|Breakfast at Tiffany's [VHS]
|List Price: $9.95
Our Price: $2.99
You Save: $6.96 (70%)
No film better utilizes Audrey Hepburn's flighty charm and svelte beauty than this romantic adaptation of Truman Capote's novella. Hepburn's urban sophisticate Holly Golightly, an enchanting neurotic living off the gifts of gentlemen, is a bewitching figure in designer dresses and costume jewelry. George Peppard is her upstairs neighbor, a struggling writer and "kept" man financed by a steely older woman (Patricia Neal). His growing friendship with the lonely Holly soon turns to love and threatens the delicate balance of both of their compromised lives. Taking liberties with Capote's bittersweet story, director Blake Edwards and screenwriter George Axelrod turn New York into a city of lovers and create a poignant portrait of Holly, a frustrated romantic with a secret past and a hidden vulnerability. Composer Henry Mancini earned Oscars for the hit song "Moon River" and his tastefully romantic score. The only sour note in the whole film is Mickey Rooney's demeaning performance as the apartment's Japanese manager, an offensively overdone stereotype even in 1961. The rest of the film has weathered the decades well. Edwards's elegant yet light touch, Axelrod's generous screenplay, and Hepburn's mix of knowing experience and naivet¨¦ combine to create one of the great screen romances and a refined slice of high society bohemian chic. --Sean Axmaker
i have wanted to see this movie for years because i had always heard such wonderful things about it. what a bust. holly golightly is just too flakey to be able to follow in this movie. totally unrealistic plot. and really it was going no where. don't bother with this movie. it was a real disappointment....more info
- One of my favorites, a true classic
"Breakfast at Tiffany's" is simply one of my favorite movies ever. I just feel so good when I watch it. That aside, it's also an excellent romantic comedy, and simply, Audrey Hepburn's greatest movie (although she certainly made a number of great films - also recommended is the Hitchcockian "Charade," co-starring the inimitable Cary Grant).
Audrey shines as Holly Golightly, a New York call girl - a fact which was, as is to be expected, significantly toned down for the 1961 audience. She's one of the screen's most memorable characters, so funny and outgoing, and yet so vulnerable. Audrey is able to bring these things out so perfectly. Too bad she didn't win an Oscar (I haven't seen Sophia's performance, however).
George Peppard is also good as Paul Varjak, a writer who moves into Holly's apartment building. The film follows his relationship with Holly, and how he eventually leaves his mistress (Patricia Neal) to be with Holly. Director Blake Edwards later expressed regret at casting Peppard, but I've always felt that Peppard adequately represents the everyman that Varjak, in a way, represents - a sort of polar opposite to the eccentric Holly.
The supporting cast is good, but Mickey Rooney is somewhat of an atrocity. He's playing (believe it or not) a Japanese artist. With those horrible teeth, and that accent, this is one of the worst cases of miscasting I've ever seen. Some viewers will find him funny, which is a good thing, although a real Japanese comedian would have pulled it off much better. Director Blake Edwards would woefully regret this casting choice as well, as seen in one of the disc's featurettes.
Henry Mancini (the composer of the "Pink Panther" theme) wrote the Oscar-winning score. He also composed some songs for the movie, which are, probably, hands down my favorite songs from a movie... ever. The immortal "Moon River" comes to mind (and won't easily leave).
Blake Edwards did a fabulous job of directing (aside from hiring Mickey Rooney), and his sense of how a romantic comedy should be done allowed him to create the best romantic comedy I've ever seen! A year later, he would go on to arguably greater prominence by directing "A Shot in the Dark," the very first Inspector Clouseau movie with the incomparable Peter Sellers.
If I had to take a small number of films to a desert isle, this movie would probably be one of them. It's a great movie for what it is, and it, in my opinion, should be in everyone's collection. A truly wonderful film....more info
Blow away the froth from the top of this movie, and what do you have? Just more froth and more froth. The one saving grace is Audrey Hepburn. She simply looks great.
Hepburn's character in the movie is little more than a high class prostitute. She is willing to sell herself to the highest bidder. George Peppard's character is nothing more than a male prostitute who lives comfortably on the donations of a rich woman played by Patricia Neal. Mickey Rooney is embarrassing as a Japanese neighbor, complete with thick glasses and buck teeth.
