Breakfast at Tiffany's (film)

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." Screenwriter Axelrod was hired to "tailor the screenplay for Monroe". 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".[6] Shirley MacLaine was also offered the part of Holly, but she turned it down and performed in Two Loves instead.[7]

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.[8]

Hepburn in the opening scene.

Filming began on Fifth Avenue outside Tiffany & Co. on October 2, 1960.[9] Most of the exteriors were filmed in New York City, and all of the interiors, except for portions of the scene inside Tiffany & Company, were filmed on the Paramount Studios lot in Hollywood.[10]

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.[11]

During the film, Hepburn sang the film's signature song, "Moon River" by Henry Mancini and Johnny Mercer. The song was tailored to Hepburn's limited vocal range, based on songs she had performed in 1957's Funny Face.[2] On the Anniversary Edition DVD of Breakfast at Tiffany's, co-producer Dick Shepherd says in his audio commentary that after a preview in San Francisco, Martin Rankin, Paramount's head of production, wanted "Moon River" replaced with music by somebody else but "Marty [Jurow, co-producer] and I both said 'over our dead bodies,'"[13] - a remark attributed to Hepburn herself in another account.[14]

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. 'Moon River' is sobbed by a plaintive harmonica, repeated by strings, hummed and then sung by the chorus, finally resolved with the harmonica again."[12]

The soundtrack featured a score composed and conducted by Henry Mancini, with songs by Mancini and lyricist Johnny Mercer. Mancini and Mercer won the 1961 Oscar for Best Original Song for "Moon River". 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.

• "Moon River"
• "Something for Cat"
• "Sally's Tomato"
• "Mr. Yunioshi"
• "The Big Blow Out"
• "Hub Caps and Tail Lights"
• "Breakfast at Tiffany's"
• "Latin Golightly"
• "Holly"
• "Loose Caboose"
• "The Big Heist"
• "Moon River [Cha Cha]"

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." It pointed out that "after that out-of-Capote beginning, director Blake Edwards...goes on to an out-of-character end."[17] Almost a half century later, Time commented on the pivotal impact of Hepburn's portrayal of Golightly:[18]

Breakfast at Tiffany's set Hepburn on her [19]60s Hollywood course. Holly Golightly, small-town Southern girl turned Manhattan trickster, was the naughty American cousin of Eliza Doolittle, Cockney flower girl turned My Fair Lady. Holly was also the prototype for the Hepburn women in Charade, Paris When It Sizzles, and How to Steal a Million: kooks in capers. And she prepared audiences for the ground-level anxieties that Hepburn characters endured in The Children's Hour, Two for the Road and Wait Until Dark.

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

as implausible as ever. 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.[19]

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 movie is a confection — a sugar and spice confection."[20]

Audrey Hepburn as Holly Golightly in the film's trailer

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.[21] Another iconic item throughout the movie is Holly's sunglasses. Often misidentified as Ray-Ban, they are Manhattan sunglasses designed and manufactured in London by Oliver Goldsmith. In 2011 the model was re-released to mark the 50th anniversary of Breakfast at Tiffany's.[22] One of three dresses designed by Givenchy for Hepburn for possible use in the film sold at auction by Christie's[23] on December 5, 2006 for £467,200 (~US$947,000), about seven times the reserve price.[24] The "Little Black Dress" by Givenchy, worn by Hepburn in the beginning of the film, is cited as one of the most iconic items of clothing in the history of the twentieth century and is, perhaps, the most famous little black dress of all time.[25][26][27][28] A second "little black dress" in Breakfast at Tiffany's, along with its wide-brimmed hat, was worn by Hepburn as Holly when she goes to visit mobster Sally Tomato at Sing Sing Prison. This dress was paid homage as one of the dresses worn by Anne Hathaway's character Selina Kyle, Catwoman's alter ego, in Christopher Nolan's The Dark Knight Rises; the comic book Catwoman drawn by artist Adam Hughes, was based on Hepburn, creating a double homage to Hepburn's Holly Golightly in Hathaway's Catwoman.[29]

The film rejuvenated the career of 1930s 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. His success here led directly to his best-known role as Jed Clampett on The Beverly Hillbillies.[30]

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 as a pre-eminent luxury retailer, while already established, was further boosted by the film.[31]

Mickey Rooney as I. Y. Yunioshi

For his portrayal of I. Y. Yunioshi, Mickey Rooney wore makeup and a prosthetic mouthpiece to change his features to a caricatured approximation of a Japanese person. Since the 1990s, this portrayal has been subject to increasing protest by Asian Americans, among others. For instance, in the film Dragon: The Bruce Lee Story (1993), 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.[32]

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.[33] In a "making-of" for the 45th anniversary edition DVD release, Shepherd repeatedly apologizes, saying, "If we could just change Mickey Rooney, I'd be thrilled with the movie."[34] Director Blake Edwards stated, "Looking back, I wish I had never done it ... and I would give anything to be able to recast it, but it's there, and onward and upward."[34]

In a 2008 interview about the film, 87-year-old Rooney said he was heartbroken about the criticism:

It breaks my heart. Blake Edwards ... wanted me to do it because he was a comedy director. 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." Asians and Chinese come up to me and say, "Mickey you were out of this world."[35]

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."[35]

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. In 2011, a SyFy and Brooklyn Bridge Park Corporation screening inspired petitions.[36]

Film historian and Turner Classic Movies host Robert Osborne stated in a Q&A that he would recast Rooney from the picture saying, "that was such a racial slur, out of nowhere, and I blame Blake Edwards for that decision, the caricature was totally embarrassing".[37]

• "Moon River"
• "Something for Cat"
• "Sally's Tomato"
• "Mr. Yunioshi"
• "The Big Blow Out"
• "Hub Caps and Tail Lights"
• "Breakfast at Tiffany's"
• "Latin Golightly"
• "Holly"
• "Loose Caboose"
• "The Big Heist"
• "Moon River [Cha Cha]"

In 2013 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).