Diane Keaton’s 10 most important films

Diane Keaton, who died Saturday at 79, is one of cinema’s most legendary actors. She played some of the most recognizable roles of the late 20th century, and blazed a trail for generations of women to come. Here’s a list of Keaton’s 10 most important films, presented in alphabetical order. We’ll leave the ranking to her devoted fans.

‘Annie Hall’

Woody Allen and Diane Keaton in a scene from the movie “Annie Hall” from MGM / UA Home Video.

(MGM / UA Home Video)

Keaton’s role in Woody Allen’s 1977 romantic comedy was written just for her. Her portrayal of the feisty, eccentric, charming title character would define Keaton as an actor for the rest of her career. Her signature bowler hat and ties became a fashion staple, and fans still can’t think of the song “Seems Like Old Times” without sobbing. The film about the bittersweet nature of lost love was a critical success, and Keaton won her only Academy Award for her work in it.

‘Crimes of the Heart’

Keaton plays Lenny McGrath — the oldest of three sisters — in this 1986 black comedy also starring Diane Lange and Sissy Spacek. The actresses are at the height of their powers in the film, which finds a trio of siblings reuniting at their family home in Mississippi after Babe (Spacek) shoots, and seriously injures, her abusive husband. Spacek won a Golden Globe for her work, and was nominated for an Oscar, but Keaton shines as the less ostentatious of the sisters — an unassuming, terminally single woman who believes a shrunken ovary is the reason for her failure to launch.

‘The Godfather’ parts I and II

Keaton plays Kay Adams Corleone in Francis Ford Coppola’s epic crime family trilogy. As Michael Corleone’s second wife, and the mother of his children, Kay is one of the few fully realized women in the films. Many fans love Keaton’s performance in the second film best because Kay is the only one to stand up to Michael. When the ruthless mafia boss confronts her about an abortion she has had, Kay lets loose and tears into him about his vicious nature and many lies, vowing to never bring another Corleone into the world.

‘Looking for Mr. Goodbar’

Richard Gere, left, and Diane Keaton in a scene from the 1977 movie, “Looking For Mr. Goodbar.”

(Paramount / Getty Images)

This 1977 crime drama written and directed by Richard Brooks is perhaps Keaton’s most tragic film. She plays a lonely schoolteacher named Theresa Dunn who engages in increasingly risky behavior with strangers in pursuit of love. The film also stars Richard Gere as a controlling, abusive, drug-addicted boyfriend in his first major role. Keaton’s sorrow and desperation in this dark, gritty movie is palpable, making this a defining and heartbreaking part of her ouvré.

‘Manhattan’

Mary Wilke (Diane Keaton) and Isaac Davis (Woody Allen) in the shadow of the Queensborough Bridge in the movie “Manhattan.”

(United Artists)

This 1979 Woody Allen film is now one of the director’s most controversial due to its subject matter. Allen stars as a 42-year-old comedy writer who dates a 17-year-old girl, but ends up falling in love with his best friend’s mistress. Keaton plays that mistress, Mary Wilkie, and her depiction of the witty, wry, journalist with a robust social calendar and strong opinions that she never hesitates to express, is among her most seminal performances.

‘Marvin’s Room’

Keaton stars alongside Meryl Streep, Robert De Niro and a young Leonardo DiCaprio in this 1996 family drama. Keaton was nominated for an Academy Award for her portrayal of Bessie Lee, a woman who has been caring for years for her bedridden father when she is diagnosed with leukemia. She turns to her estranged sister, Lee, for help finding a bone marrow transplant match — an endeavor that finds the family once again under the same roof. The tender story of loss and redemption showed that Keaton had staying power decades into her career.

‘Radio Days’

This nostalgic, charmer of a dramedy written and directed by Woody Allen takes place in Rockaway Beach in the 1930s and ‘40s during the golden age of radio. Keaton is part of an ensemble cast in a film filled with vignettes, and she appears in what is essentially a cameo as a New Year’s Eve singer. Wearing a long-sleeved white dress with her hair pulled back in a bow, she sings a lovely rendition of Cole Porter’s “You’d Be So Nice to Come Home To,” proving that when you’re a star of her caliber, you can shine no matter how small the role.

‘Reds’

Warren Beatty co-wrote, produced and directed this historical drama about John Reed, a journalist who chronicled Russia’s 1917 October Revolution. Keaton plays Louise Bryant, a married journalist and suffragist who leaves her husband to move to Greenwich Village with Reed where she becomes part of a robust group of artists and activists, including playwright Eugene O’Neil (Jack Nicholson). The 195-minute film opened to critical acclaim and was nominated for 12 Academy Awards, including best picture. Keaton received her second nomination for best actress but ultimately did not win.

‘Sleeper’

Keaton plays Luna Schlosser, a poet from the 22nd century, in Woody Allen’s 1973 madcap science fiction comedy about a jazz musician named Miles Monroe who owns the Happy Carrot health-food store before being cryogenically frozen for 200 years. Miles wakes in 2173 after being clandestinely revived by a group of rebels and is later delivered — disguised as a robot — into Luna’s home. Hilarious bickering ensues when Luna discovers Miles’ true identity, but she ultimately comes around to his cause. Keaton’s fabulous feathery silver outfits, her ability to utter lines like, “it’s pure keen,” with a straight face, and her substantial use of the “orgasmatron” made the role an instant classic.

‘Something’s Gotta Give’

Diane Keaton and Jack Nicholson in the Columbia Pictures romantic comedy movie, “Something’s Gotta Give.”

(Bob Marshak/Columbia Pictures)

Keaton again paired with Jack Nicholson in this 2003 romantic comedy about a pair of mismatched professionals who fall in love in late middle age despite their best efforts to the contrary. The stars have the undeniable chemistry of two acting legends whose work appears absolutely effortless at this stage in their careers. The film was not a critical home run, but Keaton fans think of it as one of her best later roles and it resulted in her fourth, and final, Oscar nomination.