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Even now 57 years after its original release, Breakfast At Tiffany's remains a charming love story between two hustlers of sorts. Audrey Hepburn is not the Holy Golightly that Truman Capote intended, she couldn't be but she was Audrey Hepburn in all of her 1961 glory. Amazing how it still works that Audrey Hepbun touch. George Peppard is gorgeous but impenetrable. Mickey Rooney, unforgivable. Henry Mancini, opportune but. strangely enough the character that fascinated me the most in my latest viewing is Patricia Neal. I would love to see a full movie about that woman. She exudes sensuality and smartness. Blake Edwards concocts a lighter fare from Capote's book and as it happens, it's still very much alive and surprisingly relevant.

The celebrated author on whose novel it was based despised the film version, describing it as "mawkish." The star wasn't much more enthusiastic; she never considered it among her best work. And the reviews were mixed. But regardless of what Truman Capote, Audrey Hepburn, or the critics thought about it, the public adored it--and the image of Audrey Hepburn wearing a black evening dress, nibbling pastry, and window shopping has passed into our cultural iconography.

The film is indeed lightweight stuff. Audrey Hepburn is a New York good-time girl who makes a living by clipping her wealthy escorts for fifty here and fifty there. When she meets handsome George Peppard--a writer who makes ends meet by trading favors with society matron Patricia Neal--can love be far behind? But Audrey's mysterious past and her determination to marry rich, George's status as a kept boy-toy, and their occasionally questionable associates provide plenty of complications to fill out the story.

What makes the film work is the remarkable charm of its two stars. Most of the attention goes to Audrey Hepburn and the film shows her to remarkable advantage: she is a remarkable actress, personality, and beauty, and she works wonders with the ultralight script. But when it comes to charm, George Peppard is no slouch either: the film catches him at the height of his early golden-boy good looks, and he is the perfect foil for Hepburn in both their comic and dramatic scenes. Mickey Rooney's excessive performance as Yunioshi aside, the supporting cast is also very entertaining, with Patricia Neal, Buddy Ebsen, Martin Balsam, and Dorothy Whitney all give enjoyable turns. The film looks great (make sure you get the widescreen version), the score (which includes "Moon River") is excellent, and director Blake Edwards keeps everything moving at a pleasant pace. This a great film to cozy up with on a cold night--romantic, entertaining, and as comforting as a cup of hot chocolate. Recommended.

Gary F. Taylor, aka GFT, Amazon Reviewer

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.

I've loved "Breakfast at Tiffany's" since I was nine. Even before I completely understood about Holly's "profession", I was captivated by the grace and magic that was Audrey Hepburn.

George Peppard plays Paul Varjak, a writer who has to earn his living through a wealthy socialite, Patricia Neal, as her "kept" man. Audrey, who plays Holly Golightly, is a gold-digging call girl, who is looking for the right rich man to marry. Though you would think these two would be unflattering characters, they are both very charming and put on phony personas (especially in Holly's case) in order to survive.

You have to marvel at how a woman like Audrey could look so good in anything she wore. At the beginning of the movie when she first meets Peppard, she's only wearing a simple white shirt that she wears as a nightgown or at the party scene when she first comes out and greets her friend O.J. Berman wearing nothing but a sheet made up to look like a dress! Gorgeous!

It's a marvelous piece of acting when Holly first meets Paul in her apartment, and she's talking about how she has to get ready to meet one of her "clients" in jail, Sally Tomato, and she's talking about her profession, looking at herself in the mirror, getting dressed, asking Paul to find one of her shoes, etc., and then, voila! the famous basic black dress and hat with the wide brim. Very stylish - and in the scene she is given much to work with, the way she has to juggle the dialogue and the action of what she is doing all at once. Very natural and sophisticated at the same time.

Audrey is very believable as Holly because her character is someone who is pretending to be sophisticated, hanging around with phony people, but really comes from humble beginnings. Once in a while you will hear in her voice the "country-girl" drawl, and you will see through the facade of Holly Golightly who she really is. George Peppard is also very handsome and believable as the "starving" writer who also has to sell himself out in order to earn a living.

