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Personality profiles like this week's cover story on Actress Diane Keaton depend largely on the reporter's ability to establish a rapport with the subject - while maintaining a professional detachment. Too often interviews are nothing more than simple question-and-answer sessions that provide the journalist with little insight into the subject. But occasionally, resonance and understanding develop between the two that add a lot to the story. Such was the case with Diane Keaton and TIME Reporter-Researcher Janice Castro...
Castro first met Keaton in Manhattan last March while reporting on Woody Allen's film Annie Hall. This time she arranged to spend a week with the actress in Los Angeles, where Keaton was relaxing before returning to the East Coast to work in another Allen film. For Castro, who lived and went to school in Berkeley, it was like going home again. Says she: "Because we both grew up in California, we had a lot in common. We were both really shy in high school; we talked about all the guys we used to dream about...
Call Diane Keaton, the shy, gangly, lost-and-found soul who is Annie in Annie Hall, the funniest woman now working in films. Small praise. Give or take Lily Tomlin, it is hard to think of another woman now being funny in films...
...Remember Keaton in the Godfather movies? Not likely. She was invisible in The Godfather and pallid in The Godfather, Part II. She played Al Pacino's wife, and her role amounted to telling Pacino every now and then to stop killing people so often and spend some time with the kids. Says Keaton: "Pacino was great. Robert De Niro was great. I was background music...
Annie Hall. Even though it's based on his real-life relationship with co-star Diane Keaton, Woody Allen's latest--and arguably best--film is far more than cinema a clef. Allen's sensitive, sometimes painfully realistic portrait of a failed love affair between a neurotic but lovable New York Jew and a flaky midwestern WASP marks a generally successful departure in thematic approach: Annie Hall goes much farther in exploring human relationships than any of Allen's previous films. Still, the best moments in the film are the deliberate send-ups in which Allen unleashes his scathing...