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The next morning, Holly is released on bail. Holly insists that she will go to Brazil anyway; she asks the cab to pull over and releases the cat into the pouring rain.

Paul then storms out of the cab, tossing the engraved ring into her lap and telling her to examine her life. She goes through a decision-making moment, puts on the ring and runs after Paul, who has gone looking for the cat.

Finally, Holly finds it sheltering in an alley and, with it tucked into her coat, she and Paul embrace.

The Oscar-nominated screenplay was written by George Axelrod , loosely based on the novella by Truman Capote. Changes were made to fit the medium of cinema and to correspond to the filmmakers' vision.

Capote, who sold the film rights of his novella to Paramount Studios, wanted Marilyn Monroe to play Holly Golightly, whom he had described perfectly in the book.

Barry Paris cites Capote's own comments on the choice of actress: "Marilyn was always my first choice to play the girl, Holly Golightly.

When Lee Strasberg advised Monroe that playing a "lady of the evening" would be bad for her image, she turned it down and performed in The Misfits instead.

When Hepburn was cast instead of Monroe, Capote remarked: "Paramount double-crossed me in every way and cast Audrey".

Axelrod worked with the original director of the film John Frankenheimer for a period of three months, but Hepburn's agent wanted a more known director with the result being Frankenheimer was off the project [6].

According to one report, the film's on-location opening sequence, in which Holly gazes into a Tiffany's display window , was extremely difficult for director Blake Edwards to shoot.

Although it was simple in concept, crowd control, Hepburn's dislike of pastries, and an accident that nearly resulted in the electrocution of a crew member are all said to have made capturing the scene a challenge.

However, another report claims that the sequence was captured rather quickly due to the good fortune of an unexpected traffic lull.

Henry Mancini [10]. The song was tailored to Hepburn's limited vocal range, based on songs she had performed in 's Funny Face. According to Time magazine, Mancini "sets off his melodies with a walking bass, extends them with choral and string variations, varies them with the brisk sounds of combo jazz.

Time magazine noted "for the first half hour or so, Hollywood's Holly Audrey Hepburn is not much different from Capote's. She has kicked the weed and lost the illegitimate child she was having, but she is still jolly Holly, the child bride from Tulip, Texas, who at 15 runs away to Hollywood to find some of the finer things of life—like shoes.

Breakfast at Tiffany's set Hepburn on her [19]60s Hollywood course. The New York Times called the film a "completely unbelievable but wholly captivating flight into fancy composed of unequal dollops of comedy, romance, poignancy, funny colloquialisms and Manhattan's swankiest East Side areas captured in the loveliest of colors".

In reviewing the performances, the newspaper said Holly Golightly is. But in the person of Miss Hepburn, she is a genuinely charming, elfin waif who will be believed and adored when seen.

George Peppard is casual and, for the most part, a subdued citizen who seems to like observing better than participating in the proceedings.

Martin Balsam makes a properly brash, snappy Hollywood agent. Mickey Rooney's bucktoothed, myopic Japanese is broadly exotic.

Patricia Neal is simply cool and brisk in her few appearances as Mr. Peppard's sponsor and Vilallonga, is properly suave and Continental as Miss Hepburn's Brazilian, while Buddy Ebsen has a brief poignant moment as Miss Hepburn's husband.

Truman Capote hated Hepburn in the lead part. Capote biographer Gerald Clarke deemed the film a "valentine" to free-spirited women rather than a cautionary tale about a little girl lost in the big city.

The website's critical consensus reads, "It contains some ugly anachronisms, but Blake Edwards is at his funniest in this iconic classic, and Audrey Hepburn absolutely lights up the screen.

Hepburn as Holly, with her hair in a high chignon and carrying an oversized cigarette holder , is considered one of the most iconic images of 20th century American cinema.

Often misidentified as Ray-Ban , they are Manhattan sunglasses designed and manufactured in London by Oliver Goldsmith.

In the model was re-released to mark the 50th anniversary of Breakfast at Tiffany's. The film rejuvenated the career of s movie song-and-dance man and Disney Davy Crockett sidekick Buddy Ebsen , who had a small but effective role in this film as Doc Golightly, Holly's ex-husband.

A diamond necklace at Tiffany's that Hepburn scorned as too flashy, was the Tiffany Yellow Diamond , which she wore in publicity photos for the film.

