Word: keaton
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Dates: during 1970-1979
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...that, it's a tantalizing promise of more to come from a brilliant writer/director. The story of Woody and Diane. Alvy and Annie, two absurd, lonely people who cling to each other because they're afraid no one else will really see how special they are. Some classic sequences: Keaton stuttering, giggling, gesticulating outside an indoor tennis stadium, slapping herself in frustration, dithering enchantingly; Allen grimacing in a movie-line at the inane, pretentious chatter of the man in back of him; lobsters, spiders, roller-coasters, cartoons and inventive use of overlapping dialogue (as good or better than Altman...
Annie Hall fans, be brave. After all, as the final fadeout made clear, Woody Allen and Diane Keaton were not meant for each other. Now Keaton has a new admirer, Hollywood heartthrob, Warren Beatty. When the pair went restaurant hopping in Beverly Hills, Supersnapper Ron Galella was on their trail in a flash. "This is a paparazzo attack," said Galella. "I'm not going to make it easy," retorted Beatty, and ordered Keaton to lower her head. Keaton, who had stayed in Los Angeles after winning her Oscar, then retreated to a recording studio to make her first album...
...role model for all the short, ordinary-looking people of the world; after all, for Bogie, life--and dames--are simple. This is one of the few Allen films that Allen himself did not direct, and what is lost in manic humor is gained in coherence and sensitivity. Diane Keaton plays the paramour as usual, with the perfect blend of love, whine and neurosis. And the brilliant recreation of the famous Casablanca airport scene seems a perfect ending touch to this wonderful film...
Woody Allen and Jason Robards and Vanessa Redgrave and Diane Keaton and Annie Hall. The old Academy showed some integrity after all. All the smart money said that the Academy wouldn't like Woody because Woody doesn't like the Academy. We hear that when he won the big one he was home cooking lobsters...
Looking For Mr. Goodbar. Diane Keaton plunges into a new area in her line of work--a leading role in a serious drama about a nympho working girl--and she can look back on the departure with satisfaction. Her masochistic Theresa Dunn rivals Keaton's technical excellence in portraying Annie Hall, but the character makes no claims upon our sympathy, despite all the vilification unloaded upon her by Dunn's succession of one-night lovers. Tuesday Weld provides an unmemorable contrast to Keaton as Dunn's capricious older sister Katherine, relying too heavily on the character's caricaturish whackiness...