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Diane Keaton, the Academy Award-winning American actress who brought her disarming, genuine style to comedy and drama across generations and became a fashion inspiration, has died at 79. Her death was confirmed by a spokesperson, with no cause yet given.
美国女演员、奥斯卡得主黛安•基顿(Diane Keaton)以其坦率真挚的表演风格在喜剧与正剧领域跨越世代，并成为时尚灵感来源。她已于79岁去世。发言人已证实其死讯，死因尚未公布。
Keaton was a quicksilver performer who was compared to classic Hollywood greats such as Carole Lombard, yet deeply attuned to vital feminist issues around romance, career, and personal independence. Her Oscar-winning 1977 performance in Woody Allen’s Annie Hall was a funny and poignant portrait of a young woman finding herself between lovers, and she put no less verve into the part of a successful divorced playwright in Nancy Meyers’ 2003 hit Something’s Gotta Give. Keaton’s unassuming persona could belie her depth and range, from playing steely activist Louise Bryant in Reds (1981) to writing best-selling memoirs about her family.
基顿是一位善变如水的表演者，常被拿来与好莱坞黄金时代的传奇女星卡罗尔•隆巴德(Carole Lombard)相提并论，但她又深刻关注浪漫关系、职业发展与个人独立等关键女性主义议题。她在伍迪•艾伦(Woody Allen)1977年执导的《安妮•霍尔》中，凭借诙谐又感人的演出赢得奥斯卡奖，生动刻画了一位在两段恋情之间摸索自我的年轻女性；而在南希•梅耶斯(Nancy Meyers)2003年执导的卖座喜剧《爱是妥协》（Something’s Gotta Give）中，她饰演一位事业有成的离异剧作家，表演同样充满活力。基顿银幕上的低调气质，常常掩不住其深厚的表演功力与广阔的戏路——从在《赤色分子》（Reds，1981）中诠释意志坚定的社会运动者路易丝•布莱恩特(Louise Bryant)，到撰写以家族为题的畅销回忆录，皆展现出她多面的艺术才华。
Diane Hall was born in Los Angeles on January 5, 1946, to Dorothy, a housewife, and Jack Hall, a civil engineer who worked at the Department of Water and Power. She later consistently paid tribute to her mother, a fellow creative spirit who was crowned Mrs Los Angeles and filled 85 journals of memoirs. Keaton herself gravitated to performance and moved to New York to study the Meisner Technique at the Neighborhood Playhouse School of the Theatre. After her first major stage role in the Broadway musical Hair, in 1968, her film debut came in Lovers and Other Strangers (1970), which caught the eye of Francis Ford Coppola, who was casting The Godfather (1972).
黛安•霍尔(Diane Hall)于1946年1月5日出生在洛杉矶，母亲多萝西是家庭主妇，父亲杰克•霍尔(Jack Hall)是供水电力局的土木工程师。此后她始终向母亲致敬——这位同样富有创造力的女性曾获“洛杉矶太太”称号，并写满了85篇回忆录。凯顿本人倾心于表演，搬到纽约，在邻里剧场学校学习迈斯纳表演技法。1968年在百老汇音乐剧《发胶》获得首个重要舞台角色后，她于《情人和其他陌生人》(1970)完成电影处女作，这也引起了弗朗西斯•福特•科波拉(Francis Ford Coppola)的注意，当时他正为《教父》(1972)选角。
As the disillusioned WASP wife of mob boss Michael Corleone (Al Pacino), Keaton immediately held her own in a heavyweight Hollywood cast. Her final look, peering through a closing door, clinches the film’s capstone scene as she is shut out from the sordid family business. (“Words can’t express the wonder and talent of Diane Keaton,” Coppola wrote in a social media tribute following her death.) The role launched a formidable dramatic run of women who test social constraints, often at great personal risk. Keaton battles a grim New York bar scene and family demons in Looking for Mr Goodbar (1977), weathers stormy early-20th-century history and Warren Beatty in the Academy Award-winning Reds, and takes up with a death-row convict as a warden’s wife in Mrs Soffel (1984).
基顿在饰演黑帮头目迈克尔•柯里昂（阿尔•帕西诺 饰）那位幻灭的上层白人新教徒妻子时，一亮相便在好莱坞群星荟萃的阵容中脱颖而出。她最后的镜头——透过缓缓合上的门缝凝视——成为整部影片最具象征意义的收官场景，定格了她被拒于肮脏家族生意之外的命运。（“文字难以表达黛安•基顿的才华与魅力，”科波拉在她去世后于社交媒体悼念道。）这个角色开启了她一系列富有张力的正剧表演，塑造出多位挑战社会规范、甚至不惜付出个人代价的女性形象。在《寻找梦中情人》（Looking for Mr. Goodbar，1977）中，她在阴郁的纽约酒吧圈和家庭阴影中挣扎；在荣获奥斯卡奖的《赤色分子》中，她与沃伦•比蒂共历动荡的二十世纪初历史风云；而在《索菲尔夫人》(1984)中，她饰演一位典狱长的妻子，与一名死囚展开禁忌之恋。
All showcase Keaton’s in-the-moment technique, though for many, her unfailing knack for comedy remained her signature. It’s there in the precision absurdity of Sleeper (1973) and Love and Death (1975), the alternately effusive and hesitant rhythms of Annie Hall, and the madcap gumshoe games of Manhattan Murder Mystery (1993). Her director and co-star in all four, Woody Allen, told Keaton never to worry about her career, she said, because she was always funny, and “funny is money”. The two dated early in her career and remained collaborators and close friends until her death. Keaton publicly defended Allen against the 1992 allegation of child molestation made by his former partner, Mia Farrow, tweeting in 2018: “Woody Allen is my friend and I continue to believe him.”
