Breakfast at Tiffany's (1961)

No film better utilizes Audrey Hepburn's flighty charm and svelte beauty than this romantic adaptation of Truman Capote's novella. Hepburn's urban sophisticate Holly Golightly, an enchanting neurotic living off the gifts of gentlemen, is a bewitching figure in designer dresses and costume jewelry. George Peppard is her upstairs neighbor, a struggling writer and "kept" man financed by a steely older woman (Patricia Neal). His growing friendship with the lonely Holly soon turns to love and threatens the delicate balance of both of their compromised lives. Taking liberties with Capote's bittersweet story, director Blake Edwards and screenwriter George Axelrod turn New York into a city of lovers and create a poignant portrait of Holly, a frustrated romantic with a secret past and a hidden vulnerability. Composer Henry Mancini earned Oscars for the hit song "Moon River" and his tastefully romantic score. The only sour note in the whole film is Mickey Rooney's demeaning performance as the apartment's Japanese manager, an offensively overdone stereotype even in 1961. The rest of the film has weathered the decades well. Edwards's elegant yet light touch, Axelrod's generous screenplay, and Hepburn's mix of knowing experience and naiveté combine to create one of the great screen romances and a refined slice of high society bohemian chic. --Sean Axmaker Amazon.com essential video

Two amoral, shallow people find love? Yeah, right.

I really found this movie quite the antithesis of "charming." Now, admittedly, Hepburn and Peppard were two very attractive, physically appealing people. However, I couldn't stand their characters. Let's see -- she makes her living by leading rich men on, taking their money and then dumping them at the last minute. He's a "kept man", sleeping with a married woman. Why should I like these people?

Furthermore, while people seem to find Holly's dialogue cute, I found Hepburn's performance flighty and really annoying. Her attempt at a Southern accent during her big scene with Buddy Ebsen is quite laughable.

There's a high pitched, gossipy tone to a lot of the film's dialogue (particulaly, during the party scene) that drives me up the wall. I get the sense that Capote was indeed writing from his personal experience, but why should anyone care about these people's amoral, superficial lives? The development of the romance between the two leads is pretty unrealistic (the shoplifting scene is especially lovely! How romantic!), and Holly's big epiphany at the end of the film is not the least bit believable.

Much has been said about Mickey Rooney's potrayal of Mr. Yunioshi. Even given allowances that Americans were less sensitive about racial depictions 50 years ago, it's impossible to watch Rooney's antics here through 21st century eyes without feeling totally appalled and embarassed. (By the way, Mr. Rooney, I don't need to be "forgiven" for hating your performance). It's enough in and of itself to toss the movie into the historical trash bin. This just adds some extra sour frosting to this stale cake of a film.

Even if Rooney's scenes were edited out, you'd still end up with a ridiculous movie that would barely past muster as a TV movie on the Lifetime Channel. To any men out there: your significant other will owe you BIG TIME if she makes you sit through this. September 25, 2008

Breakfast at Tiffany's very glam

I'm glad I bought this through Amazon. The price was fair and the shipping prompt. Audrey Hepburn's glamor and grace are effortless. The movie is great and I'm glad to own it on dvd. There are hours of extra features that I haven't watched yet but any extra footage of Audrey is a big plus. September 8, 2008

A Classic that stands the test of time!

Audrey Hepburn's best movie, and a Hollywood classic if there ever was one. I saw this movie over 40 years ago at a drive-in movie theatre, but it's even better today on my new 65" H.D. TV screen. It looks and sounds better than ever. As I think about it, it might also be one of the best performances of George Peppard as well. And don't forget Patricia Neal. What an actress. Am I in love with this movie and the memory of Audrey Hepburn? You bet . . . This is one of the few movies that I can sit through time and time again. And this new special edition looks absolutely terrific. You will not be dissapointed, I promise. August 30, 2008

I must say I'm amazed

This movie is an absolute must-see for anyone. It combines everything a classic should have - great actors (Audrey is tops and Peppard was never better), a great screenplay, a perfect score and New York (as usual) doing its best. The screenplay departs from the Capote's original but it does so in a way which makes the story work and which could be presented on the screen in 1961 - actually, the story is quite daring for the early 60s but you have to read between the lines every now and then to get it. Anyway, why shouldn't you reach for the original book once you are done watching?
In short - How does it look? I must say I'm amazed.
PS I wouldn't, however, recommend the movie to anyone who wants to quit smoking... ;)
PPS If you need more, you should also reach for Love and Other Disasters. August 24, 2008

I want to have breakfast with Holly...

There is a lot of love for this movie; that is clear. `Breakfast at Tiffany's' is usually heralded as a classic film, and has definitely proven to be Audrey Hepburn's most popular movie role. Truth be told though, this is really nothing more than a romantic comedy; a very good one mind you, but nothing more. In fact, don't hate me for saying this, but `Breakfast at Tiffany's' reminds me of the type of film I could see Kate Hudson or Jennifer Lopez doing in a year or two. What makes this film stand out though as noteworthy and has helped garner it that `classic' status is the phenomenal performance given by Audrey Hepburn; a performance that utilizes her natural charm and charisma to create a character that is deeper than the film she inhabits.

Hepburn plays Holly Golightly, a charming and illusive young woman who lives off the affections of wealthy men and dreams of finding a home that makes her feel as warm and fuzzy as the jewelry store Tiffany's. Holly is not all surface though, for there is a past there that haunts and in a way motivates her current struggles for prominence. Her character could have seemed generic and cliché ridden but Audrey's delivery allows the audience to relate to and understand Holly.

So the story follows Holly as she forms a bonding relationship with her upstairs neighbor Paul. Paul is a writer and a `kept' man, living off the generosities of the beautiful Mrs. Failenson (2-E). Paul is fascinated by Holly, completely lost in his infatuation with her, and as their relationship grows so does his love for her, but Holly is not the type of girl you can just fall in love with because Holly is the type of girl afraid of her own heart.

The script is expertly crafted, especially for a film in this genre so overburdened with clichés and unoriginality. Sure, there are many `familiar' plot twists, but the dialog and character development is sharp enough to forgive the films few missteps.

The one thing that is hard to forgive though is the horrendous performance given by Mickey Rooney as the stereotypical apartment manager Mr. Yunioshi. He's not even funny, and his over the top antics actually knock this rather enjoyable film down a notch. `Breakfast at Tiffany's' could have easily garnered itself an `A' from me, for the makings of a cinematic classic are all here, but Rooney ruins the party and drops my overall rating down to a `B'. What can I say; I just couldn't accept him here.

There is no denying though that Hepburn is pure love (one of the greatest screen actresses of all time, and in my humble opinion far better than her sister) and her performance as Holly Golightly is one of her finest (I would have given her the Oscar that year). George Peppard matches her greatness frame for frame as Paul, never allowing himself to fall out of minds eye but remaining in step with Hepburn. Patricia Neal is also memorable as 2-E, delivering a sly and seductive supporting turn (glorified cameo?).

In the end I can say that `Breakfast at Tiffany's' is truly a good movie, almost great even. It has a lot of supporters and remains a cinematic favorite among many, and I can understand that. In fact, had Rooney been written out of the script I may be obliged to place `Tiffany's' on my list of greatest romantic comedies of all time, for when you strip away that small sliver of mediocrity you have a glorious gem of a film. August 6, 2008

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