When recalling the film legacy of Audrey Hepburn, the first title that will usually come to mind is 'Breakfast at Tiffany's,' although a minority of fans will bring up 'Charade,' 'My Fair Lady,' and perhaps 'Sabrina.' For the most part, Hepburn and her character in this movie have become one and the same; no discussion of the actress's life is complete without mentioning 'Breakfast' somewhere along the line.
Hepburn was actually an eleventh-hour selection for the role of Holly Golightly. Truman Capote envisioned Marilyn Monroe as the lead female character and an offer was later made to Kim Novak. Hepburn was selected in the end, however, and George Axelrod's screenplay was massaged considerably to befit her elegance. Her performance has entered film history as a classic and will retain that status for years to come. Unfortunately, Hepburn's glamor came at a price; while suiting 'Breakfast at Tiffany's' to her disposition, much of Capote's novella was lost in the shuffle. 'Breakfast' is without doubt a very good film that belongs in the American canon. I do think, however, that it is slightly overrated, because the intense storyline of Capote's novella is thinned out for the sake of Audrey.
The Capote version of Holly Golightly is a saucy, foul-mouthed drifter who is torn between her need for independence and her desire for an ideal, life-long partner. She is something of a forerunner to the 1960s 'liberated woman,' instead making use of loopholes in the 1940s social framework. We get a sense of Holly as go-getter in the film, but Axelrod and director Blake Edwards forward the action to 1950s New York City and portray her as more of a chic socialite than a vulnerable, Texas-bred outcast. Two of the underlying themes for Capote are our search for identity and the constant transformation that our selves undergo; these were only touched upon at moments in the Axelrod version of 'Breakfast.'
Instead, the movie version seems to deal with a struggle between two wants: emotional connection and material security. Both Holly and her on-again, off-again lover Paul Varjak (George Peppard) find themselves locked in situations where money is offered but love is not readily forthcoming. Paul is first in this jam, trading sex for money with Mrs. Failenson (Patricia Neal), a wealthy interior designer. Holly, herself a call girl, meets José, the rich Brazilian diplomat whose 'love' is not politically correct back home. Needless to say, the Hollywood formula in 1961 was for both characters to accept their true love, which is exactly how this film ends.
Certain scenes in the film are clearly designed to show off the elegance of Hepburn, such as the apartment party, the visit to Tiffany and Company, and the five-and-ten shoplift, all of which are too long and detract from the main aspects of Holly's character. Axelrod and Edwards also give strange priority to Mr. Yunioshi, played by Mickey Rooney. The Japanese photographer annoyed by Holly is just a minor player in Capote's book, darting onto the stairwell and yelling in broken English every so often. In the movie, however, Yunioshi is used a great deal for comic relief, with Rooney giving an over-the-top effort. This stereotype is offensive nowadays, but racial slapstick was common at the time. It is one part of the film that has not held up well over the last four decades.
Having said this, Hepburn and Peppard did know what they were about. Their romance is convincing and the two actors' chemistry is sensed from when they first meet on-screen. Patricia Neal and Martin Balsam (playing Hollywood mogul O.J. Berman) are excellent in their abbreviated roles and Buddy Ebsen (Doc Golightly, Holly's husband) gives a memorable performance 45 minutes in. José Luis de Villalonga (simply called 'Vilallonga' in the film credits) also does well in a modest English-speaking part as the Brazilian aristocrat.
'Breakfast' was nominated for five Academy Awards, winning two in music. Henry Mancini won for best dramatic/comedy score, while Johnny Mercer and Mancini won for best original song with 'Moon River.' Mancini does some nifty work here, transforming the 'Moon River' theme into each given situation and linking up the entire sound-picture. Blake Edwards should also be credited with his lovely visuals of New York City, including Central Park and, of all places, the New York Public Library's main branch on Fifth Avenue.
I read Capote's novella about one year before watching its film version. While I have enjoyed both, the Hollywood treatment leaves something to be desired; the book offers much more. 'Breakfast' is available on DVD through Paramount and has received favorable treatment from the company: it is presented in widescreen with a choice of Dolby surround audio, 5.1 surround audio, or French 'dubbing.' English subtitles and a theatrical trailer are also provided.