Tiffany's profile, while already established as a pre-eminent luxury retailer, was further boosted by the film.

For his portrayal of I. Yunioshi, Mickey Rooney wore makeup and a prosthetic mouthpiece to change his features to a caricatured approximation of a Japanese person.

Since the s, this portrayal has been subject to increasing protest by Asian Americans , among others.

For instance, in the film Dragon: The Bruce Lee Story , Breakfast at Tiffany's is used as an illustration of Hollywood's racist depiction of Asian people when Bruce Lee and his future wife, Linda, see the film and Linda suggests they leave when she notices that Bruce is upset at Rooney's caricatured performance.

In his audio commentary for the DVD release, producer Richard Shepherd said that at the time of production as well as in retrospect, he wanted to recast the role "not because he [Rooney] didn't play the part well" but because Shepherd thought the part of Mr.

Yunioshi should be performed by an actor of Japanese ethnicity ; it was director Blake Edwards' decision to keep Rooney.

In a interview about the film, year-old Rooney said he was heartbroken about the criticism:. Blake Edwards They hired me to do this overboard, and we had fun doing it Never in all the more than 40 years after we made it — not one complaint.

Every place I've gone in the world people say, "God, you were so funny. Rooney also said that if he had known the portrayal would be offensive, "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.

The film continues to draw criticism for this character, now widely considered to be a racist caricature, particularly when the movie is selected as a "classic" screened in public spaces, supported by tax dollars.

The soundtrack featured a score composed and conducted by Henry Mancini , with songs by Mancini and lyricist Johnny Mercer. Mancini won for Best Original Score.

There are also unreleased score pieces from Breakfast at Tiffany's in existence; "Carousel Cue" is from an unsurfaced scene, while "Outtake 1" is from a deleted scene in which Holly and Fred visit Tiffany's and is a variation of the main theme.

In Intrada released the complete score in its original film performance as with many soundtrack albums by Mancini and others at the time, the album released alongside the film was a re-recording.

Breakfast at Tiffany's was one of the first Hepburn films to be released to the home video market in the early s, [ citation needed ] and is also widely available on DVD.

On January 13, , a remastered Centennial Collection version of the film was released. In addition to the special features on the 45th anniversary edition, this version includes:.

Additional German Subtitles , Greek Subtitles. Accessibility CC Closed captions CC refer to subtitles in the available language with the addition of relevant non-dialogue information.

Viewers Also Bought See All. Roman Holiday. Funny Face. Sex and the City: The Movie. To Catch a Thief Under the Tuscan Sun.

Movies in Romance See All. A few days later, Paul learns that one of his short stories will be published. On the way to tell Holly, he sees a newspaper headline stating that Trawler has married someone else.

Holly and Paul agree to spend the day together, taking turns doing things each has never done before. After spending the night together, he awakens to find her gone.

When 2E arrives, Paul ends their relationship. She calmly accepts, having earlier concluded that he was in love with someone else.

However, Holly and Paul are arrested in connection with Sally Tomato's drug ring, and Holly spends the night in jail.

The next morning, Holly is released on bail. Holly insists that she will go to Brazil anyway; she asks the cab to pull over and releases the cat into the pouring rain.

Paul then storms out of the cab, tossing the engraved ring into her lap and telling her to examine her life. She goes through a decision-making moment, puts on the ring and runs after Paul, who has gone looking for the cat.

Finally, Holly finds it sheltering in an alley and, with it tucked into her coat, she and Paul embrace. The Oscar-nominated screenplay was written by George Axelrod , loosely based on the novella by Truman Capote.

Changes were made to fit the medium of cinema and to correspond to the filmmakers' vision. Capote, who sold the film rights of his novella to Paramount Studios, wanted Marilyn Monroe to play Holly Golightly, whom he had described perfectly in the book.

Barry Paris cites Capote's own comments on the choice of actress: "Marilyn was always my first choice to play the girl, Holly Golightly. When Lee Strasberg advised Monroe that playing a "lady of the evening" would be bad for her image, she turned it down and performed in The Misfits instead.

When Hepburn was cast instead of Monroe, Capote remarked: "Paramount double-crossed me in every way and cast Audrey".

Axelrod worked with the original director of the film John Frankenheimer for a period of three months, but Hepburn's agent wanted a more known director with the result being Frankenheimer was off the project [6].

According to one report, the film's on-location opening sequence, in which Holly gazes into a Tiffany's display window , was extremely difficult for director Blake Edwards to shoot.

