Adapted Film Review // Breakfast at Tiffany's (1961)

The 1960's classic starring Audrey Hepburn as the airy, weightless and always classy Holly Golightly: Breakfast at Tiffany's, adapted from the book published in 1958 and written by Truman Capote sharing the same name; sojourns faithfully with setting & even at times choice script to present an overtly American romantic comedy in full Technicolour. Familiar appearances such as stuttering Mag W-w-wildwood, Arkansas. You know, hill country, the skittish Cat, slob, without a name, and Fred - Paul. 
      The ever famous opening scene of Brownstone; a bright yellow Taxi and Tiffany's (& Co) featuring Holly Golightly sets the tone for the laughable, yet sometimes droll interactions between her & Fred, however the firmly-grasping opening scene that fully encompasses the nature of a girl who can't help anyone, not even herself, and the mischief that ensues is suspect for missing in the book. Infact, as Tiffany's is shown on-screen; in print Paul -in first person - reminisces about the brownstone in the East Seventies where he had an apartment; the very same one he is seen living in as the musical score comprised of the same chord progression of Moon River plays enigmatically. - Mentioning of course that in the book version, Moon River, the harsh-tender wandering dreamboat style song was originally a melody that sung: "Don't wanna sleep, Don't wanna die, Just wanna go a-travelin' through the pastures of the sky". Comparatively the coy simplicity of  Capote's "song" is nothing more than a quick tune; and the rhyming only concretes that; as opposed to the fully composed, award winning song by Henry Mancini that still remains one of those songs hummable at any given  moment. 
      Treatment of Holly Golightly as a character transferred from book-to-film is subtle, most of her flighty nature continues on, and being able to put a face to the fondly aloof character is endearing, but as Audrey Hepburn portrays Miss. (Mrs.. depending where you're reading from) Golightly an essence of childish innocence & almost glass-like fragility becomes part of the mix; and yet simultaneously the classic ability for her to ignore the bad and continue on with miscellaneous events to tide the time such as house parties whilst she sprouts off particular French  idioms continues onward. Arguably the far more stoic and reserved nature of Holly is missing in the 1961 classic, often at times moments where she does open up to Paul feel less like a breakthrough as the two warmup to eachother. The comical rubbing of her nose when anyone pry too deeply is excluded from the film however one might assume it too obvious to be seen on screen than when someone (Paul mostly, in the book) notices it as a quirky character feature.. In the scene where Holly falls asleep next to the newly named Fred but ends up having a nightmare about the real Fred, her brother, when Paul inquires as to why she is upset, she runs off exclaiming "I hate snoops.". In such an interaction where her contrasting personality shows itself so plain-to-see, her innocent aptitude to get close to people on the first interaction is demonstrated in the film wondrously, yet her bout of coldness & "that's as close as you get" attitude appears more effective in the book. Similarly, her interest with men of extreme wealth is far further subdued (though still present) as from a choice of direction Paul is always meant to be seen as the one Holly should go with in the end.
Choice of direction as previously mentioned becomes increasingly obvious when translating Breakfast at Tiffany's from a book to a film. Firstly by the format, which is changed from first-person to more of a cinematic experience where we follow behind both Holly Golightly and Paul - but mostly Holly, as opposed to the book in which it becomes very up close and personal with Paul's thoughts as he describes his interactions with Holly from afar; which only adds to Miss Golightly's distant, though highly alluring charm. On top of this her spontaneous fondness for men she comes into contact with, such as Jose in the book (unexplored, even ignored in the film) make her come off far greater as a character doing what she wants as Paul observes from afar; only ever wishing to hope to interact with her properly.
     All in all, Breakfast at Tiffany's, whether watching or reading, is a witty romance that takes the girl next door and turns her into a character completely removed from others around her; uninfluenced by those she interacts with, a free spirit with an equally as free accompanying song. Holly Golightly's actions at times seem far-fetched yet completely comprehensible for the character. However, Paul's likability comes down to his part in the film; and depending on whether him getting the girl in the end results in a choice, then it is between the film or the book. Regardless of endings for each are slightly different, they both will always remain akin to a, at heart, American romance story with it's head in the clouds only to come down when it wants to make you feel something. 

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