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Breakfast at Tiffany's
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Breakfast at Tiffany's

4.6 63
Director: Blake Edwards

Cast: Audrey Hepburn, George Peppard, Patricia Neal


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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


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."

Editorial Reviews

Barnes & Noble - Donald Liebenson
Blake Edwards's elegant 1961 adaptation of Truman Capote's novella has lost none of its sophisticated sheen or stylish sparkle, thanks to Audrey Hepburn's divine performance as wild child Holly Golightly, who lives a carefree, madcap existence in New York. She tells her new neighbor, struggling writer Paul Varjak (George Peppard), "I've taken care of myself for a long time." While the term “escort” and its less seemly variations don’t come into play, Holly’s sustains herself with $50 gratuities from the men she dates. Would-be novelist Paul is compromised, too, as he accepts cash on the nightstand from his "decorator" (Patricia Neal). Hepburn's Holly is a screen icon: the supremely elegant party girl who seems desperate for love yet thoroughly isolated from it. For all its fun and parties, Breakfast at Tiffany's is at heart a somber film, rich in the romance of the big city yet attuned to its soul-crushing realities. Hepburn and Peppard get wonderful support from the rest of the cast: Buddy Ebsen as a figure from Holly's surprising past; John McGiver as an incredibly patient Tiffany's salesman; Martin Balsam as a Hollywood sleaze who has Holly's number; and Alan Reed (best known as the voice of Fred Flintstone) as convict Sally Tomato, to whom the unwitting Holly delivers "weather reports" in prison. Contemporary viewers coming to the film for the first time may be shocked by Mickey Rooney’s turn as Mr. Yunioshi, Holly's perpetually exasperated and disapproving Japanese neighbor -- Rooney's performance begins at racially insensitive and never looks back. Perhaps the most significant performer after Hepburn, though, is Henry Mancini: It’s impossible to imaging the film without his dreamy Oscar-winning score and its melancholy theme, "Moon River."
All Movie Guide - Mark Deming
Blake Edwards may have directed Breakfast at Tiffany's, and screenwriter George Axelrod certainly did a splendid job of adjusting Truman Capote's novel for the screen, but from the first moment Audrey Hepburn steps out of a cab with her coffee and danish and window shops at Tiffany's after a night on the town, this is her movie, and it's all but impossible to imagine another actress in the role. Beyond her tremendous charm and buoyant comic timing, Hepburn manages to make Holly Golightly at once resilient and fragile, a woman who knows her way around Manhattan but still hasn't figured out how not to be hurt by the world around her -- it would have been easy to make Holly seem flighty and annoying, but in Hepburn's capable hands she's an adorable, jaded innocent whose hipster façade and oft-stated desire to marry a wealthy man never quite disguises her need to be loved and to belong. As Paul Varjak, Holly's neighbor, friend, confidante, and eventual boyfriend, George Peppard is almost a bit too strong and solid -- he seems a mite stiff much of the time -- but he plays well off of Hepburn, and knows enough to stay out of her way; elsewhere, Patricia Neal is spot on as Paul's cheerfully cynical "sponsor," and Buddy Ebsen is superb in a brief turn as the former husband of the former Lula Mae Barnes (and could anyone blame him for wanting her back?). The film's only obvious casting mistake is Mickey Rooney, whose buck-toothed and over-the-top shtick as Mr. Yunioshi might be a shade less offensive if he were the least bit funny. However, between Edwards' frothy pacing, Franz F. Planer's lovely location camerawork, and Henry Mancini's memorable score, Breakfast at Tiffany's is a thoroughly charming and witty valentine to one special woman and the city she loves that still enchants more than 40 years after it first hit the screen.
All Movie Guide
Few performers are as inextricably linked to a character as Audrey Hepburn to the role of Holly Golightly in Breakfast at Tiffany's. Her Holly is a delicate portrait of a grown-up girl with the soul of a child. Blake Edwards's spirited direction sets a deceptively light tone as he gradually reveals a portrait of two young New Yorkers who, like the film itself, are more complicated than they first appear. George Axelrod's adaptation of the Truman Capote novel successfully balances sentiment and comedy, and Henry Mancini's legendary score (including the Oscar-winning "Moon River"), sets the film's tempo. George Peppard is solid as writer Paul Varjak, and we understand his impulse to try to shield Holly from a world that's tougher than she is. While Hepburn's impish spirit makes this film a classic, other aspects of the film, most notably, Mickey Rooney's insulting characterization of a buck-toothed Japanese neighbor, have become somewhat dated. Capote originally envisioned Marilyn Monroe as Holly; it's a testament to Hepburn's performance that one can hardly imagine any other actress as Holly. Breakfast at Tiffany's became the most recognized role of her career, and, for many viewers, one of the most cherished romances ever made. Matthew Doberman

