Category Archives: Diane Keaton

1978 Films, Diane Keaton, Drama, Geraldine Page, Joel Schumacher, Mary Beth Hurt, Maureen Stapleton, Woody Allen

Interiors-1978

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Interiors-1978

Director Woody Allen

Starring Diane Keaton, Geraldine Page, Mary Beth Hurt

Scott’s Review #1,392

Reviewed August 24, 2023

Grade: A

Woody Allen films are not everyone’s cup of tea.

Typically, offbeat or even downright wacky comedies with quick-witted dialogue and irritating characters are not everyone’s preferred taste in film.

I’ve always adored the director’s works.

Allen hits a home run with Interiors (1978), his first dramatic film and my favorite. It even rivals classics like Annie Hall (1977) and Manhattan (1979) which most people frequently consider his best.

The famous director turns down the volume and slows the pace with a dark story about mental illness and the ravaging effect it has on a family, the struggling individual, and the other extended members.

Missing from this Woody Allen film are the prevalent one-liners and gimmicks mostly associated with his comedies. The only standard is the inclusion of frequent collaborator Diane Keaton who plays a successful poet, Renata.

The story centers on a middle-aged and upper-class couple’s disintegrating marriage. It forces their three grown daughters (Keaton, Mary Beth Hurt, and Kristin Griffith) to reveal their feelings about themselves and each other. They also have their share of difficulties.

Renata is successful but her husband is a struggling writer with marginal talent. He lusts after Renata’s sister, Flyn (Kristin Griffith), an actress only known for her good looks. Joey (Hurt) is a restless soul unable to decide on a career and jealous of Renata.

Mental illness is only one of their trials and tribulations.

The family resides in Manhattan, Connecticut, and Long Island, most likely the Hamptons so they are wealthy and assumed to be happy, healthy, and thriving.

They are anything but.

None of the daughters are successful at providing ample support to their devastated mother (played by Geraldine Page) who suffers from mental illness and is extremely fragile.

The cast is tiny, with only eight principals, each with a perspective. There are no villains. Only complicated characters with rich texture and substance.

I love the brilliant characterization and development and the many layers most of the characters possess. Each character, especially the father, mother, two of the daughters, and the new wife, Pearl, exceptionally played by Maureen Stapleton, can be heartily examined.

One might assume that the father Arthur played stoically by E.G. Marshall might be unlikable. After all, he requests a ‘separation’ from Eve which the audience knows is a soft-touch way of ultimately asking for a divorce. He then meets a new woman, a different type from his wife, and plans to marry her!

This does not go over well for anyone.

But Arthur is sympathetic and so is Pearl (the new wife). I rooted for the pair even though I felt bad for Eve.

The film culminates in a stunning sequence at the family’s Hampton residence amid Arthur and Pearl’s wedding. The family begrudgingly attends the simple dinner party-style wedding and pretends to be happy.

From a visual perspective, the art direction is flawless. Muted color tones of grey and brown perfectly complement the drab and depressing subject matter.

People have compared Interiors to an Ingmar Bergman film and I completely understand that. The film is dark, cold, and bleak but contains a sophistication and thought provocation mirroring Bergman films like Wild Strawberries (1957) and others.

Woody Allen crafts an astonishingly good screenplay with confidence and precision that only he can do. Interiors (1978) could have easily turned into a soap opera melodrama but remains enthralling and devastating throughout.

Oscar Nominations: Best Director-Woody Allen, Best Actress-Geraldine Page, Best Supporting Actress-Maureen Stapleton, Best Screenplay-Written Directly for the Screen, Best Art Direction

1973 Films, Comedy, Diane Keaton, Woody Allen

Sleeper-1973

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Sleeper-1973

Director Woody Allen

Starring Woody Allen, Diane Keaton

Scott’s Review #631

Reviewed April 5, 2017

Grade: B

One of the earliest of Woody Allen’s enormous list of films that he both directed and starred in, 1973’s Sleeper is a comedic, science-fiction film, and a blueprint for future Allen masterpieces, such as Manhattan (1979) and Annie Hall (1977).

While this film has moments of intelligence and clever dialogue, it too often teeters into straight-up slapstick and silliness to be held in the same esteem as the aforementioned richer films.

Rather it is a juvenile effort as compared to masterpieces to follow, but admittedly with some laughs and creative moments. Sleeper is the first of several to pair Allen with longtime co-star, Diane Keaton.