Well, it doesn't take a genius to predict that Hepburn and Peppard will give up their sinful ways, with an ending as sweetly sentimental as the tune that won the Academy Award, "Moon River."
Realistic, the movie isn't. It's a sort of urban fairy tale, and in that it is somewhat successful--that and Audrey Hepburn's charm.
- Mickey Rooney's performance was brilliant, GET OVER IT.
This is an excellent movie with an excellent cast. However I have noticed an unfortunate lack of rave reviews for Mr. Rooney's character. Most of these other 200-odd reviewers only mention him in passing with words such as unfortunate, overacted, racist, etc. etc. or are too scared to mention him at all.
I am sick & tired of people who are super-sensitive to every little thing anyone says or does. When I see a comedian who makes fun of MY race, creed or color, I do one of two things.
If the joke is funny: I laugh
If the joke is not funny: I think to myself "this guy should be pumping my gas"
The easiest thing to do in our society today is throw out the race card. The ones keeping racism alive & well in this country are the people who call others racists unjustly.
It is funny to me how people criticize this era (50's-60's) as being uptight, when very few people today can take a joke concerning this subject. People are different & when someone points this out in a humorous way it is simply......A JOKE. It is not racism or mean-spirited, that is simply the way it is construed 40-some years after the fact, when we all live in an ultra-sensitive world, where everyone is scared #&*@less of offending anyone else.
When people stop this super-sensitivity, & childish behavior, (crying like little babies at the slightest opportunity) we will all be better for it. We are all adults here, time to grow up....more info
- Just plain bad
This movie was downright crapola. Why the hype, I have no idea. Bad plot, bad acting, over hyped piece of garbage. ...more info
- Why is the 2008 edition of "Breakfast at Tiffany's" the BEST ever released so far on DVD?
Updated on January 13, 2009 --
Why do people who love "Breakfast at Tiffany's" -- also think it's a bit of a let down?
In my view, a lot of people reflexively label director Blake Edwards's picture a "classic" -- because of just two things -- Audrey Hepburn's appearance, which is indeed iconic -- and the sensational melodic power of "Moon River." I think it's a classic too.
The film has a spectacular beginning and a spectacular ending. But without "Moon River" -- and without the star power of adorable Audrey -- there isn't much else to propel today's audiences through a series of many dated, mediocre and "comedic-but-intended-to-be-satirical" scenes.
Combine this with the emotional setback that occurs everytime Mickey Rooney's character appears on screen -- one better understands why "Breakfast at Tiffany's" never makes any film group's list of the "top 100" films ever made. Henry Mancini's "Moon River" score bails out the script many times -- and I find myself more "moved" by scenes that would otherwise never work.
However, the two-disc Centennial Collection of "Breakfast at Tiffany's" is still spectacular -- a vast improvement that stands head-and-shoulders above all single-disc editions previously released on DVD. While most of the special features have been taken from the single-disc Breakfast at Tiffany's (Special Aniversary Collector's Edition) issued in 2006 -- there are enough important differences with this new two-disc 2008 Centennial Collection -- that make it a "must have upgrade" for your permanent DVD library.
In particular, the audio and video have been remastered -- hence significantly improved to accommodate the aspect-ratio formatting and high-end audio features so prevalent in today's home entertainment systems. The video isn't Blu-ray -- but it does have more sharpness and clarity than all previous editions. A glossy souvenir booklet and handsome packaging befitting of this classic -- are included.
But best of all -- the special features in the 2008 Centennial Collection edition -- both new and old -- have been spread across two-discs in a way that place the significance of "Breakfast at Tiffany's" in their proper creative and historical context.
** "Commentary by Producer Richard Shepard" -- is the same as what's found on the 2006 DVD -- and is so superb that I'm glad Paramount didn't change it. Shepard, who brought all of the elements together, including hiring all cast and crew principals -- hits everything out of the ball park with a great mix of enthusiasm and restraint.
