Review of Breakfast at Tiffany's (1961) by Daniel A — 02 Feb 2011

There are few moments in movie history as iconic as Audrey Hepburn dressed to the nines in a stunning black gown and pearls, her hair in a sleek chignon, eating a Danish outside Tiffany's, New York City. It's pure cinematic gold.

Breakfast At Tiffany's is arguably the most beloved romantic comedy of all time. Hepburn's irresistible charm alongside Henry Mancini's enchanting score combine to create real movie magic. Though it's well known that Truman Capote, who wrote the novel on which the film is based, did not like the film, cinemagoers fell in love with free-spirited call-girl Holly Golightly. Hepburn too is known to not be a fan of this movie; knowing Capote wanted Marilyn Monroe for the part she reportedly felt inadequate whenever Capote was on the set, while costar George Peppard was equally problematic by employing strict method acting, and consequently riling many of his colleagues. However none of this tension is present in the fine performances on show, which elevate the movie to a level far beyond Capote's claims.

Where Monroe oozed flirtatious sexuality, Hepburn epitomized poise and class. Her iconic beauty is undoubtedly one reason for her popularity, but it's actually her delicate manner and spectacularly measured acting which have made this actress one of the most adored in Hollywood history. Her performance here sums it all up. Golightly is a frightened and damaged young woman, who conceals her fear with an apparently carefree positivity. Hepburn captures this emotional paradox beautifully, ensnaring the viewer with her dazzling smile before hitting them with some truly brutal honesty. Opposite her Peppard is the man who believes he can save her from her demons, but his own questionable occupation must be dealt with before he can help another. He is well cast in the role, providing a straight laced turn that balances Hepburn's dizziness, and makes the most of those piercing blue eyes. Together the pair muster up some great chemistry, and as far as I'm concerned their romance stands toe to toe with the likes of Rick Blaine and Ilsa Lund or Katie and Hubbell.

Furthermore the film also takes a gentle swipe at the socialite world of the early sixties. In the infamous party scene we see an amusing array of perfectly coiffed people indulging in a lifestyle centered firmly on cigarettes and alcohol with some amusing consequences. Director Blake Edwards keeps his commentary fun, and does an exemplary job of sewing it into the life of the characters. He also creates a stunning look for the movie. Everything from the sets to the now infamous costumes are used to capitalize on Hepburn's beauty, while a number of real New York locations provide yet another iconic element to the film's already impressive résumé.

Naturally the film is not entirely flawless. Most notable is Mickey Rooney's take on Golightly's Japanese neighbour Mr. Yunioshi. Though the character provides much comic relief, this sort of thing would obviously cause great offence were it done today. However the fact is this movie is very reflective of its era, and though the fashions and romantic tones remain just as relevant today, there will always be some areas that no longer ring true some fifty years on.

I find it difficult to express just how powerful this film really is. There are few movies out there that I know are guaranteed to bring me such joy, even after two dozen viewings. Breakfast At Tiffany's is a magical romance, showing Audrey Hepburn at her most charismatic, and providing the perfect antidote to the most severe case of the blues, or should I say "the mean reds".