Dan Conley

The autobiographical elements of “Annie Hall” were so strong, that the title character assumed the second half of the lead actress’s real name. Diane Hall took the name Diane Keaton for the stage and screen — an appropriate tribute to the great silent era comic actor/director Buster Keaton — and

Woody Allen wrote a very moving tribute to Diane Keaton, you can access (free subscription required) at this link. The whole piece is worth reading, but this part in particular really blew me away: As time went on I made movies for an audience of one, Diane Keaton. I never

Nearly everything I know about Eastern European culture is based on what I read and watch. I’ve made one very brief trip to Warsaw that, to be honest, felt a lot like modern day Chicago to me, so I can’t extrapolate much of anything from it. But this

Karol is still holding onto that 2 franc piece, but as this segment opens, he is down by the river at night and contemplating tossing it in — perhaps a final goodbye to the French adventure that turned out so badly for him. But he can’t bring himself to throw

Kieslowski decided not to show us what Karol needed to steal before his flight back to Warsaw. It’s a plaster sculpture of a woman who bears some resemblance to Dominique that he saw in a store window. We don’t immediately know where Karol is as we watch an

I’ve written about Diane Keaton before in the context of “Annie Hall,” and perhaps “Reds” as well, but I can’t say enough about just how great an actress she was. I think I just have to show clips. This first from “Love and Death.” No one could take