Breakfast at Tiffany's - Anniversary Edition

Wikipedia describes this film as "A 1961 American romantic comedy... a naïve, eccentric café society girl who falls in love with a struggling writer." This is not what the movie is about at all! This description is misleading and inaccurate. I realize this film was released a long time ago and a lot of the film is just general knowledge by now, but if you were like me and ignored this film at all costs, I urge you to watch it again and dont read the following until after your re-watch. Now here's my take...____SPOILERS____************Breakfast at Tiffany's is a Romantic film, but it's not a Romantic Comedy. There are some light moments but not enough to call it a Romantic Comedy. The only Comedy elements are distastefully introduced by Mickey Rooney in what I would describe as an embarrassingly racist stereotype of a Japanese man. It's not funny at all and if the director were alive today, I would suggest releasing an edit with those scenes excised. They add nothing to the film or its message. Ignore them if you can, and if not, I understand. It was one of the reasons I never bothered finishing the film before.Next it describes Hepburn's character, Holly, as a "naïve, eccentric café society girl" and she's not that at all! In the actual film she's a former child bride of a Texas veterinarian named Doc Golightly, who no doubt consummated their marriage when she was 14. She runs as far away as she can to New York city, where she creates a plan to free her older brother, who has some sort of learning disability, from having to join the military to make a living. When she moves to New York she finds that men will pay for her company, so she becomes a high class escort at 15. So there goes the naive cafe society girl angle.When we find Paul Varjak, the male lead, moving into Holly's apartment she is now 19 years old, she has saved enough money and hustled her way into an apartment and is a messenger for the mob. Paul Varjak is a writer as described but he's also a Gigolo. A male sex worker currently hustling a rich older woman named Emily into financing his book, future writing projects and living quarters in New York. Holly recognizes him as a fellow hustler immediately, which annoys him at first, until he also realizes that she is also in a similar profession. So, far from being naive, both are professional hustlers of a sort and they approach the relationship in a shrewdly cynical yet honest way. Shes never dishonest with him about her plans, motivations and aspirations. In turn, he is brutally honest with her and tries to help her sort her life out because it seems she's become lost in the weeds of the underground society she's become a part of. She is not a helpless girl being saved by the strong cool man, as some have characterized her, but a flawed person who actually saves the man. He sees himself in her and liberates himself. He wants to help her see that she no longer has to chase the goal she has sought for so long.Although she can surely bring her brother to New York by now, and they can both help each other, she seems to be caught in the hustle. It's never enough, she has to be set for life by marrying a rich man. Which begs the question, who is she hustling for? Is she still trying to save her brother? Or is she trying to attain the currently unattainable status exemplified by the jewelry at Tiffanys. Her brother is no longer on the farm, he has gone off to war, yet she has become transfixed by the glamor. When her brother dies it becomes clear that her original objective is a failure, this was clear to Paul from the beginning. She decides to spend one last day being her true self, with a man she can love but never will. Because she will be married to the rich man at all costs; at the very least she will have accomplished one of her goals or else her brother's death was for nothing. At least, that's what she thinks. Paul on the other hand is done with the hustling life, he loves Holly in all of her true self. The selfish woman, the thief, the hustler, the sister, the sugar baby he really knows her warts and all. He feels liberated in their real cynical love. She must break his heart to free him.The crux of the film is this: Can two cynical hustlers trust each other? Can they love each other even though they have become callous to love? When sex, desire, attention and affection have no value other than as a business prospect can two people make a deeper connection? When shame, propriety and the facade of respectability are gone, can they trust their love?It's a cynical Romantic film whose subtext make it ahead of its time. I think I'll read the book.

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.-----SPECIAL FEATURES-----** "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 is NOT a weak accommodation to political correctness. As an Asian-American who has long been conflicted about "Tiffany's," this featurette sling-shots this  2008 Paramount Centennial Collection  over the moon. It's very instructive about the acceptance of yellow-face casting, e.g., why it was "OK" then and why it's "not OK" now. It is NOT sanctimonious -- and it does NOT carry a "holier-than-thou" tone that's so common and irritating 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 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 lauded 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."-----THE FILM-----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.

I remember watching this film when it was first released and, afterwards, wondering what it was all about? Later, I looked into that famous window and began to realise that this was every girl's dream - looking onto that window, I mean. Much later, I listened to the serialisation of the story on Radio 4 Extra and it all came together: I was now able to understand the film more easily. Perhaps in all this time I experienced something more of life, with or without Manhattan and Tiffany's, and it became clear that the leading lady was too big a name for such an incredible role! Audrey Hepburn, one of the most beautiful women in the world, and also a brilliant actress, was so good in the part of Holly Golightly, that she could play this earthy creature with considerable aplomb. This is a rather dated film that is timeless in its presentation of a world most of us could never relate to. It is an absolute classic that should be in everybody's collection.

This is like an early version of pretty woman (gere/roberts),A woman from a troubled childhood ,as dream of marrying a rich man ,so she can support her brother , a young troubled writer (kept by rich woman) comes to live in block, they become friends he tries to help her , like julia roberts pretty woman ,the strength here Audrey Hepburn character is very likeable which makes the film enjoyable! So is George peppard , got bit emotional about CAT (watch film),

Most people, I guess, know that this is a great film and that Audrey Hepburn is her usual wonderful self in it.What an actress and personality! Along with terrific performances from the rest of the cast, great direction and Henry Mancinis music etc. etc....All that remained to be done for this release was a blu ray transfer that did it justice. This is it....perfect!I would just like to add a comment to the question of the Mickey Rooney character.My point is... does anybody get excited about the likes of Jerry Lewis and his dopey portrayals or George Formby likewise.Or any other clownlike act? Relax...it is only a film. One must assume that people are intelligent enough to know that.The reviewer who said that if a Japanese actor had played the part in the same comic style, then there would be objectionsto that, hit the nail square on. There will always be some who object to elements in a film.And here I am doing a similar thing!Enjoy the film it is excellent....

Any movie with Audrey Hepburn is always with watching, and this is no exception. I don't normally watch romcoms but this is stylish, following the madcap, unstructured lifestyle if Holly Golightly looking for a wealthy partner, and meets Fred (George Peppard) a struggling writer who falls for Holly"s unstructured lifestyle. A classic and a must watch.

A Hollywood classic.It is a timeless romantic comedy based on a Truman Capote storyIt stars the great Audrey Hepburn and the very underated George Peppard of A Team fame. There is so much more to himThe interactions between the two leads are superb and you will find yourself on an emotional rollercoaster as you watch.A classic must see movie from the 1960s.