这些作品都展现了基顿当下即兴的表演技法，不过对许多人来说，她百试不爽的喜剧天赋才是标志所在。这在《睡人》(1973)与《爱与死亡》(1975)的精密荒诞中，在《安妮•霍尔》中时而奔涌、时而踟蹰的节奏里，以及《曼哈顿神秘谋杀案》(1993)的疯癫侦探游戏中都可见。她在这四部片中的导演兼搭档伍迪•艾伦曾对她说，不必为事业担心，因为你总是很有趣，而“有趣就是金钱”。两人在她出道早期曾交往，此后一直合作并保持密友关系，直到她去世。基顿曾公开为艾伦辩护，反驳其前伴侣米娅•法罗(Mia Farrow)于1992年提出的猥亵儿童指控，并在2018年发推称：“伍迪•艾伦是我的朋友，我仍然相信他。”
Keaton also embraced Hollywood comedies that were tagged as light entertainment but grew a devoted fan base. Her multimillion-grossing collaborations with director Nancy Meyers began with Baby Boom (1987) and continued with Father of the Bride (1991) and Something’s Gotta Give, for which Keaton earned an Oscar nomination. In Hugh Wilson’s The First Wives Club (1996), Keaton teamed with Midler and Goldie Hawn as divorcees giving comeuppance to their exes. The climactic rendition of the song “You Don’t Own Me” joins Keaton’s memorable musical moments, including a heart-catching “If I Fell” in Shoot the Moon (1982) and “Seems Like Old Times” in Annie Hall.
基顿也投身好莱坞喜剧，这些作品常被视为轻松娱乐，却逐渐培育出忠实粉丝群。她与导演南希•梅耶斯的票房千万级合作始于《宝贝闹翻天》(1987)，随后是《新岳父大人》(1991)与《爱是妥协》，其中凭《爱是妥协》她获得了奥斯卡提名。在休•威尔逊(Hugh Wilson)执导的《第一夫人俱乐部》(1996)中，基顿与米德勒和戈尔迪•霍恩(Goldie Hawn)联手，饰演向前夫讨回公道的离异女性。影片高潮处合唱《You Don't Own Me》与基顿的其他经典音乐时刻并列，包括《月色撩人》(1982)中扣人心弦的《If I Fell》，以及《安妮•霍尔》中的《似曾相识》。
Keaton also directed her own features, including Unstrung Heroes (1995) and Hanging Up (2000), a 1991 episode of Twin Peaks and the 1987 documentary Heaven, which addressed the afterlife in her down-to-earth manner through everyday accounts. (A producer, too, she helped bring in Gus Van Sant to direct the searing 2003 school-shooting film Elephant.)
基顿也曾执导多部作品，包括《无所依》（1995年）和《电话情缘》（2000年），还曾执导过电视剧《双峰》的一集（1991年），以及1987年的纪录片《天堂》，她以平实亲切的方式，通过日常生活中的讲述探讨“来世”这一主题。（她也是一位制片人，曾促成格斯•范•桑特执导尖锐探讨校园枪击事件的电影《大象》（2003年）的拍摄。）
Off screen as much as on, Keaton was a style inspiration. She perennially donned modern ensembles and suiting every bit as distinctive as the hat-vest-tie outfit from Annie Hall. Her impact was apparent on successive generations of young women. Sex and the City star Cynthia Nixon wrote in a social media tribute: “When I was a kid, Diane Keaton was my absolute idol. I loved her acting. I loved her vibe. I loved her everything. Starting with when I was 12, I tried to dress like her.”
无论在镜头之外还是镜头之中，黛安•基顿都是风格灵感源泉。她常年以现代感的成套造型和西装示人，甚至丝毫不逊于《安妮•霍尔》中那顶帽子、马甲与领带的标志性装束。她对一代又一代年轻女性的影响有目共睹。《欲望都市》(Sex and the City)明星辛西娅•尼克松(Cynthia Nixon)在社交媒体上致敬写道：“我小时候，黛安•基顿是我绝对的偶像。我喜欢她的表演。我喜欢她的气质。我喜欢她的一切。从我12岁开始，我就试着像她那样穿衣。”
Yet Keaton’s insightful, penetrating memoirs evince an aversion to myth-making: in Then Again (2011), she paired her life story with that of her mother, and in Brother & Sister (2020), with her sibling, Randy, who has struggled with mental illness.
然而，基顿那些见解深刻、剖析入微的回忆录却对自我神话毫无兴趣：在《Then Again》(2011)中，她将自己的人生经历与母亲的故事交织呈现；而在《Brother & Sister》(2020)中，她则书写了与弟弟兰迪(Randy)的关系——兰迪长期受到精神疾病困扰。
A loyal Angeleno despite her New York roles, Keaton blazed her own path in life as well. She never married, breezily but affectionately writing of her great loves: “The names changed, from Dave to Woody, then Warren, and finally Al.” At 50, she adopted a girl, Dexter, and later a boy, Duke, raising them as a single mother. Keaton is survived by her two children.
尽管常在纽约出演角色，基顿始终是个忠于洛杉矶的本地人，她也在生活中走出了一条完全属于自己的道路。她终身未婚，却以轻松又深情的笔触写下那些深刻的恋情：“名字在变，从戴夫，到伍迪，再到沃伦，最后是阿尔。”在50岁时，她收养了一个女孩德克斯特，后来又收养了一个男孩杜克，作为单亲母亲独自将他们养大。她的子女仍然在世。