CrossBinge
Finding 41.241 movie posters in the basement

Diane Lane

Diane Lane is an actor, born 1965.

Diane Lane has been a professional screen actor since she was fourteen, when George Roy Hill cast her in A Little Romance (1979) opposite Laurence Olivier, who called her the new Grace Kelly. That is a heavy thing to hand a teenager. She spent her adolescence in Francis Ford Coppola's orbit, in The Outsiders and Rumble Fish (both 1983), and then hit a wall: Streets of Fire and The Cotton Club, released in 1984 and both expected to make her a star, failed commercially and critically, and her momentum went with them.

Recovery took most of a decade. The 1989 miniseries Lonesome Dove brought an Emmy nomination and reminded the industry what she could do with a part that had some grit in it. A Walk on the Moon (1999) and The Perfect Storm (2000) put her back in front of a mass audience, and Unfaithful (2002) earned an Academy Award nomination along with critics' prizes from the New York Film Critics Circle and the National Society of Film Critics.

The register she has owned since is adult unhappiness handled quietly: a woman making a decision she cannot explain, filmed mostly in close-up and trusted to carry it. Under the Tuscan Sun and Nights in Rodanthe sold the softer version; Let Him Go and Hollywoodland the harder one. A younger audience now knows her mainly as Martha Kent in Man of Steel and the DC films that followed, and as Mom in Inside Out, which is four minutes of screen time and instantly recognisable as her.

Movies (57)

TV (11)

Where to start with Diane Lane

Start with Unfaithful. The train sequence, where most of a marriage crosses her face in silence, is the single best piece of acting in her filmography, and the film around it is sharper than its reputation as an erotic thriller suggests.

Lonesome Dove is the other essential, a long western that gives her far more to play than the genre usually allows. For the early work, The Outsiders is where most people met her, though Streets of Fire is the odder and more interesting artefact. Let Him Go is the late-career one to seek out, a grim frontier-flavoured drama in which she drives the plot instead of watching it. Under the Tuscan Sun is the comfort watch and unashamed about it, and Hollywoodland shows what she does with brittle glamour.

The teenage years

She was working constantly before she was twenty, twice for Coppola, and the films are a strange, vivid record of American cinema at the start of the eighties. Rumble Fish and The Outsiders are the ones to watch first.

The adult dramas

The work that earned the reputation, mostly about women making a choice they cannot explain to anyone. Unfaithful is the famous one and Let Him Go is the recent one that deserved considerably more attention than it got.

Martha Kent and the franchise work

Four Superman films as the mother, plus the mother in the Inside Out pictures, which is a lot of maternal authority for one filmography. She grounds these more than the scripts strictly require.

The comfort films

Sunlit, warm and completely unembarrassed about it. Under the Tuscan Sun is the one people rewatch, and Secretariat is the sports film that works because she plays the owner as stubborn rather than plucky.

Genres Diane Lane works in