Word: keaton
(lookup in dictionary)
(lookup stats)
Dates: during 1980-1989
Sort By: most recent first
(reverse)
...George Dunlap (Albert Finney) wants to do is to give his 13-year-old daughter a typewriter for her birthday. It is hardly the impossible dream; it isn't even an unreasonable request. But George recently walked out on his wife Faith (Diane Keaton) and their four daughters, for all those vague but somehow imperative reasons for which people leave people these days, and Daughter Sherry (Dana Hill) is not buying any of them. Nor is she covering her confusion with forgiveness. Better just not to speak to the creep. When Faith tries to avoid a scene by keeping...
Finney's fuzziness, that slightly out-of-focus quality he often has onscreen, here serves his befuddled character perfectly. Keaton has the courage to let tiredness show in the lines around her mouth and eyes, to stipulate that she is the victim in this situation and then get on to other more interesting situations. Nobody ever tries to explain why the nice, successful Dunlaps are breaking up. These days, who knows? All anyone can say with certainty is that theirs is now among the most familiar of passages, and that Shoot the Moon is the best chart...
...ignorance of the major issues of the Spanish Civil War, an event of great importance to intellectuals of her generation. "Of course, now they'll all see Reds," she laments, "and they'll all know there was a Russian revolution, but they'll think it was made by Diane Keaton...
...heaps of research on the politics of the period, but they have buried it all in the film's margins and between the lines; they use the Russian Revolution and leftist ideology to add texture, while dramatically the film is shaped entirely by the love story. When Louise (Diane Keaton) lures Beatty to her apartment for an interview, and he proceeds to lecture her on his causes till dawn, we hear nothing but a few liberal buzzwords and phrases; what's supposed to register is Reed's passion--that he could talk all night about politics!--and Bryant's dazed...
...DIANE KEATON has never looked as utterly lovely as she does against Vittorio Storaro's mahogany-toned cinematography, with that fragile, ivory face and luminous eyes framed by curly wisps of brown hair. But she gives another fraudulent performance, characterized by an enormous gap between her lines and her head. She comes complete with her own outtakes--we can practically hear them in the nervous, senseless way she rushes through a speech as if it were a tongue-twister. Every line in her Method-y delivery proclaims, "I've been through analysis," making her an aural, if not visual anachronism...