Grade: B+
Synopsis: An author (George Peppard) finds himself increasingly drawn to his quirky socialite neighbor (Audrey Hepburn) only to discover her life is not what it seems.
Breakfast at Tiffany’s is an enigmatic comedy-drama that still shines nearly fifty years after its premier, thanks in large part to lead Audrey Hepburn’s iconic turn as Holly Golightly, a part originally targeted for Marilyn Monroe.
Through a series of events, the part ended up with Hepburn and the rest is cinematic history. She’s smaller, and therefore more physically vulnerable than Monroe, and her eyes carry the perfect combination of sadness, regret, and quirky aloofness that co-star George Peppard’s character, as well as the audience, find irresistible.
Backing Hepburn and Peppard, Patricia Neal and Buddy Ebsen turn in a pair of great, under appreciated performances that anchor the film’s dramatic arcs, with Neal as a rich, married woman who keeps Peppard’s character, and Ebsen as a lovesick figure from Hepburn’s past.
This is a film that coasts along on style, charisma and ambiance, dolling out its meager plot in morsels as it slowly immerses the viewer in its world. The only real flaw is the ending. Holly Golightly isn’t a real person, she’s a ghost, drifting in and out of people’s lives, but always leaving an indelible impression. That Peppard’s character could somehow end up with her doesn’t quite ring true. She’s not the girl you marry, she’s the girl you always wonder what happened to.
That said, though the ending may not be perfect, it’s pleasing enough to make Breakfast at Tiffany’s an easy recommendation.