Many complaints have been made about Mickey Rooney and the "stereotypical" portrayal of the landlord Mr. Yunioshi. Yes, it is stereotyped, but nonetheless, I still thought it was funny. The party scene is one of the best in the movie - hilarious! Wonderful score by Henry Mancini. Of course it's a classic scene when Holly pulls up in front of Tiffany's in the New York taxi, drinking coffee and eating a danish in front of the window. New York City itself is like a vibrant, interesting character in the movie. I could go on and on.

And to top it all off, it's a very romantic love story about two people who find happiness in the crazy, mixed-up world we live in. A classic. Recommended to anyone who loves old Hollywood cinema.

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.

There are movies that are loved because of the cast, the music and style, not for the interesting plot, wonderful characterizations or snappy dialogue. This famous movie, Breakfast at Tiffany, has been lovingly regarded for years because of the wonderful Audrey Hepburn and the talented Henry Mancini. Moon River is one of the best movie songs ever. But there is, surprisingly, not much to say overall about this movie.

Two prostitutes become friends. George Peppards' role could have been played by anyone breathing and Micky Rooney was too ridiculous to be funny. The always superb Patricia Neal did not have much to do. Only Buddy Epsen moved me.

There are a few noteworthy scenes. But, Breakfast at Tiffany's is the best example I've seen of a lovely cake with a big hole in the middle.

"Breakfast at Tiffany's" preserves an idyllic time and place in the American psyche, New York City between WWII and The Great Society. A time when being hip and urbane were accessible (and desirable) to the middle-class.

The film's" the two romantic protagonists are Holly Golightly, played wonderfully by Audrey Hepburn, and Paul Varjak, played by George Peppard in an understated performance that well complements Hepburn's. Holly is an aspiring socialite and party-girl looking for a wealthy sugar daddy. Paul is an aspiring writer and kept-man of a wealthy older woman. Neither is happy, but both go through the motions in a swirl of Manhattan parties and parings.

Everything falls nicely into place in this romantic-comedy; directing, musical score, acting, and screenplay. Filmed on location in New York this is a beautiful, captivating movie, that has not only aged well, but is a time machine to a wonderful place that probably really never existed except in our imagination.

Often listed as a top 100 film of the 20th Century, Tiffany's features a flighty socialite who I became more frustrated with than anything else. We all have watched clips of Hepburn signing Moon River, but really the story plot is not that deep. The Rooney character, as the annoying Japanese neighbor is cringe worthy in today's standards, but it was made to be comic relief in its time.

Decent film , but I wouldn't rank it as iconic for the century.

BREAKFAST AT TIFFANY's is an exciting and entertaining romantic comedy about a charismatic girl from high society and an unrealized writer. Film is loosely based on Truman Capote's novella of the same name.

A young and elegantly dressed lady walks around and looking in a shop windows in an early morning. After looking into the shop's windows, she strolls home. Outside her apartment, she fends off her date from the disastrous night before. Later, she meets, a pleasant and somewhat confused writer, the new tenant in her building. They develop a special relationship. She wants to marry a rich man. However, her new friend slowly falls in love with her. Both must give up of some important goals in their lives for the sake of love...

This is an unconvincing and provocative story with a touch of an inappropriate comedy, romance and melodrama. However, this distorted reality has a certain depth. The story of a nobody's-but everyone's girl is, given her past, a naive and painful at the same time. A quiet and insecure writer with an obvious problem of writer's block and hands of a beautiful and rich older lady around his neck enters in her life. It is a quite confusing situation in life.

Costume design is exquisite, the song "Moon River" is haunting as a reflection of fears, turmoil and friendship.

Audrey Hepburn as Holly Golightly / Lula Mae Barnes is an irresistible, irritating, bumbling and gentle woman with two names. She constantly flees away from itself. Holly is "the real fake" and "a wild thing" at the same time. Lula Mae is a person from whom Holly escapes. Ms. Hepburn is a beautiful and gentle actress, exceptional comedienne, who is an ideal choice for this role. George Peppard as Paul Varjak is often set aside as an observer. He was not the right choice for this role. George just can not follow a "twisting" step of the unreliable Holly. Mr. Edwards has tried to equalize their characters. They are unhappy, unfulfilled and they differ from some moral standards. Their relationship is based on an unconditional friendship. There is no a chemistry or love sparks. He has, in an elusive and unreliable girl, found an inspiration in his life. She has found a man who will, regardless of her excesses and lies, always be beside her and lend her a hand when she falls.

