Holly Golightly is a flighty Manhattan party girl, who expects "money for the powder room as well as for cab fare" for her companionship. She has even gotten a lucrative once weekly job to visit notorious convict Sally Tomato in Sing Sing, she needing to report back to Sally's lawyer the weather report that Sally tells her as proof of her visits with him in return for payment. Her aspirations for glamor and wealth are epitomized by the comfort she feels at Tiffany's, the famous high end jewelry retailer where she believes nothing can ever go wrong. Her resolve for this wealth is strengthened, if not changed slightly in focus, upon news from home. Into Holly's walk-up apartment building and thus her life is Paul Varjak, a writer who Holly states reminds her of her brother Fred, who she has not seen in years and who is currently enlisted in the army. The two quickly become friends in their want for something outside of their current lot. Paul's situation is closer to Holly's than he ... Written by
O.K., Audrey Hepburn had loads of charisma and was as cute as a button. There, that's the sum total of anything worthwhile in this flick. Yes, it's almost fifty years old now, but I kinda think it was as empty and confused then as it is today.
When I first saw this film I hadn't even reached puberty yet, so I'm sure the concepts of what Holly and "Fred" did for a living were mostly over my head. And given my immaturity at the time I seem to remember it as a "sweet" story with a typical happy, Hollywood ending.
After viewing it as an adult, with a little more life experience, I find the story to be off-putting, if not downright disturbing. Both "Fred's" and Holly's life seem to be a string of non-sequitors, leading nowhere and meaning nothing. And in the end, even though Holly is on her way to the airport to fly off to Brazil to continue her career as Golddigger, her and "Fred" have an epiphany in the back of a taxi and realize that they might as well get married! Awww, gosh isn't that sweet? Yeah, until tomorrow when they run off to get an annulment. How absurd to portray such a toxic relationship as some sort of icon.
And then there's Mickey Rooney's embarrassing, racist caricature and Buddy Ebsen's bid for the most miscast roll since Pat Boone played the angel in "The Greatest Story Ever Told". This was NOT good work. Not for the actors, the director, and especially not for the writer. I'm amazed that it still garners such a following.
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