Breakfast at Tiffany'sDirector: Blake Edwards
In an idealized New York City during the early '60s, Holly Golightly (Audrey Hepburn) is a charming socialite with a youthful zest for life who lives alone in a nearly bare apartment. She has such a flippant lifestyle that she won't even give her cat a name, because that would be too much of a commitment to a relationship. Maintaining a childlike innocence yet wearing… See more details below
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In an idealized New York City during the early '60s, Holly Golightly (Audrey Hepburn) is a charming socialite with a youthful zest for life who lives alone in a nearly bare apartment. She has such a flippant lifestyle that she won't even give her cat a name, because that would be too much of a commitment to a relationship. Maintaining a childlike innocence yet wearing the most perfect of designer clothes and accessories from Givenchy, she spends her time on expensive dates and at high-class parties. She escorts various wealthy men, yet fails to return their affections after they have given her gifts and money. Holly's carefree independence is changed when she meets her neighbor, aspiring writer Paul (George Peppard), who is suffering from writer's block while being kept by a wealthy woman (Patricia Neal). Just when Holly and Paul are developing their sweet romance, Doc (Buddy Ebsen) appears on the scene and complicates matters, revealing the truth about Holly's past. Breakfast at Tiffany's was nominated for several Academy awards, winning Best Score for Henry Mancini and Best Song for Johnny Mercer's classic tune "Moon River."
- Release Date:
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- Region Code:
- [Wide Screen]
- [Dolby Digital Mono, Dolby Digital 5.1 Surround]
Cast & Crew
|Audrey Hepburn||Holly Golightly|
|George Peppard||Paul Varjak|
|Buddy Ebsen||Doc Golightly|
|Martin Balsam||O.J. Berman|
|Mickey Rooney||Mr. Yunioshi|
|John McGiver||Tiffany's Clerk|
|Dorothy Whitney||Mag Wildwood|
|Stanley Adams||Rusty Trawler|
|Alan Reed||Sally Tomato|
|Claude Stroud||Sid Arbuck|
|Dick Crockett||Taxi Driver|
|José-Luis de Villalonga||Jose da Silva Perriera|
|Kip King||Delivery Boy|
|James Lanphier||The Cousin|
|Joan Staley||Girl in Low-Cut Dress|
|Roland Anderson||Production Designer|
|Sam Comer||Set Decoration/Design|
|Hubert de Givenchy||Costumes/Costume Designer|
|John P. Fulton||Special Effects|
|Hugo Grenzbach||Sound/Sound Designer|
|Edith Head||Costumes/Costume Designer|
|Henry Mancini||Score Composer|
|William McGarry||Asst. Director|
|Ray Moyer||Set Decoration/Design|
|Hal Pereira||Production Designer|
|Howard A. Smith||Editor|
|John K. Wilkinson||Sound/Sound Designer|
|Truman Capote||Source Author|
1. The Mean Reds
2. My Decorator
4. Drinks at Six
5. Sally Tomato
6. "Moon River"
7. Lula Mae Barnes
8. Trying to Love a Wild Thing
9. Very Drunk Indeed
10. Thing's We've Never Done
11. Girl Trouble?
12. The Powder Room
13. A Real Phony
14. Running Into Yourself
English 5.1 Surround
English Restored Mono
Commentary by Producer Richard Shepherd
Commentary by Producer Richard Shepherd
The Making of a Classic
It's So Audrey! A Style Icon
Brilliance in a Blue Box
Audrey's Letter to Tiffany
Original Theatrical Trailer
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Most Helpful Customer Reviews
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This is simply the best movie of all times. Funny and sad, just as life is. Touching, romantic, visually breathtaking, full of sentiment and laughs. Perfect.
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]
When I saw this I absolutly loved it! I love the character Holly and Audrey Hepburn and Geore Pepard are wounded actors. This movie is great!
This is one of my all time favorite movies. Audrey Hepburn was always such a wonderful actress, but she really shines in this movie. I would reccomend it to anyone.
Breakfast at Tiffany's is easily one of my eternally favorite films, as Audrey Hepburn is one of my all-time favorite actresses. Of course, this is a sensible comparison and connection to make as the film would not have been as special and unforgettable without the luminous and elegant presence of Audrey. She is simply beauty and charm personified. What a woman! and what an actress! I've always believed that one of the signs of a great actress is when the audience could not get enough of or never tire of the performer in front of them - curious to witness the actress' every move, every gesture and hanging on her every word. Audrey was uniquely one of these actresses. She was beyond captivating and completely lovable to watch. Without any formal acting training, Audrey was a natural onscreen. It seemed as if she acted from her heart and soul. All these said, it's difficult to imagine why she herself thought she was miscast in the role of Holly as I could never think of anyone who could have played it as perfectly as she did. Audrey was able to exude the complex, unsettled, and slightly troubled nature of Holly while at the same time being able to successfully paint her as a highly sympathetic, funny, witty, likeable, and charismatic character - one that you would never hesitate to root for. Breakfast at Tiffany's is truly the prototype of a classic Hollywood film.
¿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!
I first watched this movie as part of a quest to view classic films. I had no idea I would enjoy it so much! Audrey Hepburn is absolutely fabulous! I would reccomend this movie to anyone.
I have to say that Breakfast at Tiffany's is the best movie in the world. I watched it one day and fell in love Audrey is a wonderful actress and I love every movie she is in!!!!!!!!!!!!!!!!!
Although it doesn't run exactly with Truman Capote's book, it is still amazing. Audrey and George's acting is tremendous. There was great wardrobe, dialogue, soundtrack, everything was just great. I love it. Everyone should watch it, though children under twelve may not understand what '$50 for the powder room' means, or some of the crude jokes that are quietly cracked. But it's great, *****
From director Blake Edwards comes one of the best romantic movies ever made. Audrey Hepburn gives the performance of a lifetime as Holly Golightly, who puzzles a writer (played by George Peppard). Audrey Hepburn recieved an Oscar nomination from this movie. Too bad she won it for Roman Holiday. This was way better.
I love this movie-It is my favorite(ok 1 of my 2 favorites) I want to be Holly,a free spirit,thin,beautiful!
Audrey Hepburn portray Holly Golightly beautifully. Truman Capote would be proud. Her wide eyes and enchanting smile bring this romantic story irrepressable charm. Henry Mancini's soundtrack is splendid.
I love this movie and I recomend it for any one who likes cute romantic movies!!
This movie is positively amazing. I recoommend it to anyone in high school and over. This is better then the book (which rarely happens!)