Their support are Patricia Neal (Mrs. Emily Eustace "2E" Failenson) as a cool rich woman with a beautiful smile and a magnetic gaze. Martin Balsam as O.J. Berman is very funny as a Hollywood agent. Mickey Rooney as I.Y. Yunioshi is an inappropriate and hackneyed cliché.

This is an odd collection of turbulent and false feelings, which is a comic and melodramatic at the same time, and even occasionally pleasant to watch.

I've been catching up on Audrey Hepburn movies lately, and of course this is the best remembered of the lot. It's a super-stylish romantic comedy in the days when the genre still elicited laughs, rather than the groans coming out of cineplexes these days.

My problem with BREAKFAST IS TIFFANY'S lies in the script, which presents the Hepburn character as one of those annoyingly air-headed bimbos who spends the whole film at the mercy of her own ignorance. There's nothing wrong with Hepburn, who nails the character perfectly, just the slightly irritating childlike persona. She's not really a person to fall in love with, more like somebody who needs sectioning.

Still, the rest of the film is well-made, beautifully shot and rather effective, and the sweet, good-natured comedy works well. It's rare for me to see George Peppard in a romantic role, but he acquits himself well with the material. This certainly isn't my favourite Hepburn movie - I can't help but feeling it's slightly overrated - but on the other hand I can see why it's regarded as a classic by most.

What can you say about Truman Capote's masterpiece? It is brilliant!! Hepburn is wonderful as a young woman who is on the verge of insanity, but unknowingly to most around her. She is confused and lost in the world, and she meets Paul, both having sex with the wrong people, both confused about who they are and where they are in the world... they are"two drifters." Holly is a character that remains classic, and Hepburn played her brilliantly!! I love this movie, it will make you believe in love, and what girl doesn't truly love Tiffany's? Moon River is also a truly beautiful song that expresses the mood throughout the movie. It also has a few surprises, and is witty and charming.

Breakfast at Tiffany's is a mostly charming film which serves as a wonderful showcase for the great Audrey Hepburn. In her portrayal of Holly Golightly Hepburn created one of the most iconic characters in film history. This is a memorable film and it's Hepburn who makes it so. She is at the center of everything that goes on in the film and you can't help but be charmed by Holly Golightly. The movie has its flaws, most notably one incredibly unfortunate casting decision, but all these years later it is rightly remembered fondly by most who have had the pleasure of seeing it.

Holly Golightly makes her living as an escort, but it's not as unseemly as it might seem. What she really is more than anything else is an extroverted Manhattan socialite around whom all kinds of craziness swirls. That craziness is best typified in a famous party scene in Holly's apartment. There are so many people crammed into Holly's little apartment, there's so much going on that you don't even know where to look. But inevitably the eye is drawn back to Holly herself. The character has such style and charisma, as of course does the actress playing her. Everyone remembers the famous black dress but the beauty and elegance of Audrey Hepburn shine through no matter what Holly Golightly's wearing. Heck, she could wear a sheet and make it seem elegant. In fact she does. And that sums up Holly Golightly rather nicely. Beautiful, charming, engaging...and more than a touch eccentric.

It's Audrey's movie through and through and she is never anything less than wonderful in her performance. Playing opposite her in the key male role is George Peppard and he at times comes across as being a little wooden, maybe somewhat dull. But perhaps his character is just suffering in comparison to Holly Golightly who is many things, dull certainly not one of them. Buddy Ebsen has a small role but an important one as it is his character who provides some insight into who Holly really is, or at least who she used to be. We come to learn that Holly has pretty much reinvented herself and there are some wistful moments as we see why she may have felt the need to do so. There will be some roadblocks thrown up in the way of Holly's seemingly blissful existence and as she confronts these obstacles there are times where you know she's doing the wrong thing. But you love her anyway and just hold out hope she'll get it right in the end. That's the irresistible charm of Audrey Hepburn working its magic.

