wp-content\/uploads\/2025\/10\/Diane-Keaton-10-Essential-Movies.jpeg","jetpack_sharing_enabled":true,"_links":{"self":[{"href":"https:\/\/celebrity.land\/en\/wp-json\/wp\/v2\/posts\/2085877","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/celebrity.land\/en\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/celebrity.land\/en\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/celebrity.land\/en\/wp-json\/wp\/v2\/users\/2"}],"replies":[{"embeddable":true,"href":"https:\/\/celebrity.land\/en\/wp-json\/wp\/v2\/comments?post=2085877"}],"version-history":[{"count":1,"href":"https:\/\/celebrity.land\/en\/wp-json\/wp\/v2\/posts\/2085877\/revisions"}],"predecessor-version":[{"id":2085879,"href":"https:\/\/celebrity.land\/en\/wp-json\/wp\/v2\/posts\/2085877\/revisions\/2085879"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/celebrity.land\/en\/wp-json\/wp\/v2\/media\/2085878"}],"wp:attachment":[{"href":"https:\/\/celebrity.land\/en\/wp-json\/wp\/v2\/media?parent=2085877"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/celebrity.land\/en\/wp-json\/wp\/v2\/categories?post=2085877"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/celebrity.land\/en\/wp-json\/wp\/v2\/tags?post=2085877"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}