In 1930, in Belgium, Gabrielle van der Mal is the stubborn daughter of the prominent surgeon Dr. Pascin Van Der Mal that decides to leave her the upper-class family to enter to a convent, ... See full summary »
Director Billy Wilder salutes his idol, Ernst Lubitsch, with this comedy about a middle-aged playboy fascinated by the daughter of a private detective who has been hired to entrap him with the wife of a client.
Singers Lorelei Lee and Dorothy Shaw travel to Paris, pursued by a private detective hired by the disapproving father of Lorelei's fiancé to keep an eye on her, as well as a rich, enamored old man and many other doting admirers.
Struggling writer Paul Varjak moves into a New York apartment building and becomes intrigued by his pretty, quirky neighbor Holly Golightly. Holly's lifestyle confuses and fascinates Paul; in public she flits through parties with a sexy, sophisticated air, but when they're alone she changes into a sweetly vulnerable bundle of neuroses. Written by
I am never sure which Breakfast at Tiffany's is. I can certainly think of movies which more accurately portray the human condition, but of few that are more fun.
Neither Holly nor Paul seem to represent real people. Their attraction, which is the focal point of the movie, is a character unto itself. Paul sees Holly as scared, vulnerable, and in need of rescue and enjoys his role as potential knight in shining armor to her damsel in distress. She is drawn to him because he sees beyond her facade of fabulousness to the scared little girl she is inside and which she tries (not that hard really at all) to hide. Adding to her attraction to him is the fact that he stands up to her when she treats him shoddily. This probably does not happen to her too often, and it intrigues her.
These are mostly the tricks a romance novelist uses to keep readers baited and rooting for a fictional, possibly doomed romance to work and do not reflect the real nature of love. There is, however, enough chemistry, genuine affection, and respect between the two characters to keep the story from seeming utterly implausible.
Of course, a movie doesn't have to be realistic to realistically portray what is right and what is wrong with the world we live in. Breakfast at Tiffany's doesn't do a whole lot of that either, though. After watching I can never pinpoint one solid message from it.
What it does have a lot of, as many others have pointed out, is stylish, witty, good fun. This is almost always the movie I choose on the rare occasions when my husband is working late, my son is asleep, I have energy to spare and good bottle of wine just begging to be uncorked. Believable or not, it is well-told and compelling, and remains one of the better movies a gal can lose herself in.
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