With the film now 60, and me nearly 40, my affection for it endures – despite the ways in which it softens and compromises Capote’s sharper, tarter character study, or perhaps because of them. (I understood, too, why we usually fast-forwarded through Mickey Rooney’s yellowface scenes as Holly’s crotchety Japanese landlord: I had thought them merely an unfunny diversion, though they were certainly that too.) The film may undersell the irony and subtle sorrow of Truman Capote’s source novella – reading that, too, makes the film forever play differently – but its between-the-lines balance of bitter to sweet, too, tastes different with age. Every few years it looked a little different: a bleak undertow appeared in Holly’s jolly everyday carousel of parties and suitors, as did the poignant aspirationalism of her morning window-shopping walks. Cats were a cheap and easy way to my heart in a movie: the whiplash of panic and relief I felt over the rash disposal and cute retrieval of Holly’s ginger mog returns to me every time I watch it still.Īll of which is to say that Blake Edwards’ essentially modest romantic comedy became for me one of those strange texts by which you mark your own shifts in understanding and perspective. And not least of all – probably most of all, if I’m being honest – there was a cat. Audrey Hepburn, so perfectly doe-eyed and beehived and brightly funny and winsomely sad, seemed as much to me a force of magic as Julie Andrews in Mary Poppins and The Sound of Music, even if the person she was playing made less sense to me.
TIMELESS FILM MOVIE
No matter: it was probably one of my first encounters with pure movie star power, or at least one of the first times I recognised it as such. We watched it many times in my childhood, when I was rather too young to understand what exactly Manhattan socialite Holly Golightly did with her life – though, in my defence, the film rather sidesteps the issue too. And then, by extension, to me, as a kind of inheritance. Released in United States September 1996 (Shown at Boston Film Festival September 6-19, 1996.I thus grew up thinking of Breakfast at Tiffany’s as a film that belonged – via the tape, in a most literal and physical sense – specifically to one person. Released in United States J(Shown in Los Angeles Angeles (American Cinematheque) as part of program "The Alternative Screen: A Forum For Independent Film Exhibition & Beyond." July 26, 1996.)
TIMELESS FILM SERIES
Released in United States Janu(Shown at "First Look" film series in New York City (Tribeca Film Center) January 9, 1996.) Released in United States January 1996 (Shown at Sundance Film Festival (American Spectrum) in Park City, Utah January 18-28, 1996.) Released in United States September 1995 (Shown at Independent Feature Film Market (IFFM) in New York City September 17-24, 1995.)
Shown at Boston Film Festival September 6-19, 1996.
Shown at "First Look" film series in New York City (Tribeca Film Center) January 9, 1996. Shown at Independent Feature Film Market (IFFM) in New York City September 17-24, 1995. Released in United States January 9, 1996 Limited Release in United States October 10, 1997 Released in United States Fall October 10, 1997
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