20 Photos of Young Diane Keaton as Kay Adams on the Set of “The Godfather” (1972) and “The Godfather Part II” (1974)

Diane Keaton portrayed Kay Adams-Corleone, a pivotal character, in The Godfather (1972) and The Godfather Part II (1974), directed by Francis Ford Coppola. Her character was central to the storyline, representing an outsider’s perspective on the Corleone family’s moral descent.

Diane Keaton was relatively new to cinema when she took on the role of Kay Adams. Her performance brought depth and nuance to Kay, who begins as an innocent outsider and becomes increasingly disillusioned by Michael Corleone’s world.

The on-set atmosphere of The Godfather was described as intense and collaborative, with Keaton working closely with Al Pacino (Michael Corleone) to craft the evolving dynamic of their characters. Keaton has noted the improvisational energy on set, particularly during rehearsal processes that Coppola encouraged to ensure authenticity.

Coppola noted that he first noticed Diane Keaton in Lovers and Other Strangers, and cast her for the role of Kay Adams because of her reputation for eccentricity that he wanted her to bring to the role. Keaton read with both James Caan and Martin Sheen before Al Pacino was finally confirmed for the role of Michael. One report noted that “Keaton said she always felt like an outsider in the movie—a similarity she shared with Kay, who is literally left with a door closing in her face at the end of the first film.”

Two years later, she reprised her role as Kay Adams in The Godfather Part II. She was initially reluctant, saying, “At first, I was skeptical about playing Kay again in the Godfather sequel. But when I read the script, the character seemed much more substantial than in the first film.” In Part II, her character changed dramatically, becoming more embittered about her husband’s criminal empire.

The famous “It was an abortion” scene was emotionally taxing for Keaton and Pacino, but it stands as one of the most iconic moments in cinematic history. Keaton later reflected on the stark differences in tone between the two films, with Part II being darker and more introspective.