Word: keaton
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...audience to look to him for relief. In John Reed, Beatty found a figure ideally suited to his own quiet narcissism--a modern saint, political innocent and martyr. And, rounding the character slightly by showing his insensitivity to others, "You love yourself; you fuck me" brays Diane Keaton) Beatty gives a smart, delicate performance, sleepy but cognizant, doggedly pursuing his ideals while the world blows up around...
...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...
Despite these and other sharp performances by Gene Hackman, Gerald Hiken and Jack Kehoe, Reds is essentially the story of Jack and Louise. Diane Keaton's performance shows a species of heroism: unafraid to seem shrill or pouty, she allows Louise's strength to emerge through her decisions to follow Jack and fight him, to walk out of his life and fight to get back in, to be his and still be herself. Beatty, the master charmer, uses a torrent of words and his sweet-faced stare to persuade us that have Jack and his brand of robust...
...nebbish. In the second, the mauve and chartreuse period, it was the nebbish as an artist. Play it Again Sam is probably his best effort of the bright red period. In this latter day Casablanca scenario, Allen is a movie-going Prufrock who longs to be Bogie. Diane Keaton plays her patented delectable goof role, and cuts an unlikely Ingrid Bergman figure. You must love a movie with lines like...