Breakfast at Tiffany's

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.

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.

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.

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