An iconic romantic movie about love and identity
“Breakfast at Tiffany’s” stands as a beloved classic for many reasons. It captured the excitement and glamour of early 1960's New York City chic, made an icon of actress Audrey Hepburn, influenced popular culture and fashion, and contains an immortal theme song. A giant commercial success, it garnered five Academy Award nominations and took home two statues. When I first saw it as a boy, I could sense it was a noteworthy film and even got emotional at the end, though I didn’t exactly know why. I watched it again, and though I liked it, felt I didn’t understand it and brushed it off as one of those classics that just didn’t speak to me. Cut to today, when I rewatched it after years to prepare for this post and had a completely different experience.
Perhaps when I first saw it I expected more of a comedy, or maybe I was just too young to relate to the film’s themes. It could also have been that I was so distracted by the mesmerizing Hepburn (or put off by Mickey Rooney’s offensive portrayal) that I never fully realized what was going on. But now, while wiping away tears during the end credits, I found myself affected by a tragically deep, overwhelmingly sensitive, and highly romantic escapist film dressed up as an ultra-stylish comedy. Who knew? I guess sometimes you need to grow into a film to appreciate it.
As the film’s poignant theme music begins, a New York City taxicab drives up Fifth Avenue in the deserted morning hours and stops in front of Tiffany’s jewelry store. Out from the cab comes an alluring woman with an updo, dressed to the hilt in pearls, sunglasses, long black gloves, and an elegant black dress. As the opening credits roll, she walks towards the ritzy store to window shop while consuming her breakfast of coffee and a danish which she pulled out of a paper bag. And so begins “Breakfast at Tiffany’s”. And with that fetchingly understated opening alone, the film instantly became iconic. But I’ll get to that shortly.
The woman with the danish is “Holly Golightly”. Originally from Tulip, Texas, she ran away at fourteen to New York City, and by sheer will (and a little help from Hollywood agent "O.J. Berman”) reinvented herself as a society girl – and an offbeat one at that (drinking milk out of a wineglass and keeping shoes in her refrigerator). Her goal is to make enough money so her beloved brother “Fred”, who’s currently in the army, can come live with her. On the surface, “Holly” innocently offers her companionship to wealthy men, gets treated to dinner, and is given a $50 bill "for trips to the powder room” (supposedly to pay the bathroom attendant), but if you read the clues, you understand she’s a call girl.
“Holly” lives on the second floor of a walk-up apartment without much furniture and a cat she met by the river one day who she simply calls “Cat”. On the top floor is “Mr. Yunioshi”, a photographer who doesn’t like the noise she makes and has to constantly buzz her inside the building when she can't find her keys. The young and handsome “Paul Varjak” is moving into an apartment above hers, and we quickly learn that “Paul” is a kept man whose apartment is paid for by his “designer”, the very wealthy and married “Emily”, who he refers to as “2E”.
“Holly” tells “Paul” she occasionally suffers from the "mean reds". As opposed to the blues (which just make you sad), she explains “The mean reds are horrible. Suddenly you’re afraid and you don’t know what you’re afraid of… When I get it, the only thing that does any good is to jump into a cab and go to Tiffany’s. Calms me down right away. The quiet and the proud look of it. Nothing very bad could happen to you there. If I could find a real-life place that made me feel like Tiffany’s, then I’d buy some furniture and give the cat a name”.
“Paul” falls in love with “Holly”, and what unravels is the story of someone running away from the pain of reality, trying to be someone they are not, struggling with fears and anxieties about love, and who takes a carefree approach to life to mask her feelings. As “Holly” tells “Paul”, “It’s useful being top banana in the shock department”. But the film is a spirited comedy (and a ravishing one at that), so it’s easy to miss the darkness lurking under the lighthearted fun. Even if you do miss the point (like I originally did), this film is so well made that in the end its emotions are bound to sneak up and hit you regardless. Now that I see so much depth in this film, I can’t wait to watch it again.
Based on a 1958 Truman Capote novella of the same name, film producers Martin Jurow and Richard Shepherd optioned the rights for “Breakfast at Tiffany’s” and took them to Paramount Studios. They hired writer George Axelrod (who wrote the stage and screen versions of "The Seven Year Itch" and the screenplay for "Will Success Spoil Rock Hunter") to adapt Capote's work for the screen, and John Frankenheimer to direct it. Some of the novella’s plot, characters, and themes were altered, most notably the ending and the added romance between “Paul” and “Holly”. For his touching script, Axelrod was nominated for a Best Adapted Screenplay Academy Award.
