Breakfast at Tiffany's Reviews
"Breakfast at Tiffany's" is a charming movie starring Audrey Hepburn and George Peppard. Both actors are convincing in playing their parts and talented. Hepburn enthralls her audience with impeccable acting playing the role of Holly Golightly. Holly is a fascinating character that you can't help but love. Holly's character is easy to connect to, making you wish that Holly Golightly wasn't a fictional character. Not only is Holly beautiful, but she is incredibly quirky and hilarious. Though quite poor, Holly loves nothing more than Tiffany's and of course rich men. Holly earns her income by visiting a convict named Sally Tomato in prison. She tells him strange weather reports each week such as: "It's snowing in Hawaii" (This "job" becomes important later in the story).
One day, a handsome writer named Paul Varjack (Peppard), moves in next to Holly. As soon as Holly meets Paul, she decides to call him"Fred". She refers to "Fred" like this throughout most the film, due to the fact that he reminds her of her brother who is fighting in World War II. Paul initially finds Holly to be strange and ditsy. However, the couple become fast friends. Slowly but surely Paul begins to discover the complexities that make up Holly. Though she tries to come across as tough and unemotional, Paul discovers that she's quite the opposite on the inside. After a number of different events occur, Paul discovers that there really is more to Holly than just a pretty face.
Though he calls himself a writer, Paul hasn't written anything in five years. His "friend" Emily takes care of him when it comes to money. Because of his lack in finances, Holly has zero romantic interest in "Fred". Paul begins to fall in love with Holly, but Holly is guarded, frustrating Paul. Paul eventually uncovers the shocking reason: her real name is Lula Mae. "Holly's" husband shows up because he wants to take her back home. He finds Paul and begins to tell him Lula Mae's story. Lula Mae was married at fourteen and was as rough as it gets. She lived on a farm in the south with her husband and step-children. A man discovered her, and brought her to New York because he saw potential in her. He worked hard to fix Lula Mae's southern accent and turn her into a well-mannered, refined woman. This secret comes as quite a surprise as Holly is classy and seemingly perfect.
Holly becomes interested in a fellow named Rusty Trawler. She discovered him on a list called "The 15 Richest Men Under 50". Holly recognizes that Trawler is quite daft and not particularly good-looking, however, he's rich. Around this time, "Fred" confesses his love to Holly to which she replies "Thanks" (Don't you just love her?). Paul and Holly begin to grow apart and after finding out that Rusty Trawler's money is all his parents, Holly moves on to Jose. Jose is an attractive (and of course rich) Brazilian whose family is of high social status in their country. She becomes infatuated with him and does everything in her power to become the perfect Brazilian wife. Holly and Jose plan to get married. Paul finds this situation ridiculous and calls Holly out. After the truth about her previously mentioned job visiting Sally Tomato is revealed, Jose calls off the engagement to protect his reputation and image. After a big fight, Holly finally breaks and tells Paul that she loves him too. The movie closes with Holly and Paul together.
Some may find the plot slow and anticlimactic. If you're looking for a movie with action, this may not be the film for you. The plot develops slowly but is so lovely. If anything, the quotes, actors, set, and clothing should be incentive enough to watch "Breakfast at Tiffany's". There are hilarious and inspiring quotes tastefully sprinkled throughout the film. The clothing worn by all the characters, but particularly Ms. Hepburn are top notch. By the end of the movie, you're inspired not only by Holly's spontaneity, but the heartening message of staying true to yourself and following your heart.
I so wish there had been a sequel about fifteen years later.
It wasn't all bad; the film is beautifully shot, and there are a couple of chuckles here and there, but I probably wouldn't recommend this one.
Funny, well acted, and an interesting story makes this classic still hold up.
But what isn't looked at as much is the fact that the character is a waste of celluloid. Forget about the bad teeth and racism, there is nothing for Hiroshi to do, not depth, no dimension, the character itself is a type, which may be what goes in hand with the portrayal, and yet it is indicative of a problem with the film in general: it deals more in types than in giving us fully dimensional human beings to be empathic with. There is no empathy with Hiroshi, he is just... WRONG, in EVERY WAY!
Okay, over with that, good. Let's move on.
Audrey Hepburn is the light of the movie, even when (or because of) not having much to do aside from being sassy and being that Holly Golightly way of sort of being above everyone around her. Despite the qualities that might or should make her seem too much to take, that she has her ways of being a "free spirit" (that is, stubborn and difficult and such), Hepburn is always a humanizing force and is a joy to watch, especially near the end as the conflicts that Holly has been dodging, artfully or otherwise, come to a head with George Peppard's character. In a sense it's fitting that the cat, named I think 'Cat', is her one constant companion as Holly is like a super-stylish cat, always going about, never tied down, rarely showing her emotions (if she can help it).
He, by the way, may not fare quite so well, but a large part of that is that Peppard plays Paul as kind of a dullard, a man with little personality but, hey, he's the male lead, he's not an a-hole, so he'll be the love interest (or constantly trying to be, as Holly is the kind of girl who, well, can't be tied down). I think what makes the movie just so... okay for me is that the movie takes too long to really get going. By this I mean into making conflict for Holly more palpable; this happens when Buddy Ebsen enters in the picture, as the actual husband for Holly (not her real name, spoiler), and what it means as far as this past life being left behind for this new life in New York as a call girl (or, you know, we might see her as a call girl if it wasn't so 1961 and still in the Hayes Code era, one such thing I'm sure Capote's book is different). Before this, the movie is trying to be funny by (sigh) Rooney, and by some quasi-shenanigans in a giant party scene at Holly's pad, featuring a good if brief appearance by Martin Balsam, but it's really a drama with little moments of funny banter.
I wish I could express in a more coherent way why I didn't click with this, but I didn't. It's a movie that wants to get by so much on the aura of Holly, but it may be more Paul's journey, of seeing this character through his eyes, and in that way the movie hasn't dated well either, aside from the spots of racism. In the 'of course, but maybe' of this movie, it's easy to say that of course Breakfast at Tiffany's shows a more independent woman than would have been seen in movies even ten years before this - Holly lives on her own, supports herself (albeit through some dubious means), and isn't tied down to one man. But what surrounds a lot of the attitudes, even if you have to dig a little or not too deep for it, is still in a time period before women got into a feminist movement. Holly could be independent and go her own way... but can she really? What does that George Peppard speech to her from outside the cab speak to? If you love someone you must belong? What about having space in a relationship? It's a little deceptive about its ethos for freedom, sexual or otherwise, or about comittments in general.
So is it a classic? Maybe for some. I found Breakfast at Tiffany's to be that over-used 'O' word and has to be applied here: it's overrated. Period.