Product Details

Release Date:
Original Release:
Region Code:
[Wide Screen]
[Dolby Digital Mono, Dolby Digital 5.1 Surround]

Special Features

Closed Caption; Disc 1: ; Commentary by producer Richard Shepherd; ; Disc 2:; A Golightly Gathering; Henry Mancini: More Than Music; Mr. Yunioshi: An Asian Perspective; The Making of a Classic; It's So Audrey: A Style Icon; Behind the Gates: The Tour; Brilliance in a Blue Box; Audrey's letter to Tiffany; Original theatrical trailer; Galleries

Cast & Crew

Performance Credits
Audrey Hepburn Holly Golightly
George Peppard Paul Varjak
Patricia Neal 2-E
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
Elvia Allman Librarian
Alan Reed Sally Tomato
Beverly Hills Stripper
Claude Stroud Sid Arbuck
Dick Crockett Taxi Driver
José-Luis de Villalonga Jose da Silva Perriera
Kip King Delivery Boy
James Lanphier The Cousin
Valerie Putney Cat
Joan Staley Girl in Low-Cut Dress

Technical Credits
Blake Edwards Director
Roland Anderson Production Designer
George Axelrod Screenwriter
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
Martin Jurow Producer
Henry Mancini Score Composer
William McGarry Asst. Director
Johnny Mercer Songwriter
Ray Moyer Set Decoration/Design
Hal Pereira Production Designer
Franz Planer Cinematographer
Richard Shepherd Producer
Howard A. Smith Editor
Wally Westmore Makeup
John K. Wilkinson Sound/Sound Designer
Truman Capote Source Author

Scene Index

Disc #1 -- Breakfast at Tiffany's: Feature Film
1. Chapter 1 [13:19]
2. Chapter 2 [3:42]
3. Chapter 3 [7:39]
4. Chapter 4 [15:10]
5. Chapter 5 [2:00]
6. Chapter 6 [1:55]
7. Chapter 7 [3:27]
8. Chapter 8 [4:43]
9. Chapter 9 [5:49]
10. Chapter 10 [6:40]
11. Chapter 11 [15:06]
12. Chapter 12 [6:21]
13. Chapter 13 [7:03]
14. Chapter 14 [11:29]


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Breakfast at Tiffany's 4.7 out of 5 based on 0 ratings. 62 reviews.
Guest More than 1 year ago
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.
Guest More than 1 year ago
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]
Guest More than 1 year ago
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!
Guest More than 1 year ago
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.
Guest More than 1 year ago
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!!!!!!!!!!!!!!!!!
alexuszabel More than 1 year ago
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, *****
Guest More than 1 year ago
¿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!
Guest More than 1 year ago
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.
Guest More than 1 year ago
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.
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Guest More than 1 year ago
I love this movie-It is my favorite(ok 1 of my 2 favorites) I want to be Holly,a free spirit,thin,beautiful!
Guest More than 1 year ago
Audrey Hepburn's presence brings joy and light to this occasionally depressing film. Hepburn is Holly Gollightly. Mickey Rooney's somewhat grotesque depiction of a Japanese neighbor is classically hilarious. George Peppard is brilliant. Holly Gollightly is a character to fall in love with.
Guest More than 1 year ago
This movie had its moments, but was also sometimes boring. I loved the music, though! Also, even though it is a comedy, the lifestyle and the problems she goes through are really sad if you think about it.
Guest More than 1 year ago
I love this movie and I recomend it for any one who likes cute romantic movies!!
Guest More than 1 year ago
this movie is one of the best films i've ever seen....hepburn's performance is both intriguing and splendid, especially when she comments 'well, maybe i would buy some furniture and give the cat a name if there was a place that made me feel the way i do when i go into Tiffany's'