Allen portrays Miles Monroe, a nerdy jazz musician, and owner of the “Happy Carrot” health-food store in Greenwich Village, New York City sometime in the then present time of the 1970s.

In the hospital for routine surgery, he is cryogenically frozen for two hundred years, waking up in an otherworldly police state and frazzled beyond belief.

The scientists who revive him are part of a rebellion and beg Miles to assist them as they are taken into police custody, pleading with him to search for a secret plan known only as the “Aries Project”.

Miles then poses as a robotic butler and goes to work for Luna (Keaton), a spoiled, bitchy, socialite. The duo ultimately bonded together and spent the rest of the film outrunning and outsmarting their pursuers.

Sleeper succeeds as a novel story, one filled with unique and interesting gadgets from a futuristic world, with clever, witty, crisp dialogue and odes to the past world, now deemed irrelevant.

Amusing are scenes when scientists explain that natural foods and products, at one time thought to be healthy and natural, are not so much.

This makes the world that Miles is used to seem silly and superfluous in their minds.

I also enjoyed the physical humor that the film contains, as when Miles (as his robotic persona) serves dinner to a sophisticated group of Luna’s friends, accidentally destroying their expensive outerwear in a garbage incinerator as well as botching dinner.

As all of the attendees are high on hallucinogenic drugs (including Miles), they fail to realize that he is a human being- they dance with glee and stumble around in a haze, largely unaware of their surroundings.

This is one of the best scenes in the film.

The plot itself is fairly predictable though and almost forced. Miles and Luna are the couples we root for in the film, the introduction of a handsome rebel leader, Erno Windt (John Beck) doesn’t stand a chance and is somewhat of a foil for them.

Much of the time, the pair are on the run and sparring with each other. The actors involved have wonderful chemistry with each other, but the central story is not the strongest suit- rather, the weird and unique gadgets and intricacies of the film, are.

Albeit, an introduction for anyone intrigued by the comic genius that is Woody Allen, other polished Allen gems are a better start than this early offering, but that is not to say Sleeper (1973) is not a good, entertaining film, with imagination, merely that it lacks all of the elements to rank it among other Woody Allen greats.

1990 Films, Al Pacino, Andy Garcia, Bridget Fonda, Diane Keaton, Epic, Francis Ford Coppola, Mario Puzo, Mob, Sofia Coppola, Talia Shire

The Godfather: Part III-1990

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The Godfather: Part III-1990

Director Francis Ford Coppola

Starring Al Pacino, Diane Keaton, Andy Garcia

Scott’s Review #533

60011153

Reviewed December 3, 2016

Grade: B+

The Godfather: Part III, released in 1990, has traditionally been met with unwavering criticisms for not being as great as the two preceding epics.

Sofia Coppola, who plays Mary- daughter of Michael Corleone, in particular, has bared the brunt of the attacks.

No, The Godfather: Part III is not on the level of the others, but is pretty damned good based on its own merits and is a capable mob epic to conclude the franchise satisfyingly.

The central theme is Michael’s continued desire to leave the mafia and religion, and the Catholic Church are central themes of the film.

Some backstory to the making of the film; Coppola had a non-expiring offer to create a third installment to the saga ever since 1974 when Part II was released.

Having had a financial crisis, 1990 was the time Coppola agreed to do the follow-up.

The ever-crucial role of Mary (now a coming-of-age young lady) was to be played by Julia Roberts, who dropped out. Winona Ryder was then cast and bailed at the very last minute.

Out of necessity, Coppola’s daughter Sofia was cast and had little time to prepare or much acting experience (she would later become an acclaimed director, which better suited her talents).

In a similar fashion to the other epics, a big event launches the film, as Michael (Pacino) is named Commander of the Order of Saint Sebastian in a lavish ceremony at St. Patrick’s Old Cathedral.

It is revealed that Michael is approaching age sixty and semi-retired, leaving his business dealings mainly to Joey Zasa in New York, who has ravaged what the Corleone family had once built.

Many characters- Kay, Mary, Tony, and Connie, are re-introduced, and new characters such as Vincent Mancini (Andy Garcia) and Don Altobello (Eli Wallach) are introduced, in a flurry of new storylines.

It is like a big, grand, soap opera, with wonderful, rich, writing.

I was immediately impressed by the neat cinematography- the camera captures wind-swept leaves and an artistic introduction to the film, as well as either mentioned or appearing in cameo roles, small characters from the first two films- a great touch in continuity and history.