It must be said that for all its charm the film does have one serious black mark against it. Mickey Rooney's portrayal of Holly's bucktoothed, slant-eyed stereotyped Japanese neighbor Mr. Yunioshi is absolutely appalling. It's the type of thing you'd expect from a film made in the 1920s. By 1961 you would have hoped people would have known better. Apparently not. Every time this character appears on the screen you can't help but cringe. The character takes you out of the movie watching experience entirely. You don't see him as a character named Mr. Yunioshi, all you see is Mickey Rooney in hideous yellowface makeup. Awful. And for a character meant to serve as comic relief, even had an Asian actor been cast there is no way around the fact that the character is just not funny at all. It's the one major flaw in a film which, while maybe not an all-time classic, is certainly charming and enjoyable throughout. And as a showcase for the talents and elegance of Audrey Hepburn it could not work any better.

An army of fans consider this Hepburn's signature role and in many ways it is, even if she overcame miscasting to portray it. Based on a rather biting novella by Truman Capote, he (somewhat surprisingly) wanted Marilyn Monroe to play the role. The casting of Hepburn couldn't be more different, yet she made it her own and in the process created an icon that is every bit as lasting as Marilyn's skirt-over-the-subway-grate or Bette Davis's off-the-shoulder, chain-smoking Margo Channing. She plays an offbeat, effortlessly sophisticated party girl in New York City who subsists on the favors of various rich men. Though her livelihood couldn't be more tasteless, somehow Hepburn's presence adds a sheen of innocence and sweetness to it. When blocked writer Peppard moves in upstairs ("kept" by married socialite Neal), the two find themselves developing a friendship which eventually begins to turn into love. But since they are both people who use their bodies to earn their keep and are heavily dependent on others, the chances of their relationship lasting are slim at best. To read the above synopsis, one would expect a gritty, vulgar film. However, in director Blake Edwards' hands and with Hepburn floating around in exquisite Givenchy gowns, the movie is a candy box of color, style, humor and romance.

Even when she's hungover or just getting home from an all-nighter (as in the famous opening scene), Hepburn strikes a graceful and glamorous figure. In fact, it's when she's trying to act disoriented or disheveled that her performance is at it's weakest. It's as if she was so inherently stylish that she had to try (too) hard to present anything else! She does a very fine job with the role, even if the character's past is nothing short of preposterous. Peppard comes off as blandly attractive, but wooden. His arrogance regarding his role (fiercely protecting the traditional leading man image) not only undercut his own performance, but also slighted that of Neal's who was diminished as a result. However, sentimental filmgoers probably prefer his more heroic approach and Neal would certainly recoup her losses, earning an Oscar a short time later for "Hud". The most controversial aspect of the film is Rooney's portrayal of an Asian man who lives above Hepburn and who is awakened at all hours by her lifestyle. Whether or not one is offended by the over-the-top stereotype of the buck teeth and slant eyes, the role is not funny anyway! It's all way too forced and obvious, with his pratfalls in sight long before they occur. (A lamp exists RIGHT over his bed for the express purpose of giving him something to hit his head on continuously. Move it, already!) There are many memorable moments in the film including a sequence of Hepburn and Peppard doing things they've never done before, Hepburn sitting on the fire escape plaintively singing the Oscar-winning song "Moon River" (which is used throughout the film by master composer Henry Mancini) and wacky party scene (a prelude to Edwards' "The Party"?) in which all sorts of outre things take place including the cry "Timber!" when a tipsy guest begins to collapse. There's a surprising frankness, for the time, regarding Peppard and Neal's relationship. It seems to be one of the earliest Hollywood films in which the leading man is implied to be nude under the covers in his bed. The film is not without its flaws. Some of the dialogue is annoyingly indulgent and the storyline is fairly patchy (with a tacked on ending.) Still, with the sparkling presence of Hepburn (in some mind-blowing hats and costumes) and the slick work of Edwards, it is easy entertainment.