** "A Golightly Gathering" -- is a new 20-minute documentary featuring interviews of the surviving "little-known" cast members in the picture's famous apartment party scene. These cast interviews were obviously filmed during a "anniversary reunion party" hosted by Paramount -- and have been interspersed with clips of their scenes. Everyone is rightly proud of their contributions -- even though in my view, that party scene -- with which Mr. Edwards remains proud because it contains the most creative material for which he can claim credit -- is overrated. To be fair, the party scene in "Tiffany's" is reflective of "early" Blake Edwards. His later work is better.
I don't think the party scene is funny or as pointedly satirical -- as the office party in Billy Wilder's "The Apartment" -- a comedy which won the 1960 Academy Award for Best Picture during the same year (1961) that "Tiffany's" was released. In "Tiffany's," the party is too broad and out-of-place from the A+ "set-up" -- that Mr. Edwards gives us during the film's beautiful first half-hour. It's always here when I start saying to myself, "OK, move it along, we get it. Please take us back to Audrey's troubles." But don't let my views discourage you. The documentary itself is still great.
** "Henry Mancini: More Than Music" - is a 20-minute documentary that firmly establishes Mancini as one of the greatest composers of the silver screen. Yes, in my view, he absolutely BELONGS in the same pantheon of Hollywood immortals with Max Steiner, Bernard Herrmann, John Williams, Miklos Rozsa, and Franz Waxman. I strongly feel Mancini has never been given the credit he deserves because his legacy has been disproportionately defined by his work in "Tiffany's" and in the "Pink Panther" series.
** "Mr. Yunioshi: An Asian Perspective" -- is a 17-minute documentary that does not, as cynics might charge -- an accommodation to political correctness. As an Asian-American who has long been in love and conflicted about "Tiffany's," this featurette sling-shots this 2008 Paramount Centennial Collection over the moon. It is very instructive about the acceptance of yellow-face casting, why it was OK "then" and "not OK" now. It is NOT sanctimonious -- and it does NOT carry a "holier-than-thou" tone that's so common and irritating coming from "too-sensitive" interest groups who want to revise everything they find objectionable in art today. This documentary is loaded with interviews and film clips that compare and contrast yellow-face casting during the decades before the 1960s. They all have the effect of placing Mickey Rooney's role in better context without excusing it. It may still be uncomfortable, but Paramount is to be commended for finally addressing the "elephant in the room" that "Tiffany's" critics have loudly complained about for almost 50 years.
** "Behind the Gates: The Tour" - is a four-minute commercial that says, yes, Paramount also has a studio tour. No, it's not as gigantic as the Universal Studios theme park several miles north -- but the tour of Paramount's lots on Melrose Ave. is less expensive and just as historic.
** "Galleries" - is a mix of old and new -- it's broken up into three sections -- production, movie and publicity. Hands down, the best stuff is in the "production" section, because it shows cast and crew members relaxing, working or goofing off on the set. These are the type of "candids" that really complete the package. The stills in the "movie" and "publicity" sections could've been combined -- as most of them have been seen elsewhere in press kit photos or on promotional lobby cards.
** Five other special features are "carry-overs" from the 2006 Anniversary Edition: 1) "The Making of a Classic" -- 2) "It's So Audrey: A Style Icon" -- 3) "Brilliance in a Blue Box" -- 4) "Audrey's Letter to Tiffany" -- and 5) "Original Theatrical Trailer."
I think the film version of "Breakfast at Tiffany's" is about "posers" of all stripes -- struggling to hide their flaws, their past and their embarrassments -- while searching for something that grounds them. So we get all this stuff that threads throughout the picture, e.g., Holly "doesn't belong to anyone," Holly calls "her" cat -- "Cat" -- because it sounds "hip" and independent. Holly can be "bought" for extravagance -- and believes materialism is better than true love. Leave love for sentimentalists, she seems to say. She throws away her identity (i.e., the Lula Mae bit) -- for present day pleasures -- and for a future that will include security and prestige.
But Holly's behavior betrays her true feelings about the family she left behind -- and betrays the way most young single people feel about love. (Enter George Peppard as a different type of "poser," a kept man, a failed writer who's the voice of reason. He's a straight-man who doesn't deliver punch-lines. We instantly want him with Holly.)