Coppola does a fantastic job of providing little updates on these characters during a party. For example, we learn that Vincent is the deceased, illegitimate son of Sonny, his mother being Lucy Mancini, who appears in a scene. (Clever viewers will remember Sonny and Lucy’s torrent affair in the bathroom during The Godfather-it is suggested that this produced Vincent).

It is mentioned that Tom Hagen (Robert Duvall) has died, though his wife and son appear, and Coppola treats us to a myriad of flashbacks (Apollonia, a young Michael, and Kaye).

These nuances make The Godfather: Part III filled with cool little aspects that fill the loyal viewer with warmth.

The main story- Michael takes Vincent under his wing- and strives to steer the family clear of criminal ties- is interesting, if not spectacular. Connie rises from a battered mafia wife, raising kids, to a major player in the family, just as women progressed from the 1940s to the 1980s when the story takes place.

She even feeds her godfather a poisoned cannoli!

Michael, Vincent, and Connie involve themselves with the Catholic Church, bailing them out (the real-life Papal banking scandal is linked to the story) and making a deal with them for major shares of a real estate company, Immobiliare.

In-fighting between the major crime mob bosses leads to several bloody massacres throughout the film, on the streets, in Atlantic City, and finally, in the Sicilian Opera house.

The pairing of cousins and lovers, Vincent and Mary, never really works, nor does Bridget Fonda’s one-two-scene appearance as Grace Hamilton, a brief dalliance for Vincent. Also, the exclusion of the character of loyal family attorney Tom is a glaring omission.

So the film does contain a few negatives.

In a nutshell, The Godfather: Part III (1990) is a very good, epic, crime drama even without the Godfather name. To measure up to the glory of Parts I and II are impossible.

With the bonus of having the rich Corleone family history and the intricate relationships between the characters, this makes for a treat for fans.

There has not been a Part IV, nor should there ever need to be as the conclusion of the film is a satisfying wrap-up to the saga.

Oscar Nominations: Best Picture, Best Director-Francis Ford Coppola, Best Supporting Actor-Andy Garcia, Best Original Song-“Promise Me You’ll Remember”, Best Art Direction, Best Cinematography, Best Film Editing

1974 Films, Al Pacino, Best Film of the Year, Best Picture Oscar Winners, Danny Aiello, Diane Keaton, Drama, Epic, Francis Ford Coppola, Harry Dean Stanton, James Caan, John Cazale, Mario Puzo, Mob, Robert De Niro, Robert Duvall, Scott's Top 100 Films, Talia Shire

The Godfather: Part II-1974

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The Godfather: Part II-1974

Director Frances Ford Coppola

Starring Al Pacino, Robert DeNiro

Top 100 Films #3

Scott’s Review #197

60011663

Reviewed: November 25, 2014

Grade: A

Frances Ford Coppola’s sequel (and technically also a prequel) to the highly regarded and successful The Godfather (1972) is one of the rare sequels to equal and even surpass the original in its greatness, creativity, and structure.

The Godfather Part II (1974) feels deeper, more complex, and ultimately richer than The Godfather- and that film itself is a masterpiece. Part II is much darker in tone. Ford Coppola had complete freedom to write and direct as he saw fit with no studio interference.

The results are immeasurable in creating a film masterpiece.

The film is sectioned into two parts, which is a highly interesting and effective decision.

The story alternates between the early twentieth century following Don Corleone’s life, now played by Robert DeNiro, as his story is explained- left without a family and on the run from a crime lord, Don escapes to the United States as a young boy and struggles to survive in the Little Italy neighborhood of New York City.

He obtains a modest job as a grocery stockboy and finally celebrates his eventual rise to power in the mafia.

The other part of the film is set in 1958 as Michael Corleone is faced with a crumbling empire, through both rivals and the FBI- investigating him and holding Senate committee hearings in Washington D.C., and a failing marriage to Kay (Diane Keaton).

Betrayal is a common theme of the film from Michael’s wife, brother, and mobster allies revealed to be cagey enemies. Michael grows uncertain and mistrustful of almost everyone surrounding him. Is Kay a friend or foe? Is Fredo plotting against him? He even begins lashing out at Tom Hagen on occasion.

What makes The Godfather Part II so brilliant, and in my opinion richer than The Godfather, is that it is tougher to watch- and that is to its credit. Now, instead of being a warm, respected member of a powerful family, Michael is questioned, analyzed, and betrayed.