Breakfast At Tiffany's is a pretty famous movie, it's recommended in my movie books and is usually on a top film critic's list as a classic. Before Roman Holiday, I had never seen an Audrey Hepburn film, and I have to say that I am becoming more and more of a fan of her's. She was so beautiful and very talented, not to mention she seemed like a very classy and elegant lady. But the film itself was a pretty good one, this was the movie that made romantic comedy clichés, so that's why I let it go so easily. It seemed like this film had what a lot of romantic comedy films steal now a days.

Holly is a huge socialite in her grand world, she finds happiness and joy in the jewelery store, Tiffany's. She is also being paid 100 dollars to visit a drug Mafia leader in prison to make his day. But things begin to change when a very handsome man moves in down stairs from her, Paul, but she calls him Fred since he looks like her brother. He's also in a similar situation where his "Decorator" is paying him for a good time. But together they find themselves helping one another and realizing they may need each other.

Breakfast at Tiffany's is an elegant classic that I would rate up with Seven Year Itch starring Marilyn Monroe. It has great humor and sizzling romance that anyone could fall in love with. Audrey Hepburn took on a role which the character could have been neuritic and annoying, but she made Holly into someone every woman would like to be. Her and George were great together, I would highly recommend Breakfast at Tiffany's, it's a great classic.

8/10

After seeing her in My Fair Lady, I wanted to see more of Audrey Hepburn's work, and Breakfast at Tiffany's was the film that almost everyone I spoke to about her recommended. After seeing it for myself, I found it delightful, it does have its problems but a lot compensated. One is that it is really nice to look at. The cinematography and settings are really elegant, and Audrey's black dress makes her look amazing and svelte. Henry Mancini's score is also superb, full of sweet, poignant and jaunty melodies, and I have to say the song Moon River for its sublime melody and meaningful lyrics has to be one of my favourite songs of all time, it is so beautiful and romantic. In terms of performances, while George Peppard looks handsome and acts sweetly, it is Audrey's movie as she pretty much epitomises the film on her own. Her Holly Golightly, like Sigourney Weaver's Ellen Ripley, Vivien Leigh's Scarlet O'Hara, Bette Davis's Margo Channing and Ingrid Bergman's Ilsa, is very iconic as a character, like the film she is elegant, charming and enchanting even with her character flaws we still love her. In terms of comedy highlights, the early party scene really does stand out. However, despite all this, there are problems with the film, Mickey Rooney being at the top of the list. I have nothing against Rooney, but his Japanese landlord felt stereotyped and unnecessary despite one or two mildly amusing moments, and I felt Rooney overacted. While the dialogue is witty in spots, it is also very fluffy and sugary, while the story is uneven in places, and meanders as well. Lastly, the ending felt somewhat tacked on, sweet yes but you couldn't help thinking "I want more" and it could've done with being less unambiguous. Overall, despite the flaws, it is engaging and delightful. 7.5/10 Bethany Cox

This is an average film masquerading as great. I'm not blaming Blake Edwards or the stars--after all, they were just making a picture. Instead, this movie is the ultimate "personality cult" picture. In other words, people are SO OVERWHELMED with Audrey Hepburn, they glomp onto a picture and act like it is one of the best pictures ever made. For movie poster collectors, they saw the value of posters from this little movie skyrocket to astronomical heights (it is currently one of the most valuable posters from the 1960s) due to the rise of this cult.

The sad thing is that this isn't one of Ms. Hepburn's best pictures. Better films such as A Nun's Story, Love in the Afternoon or Sabrina are superior when compared side by side. My assumption is that those who fuel this cult probably never saw the movie or never saw her other films.

By the way, even if I am way off in my attitude towards this film (since so many love it), you've gotta admit that the movie deserves to lost a point or two because of the insane casting of Mickey Rooney as Mr. Yunioshi--a Japanese man!!! Not only was this stupid, but highly offensive and insensitive.

