Updated on January 13, 2009 --
Why do people who love "Breakfast at Tiffany's" -- also think it's a bit of a let down?
In my view, a lot of people reflexively label director Blake Edwards's picture a "classic" -- because of just two things -- Audrey Hepburn's appearance, which is indeed iconic -- and the sensational melodic power of "Moon River." I think it's a classic too.
The film has a spectacular beginning and a spectacular ending. But without "Moon River" -- and without the star power of adorable Audrey -- there isn't much else to propel today's audiences through a series of many dated, mediocre and "comedic-but-intended-to-be-satirical" scenes.
Combine this with the emotional setback that occurs everytime Mickey Rooney's character appears on screen -- one better understands why "Breakfast at Tiffany's" never makes any film group's list of the "top 100" films ever made. Henry Mancini's "Moon River" score bails out the script many times -- and I find myself more "moved" by scenes that would otherwise never work.
-----
However, the two-disc Centennial Collection of "Breakfast at Tiffany's" is still spectacular -- a vast improvement that stands head-and-shoulders above all single-disc editions previously released on DVD. While most of the special features have been taken from the
single-disc Breakfast at Tiffany's (Special Aniversary Collector's Edition) issued in 2006
-- there are enough important differences with this new
two-disc 2008 Centennial Collection
-- that make it a "must have upgrade" for your permanent DVD library.
In particular, the audio and video have been remastered -- hence significantly improved to accommodate the aspect-ratio formatting and high-end audio features so prevalent in today's home entertainment systems. The video isn't Blu-ray -- but it does have more sharpness and clarity than all previous editions. A glossy souvenir booklet and handsome packaging befitting of this classic -- are included.
But best of all -- the special features in the
2008 Centennial Collection edition
-- both new and old -- have been spread across two-discs in a way that place the significance of "Breakfast at Tiffany's" in their proper creative and historical context.
-----SPECIAL FEATURES-----
** "Commentary by Producer Richard Shepard" -- is the same as what's found on the 2006 DVD -- and is so superb that I'm glad Paramount didn't change it. Shepard, who brought all of the elements together, including hiring all cast and crew principals -- hits everything out of the ball park with a great mix of enthusiasm and restraint.
** "A Golightly Gathering" -- is a new 20-minute documentary featuring interviews of the surviving "little-known" cast members in the picture's famous apartment party scene. These cast interviews were obviously filmed during a "anniversary reunion party" hosted by Paramount -- and have been interspersed with clips of their scenes. Everyone is rightly proud of their contributions -- even though in my view, that party scene -- with which Mr. Edwards remains proud because it contains the most creative material for which he can claim credit -- is overrated. To be fair, the party scene in "Tiffany's" is reflective of "early" Blake Edwards. His later work is better.
I don't think the party scene is funny or as pointedly satirical -- as the office party in Billy Wilder's "The Apartment" -- a comedy which won the 1960 Academy Award for Best Picture during the same year (1961) that "Tiffany's" was released. In "Tiffany's," the party is too broad and out-of-place from the A+ "set-up" -- that Mr. Edwards gives us during the film's beautiful first half-hour. It's always here when I start saying to myself, "OK, move it along, we get it. Please take us back to Audrey's troubles." But don't let my views discourage you. The documentary itself is still great.
** "Henry Mancini: More Than Music" - is a 20-minute documentary that firmly establishes Mancini as one of the greatest composers of the silver screen. Yes, in my view, he absolutely BELONGS in the same pantheon of Hollywood immortals with Max Steiner, Bernard Herrmann, John Williams, Miklos Rozsa, and Franz Waxman. I strongly feel Mancini has never been given the credit he deserves because his legacy has been disproportionately defined by his work in "Tiffany's" and in the "Pink Panther" series.
** "Mr. Yunioshi: An Asian Perspective" -- is a 17-minute documentary that is NOT a weak accommodation to political correctness. As an Asian-American who has long been conflicted about "Tiffany's," this featurette sling-shots this
2008 Paramount Centennial Collection
over the moon. It's very instructive about the acceptance of yellow-face casting, e.g., why it was "OK" then and why it's "not OK" now. It is NOT sanctimonious -- and it does NOT carry a "holier-than-thou" tone that's so common and irritating from "too-sensitive" interest groups who want to revise everything they find objectionable in art today. This documentary is loaded with interviews and film clips that compare yellow-face casting during the decades before the 1960s. They all have the effect of placing Mickey Rooney's role in better context without excusing it. It may still be uncomfortable, but Paramount is to be lauded for finally addressing the "elephant in the room" that "Tiffany's" critics have loudly complained about for almost 50 years.