New, interesting characters are introduced- Hyman Roth, played by Lee Strasburg, a former ally of Don’s, and Frankie Pentangeli, played by Michael V. Gazzo are intriguing characters and their allegiances are unknown throughout most of the film- are they loyal to the Corleone’s or deadly enemies?

The character of Michael goes from conflicted to all-out revenge-minded, including revenge sought on members of his own family. Michael is now a dark, angry character- gone is the nice, decorated war hero with his whole life ahead of him. He is much older and a changed man.

Similar to the original Godfather, the opening scene is a large celebration- this time Anthony Corleone’s first communion celebration. Also in comparison, the finale of the film involves major character deaths one after the other.

Unique to this film are the multiple location scenes- New York, Nevada, Italy, Florida, and Cuba are all featured making for an enjoyable segue throughout and a bigger budget.

The blow-up confrontation between Michael and Kay is devastating and shocking in its climax. When Michael punches Kay in a sudden rage, the audience also feels punched.

The wonderful scene at the end of the film with the entire family gathered around for Don’s fiftieth birthday in 1942 is a special treat for viewers; familiar faces make cameo appearances.

I love these aspects of the film.

The rich history of Don is the greatest aspect of The Godfather Part II simply known as “Godfather” and patriarch of the family, his life as a boy and young father are explained so we see how he became one of the most powerful men in the crime world.

I love how he remains a decent man and helps the poor and the victims of ruthless Don Fanucci, his predecessor. He loves his wife and children, but also loves his neighbors, and helps them, believing in fairness.

Ultimately, the characters of Don and Michael are worlds apart.

The Godfather Part II (1974) is one of the most complex and well-written films in movie history- studied in film school, discussed, imitated, and championed. It remains vital and should be viewed and analyzed again and again and again.

Oscar Nominations: 5 wins-Best Picture (won), Best Director-Francis Ford Coppola, Best Actor-Al Pacino, Best Supporting Actor-Robert De Niro (won), Michael V. Gazzo, Lee Strasberg, Best Supporting Actress-Talia Shire, Best Screenplay Adapted from Other Material (won), Best Original Dramatic Score (won), Best Costume Design, Best Art Direction (won)

1972 Films, Al Pacino, Best Film of the Year, Best Picture Oscar Winners, Diane Keaton, Drama, Epic, Francis Ford Coppola, James Caan, John Cazale, Mario Puzo, Marlon Brando, Mob, Robert Duvall, Scott's Top 100 Films, Talia Shire

The Godfather-1972

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The Godfather-1972

Director Frances Ford Coppola

Starring Marlon Brando, Al Pacino, James Caan

Top 100 Films #10

Scott’s Review #196

60011152

Reviewed November 24, 2014

Grade: A

The Godfather (1972) is one of the most identifiable and brilliant film masterpieces of all time. It is so ingrained in pop culture and film history and was such a blueprint of 1970s cinema that its legend deservedly lives on.

The film has not aged poorly nor been soured by over-exposure. It is as much a marvel today as it must have been when originally released in theaters.

The film revolves around the Corleone family- a mob family living in New York. They are high-powered, wealthy, and influential with politicians and law enforcement alike. They are the cream of the crop of organized crime families.

The patriarch of the family is known as “The Godfather”, the real name is Don Corleone, played by Marlon Brando.

The eldest son is hot-headed Sonny, played by James Caan. Middle son Fredo, played by John Cazale, is dim-witted and immature and the weak link in the family.

Finally, the youngest son is the central character in the film. Michael, played by a very youthful Al Pacino, has just returned home from World War II, a decorated and Ivy League-educated hero.

Throughout the film, Michael wrestles with either steering the Corleone family business toward the straight and narrow or continuing the death, blood, and corruption that currently encompasses the family.

Rounding out the Corleone family is Tom Hagen, an Irish surrogate son of sorts, who serves as the family attorney. Connie- the temperamental and emotional sister, and Mama Corleone, the passive wife of Don complete the main family.

The various supporting characters are immense, from family friends, relatives, corrupt mob figures, and characters introduced when Michael lives in Italy.

The brilliance of The Godfather is the richness of the enormous amount of characters on the canvas and the structure and pacing of the film.

Even small characters are vital to the film and every scene is important and effortlessly paced so that they neither seem rushed nor dragged, and the film is immeasurably character-driven.

My favorite character is Michael Corleone as he is the most troubled and complex. Pacino plays him to the hilt as, initially, a nice guy trying to do the right thing, going against the grain, and non-traditional- he proposes to a waspy woman who has no Italian heritage.