Audrey Hepburn plays the elusive socialite. She is a New York gadabout who winds up cavorting around with parasitic, well to do reprobates. Her life is a sort of manufactured intellectual recreation, so to speak. For this social circle, engaging in supercilious delusions of grandeur is everybody's favorite hobby. Audrey Hepburn masquerades a pusillanimity that George Peppard is far more familiar with than he cares to admit! Both of them have a life that is full of euphemistic phraseology which provides a double entente meaning to words and phrases such as: "Friend", "Succor for social enlightenment", "Financial backer", "Ardent supporter thereof", or "I am in need of some very intriguing conversation". Audrey Hepburn is so beautiful in this film!! The jewelry is spectacular!! In particular, the diamond necklace, and tiara, are famous artifacts in the Hollywood world of collectibles, they are right up there with the "Wizard of Oz" ruby slippers!! Singing "Moon River" out the window of her Manhattan apartment, Audrey Hepburn garnered a charismatic following with the movie audience with this scene. Hepburn's wardrobe, including the hats, and the Jaqueline Kennedy style sunglasses, all became extremely sensationalized with this film. The conversations with the men in "Breakfast at Tiffany's" sort of ran the run of the mill gambit of the proverbial aging men seeking female companionship. The acceptable scourge with everybody was one in which constructive candor was replaced with one alcoholic beverage after another. "Breakfast At Tiffany's" is a totally marvelous film which brings out the disconcerting genre of the stilted arrangements which prevailed. While pinpointing this dubious rigmarole for the precarious quest of suitable liaisons, it becomes evident that these circumstances are, without question, comfortably symbiotic. This auspicious realm of monotony evokes a very succinct and humorous romanticism for this film's entirely non-conventional dynamic! Such an eccentric scenario in "Breakfast At Tiffany's" is formatted whereby pretenses of sophistication were nothing more than pejorative mendacity, and, reality, was in fact, true love! Best parts of this movie: It makes you want to go to Rio De Janiero, and, never more than ever before, do you want to get caught in the rain!! The amazing array of acting talent in "Breakfast At Tiffany's" will astound you. In addition to Audrey Hepburn and George Peppard,(The inadvertent gigolo) other stars included; Patricia Neal, Buddy Ebsen, Martin Balsam and Mickey Rooney. Director of this film, Blake Edwards, (Best known for an onslaught of "Pink Panther" movies, and television shows such as "Peter Gunn and "Mr Lucky") does a remarkable job at directing "Breakfast At Tiffany's". My total assessment of this film; EXCELLENT!! Or, as many prominent spawns of academia would say with an emphatically undaunted demeanor: DARLING MOVIE!!!!

In a way Breakfast at Tiffany's is like getting two movies. The first half or so is a light-hearted comedy and the second half is a romantic drama. The entire package is thoroughly engaging. I'm not usually a fan of this genre but I was entertained throughout. What can be said about Ms. Hepburn in this role that hasn't already been said? She is perfect. Except for the odd A-Team rerun, I hadn't seen any of Mr. Peppard's work. In this film, he is the perfect foil for our heroine. The rest of the cast (including Cat) is more than up to par as well, especially Mick Rooney's politically incorrect but hilarious turn as Ms. Golightly's long suffering neighbor. Great film, 8/10.

I wouldn't berate a modern viewer who sees this film as trifling, boring or aimless. Watching it again after many years, I recently had that sense myself. And I was around when this movie came out-although I didn't see it for years. I think it's "dated" because it reflects a time and a sub-culture that were quite small, that very few people became a part of or knew. And, it may seem so strange from the ways of culture today that few would find it of much interest. Ergo, slow and boring. It's billed as a comedy, but it isn't very funny. It's also a romance, but hardly.

This is a story about one young woman who lived in a dream world, who fantasized about her life, and who hoped to land a very wealthy husband. It would be perfect even if it were someone she might love. Sure, there may always have been young people (women and men) who have dreamed about the glamorous life and lifestyle that wealth can bring, and who fantasized about finding the right rich person. But few of us were captured by the allure of our daydreams. In this film, Audrey Hepburn is captivated by it. Otherwise, there is hardly any plot at all.

This movie came out while I was in training for the Army, so I didn't see it for many years. I can imagine that many in the audience saw it as a fairy-tale, sweet story about a girl looking for the dream life. But my first impression watching it years later on TV, was that it was about someone who had lost all sense of reason, and had fallen under a spell of riches and hedonism.

