especially in Holly's case in order to survive.You have to marvel at how a woman like Audrey could look so good in anything she wore. At the beginning of the movie when she first meets Peppard, she's only wearing a simple white shirt that she wears as a nightgown or at the party scene when she first comes out and greets her friend O.J. Berman wearing nothing but a sheet made up to look like a dress! Gorgeous! It's a marvelous piece of acting when Holly first meets Paul in her apartment, and she's talking about how she has to get ready to meet one of her "clients" in jail, Sally Tomato, and she's talking about her profession, looking at herself in the mirror, getting dressed, asking Paul to find one of her shoes, etc., and then, voila! the famous basic black dress and hat with the wide brim. Very stylish - and in the scene she is given much to work with, the way she has to juggle the dialogue and the action of what she is doing all at once. Very natural and sophisticated at the same time. Audrey is very believable as Holly because her character is someone who is pretending to be sophisticated, hanging around with phony people, but really comes from humble beginnings. Once in a while you will hear in her voice the "country-girl" drawl, and you will see through the facade of Holly Golightly who she really is. George Peppard is also very handsome and believable as the "starving" writer who also has to sell himself out in order to earn a living.Many complaints have been made about Mickey Rooney and the "stereotypical" portrayal of the landlord Mr. Yunioshi. Yes, it is stereotyped, but nonetheless, I still thought it was funny. The party scene is one of the best in the movie - hilarious! Wonderful score by Henry Mancini. Of course it's a classic scene when Holly pulls up in front of Tiffany's in the New York taxi, drinking coffee and eating a danish in front of the window. New York City itself is like a vibrant, interesting character in the movie. I could go on and on.And to top it all off, it's a very romantic love story about two people who find happiness in the crazy, mixed-up world we live in. A classic. Recommended to anyone who loves old Hollywood cinema.

beautiful song that expresses the mood throughout the movie. It also has a few surprises, and is witty and charming.

some of that low-down comedy inherent in the film's first hour. George Peppard as neighbor Paul is perhaps too smooth and a ready-match for Holly he only bristles a bit early on , but Peppard as an actor is suitable for Hepburn, he allows her room to sparkle while keeping the film grounded. His frequent bemused looks are charming, and I thought his scenes with Patricia Neal were very good the filmmakers are a little tough on Neal: she's made to seem decadent and lascivious, and when Peppard calls her on it, I'm not sure if we're supposed to feel sympathy for her, though I did . The opening moments with Hepburn standing in front of Tiffany & Co. are as miraculous as any scene from any movie of this era, and the rest of the film effortlessly emulates that early magic.

woman. Neither is happy, but both go through the motions in a swirl of Manhattan parties and parings. Everything falls nicely into place in this romantic-comedy; directing, musical score, acting, and screenplay. Filmed on location in New York this is a beautiful, captivating movie, that has not only aged well, but is a time machine to a wonderful place that probably really never existed except in our imagination.

on-screen with George Peppard is immediate, and makes the whole convoluted relationship between the two work. And immensely satisfying in the end.Watching Breakfast at Tiffany's really highlights how pale in comparison these kinds of movies have become in recent years. Check it out. It leads you in a lot of different directions, and you'll enjoy every turn and twist.

flirting and willing to marry a rich man but no necessarily a playgirl. Yet Hepburn had been playing innocent girls for most of time. Generally, they just don't get the movie.But Breakfast at Tiffany's is personally convincing to me because of many reasons, one of them being Hepburn's playgirl. The story shows a 1960's USA but it's more alike Chinese nowadays. Girls don't necessarily means innocent and pure anymore. Instead, most of girls has been poisoned by the color of money more than men and are rather comfortable with it. In the movie, the story is mainly told in the view of Frank, who witnessed the psychological change of Hepburn's role. Sometimes I just felt like if I were Frank, a man who has to give in the heart to the innocent soul of Hepburn but also has to be let down by her desire for fortune, her childishness.Truman Capote's original novel hasn't been read by me, however, I am pretty sure that this movie novel has been so successful because it's socially insightful and mind-provoking, which is a moral class without explicit teacher.9/10 Nearly perfect comedy.

really at all to hide. Adding to her attraction to him is the fact that he stands up to her when she treats him shoddily. This probably does not happen to her too often, and it intrigues her. These are mostly the tricks a romance novelist uses to keep readers baited and rooting for a fictional, possibly doomed romance to work and do not reflect the real nature of love. There is, however, enough chemistry, genuine affection, and respect between the two characters to keep the story from seeming utterly implausible.Of course, a movie doesn't have to be realistic to realistically portray what is right and what is wrong with the world we live in. Breakfast at Tiffany's doesn't do a whole lot of that either, though. After watching I can never pinpoint one solid message from it. What it does have a lot of, as many others have pointed out, is stylish, witty, good fun. This is almost always the movie I choose on the rare occasions when my husband is working late, my son is asleep, I have energy to spare and good bottle of wine just begging to be uncorked. Believable or not, it is well-told and compelling, and remains one of the better movies a gal can lose herself in.

rare scores that can support the non-bombastic vision of clever wryness. Danny Elfman is possibly equally capable, but his patron is a little too weird. Hepburn makes this work, as the visible part of the team. I wonder if she had even a part of the charisma in real life she shows here. Monroe was to have done the part originally, and it is fun while watching to view a parallel imaginary film with Marilyn instead of Hepburn. The racism of the Rooney character jars today. That's the only rough spot, but it does add well to the phoniness.

wealthy escorts for fifty here and fifty there. When she meets handsome George Peppard--a writer who makes ends meet by trading favors with society matron Patricia Neal--can love be far behind? But Audrey's mysterious past and her determination to marry rich, George's status as a kept boy-toy, and their occasionally questionable associates provide plenty of complications to fill out the story.What makes the film work is the remarkable charm of its two stars. Most of the attention goes to Audrey Hepburn and the film shows her to remarkable advantage: she is a remarkable actress, personality, and beauty, and she works wonders with the ultralight script. But when it comes to charm, George Peppard is no slouch either: the film catches him at the height of his early golden-boy good looks, and he is the perfect foil for Hepburn in both their comic and dramatic scenes. Mickey Rooney's excessive performance as Yunioshi aside, the supporting cast is also very entertaining, with Patricia Neal, Buddy Ebsen, Martin Balsam, and Dorothy Whitney all give enjoyable turns. The film looks great make sure you get the widescreen version , the score which includes "Moon River" is excellent, and director Blake Edwards keeps everything moving at a pleasant pace. This a great film to cozy up with on a cold night--romantic, entertaining, and as comforting as a cup of hot chocolate. Recommended.Gary F. Taylor, aka GFT, Amazon Reviewer