When events develop in a particular way, Michael suddenly becomes the leader of the family, despite being the youngest son, and the complexities of the character deepen from this point.

Specifically, the revenge killing sequence is brilliant as the viewer is kept on the edge of their seat through a car ride, a meal in a restaurant, and a men’s room scene, until finally, all hell breaks loose, all the while Michael is conflicted, unsure, and intense.

Has he veered too far from being a nice guy? Can he salvage the family business without being ruthless? Michael faces a battle of good vs. evil.

The scenes are brilliantly structured- the grand opening scene alone is beautiful as the audience is introduced to the entire family- cheerfully dancing and frolicking during a bright and sunny outdoor wedding (Connie’s) at the Corleone estate, while inside a dark interior study, a man begs Don Corleone to help avenge his raped and beaten daughter by having her attackers killed.

Several scenes in The Godfather are my personal favorites- the aforementioned restaurant scene, where Michael is faced with a dilemma involving a corrupt policeman and a high-powered figure, one can feel the tension in this extended scene.

The scene in a Hollywood mansion where poor, innocent, horse Khartoum meets his fate in the most gruesome way imaginable.

Later, Michael’s beautiful Italian wife, Apollonia, has an explosive send-off.

Towards the end of the film, the improvised tomato garden scene with an elderly Don Corleone playing with his young grandson.

Finally, the brutal scene involving Corleone’s son Sonny at the toll booth is mesmerizing, brutal, and flawlessly executed.

The lack of any strong female characters and how women are treated (either beaten or passively following their husbands) is bothersome, but unfortunately, circa 1940s mafia, this is the way things were.

One could make the argument that Kay Adams, played by Diane Keaton, is the strongest female character as she questions the Corleone family’s motives and attempts to keep Michael honest and trustworthy. She has little in common with the other female characters.

Lines such as “I’m gonna make him an offer he can’t refuse” and “Don’t forget the cannolis” are unforgettable and quote-worthy.

The finale of the film is breathtaking- a combination of bloody kills mixed in with a peaceful scene of Michael accepting the honor of becoming his nephew’s godfather. As he pledges his devotion to God and denounces Satan, the murders he orchestrated are simultaneously being executed.

The character, while complex, suddenly becomes a hypocrite.

Some view Michael as strictly a hero whose choices should not be questioned or analyzed- others view Michael as not a hero, but rather a complex, tortured, bad guy.

One simply must watch The Godfather and The Godfather Part II (1974) as companion pieces, as Part I is slightly more straightforward and easier to follow than the more complex and layered sequel.

The Godfather (1972) is storytelling and filmmaking at its absolute best and continues to influence films to this day.

Oscar Nominations: 3 wins-Best Picture (won), Best Director-Francis Ford Coppola, Best Actor-Marlon Brando (won), Best Supporting Actor-James Caan, Robert Duvall, Al Pacino, Best Screenplay Based on Material from Another Medium (won), Best Costume Design, Best Sound, Best Film Editing

1977 Films, Best Picture Oscar Winners, Comedy, Diane Keaton, Dick Cavett, Jeff Goldblum, Woody Allen

Annie Hall-1977

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Annie Hall-1977

Director Woody Allen

Starring Woody Allen, Diane Keaton

Scott’s Review #48

261909

Reviewed June 19, 2014

Grade: A

Annie Hall (1978) is one of Woody Allen’s finest works and that says something as his list of wonderful films goes on and on (Manhattan, Blue Jasmine, and Interiors) are gems.

Annie Hall is a witty, intelligent, great comedy. It is sharply written, quirky, and neurotic all rolled into one.

Comedy is a tough genre. Romantic comedies are even tougher to get right.

My favorite part of the film is Woody Allen himself. Some might say he plays himself, but he is engagingly hysterical as the neurotic, skeptical, Jewish, cynical New York man named Alvy.

He meets and falls in love with equally neurotic Annie Hall, played by Diane Keaton.

They quarrel, love, and traverse from New York to California and back.

There are some very funny scenes (lobster, movie theater line, and the drive-through Manhattan), and the intelligent, crisp dialogue makes this a top-notch comedy.

Oscar Nominations: 4 wins-Best Picture (won), Best Director-Woody Allen (won), Best Actor-Woody Allen, Best Actress-Diane Keaton (won), Best Screenplay Written Directly for the Screen Based on Factual Material or Story Material Not Previously Published or Produced (won)