Anyway, the movie is very "dated" in that way. Not that many aren't drawn to wealth, prestige, glamor or the power of riches today. They may be more sly and conniving, but certainly not in the category of gold-diggers, or perpetual daydreamers.

Perhaps few people then saw the movie in that way, and I can understand that. Audrey Hepburn was a genuine dove of the cinema. Who couldn't like her, for her youth, innocent beauty and wonderful skills as an actress? Indeed, if it weren't for her persona in this film, its hit song and musical score, and a little bit of the showiness of the lavish wealth in corners of New York, I think this film might have flopped. The rest of the cast are mostly flat or wooden, or of no consequence to the story. George Peppard is flatter than a pancake in the romance department. I'm not sure it's all his fault - the script is so slow and dull.

This movie got a big play and promotion in its day, and it did well at the box office. Probably because people were expecting a glamorous romance. What surprises me today though, is the high rating this film apparently has received by so many viewers. It's a 7.8 average from nearly 108,000 viewers in early 2015. Maybe there are more dreamers today than I thought, or people just like seeing the glitz and goofiness of the artsy set of the mid-20th century. But the film didn't fool those who count. In a year that had just modest competition for quality films, it won two Oscars and had three more nominations, including Hepburn as best actress. The awards were to Henry Mancini and Johnny Mercer for the song of the year, "Moon River," and to Mancini for the movie score.

But for Hepburn and "Moon River" - and that is a lot, I can't see how this film would be worth more than five stars today. Or, are there still that many starry-eyed dreamers who enjoy such slow and aimless films?

"Breakfast At Tiffany's", from Truman Capote's acerbic novella, is so lushly produced and plushly designed it seems to take place in a New York City dream-world. Audrey Hepburn plays party-girl Holly Golightly with flaky flair, yet she never has to force herself to be a groovy extrovert--she encompasses all of Holly's faults and dizzy highs with just one of the deep little laughs that seem to well up from her chest. I didn't mind Mickey Rooney as Mr. Yunioshi (I forgot it was him) and since the movie's edge softens a bit as the film goes on, it needs Yunioshi for some of that low-down comedy inherent in the film's first hour. George Peppard as neighbor Paul is perhaps too smooth and a ready-match for Holly (he only bristles a bit early on), but Peppard as an actor is suitable for Hepburn, he allows her room to sparkle while keeping the film grounded. His frequent bemused looks are charming, and I thought his scenes with Patricia Neal were very good (the filmmakers are a little tough on Neal: she's made to seem decadent and lascivious, and when Peppard calls her on it, I'm not sure if we're supposed to feel sympathy for her, though I did). The opening moments with Hepburn standing in front of Tiffany & Co. are as miraculous as any scene from any movie of this era, and the rest of the film effortlessly emulates that early magic.

Holly Golightly is a socialite desperate to grab a rich man, when she feels low, she visits favours jeweller's, Tiffany's.

If I were basing my review solely on its style and the presence of Audrey Hepburn, I'd be scoring it a perfect ten, unfortunately the content just didn't work for me.

This film is like a perfectly marketed box of chocolates, the packaging is perfect, and the contents look heavenly, unfortunately as you bite into them, you realise there's very little flavour.

I'm not sure I could easily formulate the plot a day or two after seeing it, and aside from that visually stunning opening scene, I can't really think of a standout moment.

On the plus side, it's gloriously stylish, the cast look fantastic, especially Audrey Hepburn, who looks iconically stylish, Hepburn and Peppard play their parts very well. For me though, Holly is too much of a tragedy figure, she's clearly incredibly damaged.

The jokes don't land too well, and Mickey Rooney's Mr. Yunioshi is perhaps the most over the top element here.

I'm somewhat disappointed, it's known for being fabulous, but is that just for the sake of it?

6/10.

I always heard this movie is one of the best... plop! It's quite the opposite. Here's why: a hero impossible to root for, a weak storyline, some scenes that doesn't move the story forward. Things in favor: good music, nice cinematography, acting, remarkable costume design... and -of course- the cat!