Holly Golightly is a flighty Manhattan party girl, who expects "money for the powder room as well as for cab fare" for her companionship. She has even gotten a lucrative once weekly job to visit notorious convict Sally Tomato in Sing Sing, she needing to report back to Sally's lawyer the weather report that Sally tells her as proof of her visits with him in return for payment. Her aspirations for glamour and wealth are epitomized by the comfort she feels at Tiffany's, the famous high-end jewelry retailer where she believes nothing can ever go wrong. Her resolve for this wealth is strengthened, if not changed slightly in focus, upon news from home. Into Holly's walk-up apartment building and thus her life is Paul Varjak, a writer who Holly states reminds her of her brother Fred, who she has not seen in years and who is currently enlisted in the army. The two quickly become friends in their want for something outside of their current lot. Paul's situation is closer to Holly's than he ...Written by
In his audio commentary for the DVD release, producer Richard Shepherd said that, at the time of production as well as in retrospect, he wanted to recast Mickey Rooney "not because he [Rooney] didn't play the part well" but because Shepherd thought the part of Mr. Yunioshi should be performed by an actor of Japanese ethnicity. It was Blake Edwards' decision to keep Rooney. In a "making-of" for the 45th anniversary edition DVD release, Shepherd repeatedly apologizes, saying, "If we could just change Mickey Rooney, I'd be thrilled with the movie." Edwards stated, "Looking back, I wish I had never done it... and I would give anything to be able to recast it, but it's there, and onward and upward." See more »
Towards the end of the movie when Holly and Paul are in the cab, you can see that the taxi driver isn't really holding the steering wheel and that it's turning itself. See more »
Checking out both the original novel and the Wikipedia article on Breakfast At Tiffany's I was surprised to see how different Truman Capote's vision of this story was. Capote who wanted Marilyn Monroe cast as Holly Golightly lived to see Audrey Hepburn make his literary creation one of her best cinematic creations. I think given Marilyn's track record for behavioral problems on film sets, Capote, Blake Edwards the director, and everyone else concerned with Breakfast At Tiffany's probably dodged a bullet.
Capote's story is set in the Forties and the film is contemporary 1961 when it was filmed. There's no real plot to it, Capote did a character study and so is this. It's about two people and the fascination that George Peppard's character develops for the unconventionality of Holly Golightly as Hepburn essays her.
Hepburn is the kept woman of a cross section of the male species and Peppard is the boy toy of another woman who rents in their apartment, Patricia Neal. Neal who would win her Oscar the following year for Hud has her character as curiously underdeveloped. It's the main weakness of Breakfast At Tiffany's.
The strength is of course Audrey Hepburn who took Capote's character completely over and it's her vision of the story that we see when the film is broadcast. She's an amoral minx who in the end realizes that her life is really meaningless.
Breakfast At Tiffany's won two Oscars both for Henry Mancini for Best Musical Scoring and Best Original Song for Moon River. That song is best known for Andy Williams's rendition, but there are also superb recordings by Frank Sinatra and Tony Martin. Hepburn got a nomination for Best Actress and the film was also nominated for Best Art&Set Decoration for a color film and Best Screenplay adapted from another medium, in this case Capote's novella.
Considering all the changes made, maybe the credit should have read inspired by Truman Capote's work. In any event this film belongs in the top rank of the works of Audrey Hepburn.
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