Even if this is a "romantic comedy" that's not meant to be deep -- "Breakfast at Tiffany's" is too slap-sticky in spots when it shouldn't be, and I'm not just talking about Mickey Rooney. We watch Audrey as a flighty clothes-horse who dismisses love -- going through a lot of silly stuff -- before she finally comes to her senses, recognizing at the end that she indeed has been a phony -- and is tired of being a "poser." She wants love after all. The rain (and tears) pour down, "Moon River" swells up, and the film ends happily.
But this story doesn't play consistently well on the screen. Without "Moon River," how much less is George Axelrod's script? (Ironically, Axelrod collaborated with Billy Wilder on the superb adaptation of "The Seven Year Itch.") "Tiffany's" never tops its visually spectacular and moody opening, featuring Audrey amid Manhattan's deserted streets, eating a croissant at dawn, gazing into Tiffany's windows. Only the scenes of Audrey singing "Moon River" on the guitar -- and the film's happy ending in the rain -- come close.
In sum, "Breakfast at Tiffany's" is not, in my view, great -- but it is "essential." It is a classic on several levels. No film better captures the legend of Audrey Hepburn -- and forever links that legend to a tune we can hear repeatedly without complaint.
P.S. -- In September 2008, an 87-year-old Mickey Rooney told the Sacramento Bee that in the nearly 50 years since "Tiffany's" was released -- he had received "not one complaint" about his performance. It doesn't matter. Audiences did laugh at Mr. Rooney in this picture, even though many don't laugh today. Again, despite my discomfort with his scenes -- applying today's political correctness to the past -- would alter history "as it was" in 1961....more info
- Read the book instead
This is pretty different from Capote's terrific novella. They "Hollywood-ized" so much of it, that it could only be described as "loosely" based on...... if you have modern movie sensibilities, you may find this way too predictable and sappy, especially the ending. I heard that Capote didn't think much of the movie, and I'm inclined to agree....more info
- There's such a lot of world to see
Audrey Hepburn had a lot of memorable, glamorous roles as highly individual, sensitive young women.
But her most iconic turn was as Holly Golightly, a frivolous young woman with a highly sensitive core. Hepburn is a ball of shimmering charm here, whether she's setting hats on fire or chasing nameless cats through the rain, and she's able to shine brightly enough to obscure a few flaws (such as Mickey Rooney). The other actors do serviceable jobs, but she's undeniablythe star.
"Breakfast at Tiffany's" is a daily ritual for Holly Golightly (Hepburn), a social butterfly who hosts parties, entertains drunken men for their fifty-dollartips, and dreams of owning a horse farm in Mexico with her brother. When kept-man Paul Varjak (George Peppard) moves into a neighboring apartment -- courtesy of his rich patroness -- he is instantly enchanted by the ditzy, sweet-natured Holly.
But for all Holly's fun, Paul starts to realize that all is not well with her. She's desperate to marry a spectacularly wealthy man, parties with wild crowds, visits a notorious gangster in jail, and hides that she was an illiterate teen bride to a hick doctor. As Holly's life starts to deteriorate, Paul sets out to show her what her life will be like without real love.
Reportedly Truman Capote wasn't happy with the movie version of "Breakfast At Tiffany's" -- they changed the ending from his short story's, and he didn't like Hepburn as Holly Golightley. But this is one case where the movie's quality is not reflected by what the author thought of it -- taken on its own merits, it's a fine chocolate with a bittersweet center.
Much of the movie is devoted to the friendship (and unspoken attraction) between Holly and Paul, and how it disrupts their comfortable shallow lives. Paul spends the whole movie unravelling the unhappy tale of Holly's life as she starts spinning out of control. Things climax nastily with Holly's already-questionable reputation being sullied, but the finale is an exquisite mix of brutal honesty, true love and a very unglamorous rainstorm.
That said, it's a pretty hilarious movie -- witty dialogue ("... if you like dark, handsome, rich-looking men with passionate natures and too many teeth") and plenty of kooky humour ("TIMBER!" Holly yells as a drunken model keels over, followed by the crowd parting like the Red Sea). And there are plenty of charming, warm'n'fuzzy moments, like the cute day trip through New York.