Although it was simple in concept, crowd control, Hepburn's dislike of pastries, and an accident that nearly resulted in the electrocution of a crew member are all said to have made capturing the scene a challenge.

However, another report claims that the sequence was captured rather quickly due to the good fortune of an unexpected traffic lull.

Henry Mancini [10]. The song was tailored to Hepburn's limited vocal range, based on songs she had performed in 's Funny Face.

According to Time magazine, Mancini "sets off his melodies with a walking bass, extends them with choral and string variations, varies them with the brisk sounds of combo jazz.

Time magazine noted "for the first half hour or so, Hollywood's Holly Audrey Hepburn is not much different from Capote's.

She has kicked the weed and lost the illegitimate child she was having, but she is still jolly Holly, the child bride from Tulip, Texas, who at 15 runs away to Hollywood to find some of the finer things of life—like shoes.

Breakfast at Tiffany's set Hepburn on her [19]60s Hollywood course. The New York Times called the film a "completely unbelievable but wholly captivating flight into fancy composed of unequal dollops of comedy, romance, poignancy, funny colloquialisms and Manhattan's swankiest East Side areas captured in the loveliest of colors".

In reviewing the performances, the newspaper said Holly Golightly is. But in the person of Miss Hepburn, she is a genuinely charming, elfin waif who will be believed and adored when seen.

George Peppard is casual and, for the most part, a subdued citizen who seems to like observing better than participating in the proceedings.

Martin Balsam makes a properly brash, snappy Hollywood agent. Mickey Rooney's bucktoothed, myopic Japanese is broadly exotic.

Patricia Neal is simply cool and brisk in her few appearances as Mr. Peppard's sponsor and Vilallonga, is properly suave and Continental as Miss Hepburn's Brazilian, while Buddy Ebsen has a brief poignant moment as Miss Hepburn's husband.

Truman Capote hated Hepburn in the lead part. Capote biographer Gerald Clarke deemed the film a "valentine" to free-spirited women rather than a cautionary tale about a little girl lost in the big city.

The website's critical consensus reads, "It contains some ugly anachronisms, but Blake Edwards is at his funniest in this iconic classic, and Audrey Hepburn absolutely lights up the screen.

Hepburn as Holly, with her hair in a high chignon and carrying an oversized cigarette holder , is considered one of the most iconic images of 20th century American cinema.

Often misidentified as Ray-Ban , they are Manhattan sunglasses designed and manufactured in London by Oliver Goldsmith.

In the model was re-released to mark the 50th anniversary of Breakfast at Tiffany's. The film rejuvenated the career of s movie song-and-dance man and Disney Davy Crockett sidekick Buddy Ebsen , who had a small but effective role in this film as Doc Golightly, Holly's ex-husband.

A diamond necklace at Tiffany's that Hepburn scorned as too flashy, was the Tiffany Yellow Diamond , which she wore in publicity photos for the film.

Tiffany's profile, while already established as a pre-eminent luxury retailer, was further boosted by the film. For his portrayal of I. Yunioshi, Mickey Rooney wore makeup and a prosthetic mouthpiece to change his features to a caricatured approximation of a Japanese person.

Since the s, this portrayal has been subject to increasing protest by Asian Americans , among others. For instance, in the film Dragon: The Bruce Lee Story , Breakfast at Tiffany's is used as an illustration of Hollywood's racist depiction of Asian people when Bruce Lee and his future wife, Linda, see the film and Linda suggests they leave when she notices that Bruce is upset at Rooney's caricatured performance.

In his audio commentary for the DVD release, producer Richard Shepherd said that at the time of production as well as in retrospect, he wanted to recast the role "not because he [Rooney] didn't play the part well" but because Shepherd thought the part of Mr.

Yunioshi should be performed by an actor of Japanese ethnicity ; it was director Blake Edwards' decision to keep Rooney. In a interview about the film, year-old Rooney said he was heartbroken about the criticism:.

Blake Edwards They hired me to do this overboard, and we had fun doing it Never in all the more than 40 years after we made it — not one complaint.

Every place I've gone in the world people say, "God, you were so funny. Rooney also said that if he had known the portrayal would be offensive, "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.

The film continues to draw criticism for this character, now widely considered to be a racist caricature, particularly when the movie is selected as a "classic" screened in public spaces, supported by tax dollars.

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