Breakfast at Tiffany’s (Blake Edwards, 1961) is based on a novella with the same name, which was written by the American novelist Truman Capote (1924-1984) and published in 1958. In the film adaptation, there were concerns with the story not matching with the morals of a conservative target audience. That is the reason why there are some significant changes comparing one to another. Like the protagonist’s career which is an “American geisha” acc0rding to Truman Capote. In the film, she is unemployed, however, she accompanies expense-account men in order to win expensive gifts or money. In addition, her bisexuality and vulgarity, and neighbour’s homosexuality.
Nowadays, the film’s story is not so well-known, at least in comparison with its aesthetics, like Holly’s costume. It is a recognizable icon in popular culture: black Givenchy dress, black gloves, crown, pearl necklace, quellazaire, and sunglasses. She represents glamour, alluring idiosyncrasy, femininity, and nonconformity. This recognizable Audrey Hepburn’s performance was important regarding gender roles. Two of the most popular archetypes for female characters from this time period were bombshells or virgins waiting for Prince Charming. Holly Golightly is ahead of her time, making history when representing a modern and independent woman following the ideals from the Second Wave Feminism (1960-1980) when she is the owner of her body, destiny, and choices. Holly Golightly is divorced, ambitious and has life aspirations, which don’t include being a housewife or mother. Also, Holly parties and drinks from dusk until dawn, consequently she sleeps most of the day. In this way, Holly breaks the 1950s gender variance. She chooses a crooked path, as she wishes to marry a millionaire to sustain her. Besides that, physically her iconic costume and accessories are distinctive from the majority of the female characters of the period. The colour black for some cultures represents grief, in the film, it is illustrated by the iconic Givenchy dress, which may represent the death of her true self, Lula Mae Barnes. Her sunglasses might be a physical and literal barrier for her to cover herself up, as the eyes are the windows of the soul.
Besides the aforementioned importance for gender roles, the film is a part of the reputed and popular cinematheque of Hollywood classics romantic comedies. It has been ageing like a fine wine over the last 50 years. There is another vanguard moment that is important to address. Holly’s neighbour, Paul Varjak, was sustained by his married older mistress (Emily Eustace Failenson, also known as “2E”). The film is a fruit of its own time when portraying the relationship between Paul and Holly, in particular, indicating to the audience that love is equal to belonging and possessiveness. The film criticises softly and subtly the society from Big Apple, which is presented as a façade, futile, and superficial.
However, everything is not a bed of roses in this darling film, especially towards the ethnic and racial representations, which are very problematic. Firstly, Mickey Rooney’s character, Mr Yunioshi, has been the subject of extensive critical commentary and review since its theatrical release. Due to its utilization of ethnic stereotypes (almost a caricature) and yellow face. It is important to highlight in the early 1960s and before, racist humour was widely accepted in American culture, although this general attitude began to change later in that decade, and more so afterwards. In 2008, in an interview the actor said:
“Blake Edwards wanted me to do it because he was a comedy director […]” and [if he had known people would be so offended] “I wouldn’t have done it. Those that didn’t like it, I forgive them and God bless America, God bless the universe, God bless Japanese, Chinese, Indians, all of them and let’s have peace.” Mickey Rooney
Moreover, the representation of Brazil is very uncomfortable and erroneous on so many levels. Starting with José Luis de Villalonga, who was a Spanish actor, played Holly’s suitor. He is represented by the typical sexualisation of Latins which is sadly still seen today, especially in female characters who follow the Hot Latina trope. His name is pronounced in Spanish and sometimes he is addressed using the Italian pronoun “signore” when in Brazil the spoken language is Portuguese. The Brazilian Portuguese and not from Portugal, like is portrayed in the tape that Holly was practising the language. Nevertheless, in some bits was accurate through posters of a Brazilian state (Bahia), and true information about the country’s location (South America). There is a moment essential to highlight, when Paul tells her “You were cut out to be the queen of the Pampas anyway”, there varies of biodiversity with countless biomes in the country. Brazil is full of culture not limited only to these misrepresentations and big mistakes.
Other than that, the film is a visual masterpiece in general and aged gracefully over the past 60 years. It is a pillar of popular culture. Breakfast at Tiffany’s can teach important messages that will last for generations. Such as finding happiness in little things, don’t take yourself too seriously, a gift that does not have to be expensive to be meaningful, always remembering where you came from, but don’t let it limit your future and never forgetting the sidekicks in this bullet train journey called life!
Where to watch the film mentioned:
Now TV
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