One thing that will make viewers cringe: Mickey Rooney's caricatured Japanese landlord who objects to Holly's parties. Not. Funny.
Though she was no party girl, Audrey Hepburn is pitch-perfect as Holly -- she can be flaky and adorable ("I'm CRAAAZY about Tiffany's?"), chattery and glamorous, with a cat she refuses to name because they're just a pair of "poor slobs who don't belong to anybody." But she can just as easily flip the switch to show the wounded, almost childlike side.
George Peppard is just as good -- albeit less winsome -- as a writer-turned-kept-man-turned-writer-again, whose protective affection for Holly grows as the movie goes on, but who has to get through her ironclad defenses. And Patricia Neal rounds out the cast nicely as the icy, cynical woman whom Paul gives his non-literary services to.
The Centennial Edition of this movie is, like all the others, a two-disc affair. There's a boatload of extras here -- a producer commentary, the original trailer, featurettes about the "making of" and about Audrey herself, such as "Brilliance in a Blue Box" and "Audrey's Letter to Tiffany." And there's also insights into Henry Mancini's score, Asian perspectives on Mr. Yunioshi, and the "Golightly Gathering." And so on, and so forth.
Hepburn is the flawed diamond at the heart of "Breakfast at Tiffany's," and her charm and acting ability elevate this beyond just another adorable romantic comedy....more info
- Breakfast at Tiffany's
It's the classic opening scene of a timeless romantic comedy that many would recognize, Audrey Hepburn gets out of a big yellow taxi cab, while Henry Mancini's Moon River plays in the background, in a long elegant black evening gown with her diamond tiara, fabulously large pearl necklace and elbow length black gloves, she walks to the Tiffany's store window to look at the gorgeous jewelry and chandeliers all while enjoying a croissant and a cup of coffee then heading home after a night on the town. In the film Breakfast at Tiffany's, Audrey Hepburn plays the strong-willed and glamorous female lead, Holly Golightly, who easily captivates viewers through her charming wittiness and saddening desperation. For Holly Golightly Tiffany's represents the high expectations that she has set for her life, "I don't want to own anything until I find a place where me and things go together. I'm not sure where that is but I know what it is like. It's like Tiffany's.' `Tiffany's? You mean the jewelry store.' `That's right. I'm just CRAZY about Tiffany's!' (Breakfast at Tiffany's).
Next we meet the nonchalant and attractive Paul Varjac (who Holly calls Fred because of his resemblance to her brother), a struggling writer who is Holly's new neighbor. From their conversation we quickly learn that they have something in common, they both take money from wealthy admirers. Ms. Golightly is a very social woman who goes out with many rich men and uses her looks and charming personality to get money from them, whether it be through them giving her fifty dollars for the powder room, or going to visit an ex-mobster in Sing Sing prison and delivering the "weather report" to his lawyer. She always knows when a rich man is present and is ready to seduce him, "that's Robert Trawler, he just happens to be the ninth richest man under fifty in America...I keep track of these things" (Breakfast at Tiffany's). Paul, on the other hand, is having an affair with a very affluent married woman whom he met in Rome and she is paying for his apartment and its decorations and giving him an allowance to live off of. The intriguing aspect of this shared lifestyle is that they actually acknowledge their need to use lovers "Holly: Fred, darling...I'd marry you for your money in a minute, would you marry me for my money? Paul: In a minute. Holly: I guess its lucky neither of us is rich, huh?" (Breakfast at Tiffany's). Ultimately Paul's feelings for Holly move from friendship to love causing him to end his affair, but Holly has her heart set on marrying Jose, a suave, wealthy South American. This leaves the viewers rooting for Paul and yearning for Holly to just give into the feelings for him that we all know she has.
Perhaps one of the most original scenes in the movie is the party scene, in which Holly throws a party in her apartment that gets extremely out of control. The people who attend this party are swanky and chic and come across as carefree and looking for a good time. The party quickly becomes extremely crowded and turns into an amusing drunken circus, occurrences range from hats accidentally getting set on fire to women literally hanging on men. The police are called to break up the party however both of our main characters escape any consequences.