** "Behind the Gates: The Tour" - is a four-minute commercial that says, yes, Paramount also has a studio tour. No, it's not as gigantic as the Universal Studios theme park several miles north -- but the tour of Paramount's lots on Melrose Ave. is less expensive and just as historic.
** "Galleries" - is a mix of old and new -- it's broken up into three sections -- production, movie and publicity. Hands down, the best stuff is in the "production" section, because it shows cast and crew members relaxing, working or goofing off on the set. These are the type of "candids" that really complete the package. The stills in the "movie" and "publicity" sections could've been combined -- as most of them have been seen elsewhere in press kit photos or on promotional lobby cards.
** Five other special features are "carry-overs" from the 2006 Anniversary Edition: 1) "The Making of a Classic" -- 2) "It's So Audrey: A Style Icon" -- 3) "Brilliance in a Blue Box" -- 4) "Audrey's Letter to Tiffany" -- and 5) "Original Theatrical Trailer."
-----THE FILM-----
I think the film version of "Breakfast at Tiffany's" is about "posers" of all stripes -- struggling to hide their flaws, their past and their embarrassments -- while searching for something that grounds them. So we get all this stuff that threads throughout the picture, e.g., Holly "doesn't belong to anyone," Holly calls "her" cat -- "Cat" -- because it sounds "hip" and independent. Holly can be "bought" for extravagance -- and believes materialism is better than true love. Leave love for sentimentalists, she seems to say. She throws away her identity (i.e., the Lula Mae bit) -- for present day pleasures -- and for a future that will include security and prestige.
But Holly's behavior betrays her true feelings about the family she left behind -- and betrays the way most young single people feel about love. (Enter George Peppard as a different type of "poser," a kept man, a failed writer who's the voice of reason. He's a straight-man who doesn't deliver punch-lines. We instantly want him with Holly.)
Even if this is a "romantic comedy" that's not meant to be deep -- "Breakfast at Tiffany's" is too slap-sticky in spots when it shouldn't be, and I'm not just talking about Mickey Rooney. We watch Audrey as a flighty clothes-horse who dismisses love -- going through a lot of silly stuff -- before she finally comes to her senses, recognizing at the end that she indeed has been a phony -- and is tired of being a "poser." She wants love after all. The rain (and tears) pour down, "Moon River" swells up, and the film ends happily.
But this story doesn't play consistently well on the screen. Without "Moon River," how much less is George Axelrod's script? (Ironically, Axelrod collaborated with Billy Wilder on the superb adaptation of "The Seven Year Itch.") "Tiffany's" never tops its visually spectacular and moody opening, featuring Audrey amid Manhattan's deserted streets, eating a croissant at dawn, gazing into Tiffany's windows. Only the scenes of Audrey singing "Moon River" on the guitar -- and the film's happy ending in the rain -- come close.
In sum, "Breakfast at Tiffany's" is not, in my view, great -- but it is "essential." It is a classic on several levels. No film better captures the legend of Audrey Hepburn -- and forever links that legend to a tune we can hear repeatedly without complaint.
P.S. -- In September 2008, an 87-year-old Mickey Rooney told the Sacramento Bee that in the nearly 50 years since "Tiffany's" was released -- he had received "not one complaint" about his performance. It doesn't matter. Audiences did laugh at Mr. Rooney in this picture, even though many don't laugh today. Again, despite my discomfort with his scenes -- applying today's political correctness to the past -- would alter history "as it was" in 1961.
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Breakfast At Tiffany's - DVD - Review - Audrey Hepburn at her Best
Reviewed in the United States on August 19, 2020
4 stars overall for the adorable 1961 romantic comedy Breakfast At Tiffany’s..5 stars for the extraordinary Audrey Hepburn and her Delightful portrayal of Holly Golightly..Audrey Hepburn's portrayal of the naive, eccentric society girl is one of her most Identifiable and Memorable roles. It captured the Imagination of movie goers around the world..Audrey Hepburn was deservedly Nominated for the Academy Award for Best Actress. She perfectly revealed Holly Golightly’s full spectrum of emotions, strengths, and weaknesses..Breakfast At Tiffany’s won the Academy Award for Best Original Score and Best Original Song..Audrey Hepburn singing Moon River will *melt your heart*. Elegance and Grace, even when wearing a towel wrapped around her hair, a sweatshirt, and jeans..No one can say “Hi” like Audrey Hepburn did in Breakfast At Tiffany’s.No one can say “Hello” like Audrey Hepburn did in Sabrina..3 stars for Buddy Ebsen portrayal of Holly Golightly’s estranged husband.2 stars for George Peppard’s portrayal of the writer Paul Varjak.1 star for Patricia Neal’s portrayal of 2-E..
Reviewed in the United States on August 19, 2020
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