Meryl Streep (dressed in Keatonesque style, wearing a menswear ensemble with hat and tie) remarked that, "Even though she loves a look and puts together an enviable one every day, there's nobody who stands more exposed, more undefended and just willing to show herself inside and out than Diane." The honoree was decked out in a black-and-white outfit complete with a huge belt, a bowler hat and lace-up boots. Among other friends and colleagues paying tribute were Jane Fonda, Al Pacino, Emma Stone, Morgan Freeman, Reese Witherspoon, Martin Short, and Steve Martin, who declared that "When you work with Diane you fall madly in love with her." The elusive Woody Allen, a Keaton mentor and frequent costar, ducked in from a rear stage door for a surprise appearance to present Keaton with her award. After a good-natured ribbing of the honoree, Allen grew serious to declare of Keaton that, "From the moment I met her she was a great, great inspiration. Much of what I have accomplished in my life I owe, for sure, to her."
In accepting her award Keaton decided to skip a speech she had prepared and instead sang an emotional a cappella version of "Seems Like Old Times," a tune she had performed in her signature role opposite Allen, Annie Hall (1977). Keaton movies shown on TCM along with the TV special are shown in boldface in the following commentary.
Keaton was born Diane Hall on January 5, 1946, in Los Angeles; her father was a real estate broker and civil engineer, while her mother was a homemaker and amateur photographer. Diane's gift for playing neurotic heroines got off to an early start when she starred as Blanche DuBois in A Streetcar Named Desire at Santa Ana High School. She later dropped out of college to try for an acting career in New York City. Because there was already a "Diane Hall" in the Actors' Equity Association, she changed her surname to Keaton (her mother's maiden name).
In 1968, Keaton appeared in the original Broadway production of Hair, playing a member of the "Tribe" where she gained attention when she refused to appear naked onstage with the rest of the cast. Her Broadway breakthrough came one year later when she was cast opposite Woody Allen in his stage comedy Play It Again, Sam (1969-70), winning a Tony Award nomination for her role as Allen's love interest.
Keaton made her film debut in the ensemble comedy Lovers and Other Strangers (1970). After some TV work she had her first major movie role, playing Kay Adams Corleone in The Godfather (1972), a part she would repeat in The Godfather: Part II (1974) and Part III (1990).
One of the enduring screen couples was created when Keaton appeared opposite Allen in the film version of Play It Again, Sam (1972). According to Allen biographer Eric Lax, "The play marked the beginning of a love affair that continues today as a very close friendship." The couple's onscreen chemistry is delightful; Allen understands Keaton's attraction for audiences and knows exactly how to write to her strengths as an actress. Together they share an understanding and a distinctive rhythm in their repartee that, although completely different, compares to the rapport between Katharine Hepburn (one of Keaton's early inspirations) and Spencer Tracy.
Annie Hall, in particular, captured Keaton's very individual style and offbeat appeal; her performance in this romantic comedy created a sensation and brought her a Best Actress Academy Award, along with a slew of other honors. In addition to that film and Play It Again Sam, the other Allen/Keaton film collaborations include Sleeper (1973), Love and Death (1975), Interiors (1978), Manhattan (1979), Radio Days (1987) and Manhattan Murder Mystery (1993).
Keaton's other Oscar nominations came for Reds (1981), a drama set during the time of the Russian Revolution in which she plays feminist icon Louise Bryant opposite Warren Beatty as journalist John Reed; Marvin's Room (1996), a family drama costarring Meryl Streep; and Something's Gotta Give (2003), a romantic comedy with Jack Nicholson.
As her list of nominations indicates, Keaton has maintained a screen career noted for its diversity. The same year of the bubbly Annie Hall, she had a very dark and dramatic role in Looking for Mr. Goodbar (1977), based on the novel by Judith Rossner about a schoolteacher in search of sexual adventure. Among more than 50 feature-film credits, her other dramas have included Shoot the Moon (1982), The Little Drummer Girl and Mrs. Soffel (both 1984), Crimes of the Heart (1986) and Darling Companion (2012).
The comedy successes in Keaton's résumé also include Baby Boom (1987), Father of the Bride (1991) and its sequel Father of the Bride Part II (1995), The First Wives Club (1996) and Love the Coopers (2015). Many of her best performances combine both pathos and humor, such as her role as the matriarch of The Family Stone (2005) and the would-be lounge singer of And So It Goes (2014). All told, Keaton's feature films have grossed more than $1 billion in North America alone.
Keaton was nominated for an Emmy as Outstanding Lead Actress in a Miniseries or Special for her performance in Amelia Earhart: The Final Flight (1994). In addition to her acting career, she has enjoyed success as an author, photographer, director, producer, editor, real estate developer and singer. Her way with a tune has been showcased to good advantage in such films as Annie Hall, Radio Days and And So It Goes. Keaton remains very active as an actress, having recently played key roles in the HBO series The Young Pope (2016) and the feature film Hampstead (2017).
Keaton, who wrote a memoir entitled Then Again in 2011, dated Al Pacino and Warren Beatty in addition to Woody Allen. She has never wed and said in 2001 that "I don't think because I'm not married it's made my life any less." She has two adopted children, daughter Dexter and son Duke, and describes motherhood as "just about the most completely humbling experience that I've ever had."
By Roger Fristoe