At first Holly comes across as very simple but we later find that she has a great deal of depth. She is not just a swanky socialite with an easy life, she has had a rough past, involving being orphaned at an early age leaving her to fend for herself and her younger which causes her to marry a rural doctor, who is much older than her, that she does not love romantically. Another character that deserves some analysis is Mr. Yunioshi, the buck-toothed simple-minded Asian man who lives upstairs. "The inclusion of the stereotyped Asian character of Mr. Yunioshi (played by Mickey Rooney) borders on offensive. Mr. Yunioshi's sole purpose is to provide cheap comic relief, but, what might have been funny in 1961 has long since lost its humorous edge. The character's presence is a double blow to the Asian community - not only is he fatuous and uncomplimentary, but he is played by a Caucasian actor in heavy makeup" (Berardinelli).
This is one of my all time favorite movies because it is the sort of movie that you can watch when you are having a terrible day and are in need of an emotional boost or when you are in a great mood and simply want to laugh and continue your cheerful mood. Perhaps this makes me a little bias but I believe there is no doubt that this is a captivating film, which successfully remains simple while still having strong underlying meanings and has very intriguing characters....more info
- One of the greatest films of all time
This is a great movie!!! If you haven't seen it, watch it! And soon!!! It is a wonderful classic!...more info
- For narcissistic, shallow people only
This is one of the worst movies I've ever seen. It seems to be about a bunch of fashionably dressed shallow rich people drinking and smoking and saying really stupid lines over and over again. Unbelievable that its considered a "classic". Mickey Rooney plays an unfunny stereotypical Chinese landlord in what must have been the racist role of the year. The music is nice, thats about it. 1 star for the music....more info
- Seeing it with fresh eyes
Breakfast at Tiffany's is one of those movies which - thanks to an infrequent movie-going habit, parents who did not permit much television watching, and twenty years spent overseas watching AFRTS where the movies on offer were not top tier - I had never seen, or at least, never watched from beginning to end. So I could come to view it without much in the way of preconceptions, and to see it more or less fresh, save for seeing actors like George Peppard and Patricia Neal as almost impossibly young, younger than I had ever seen them before.
It all stands up very well - all but Mickey Rooney with grotesquely oversized buck-teeth, as the Japanese super of a pleasant New York apartment building. Fifty years later, that is a cringe-inducingly offensive bit of stereotyping and stunt casting, a small grubby fly-spot on an otherwise light and airy angel-cake slice of movie.
That it was based on a novel perhaps accounts for a certain kind of dense, and complex feel to it, a sense that all the various characters encountered - some of them just fleetingly in a single scene - have or had their own lives, interests and affections. There are a thousand more stories, behind every window on the quiet street of comfortable brownstone apartments, and a sense that every person at Holly's cocktail party, the salesman behind the counter at Tiffany's, and the fussy librarian has their very own enormously interesting life story. At the heart of "Breakfast at Tiffany's" is an ill-assorted pair of neighbors. Perhaps they are not as ill assorted as all that, for they are both being kept, in the old-fashioned sense of the word. Semi-failed writer Jack is more or less the designated boy-toy of a wealthy married woman who has installed him in the apartment for her convenience. And Holly Golightly - elegant and dizzily charming - lives by her wits and charm, cadging fifty dollars at a time from a circle of escorts and visiting an imprisoned mobster once a week. She has a cat, an all-but unfurnished apartment, and a tendency to flee emotional involvement - with anyone. Her ambitions, if any, are wistful ones about making a home for herself and her younger brother, or marrying a very rich man. Very gradually and naturally, Jack and Holly become acquainted, trust each other, become friends and then realize that they love each other. In real life, love grows in a manner much more like this, much more often than the instant, shake'n'bake romance, which may account for the appeal of this move over the decades since.
Extras are a rather mixed lot: there is strange little feature about cocktail parties, featuring a reunion of the various actors cast as the guests at Holly's lively cocktail party, reminiscing about their bits of business. It was a very complex bit of shooting, and took up more than a week; if you go back and watch that segment very carefully, you will appreciate all the minor stories happening there. Another feature is a sort of retrospective on portrayals of Asians in the movies, and the (to late 20th-century movie fans) the bizarre and unconvincing penchant for casting Caucasian actors in Asian roles. There is also a feature about Tiffany's, and a lovely memory by the writer of the company history of Audrey Hepburn writing a graceful dedication page for it. Ms Hepburn and her fashion sense are the focus of yet another. (She did indeed dress beautifully, in ageless and flattering clothes that still look up-to-this-minute current. Any of her gowns and outfits could be worn today without appearing the least bit dowdy or unfashionable.)