Frankenheimer was fired early on (his approach was too dark) and replaced by director Blake Edwards, who recently had his first comedy hit with 1959’s “Operation Petticoat”. “Breakfast at Tiffany’s” showed the world Edwards’ tremendous ability at keeping serious themes happy-go-lucky, as demonstrated from the get-go in the opening credits. That scene could have been shot an infinite number of ways, but Edwards’ specific choices create one of the most arresting openings in movie history. The way he slowly introduces “Holly” from behind and in profile having her paper-bag breakfast while all dolled up in front of Tiffany’s is mesmerizing. We then get our first real glimpse of her through Tiffany's window as if she was a jewel we are looking at, while eating her dime-store breakfast. It’s a fun joke at having breakfast at Tiffany’s, yet Edwards’ storytelling adds a feeling of loneliness and that there’s something serious going on here.
As for Edwards’ faculty for outright comedy, there’s no better example than the film’s uproarious party scene in “Holly’s” apartment. For over thirteen minutes, he tantalizingly captures our attention from when guests start to arrive until the apartment’s jam-packed with zany eccentrics cavorting, drinking, and being merry (including a woman named “Irving”, a man sucking his thumb, and a lady with a hat on fire).
For the party scene, Edwards told the actors to come up with fun stuff to do, which inspired him to invent the crazy shenanigans we see. To catch the comedy, his camera follows people as they roam about, stopping to highlight conversations or let a gag play out. His direction captures the excitement and fun of a party that even I want to crash. Chaotic and comedic scenes such as this became an Edwards' trademark. His outstanding direction in “Breakfast at Tiffany’s" earned him a Directors Guild of America nomination and launched him as a big-league Hollywood director. He went on to become a giant of movie comedy.
Oklahoma-born Blake Edwards grew up in Hollywood the stepson of a film production manager and former stage director, and grandson of silent film director J. Gordon Edwards. Beginning as an actor in bit parts with the 1942 film "Ten Gentlemen from West Point", he turned to screenwriting with 1948's "Panhandle", then began directing on television in 1953. The first movie he directed was the 1955 comedy "Bring Your Smile Along", and about a half-dozen films later came “Breakfast at Tiffany’s”. He came two dramas, "Experiment in Terror" and the critical and commercial success "Days of Wine and Roses”. In 1963, Edwards wrote and directed the hit comedy "The Pink Panther" featuring Peter Sellers as "Inspector Jacques Clouseau”, followed by its standalone sequel, 1964's "A Shot in the Dark". Edwards wrote and directed six more "Pink Panther" films between 1974 and 1993, including "The Return of the Pink Panther" and "Revenge of the Pink Panther", and is perhaps best known for that series. He wrote over 70 scripts and directed over 50 films and TV shows, including the 1950s TV series "Peter Gunn", and the films "Victor/Victoria" (which earned him a Best Adapted Screenplay Oscar nomination), "10", "S.O.B.", "The Party", "The Great Race", and "That's Life!". In 2004, Edwards was awarded an Honorary Academy Award for writing, directing, and producing an extraordinary body of work for the screen. He was married twice, to actress Patricia Edwards, and then over forty years to actress and singer Julie Andrews, which ended with his death. Blake Edwards died in 2010 at the age of 88.
Capote wrote his novella with Marilyn Monroe in mind as “Holly”, intending she play the role in the film (he even had Axelrod tailor the screenplay for her). Though Monroe wanted the part, her acting coach Paula Strasberg advised her not to play a lady of the evening, and much to Capote's devastation, she dropped out. Audrey Hepburn was under contract to Paramount, but the studio thought she'd never accept a role so opposite of her persona. She did, much to Capote’s chagrin (who publicly stated he thought she was completely wrong for the part). The rest is history.
