"Our love of her films is pretty much the only cultural taste I inherited from her. I was about 10 when she first let me watch a VHS off the grown-up shelf. She picked Baby Boom. I might wonder what the appeal of a film about a high-flying 80s businesswoman inheriting a baby was to a kid were it not so plainly funny, spanning Keaton's talents from screwball to synonymous with comfort, and a curious lens on adult life."
"Keaton felt so ingrained in my life, not to mention showing that you can be lovable as a deeply idiosyncratic woman existing outside conventional beauty standards; I can't imagine crying about the death of any other actor. Last night, mum texted me to say she had just finished Baby Boom and was about to start Something's Gotta Give. At that exact moment, I was watching the credits roll on the latter."
"I'd started a new school in a new area and the kids just didn't take to me (I was gawky, living in what they deemed the wrong side of the tracks and, worst of all, clearly, if not openly, gay). I was an easy target for bullies so I needed to find a way to cope with the barrage and while Carrie was on my rewatch rotation, frustratingly telekinesis wasn't coming easy (I had stared at so many things for so long but alas)."
A viewer inherited a love of Diane Keaton's films from her mother, first watching Baby Boom at about ten. Keaton's performances range from screwball comedy to comforting presence, offering a lens on adult life and ageing. Father of the Bride, Woody Allen roles, Book Club and Hampstead became recurring touchstones across family generations. Keaton embodied a lovable, idiosyncratic woman existing outside conventional beauty standards, prompting strong emotional responses to her death. Keaton's films also offered solace during difficult personal moments, including school bullying in 1997, and provided coping companionship through films such as The First Wives Club.
Read at www.theguardian.com
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