The movie is a classic, just a bad one. It's been a while since I've seen it, but the other reviews really helped jog my memory. The movie was shallow and contrived. The main character of a movie should be liked by the audience, but Holly failed to catch my attention or respect. Her unhappiness and lack of self confidence is no excuse for her selfishness. I might have given this move a 3 star if not for the hype. The over the top praise this movie has recieved is unbelievable! I can't help being disappointed in the people who gave it a 5 star. Everyone is entitled to their opinion, but still. I agree with a reviewer who wrote that Breakfast at Tiffany's is so beloved because Audrey Hepburn is in it and because the movie is in color. It's pretty irritating that some people would judge a movie by it's actors and CGI, color, cinematography, etc. Shouldn't the story have some kind of plot or lesson? I guess that I'm just the type of person who likes a movie with a purpose. I don't need symbolism, just some kind of goal in mind. Maybe I need to learn how to enjoy a movie for what it is instead of analyzing everything. Actually, I'm not even sure why I watched it in the first place. Curiosity, I guess, and I felt that I should since I like watching classics. It really wasn't a terrible movie, just disappointing. And also, like another reviewer said, it felt like the beginning of Hollywood's apathetic or "whatever-floats-your-boat" phase. ...more info
- Fun, Flirty and Resplendent
This great romantic classic features the glowing Audrey Hepburn as a callous, innocent society girl who wants no permanent home. This rule applies to her cat as well, whom she refuses to give a name to because she doesn't feel she'll keep it .
George Peppard is the single writer and "escort" of an older woman.
After some scandal and a fiance who later breaks off the engagement,Holly finds the love she's looking for in Peppard and together they find the cat and .who knows ?
Audrey is stunning, dreaming and convincing in her role....more info
- fast service
I have never watched the video. It was a gift for a friend. The product was shipped to me on time! ...more info
- Absolute Classic!
Audrey Hepburn, George Peppard, beautiful clothes, New York City, what's not to like? This is one of my favorite movies and I am so glad to be able to have it in my DVD library....more info
- "I hate snoops!"
Breakfast at Tiffany's directed by Blake Edwards is the perfect romantic comedy/ drama. Released in 1961 and starring Audrey Hepburn is her most enchanting role to date. Hepburn is radiant and vulnerable as call-girl Holly Golightly. George Peppard stars as Holly's potential love interest, his little speech at the end of the film is defintely the best scene. Both stars have amazing chemistry together and the opening shot is 100% genius. Hepburn's style and those gorgeous blonde streaks in her hair give this film a chic and modern look even to this day. The only thing stereotypical in this film is Mickey Rooney passing as a grumpy Japanese landlord, how silly is that? Anyways Breakfast at Tiffany's is pure heaven, and with this speical anniversary collection dvd, the film looks brand new and contains some fun special features. Who doesn't love Tiffany's! Enjoy darling!...more info
- Wild ride on the wild side of privilege
BaT is one of those films that gives viewers an insight into the lives and mindset of an entire period. Audrey Hepburn plays impulsive-yet-fragile Holly Golightly, a young woman living the high life in New York City around 1960. There is much about the film that is bizarre and almost otherworldly. Holly is a woman of exquisite taste and fantastic connections, with a perhaps non-existent body of work and (beyond comic scamming of her rich dates) no evident means of support. She doesn't seem to be a movie star, and (regardless of how Truman Capote may have written her originally) shows little evidence of being a call girl. She throws lavish parties, loves to hang around Tiffany's and lives alone in a largish apartment in notoriously expensive NYC. She may or may not be na?ve about the "weather reports" she is asked to pass along, for a modest stipend, by a mobster she visits weekly in Sing-Sing prison. She quickly starts up a relation-by-fire-escape with Paul Varjak, a young writer who moved into the apartment upstairs. Varjak is a "kept" man, who is supported by a middle-aged society woman. Predictably, the two young people fall in love, though Holly is notoriously skittish about commitments of any kind.