As “Holly Golightly”, Audrey Hepburn created one of the most iconic characters in cinema. Described by her agent “O.J.” as being a phony – but a real phony because “she honestly believes all this phony junk that she believes”, “Holly” finds ways to distract herself from her broken soul, and Hepburn is exquisitely easygoing but with an underlying sorrowful vulnerability. Take the moment when she and “Paul” half joke that they would marry each other if they were rich and “Holly” says "I think it's pretty lucky neither of us is rich”, then adds “Oh ‘Fred' darling, I"m so glad to see you”, and kisses him on the lips for the first time. Hepburn’s expression has such complexity (pleasure, surprise, longing, embarrassment, fear) we feel the impact of the kiss as much as she does. It’s incredibly truthful, extraordinary acting.
That moment is just one in a performance teeming with authentic emotional intricacies, as when "Holly" first sees “Doc” (actually, all her scenes with him), or the entire sequence inside the Five and Ten cent store as her expression and demeanor continually shift while perusing the store's items, watching the guard, and frequently looking at “Paul”. And Hepburn’s final scene in the cab and rain is beyond emotional on many levels. This is an actor completely invested in her character, and as a result is exceedingly exciting to watch. Hepburn radiates warmth, charm, sophistication, and humor, and brings to life a character so appealing and so human, one desperately wants to be near her and befriend her. Her performance earned Hepburn a Best Actress Academy Award nomination (her fourth), and she's become forever identified with “Holly” and “Breakfast at Tiffany’s”.
Already a major star when she made “Breakfast at Tiffany’s”, Audrey Hepburn took the part, but with reservations. According to Barry Paris' book "Audrey Hepburn", Hepburn told her agent, “‘Holly’ is so contrary to me. She frightens me. This part called for an extroverted character. I am an introvert". But after seeing the finished film, she said, "This is the best thing I've ever done, because it was the hardest". Despite playing a character so different, Hepburn’s own sincerity, kindness, grace, and humor seeped into her performance. Every people who knew her talk about her, they all sing Hepburn's praises, including “Breakfast at Tiffany’s” producer Richard Shepherd, who said “I can say, having worked with a lot of different actresses over my life as a producer, as a studio head, and as an agent, there just was never ever an actress as professional and as joyful to work with, and as kind, and as prepared, as Audrey Hepburn. She was, in my view, not only a giving, loving, wonderful human being, but a tribute to the motion picture industry and to life itself”. You can read more about the life and career of Audrey Hepburn in my post on the film that made her a star and won her an Oscar, “Roman Holiday”. Be sure to read it.
Another reason “Breakfast at Tiffany’s” is iconic is Hepburn's style. The opening scene in her black dress outside Tiffany’s was so impactful, it made little black dresses something every woman must have to this day. That dress is considered one of the most influential dresses of the 20th century, and it sold at auction in 2006 by Christie’s for 467,200 pounds.
Hepburn wears her clothes and accessories so sensationally (sunglasses, hats, a sleep mask, scarves, gloves, shoes, handbags, footlong cigarettes holders, and more), she turned into a fashion and style icon women tried to emulate (she was even the personal fashion icon of First Lady Jacqueline Kennedy). Hepburn had a tremendous sense of what looked good on her, and early in her career found a kindred spirit in fashion designer Hubert De Givenchy.
Hepburn became aware of Givenchy before he was really famous and asked him to design some clothes for her second film, 1954’s “Sabrina”, in which she wore three of his dresses. That put her on the road to becoming a fashion symbol and began a relationship between the two that lasted her entire life, creating her clothes on and offscreen. She was his muse, and together they formed Hepburn’s iconic look which culminated in “Breakfast at Tiffany’s”. What they invented was so influential, their relationship has been featured in several museum exhibits, including 2016’s “Hubert de Givenchy – To Audrey with Love”, and 2017's "Audrey Hepburn and Hubert de Givenchy: an Elegant Friendship”.
Though renowned for his partnership with Hepburn, French-born Hubert de Givenchy became a world-famous luxury designer of haute couture, ready-to-wear clothing, accessories, perfumes, and cosmetics. He opened his own design house in Paris in 1952, shortly before meeting Hepburn, and in the 1950s and early 1960s, was one of the world’s top couturiers. His clients included Ingrid Bergman, Lauren Bacall, Maria Callas, Marlene Dietrich, Greta Garbo, Grace Kelly, Sophia Loren, Jacqueline Kennedy Onassis, and many of the world's royalty. He dabbled in costume design for films and TV, mostly those starring Hepburn, such as "Funny Face" (which earned him a Best Costume Design Oscar nomination alongside Edith Head), "Love in the Afternoon", "Charade", "Paris When It Sizzles", and "How to Steal a Million”, and non-Hepburn movies like "Eyes Without a Face", "Crack in the Mirror", and "The V.I.P.s". A gay man, his longtime life partner was fashion designer Philippe Venet. Hubert de Givenchy died in 2018 at the age of 91.
