Customer Reviews for

Breakfast at Tiffany's

Average Rating 4.5
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Most Helpful Favorable Review

3 out of 3 people found this review helpful.

Hepburn's "Hustler".

Even as Paul Newman was creating a male archetype for the Sixties in "The Hustler", so was Audrey Hepburn doing the same for the female of the species in "Breakfast at Tiffany's". She was, of course, already a major star, but in the Fifties Hepburn had established a sen...
Even as Paul Newman was creating a male archetype for the Sixties in "The Hustler", so was Audrey Hepburn doing the same for the female of the species in "Breakfast at Tiffany's". She was, of course, already a major star, but in the Fifties Hepburn had established a sense of aristocratic innocence, of fawn-like vulnerability, of pixieish charm blended with vixenish soul. By that decade's end it was clear Ms Hepburn would soon be too old to play such ingenuous parts and, wisely, she started searching for something different. Hepburn needed a vehicle which would provide the proper translation into more mature, sophisticated roles without ever turning her back on her old screen image. Luckily, she happened on Holly Golightly, the unforgettable female created by Truman Capote in his delightful novella. For audiences, she captured something of the spirit of the times: Holly is as amoral as Fast Eddie Felsen and, in fact, compliments him as the first significant female role of the new decade. Holly stands as a precursor to the liberated woman who would appear in the films of the late Sixties, insisting on living her own way yet deeply in need of a man's love and companionship. Holly, one realizes at the end, is not as tough, or independent, as she would have us believe. The conclusion marks the only major departure from Capote's book, and while it did provide audiences with the happy ending Hollywood producers insisted audiences still desired, it nonetheless detracted from the story's power. Other than that one weak moment though, George Alexrod's screenplay captured the ambiance of Manhattan's East Side with an array of effective satirized character types, while Blake Edwards established his reputation as a director of sophisticated comedies with his handling of the varied confrontations between actors. Most important of all, a new kind of woman made her first significant appearance on the screen With his landmark score for "Breakfast at Tiffany's," Henry Mancini truly established himself as the eminent composer of film music for the early part of the 1960s. Mancini radically challenged the entire era that movie music should provide background and exist as a secondary and relatively formulaic accompaniment to the picture and dialogue. Mancini wanted his music to be conspicuous he was at the forefront of shifting the aesthetic of motion picture music in Hollywood toward this concept. Mancini's impact in demonstrating that the times were truly changing for Hollywood movie music was evidenced when "Breakfast at Tiffany's" lapped up the film industry's approval by winning the Academy Award for best original score. His winning of this particular category with a score that was entirely jazz/pop-oriented, and beating out traditional powerhouse Hollywood composers that year, including Miklos Rozsa ("El Cid"), Elmer Bernstein ("Summer and Smoke") and Dimitri Tiomkin ("The Guns of Navarone"), also marked the beginning of a new era for movie music in the United States. [filmfactsman]

posted by Anonymous on October 1, 2010

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Most Helpful Critical Review

1 out of 1 people found this review helpful.

MIDDLE OF THE ROAD TRANSFER FOR STELLAR SCREEN ROMANCE!

¿Breakfast At Tiffanys' is the vintage Blake Edward¿s romance based on a novel by Truman Capote. Providing the elegant Audrey Hepburn with her quintessentially chic role as Holly Golightly, the film is an adroit, often poignant, and uncharacteristically sobering study ...
¿Breakfast At Tiffanys' is the vintage Blake Edward¿s romance based on a novel by Truman Capote. Providing the elegant Audrey Hepburn with her quintessentially chic role as Holly Golightly, the film is an adroit, often poignant, and uncharacteristically sobering study of lost souls drowning in the big city, or as composer Henry Mancini so aptly implied, ¿two drifters, off you see the world.¿ Holly is a gadabout, ingesting the wanton escapism of a series of suitors, living her life on a shoestring and dangling just as precariously close to personal oblivion as Paul Varjack (George Peppard). He's a would-be writer kept by rich, married lady, 2-E (Patricia Neal). After escaping the violence of a one night stand gone wrong, Holly shimmies up the fire escape to Paul¿s apartment, just in time to see his ¿decorator¿ leave a few dollars on the bureau. An instant kinship develops between Paul and Holly but romantic prospects seem complicated to down right impossible, especially after Paul discovers that Holly is already married to Doc (Buddy Ebsen). This is vintage Capote. Even with glaring omissions made to the text and Mickey Rooney's garish, over-the-top performance as Holly¿s Japanese landlord, Mr. Yunioshi, ¿Breakfast At Tiffany¿s¿ remains one of the all time great date flicks. Director, Blake Edwards brings an immediacy and vitality to the proceedings, steering clear of all cinematic clichés. Henry Mancini¿s score ¿ perhaps his best ¿ provides the film with an unforgettable orchestral backdrop for this impossibly perfect motion picture. Unfortunately, Paramount Home Video hasn't done a very vintage job on this DVD. They've presented the film in its original VistaVision widescreen aspect ratio (anamorphically enhanced) and they have remixed the sound to 5.1. That's a start. But the overriding visual characteristic of the transfer is digital harshness. The DVD suffers from edge enhancement, aliasing, shimmering fine details, pixelization and digital grain. Colors are generally well balanced but there are several instances where flesh tones appear a little bit on the yellowish side. Contrast levels are weak with black levels usually registering a dark gray. There's an excessive amount of chips and scratches throughout, some general color fading and flickering and a decidedly strident characteristic to the audio. To top off the disappointment, Paramount has provided us with NO EXTRAS!

posted by Anonymous on October 1, 2010

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