The film is smart, based on a story by Capote, and exudes a tamed version of debauched high society hijinks that must have seemed shocking when the film was released. Alcohol flows copiously at Holly's parties, with people dancing with more or less wild abandon until the cops arrive to quiet things down. The idea of mixing Holly up with narcotics dealers is pretty edgy also, as is the clear indication of the sexual relationship between Varjak and his married benefactrice. Indeed, the sexual tension is kept rather high throughout the film. In one memorable scene, Holly escapes a drunken date by climbing a window into Varjak's apartment. Holly is clad only in a nightgown, and Varjak, in bed after an assignation with his lover, is seemingly naked under the covers. Their conversation, held on Varjak's bed, is at once titillating and awkward.
But all is not as it seems. In spite of her seeming sophistication, Holly has commitments "back home" in Arkansas. Her impulse is always to flee, which threatens her budding romance with Varjak. The rest of the film deals with whether she will run away once again or settle down with a man who loves her.
BaT fascinates by giving us a glimpse into Holly -- an intriguing and beguiling creature -- and the life she leads. Who is she? And how does she manage to both attract and keep so many men at bay? Hepburn gives us the 1950s-vintage portrait of the alluring female, ever in search of a sugar daddy. Yet this is also what modern eyes find repellent. Holly may be presented as the charming sum of her behaviors, but psychologically, she is a mess. She drinks too much, pretends not to understand she is being manipulated, cavorts in the scandalous limelight. She is almost a cartoon -- hardly someone who could be understood as real. Yet Hepburn brings a charm, cuteness and vulnerability to make the film very engaging. By the end of the film, you will have fallen for her like everyone else.
The rest of the cast stands out -- George Peppard as Varjak, Martin Balsam as Holly's agent, and Buddy Ebsen as her back-home interest. The only sour note is played by Mickey Rooney, who plays a stereotypical buck-toothed, myopic Japanese neighbor forever banging into things and threatening to summon the police to ends Holly's noisy parties.
BaT is still worth the watch after 40 years, if only to observe the world that many found fascinating in an age that considered itself more optimistic and innocent than our own....more info
- A Dream Maker, You Heart Breaker
We know they will never see the end of days together, but we all are rooting for them and their dreams and the moment for Capote has captured the essence of so many of us in these two characters. One can view this film one hundred times and still have a tear drawn by this unconvential and unsentimental love story. Everyone has a Huckelberry friend, just waiting around the bend....more info
- Breakfast at Tiffany's
Adapted from Truman Capote's novella, Edwards's fleet-footed romantic comedy would not be the cultural touchstone it is without the effervescent presence of Hepburn. As Holly Golightly, a small-town Texas girl with her feet planted firmly in the glitz of New York's party scene, Hepburn is irrepressibly charming, a vision of elflike beauty in Givenchy and pearls. But she is also a frail creature harboring secrets, and Hepburn plays both sides exquisitely. Peppard is solid and likable as writer Paul, Holly's admirer and confidante, while Patricia Neal chews on her steely role as Paul's wealthy older mistress. A chic, iconic romance, memorably set to the Oscar-winning strains of Henry Mancini's "Moon River."...more info
- NEW VERSION DVD review....
I'm not about to preach about the merits of this classic movie....this is for readers who want to know if they need to throw down for yet another version? YES, the movie looks the best so far and by a noticeable amount. the BONUS features on disc 2 bring along all the best from the last edition with about an hour of new ones....all very interesting (the 20 minutes on Henry Mancini was my favorite). I picked it up for $7.50 at Target and was very very happy. If you are a fan of the movie....upgrade..if you are not an owner THIS is the one to get..
the 2 DVD Paramount version....more info
- Cute movie - Unrated, but Not for young children
This is one of my favorite fun movies! I like the special DVD edition with the extras and interviews. I agree that the casting of Mickey Rooney as a japanese man might have been better played by a japanese actor. Breakfast at Tiffany's was Audrey Hepburn's best. I love Funny Face too because both are fun.