Forgive me for using the word "iconic” yet again, but “Breakfast at Tiffany’s” is truly iconic in so many ways, including its theme song “Moon River” with music by Henry Mancini and lyrics by Johnny Mercer. “Holly” strums a guitar and sings the song to herself on her fire escape in a rare moment of self-reflection, and Hepburn’s wistful interpretation sheds light on “Holly’s” true state of mind. Mancini wrote the song specifically for Hepburn and that’s her singing it in the movie. The haunting music and longing lyrics made “Moon River” an instinct classic, and won it a Best Original Song Oscar, and Song of the Year and Record of the Year Grammy Awards. AFI named it the 4th Greatest Song in American Movies and it continues to be sung by countless singers even today. Mancini also composed the film’s phenomenal score which tugs at the heart in all the right places and won him a second Oscar (for Best Original Score).
Ohio-born Henry Mancini began playing music when he was eight, and upon seeing Cecil B. DeMille's 1935 film "The Crusades", decided to embark on a career writing film music. He played instruments and began studying orchestral arrangements in his teens, and studied music at Carnegie Mellon and Juilliard. After serving in the military during World War II, Mancini began composing and got a contract at Universal-International where he contributed music to well over 100 films, including "Creature from the Black Lagoon", and "The Glenn Miller Story" (which earned him his first Oscar nomination). In 1958, he left the studio to become independent. Edwards loved Mancini's score for the 1958 film "Touch of Evil", and asked him to score his TV series "Peter Gunn", which began a partnership between the two that lasted thirty-five years with thirty films. Mancini scored well over 100 films and TV shows and was nominated for eighteen Academy Awards, winning four (two for "Breakfast at Tiffany’s", Best Original Song for "Days of Wine and Roses" and Best Score for "Victor/Victoria"), and was nominated for seventy-two Grammy Awards (winning twenty), solidifying his reputation as one of the greatest composers in Hollywood history. He was married once for over fifty years until his death. Henry Mancini died in 1994 at the age of 70.
George Peppard plays “Paul Varjak”, the handsome, struggling writer turned call boy who movies into “Holly’s” apartment building. “Paul” calls himself the “sensitive, bookish type” and is the calm in the middle of the storm. His reserved and grounded strength is wonderfully contrasted with “Holly’s” free spirit, and she brings him out of his shell while he loves her unconditionally. Watch the joy on his face as he walks around the city with “Holly” doing things they’ve never done before. And his serious scene with her in the taxi is spot-on.
Funny enough, as good at Peppard is in the film, he wasn’t anyone’s favorite. Edwards never wanted him in the role but the producers insisted, and according to his costar Patricia Neal, Peppard and Edwards almost got into a fistfight over differences of opinion. Neal found Peppard conceited and difficult, as she said in the 2005 documentary “The Making of a Classic”, “I worked with him at the Actors Studio and we’d gotten along superbly. I really loved him… and I was so thrilled to be doing this film with him. Well, he had been spoiled and he wanted things as he wanted them. I dominated him a lot more in the script and he didn’t want to be seen in that condition”. Even Hepburn, who never said a bad word about anyone reportedly found Peppard pompous and a bit too intense. In any case, he is splendid in the role.
After serving in the Marines, Detroit-born George Peppard changed his career path from engineering to drama, went to Pittsburgh where he studied acting, worked on radio and on stage, and moved to New York City to study at the Actors Studio with Lee Strasberg. After some regional theater, in 1956, he made his Broadway debut in "Girls of Summer" while also working on television. His first film was in 1957's "The Strange One". More TV roles followed along with four more films (including a notable role in 1960's "Home from the Hill”), before landing "Breakfast at Tiffany’s" which made him a leading man. He was now starring in films like "The Carpetbaggers", "How the West Was Won", "Operation Crossbow", and "The Blue Max", often as a handsome guy who could be a bit threatening. By the late 1960s, the quality of his films diminished, and in the 1970s, he worked mostly on television, including starring in the series “Banacek" and "Doctors' Hospital”, later finding TV fame as "Colonel John 'Hannibal' Smith" in the 1980's hit series "The A-Team". Peppard appeared in 59 films and TV shows, and his others include "Pork Chop Hill", "The Groundstar Conspiracy", "Rough Night in Jericho", "Damnation Alley", and "The Victors". He was married five times, including to actress Elizabeth Ashley. George Peppard died in 1994 at the age of 65.
