Holly Golightly (Hepburn) is a high-class escort living in New York. She meets writer Paul Varjak (Peppard) while moving in the apartment above it and, over time, interest in them.
The course of true love runs smoothly though, as relics of the past of Holly (Ebsen) and others offer a possible future (Villalonga) in the path of Paul’s persecution of her. Audrey Hepburn was nominated for an Oscar (his fourth nod, won only his first)) as Holly Golightly and, unlike so many today, she earnt the recognition. In Holly created not only a fashion icon, but a permanent indelible and massively enjoyable, the character of the screen.
True justice Hepburn is absolutely delicious on paper, his distinctive voice, making good screenplay by George Axelrod. She seems to be fun and contagious, who are led by Holly film and they come to really care for it. What makes it a fun performance into something really special are the signs of the darker side of Holly, his speech on “the miserable slump and other signs that she is probably damaged.
George Peppard not have had to act much, its main function is to be in love with Hepburn and pleasant character, combined with its mouth open beauty mean it is easy for us to understand why it would. That this does not undermine Peppard even as it gives a fine performance and fun. In fact the entire cast becomes the top class work, except for Mickey Rooney.
Rooney is cast as abusive neighbor up an offensive stereotypical Japanese Holly and slapstick scenes involving him are cringemaking. Put it in the context of the time and it became easier to explain why you’re here, but no more excusable.
That said Rooney’s role is small enough to not detract from the film by Blake Edwards directs well, contributing several moments that have become iconic in cinema. Even people who do not know this movie have probably seen Hepburn with her hair up and massively long holder. The film has been endlessly referenced in other films, look again at the end of Four Weddings and a Funeral and say not a fan of Mike Newell.
The script, though never massively surprising, it is beautifully written with sparkling dialogue good for both Hepburn (As Miss Golightly was saying before she was so rudely interrupted …) and Peppard (So what? So that much), but his undeniable highlight comes in the middle of Paul and Holly when they embark on a day to do things that I’ve never done before. In that sequence feels really and the root of your connection.
I could write much more about this great movie, but I leave this: You should see Breakfast At Tiffany’s, because you leave the film happier than you came to it.