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Breakfast at Tiffany's (1961)

Not Rated | | Comedy, Drama, Romance | 4 November 1961 (Japan)
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A young New York socialite becomes interested in a young man who has moved into her apartment building, but her past threatens to get in the way.

Director:

Blake Edwards

Writers:

Truman Capote (based on the novel by), George Axelrod (screenplay)
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Popularity
962 ( 425)
Won 2 Oscars. Another 10 wins & 13 nominations. See more awards »

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Cast

Complete credited cast:
Audrey Hepburn ... Holly Golightly
George Peppard ... Paul Varjak
Patricia Neal ... 2E Failenson
Buddy Ebsen ... Doc Golightly
Martin Balsam ... O.J. Berman
José Luis de Vilallonga ... José da Silva Pereira (as Vilallonga)
John McGiver ... Tiffany's Salesman
Dorothy Whitney Dorothy Whitney ... Mag Wildwood
Stanley Adams ... Rusty Trawler
Elvia Allman ... Librarian
Alan Reed ... Sally Tomato
Beverly Powers Beverly Powers ... Nightclub Stripper (as Miss Beverly Hills)
Claude Stroud ... Sid Arbuck
Orangey ... Cat (as Cat)
Mickey Rooney ... Mr. Yunioshi
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Storyline

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 Huggo

Plot Summary | Plot Synopsis

Taglines:

Audrey Hepburn as Holly Golightly. . .the most hilarious heroine who ever rumpled the pages of a best-seller. . .is serving wild oats and wonderful fun! See more »

Genres:

Comedy | Drama | Romance

Certificate:

Not Rated | See all certifications »

Parents Guide:

View content advisory »
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Details

Official Sites:

Official Facebook

Country:

USA

Language:

English | Portuguese | French | Japanese

Release Date:

4 November 1961 (Japan) See more »

Also Known As:

Breakfast at Tiffany's See more »

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Box Office

Budget:

$2,500,000 (estimated)

Gross USA:

$8,000,000, 31 January 2004

Cumulative Worldwide Gross:

$14,000,000, 31 January 2004
See more on IMDbPro »

Company Credits

Production Co:

Jurow-Shepherd See more »
Show more on IMDbPro »

Technical Specs

Runtime:

Sound Mix:

Mono

Color:

Color (Technicolor)

Aspect Ratio:

1.85 : 1
See full technical specs »
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Did You Know?

Trivia

Upon selling the rights to his novella to producers Richard Shepherd and Martin Jurow, author Truman Capote expressed a desire to play Paul himself. The pair dodged the issue successfully. See more »

Goofs

After Holly enters Paul's bedroom through the window, stockings appear on her legs. See more »

Quotes

[first lines]
Sid Arbuck: [seeing Holly enter her building] Hey!
[he chases her inside]
Sid Arbuck: Hey, baby, what's going on here?
Holly Golightly: Oh, hi!
See more »

Alternate Versions

The 45th Anniversary DVD release of the film includes revealing footage of the nightclub stripper that was previously left out of the earlier DVD and video releases. See more »

Connections

Referenced in Frasier: Guess Who's Coming to Breakfast (1994) See more »

Soundtracks

Moon River Cha Cha
(1961) (uncredited)
Words by Johnny Mercer
Music by Henry Mancini
See more »

Frequently Asked Questions

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User Reviews

Still a prize after all these years.
29 August 2003 | by schappe1See all my reviews

This film is an amazing achievement for Audrey Hepburn. The part was clearly written for Marilyn Monroe. (To think of Hepburn as a backwoods girl is absurd.) Monroe would have made a meal of this and it would have been her signature role. But she was in the midst of her emotional troubles at this time and the role was given to a very different actress in Hepburn who produced a very different Holly Golightly. And yet she did it so well that it became HER signature role instead. It's not unusual for an actor to make a role his own such that you can't picture someone else in the role even thought there are actually many who could have played it. But to take a role intended specifically for another, one for which one does not appear suited, and make that your own…well, that's a great acting achievement. It certainly is Audrey Hepburn's greatest role, a performance with many more complexities than any other she ever gave.

It's also a fabulous film. I love beauty emerging form contradiction, like a rhapsody emerging from apparently unrelated themes and musical noises. Here we have something that is at times a wacky comedy, a breezy romance and yet is full of depth and drama. So many things have happened and we have been introduced to so many characters at the end, it's amazing they all fit together. I also like the bravery of doing a story about two people who are basically prostitutes in 1961. It's daring yet there's nothing sleazy about he film because it concentrates on who these people are as people- what they are, not what they do.

And the film has the most eclectic cast I can imagine. Romantic heroine Audrey Hepburn. Method actor George Peppard. Sleek man-killer Patricia Neal. Actor's actor Martin Balsam. Old reliable Buddy Ebsen, just before he hammed it up as Jed Clampett, playing a subtle and touching version of the same thing. Mickey Rooney provides the only jarring note with his scenery chewing performance as the Japanese landlord, something we could surely have done without. Did you know that Audrey's gangster sugar daddy is played by Alan Reed, the voice of Fred Flintstone? And don't forget John McGiver's delicate turn as the clerk at Tiffany's.

You can debate the virtues of a film into the night. What really counts in the end is: Does it stay in the memory vividly years later? Would you like to watch it again? And when you watch it again, does it take you back to when you first saw it? Breakfast at Tiffany's certainly does. It will always be the prize in the cracker-jack box.


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