Great actors make us forget they are acting, and such is the case with Patricia Neal who melts into the role of "Mrs. Emily Eustace Failenson", known as "2E", the married woman who pays "Paul" for sexual favors. Neal has more than enough no-nonsense strength and sensuality to make "E2" credibly intriguing. Her very subtle emotions carve out a fascinating individual, such as when we first see her getting out of a cab, quickly spotting “Holly”, and dismissing her as much as possible with an undercurrent of annoyance and jealousy. Neal emits a relaxed power, whether worrying that someone is spying on her, having a flirty coded phone conversation with “Paul”, or writing him a check for his “girl troubles”. After stepping away from movies to appear on television and on Broadway in "The Miracle Worker", "Breakfast at Tiffany's" was Neal's first film in four years. She returned with a bang with this stunning performance and then won a Best Actress Academy Award for her next film, 1963’s "Hud". You can read more about the life and career of the talented Patrica Neal in my previous posts on “The Day the Earth Stood Still”, “A Face in the Crowd”, and “Hud”.
Another actor in “Breakfast at Tiffany’s” who appeared in previous films on this blog is Martin Balsam who plays Hollywood agent “O.J. Berman”. Balsam has a tremendous presence and even if only seen briefly, one truly believes he's a Hollywood agent. He adds a cutting humor to his scenes and is a joy to watch. After beginning on Broadway in 1941 and working extensively on television since 1949, Balsam had only appeared in a handful of films prior to "Breakfast at Tiffany’s”. Unlike the majority of actors who turn from film to television late in their careers, his film career took off in the late 1960s, and he remained a top film character actor for the rest of his life. You can read more about the life and career of the gifted Martin Balsam in my prior posts on "Psycho" and "On the Waterfront".
Mickey Rooney plays “Mr. Yunioshi”, “Holly’s” upstairs neighbor who continually complains about her. Rooney may be emotionally believable and very adept at physical comedy, but unfortunately I can never get past his egregious caricature, horrifically stereotyped accent, grotesque teeth, thick glasses, and yellow-face make-up. The character was meant to be funny, but it's not. Luckily he's not in the film very much.
Rooney was cast because he was a comedy pro and Edwards and he were friends. In those days, having a Caucasian actor play Asian was not taboo. As Edwards said in 2005, “Certainly, at that time when I did it nobody criticized it, it was perfectly okay. Looking back, I wish I had never done it and I would give anything to be able to recast it”. Years later, Rooney reportedly said he wouldn’t have played the part if he knew it was offensive. Mickey Rooney was one of the biggest stars of Hollywood's Studio Era.
Brooklyn-born Mickey Rooney began performing in his parents' vaudeville act at seventeen moths old. When his parents separated, he moved to Hollywood with his mother and appeared in his first silent film at the age of six, 1926's "Not to be Trusted". Two films later, he starred in the comedy short "Mickey's Circus" as "Mickey McGuire", a popular character he played in seventy-seven more shorts though 1936. Rooney easily transitioned to sound films and was cast in bit parts opposite Hollywood's biggest stars, such as Jean Harlow, Clark Gable, William Powell, Myrna Loy, and Joel McCrea. Metro-Goldwyn-Mayer (MGM) signed him after seeing his standout performance as "Puck" in the 1935 film "A Midsummer Night's Dream", and in 1937, he appeared as the energetic, wholesome, wisecracking, girl-crazy, small-town teenager "Andy Hardy" in "A Family Affair", which was an enormous success that led to fourteen more “Andy Hardy” films though 1958, including "Love Finds Andy Hardy" (in a fun joke in “Breakfast at Tiffany’s”, “E2” says to “Paul” when she realizes he’s in love, “I do believe love has found ‘Andy Hardy’”).