*** out of 4
Hepburn was actually an eleventh-hour selection for the role of Holly Golightly. Truman Capote envisioned Marilyn Monroe as the lead female character and an offer was later made to Kim Novak. Hepburn was selected in the end, however, and George Axelrod's screenplay was massaged considerably to befit her elegance. Her performance has entered film history as a classic and will retain that status for years to come. Unfortunately, Hepburn's glamor came at a price; while suiting 'Breakfast at Tiffany's' to her disposition, much of Capote's novella was lost in the shuffle. 'Breakfast' is without doubt a very good film that belongs in the American canon. I do think, however, that it is slightly overrated, because the intense storyline of Capote's novella is thinned out for the sake of Audrey.
The Capote version of Holly Golightly is a saucy, foul-mouthed drifter who is torn between her need for independence and her desire for an ideal, life-long partner. She is something of a forerunner to the 1960s 'liberated woman,' instead making use of loopholes in the 1940s social framework. We get a sense of Holly as go-getter in the film, but Axelrod and director Blake Edwards forward the action to 1950s New York City and portray her as more of a chic socialite than a vulnerable, Texas-bred outcast. Two of the underlying themes for Capote are our search for identity and the constant transformation that our selves undergo; these were only touched upon at moments in the Axelrod version of 'Breakfast.'
Instead, the movie version seems to deal with a struggle between two wants: emotional connection and material security. Both Holly and her on-again, off-again lover Paul Varjak (George Peppard) find themselves locked in situations where money is offered but love is not readily forthcoming. Paul is first in this jam, trading sex for money with Mrs. Failenson (Patricia Neal), a wealthy interior designer. Holly, herself a call girl, meets José, the rich Brazilian diplomat whose 'love' is not politically correct back home. Needless to say, the Hollywood formula in 1961 was for both characters to accept their true love, which is exactly how this film ends.
Certain scenes in the film are clearly designed to show off the elegance of Hepburn, such as the apartment party, the visit to Tiffany and Company, and the five-and-ten shoplift, all of which are too long and detract from the main aspects of Holly's character. Axelrod and Edwards also give strange priority to Mr. Yunioshi, played by Mickey Rooney. The Japanese photographer annoyed by Holly is just a minor player in Capote's book, darting onto the stairwell and yelling in broken English every so often. In the movie, however, Yunioshi is used a great deal for comic relief, with Rooney giving an over-the-top effort. This stereotype is offensive nowadays, but racial slapstick was common at the time. It is one part of the film that has not held up well over the last four decades.
Having said this, Hepburn and Peppard did know what they were about. Their romance is convincing and the two actors' chemistry is sensed from when they first meet on-screen. Patricia Neal and Martin Balsam (playing Hollywood mogul O.J. Berman) are excellent in their abbreviated roles and Buddy Ebsen (Doc Golightly, Holly's husband) gives a memorable performance 45 minutes in. José Luis de Villalonga (simply called 'Vilallonga' in the film credits) also does well in a modest English-speaking part as the Brazilian aristocrat.
'Breakfast' was nominated for five Academy Awards, winning two in music. Henry Mancini won for best dramatic/comedy score, while Johnny Mercer and Mancini won for best original song with 'Moon River.' Mancini does some nifty work here, transforming the 'Moon River' theme into each given situation and linking up the entire sound-picture. Blake Edwards should also be credited with his lovely visuals of New York City, including Central Park and, of all places, the New York Public Library's main branch on Fifth Avenue.
I read Capote's novella about one year before watching its film version. While I have enjoyed both, the Hollywood treatment leaves something to be desired; the book offers much more. 'Breakfast' is available on DVD through Paramount and has received favorable treatment from the company: it is presented in widescreen with a choice of Dolby surround audio, 5.1 surround audio, or French 'dubbing.' English subtitles and a theatrical trailer are also provided.
*** out of 4