Also in 1937, Rooney was paired with Judy Garland in "Thoroughbreds Don't Cry", and the two had such fantastic chemistry, they appeared together in several "Andy Hardy" films and a string of what became known as "Hey kids, let's put on a show" musicals, such as "Girl Crazy", "Strike Up the Band", and "Babes in Arms” (which earned Rooney his first Best Actor Oscar nomination). In 1939, Rooney was Awarded a special Juvenile Oscar “for bringing to the screen the spirit and personification of youth". In between the popular "Andy Hardy" movies and crowd-pleasing musicals with Garland, the talented and versatile Rooney appeared in other films like "Captains Courageous", "Boys Town", "The Adventures of Huckleberry Finn", "Young Tom Edison", and "The Human Comedy” (which earned him a second Best Actor Oscar nomination). Rooney was a Top Ten box-office star every year from 1938 to 1943 and Hollywood’s number one star in 1939, 1940, and 1941. He entertained troops in combat zones while serving in the Army during WWII, and upon returning, found his career heading for trouble. He was no longer a teenager, audiences' tastes were changing, and being stout and 5'2", was not considered leading man material at the time.
With a career low in the 1950s, Rooney tried his hand at TV with the short-lived series "Hey Mulligan" (also called "The Mickey Rooney Show”) created by Edwards. He earned a third Oscar nomination for his supporting role in the 1956 film "The Bold and the Brave". Even though he made a financial fortune, he spent even more, and in the early 1960s, filed for bankruptcy. He had a comeback of sorts with the 1979 film "The Black Stallion” (earning him a fourth and final Oscar nomination for Best Supporting Actor), and his Broadway debut in "Sugar Babies" opposite Ann Miller (which garnered him Tony and Drama Desk Award nominations). He toured with "Sugar Babies" for five years. Over nearly ninety years, Rooney appeared in well over 300 films and TV shows, and his other films include "National Velvet", "Requiem for a Heavyweight", "It’s a Mad, Mad, Mad, Mad World", "Pete's Dragon", "Pulp", and "Night at the Museum". Rooney earned five Emmy Award nominations for his work on TV, winning two (Best Actor for the 1981 TV movie "Bill" and its 1983 sequel "Bill: On His Own”). He was married eight times (including to actresses Ava Gardner, Martha Vickers, and Elaine Devry). Mickey Rooney died in 2014 at the age of 93.
You will probably spot many familiar actors in “Breakfast at Tiffany’s”, more than I can mention, such as the moving Buddy Ebsen as “Doc Golightly” (a film and TV veteran best known as "Jed Clampett” in the TV series "The Beverly Hillbillies” and the title character in the TV series "Barnaby Jones"), John McGiver who plays the Tiffany's salesman (he appeared in commercials and over 100 films and TV shows, in films like "Midnight Cowboy" and "The Manchurian Candidate", and such TV shows as "Bewitched", "Gilligan's Island", and "The Twilight Zone"), and Alan Reed who plays "Sally Tomato" (who appeared in over 100 films and TV shows, including the films "The Postman Always Rings Twice", and "Viva Zapata!", and has become immortalized as the voice of "Fred Flintstone" in the classic 1960’s animated TV series "The Flintstones").
A last mention of Orangey, who plays “Cat”, “Holly’s” alter ego – both strays belonging to no one. Realizing they are one and the same (which I didn’t the first time I saw the film) makes the end that much more emotional. Producer Shepherd recalled using around nine different orange-colored cats in the film (one who jumps, one who can sit still, and so on), including Orangey (and its trainer Frank Inn). Orangey is the only cat to have won two PATSY Awards (Picture Animal Top Star of the Year), one for 1951's "Rhubarb" and another for “Breakfast at Tiffany’s”, and you can read more about Orangey in my post on “The Incredible Shrinking Man”.
In addition to Best Song and Best Score Oscar wins, and nominations for Best Screenplay and Best Actress, "Breakfast at Tiffany's" also earned an Oscar nomination for Best Art Direction Set Decoration (Hal Pereira, Roland Anderson, Sam Comer, Ray Moyer).
A fun tidbit: You enjoy some of "Holly's Favorites" at an actual breakfast at Tiffany’s flagship store in New York City in their Blue Box Café.
This week’s classic is a stylish, moving, and funny film, that only gets better over time. It contains all the humor, magic, and pathos that make movies so enjoyably rich. Enjoy “Breakfast at Tiffany’s”!
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