Desayuno con diamantes

This film is an amazing achievement for Audrey Hepburn. The part was clearly written for Marilyn Monroe. (To think of Hepburn as a backwoods girl is absurd.) Monroe would have made a meal of this and it would have been her signature role. But she was in the midst of her emotional troubles at this time and the role was given to a very different actress in Hepburn who produced a very different Holly Golightly. And yet she did it so well that it became HER signature role instead. It's not unusual for an actor to make a role his own such that you can't picture someone else in the role even thought there are actually many who could have played it. But to take a role intended specifically for another, one for which one does not appear suited, and make that your own…well, that's a great acting achievement. It certainly is Audrey Hepburn's greatest role, a performance with many more complexities than any other she ever gave.

It's also a fabulous film. I love beauty emerging form contradiction, like a rhapsody emerging from apparently unrelated themes and musical noises. Here we have something that is at times a wacky comedy, a breezy romance and yet is full of depth and drama. So many things have happened and we have been introduced to so many characters at the end, it's amazing they all fit together. I also like the bravery of doing a story about two people who are basically prostitutes in 1961. It's daring yet there's nothing sleazy about he film because it concentrates on who these people are as people- what they are, not what they do.

And the film has the most eclectic cast I can imagine. Romantic heroine Audrey Hepburn. Method actor George Peppard. Sleek man-killer Patricia Neal. Actor's actor Martin Balsam. Old reliable Buddy Ebsen, just before he hammed it up as Jed Clampett, playing a subtle and touching version of the same thing. Mickey Rooney provides the only jarring note with his scenery chewing performance as the Japanese landlord, something we could surely have done without. Did you know that Audrey's gangster sugar daddy is played by Alan Reed, the voice of Fred Flintstone? And don't forget John McGiver's delicate turn as the clerk at Tiffany's.

You can debate the virtues of a film into the night. What really counts in the end is: Does it stay in the memory vividly years later? Would you like to watch it again? And when you watch it again, does it take you back to when you first saw it? Breakfast at Tiffany's certainly does. It will always be the prize in the cracker-jack box.

BREAKFAST AT TIFFANY's is an exciting and entertaining romantic comedy about a charismatic girl from high society and an unrealized writer. Film is loosely based on Truman Capote's novella of the same name.

A young and elegantly dressed lady walks around and looking in a shop windows in an early morning. After looking into the shop's windows, she strolls home. Outside her apartment, she fends off her date from the disastrous night before. Later, she meets, a pleasant and somewhat confused writer, the new tenant in her building. They develop a special relationship. She wants to marry a rich man. However, her new friend slowly falls in love with her. Both must give up of some important goals in their lives for the sake of love...

This is an unconvincing and provocative story with a touch of an inappropriate comedy, romance and melodrama. However, this distorted reality has a certain depth. The story of a nobody's-but everyone's girl is, given her past, a naive and painful at the same time. A quiet and insecure writer with an obvious problem of writer's block and hands of a beautiful and rich older lady around his neck enters in her life. It is a quite confusing situation in life.

Costume design is exquisite, the song "Moon River" is haunting as a reflection of fears, turmoil and friendship.

Audrey Hepburn as Holly Golightly / Lula Mae Barnes is an irresistible, irritating, bumbling and gentle woman with two names. She constantly flees away from itself. Holly is "the real fake" and "a wild thing" at the same time. Lula Mae is a person from whom Holly escapes. Ms. Hepburn is a beautiful and gentle actress, exceptional comedienne, who is an ideal choice for this role. George Peppard as Paul Varjak is often set aside as an observer. He was not the right choice for this role. George just can not follow a "twisting" step of the unreliable Holly. Mr. Edwards has tried to equalize their characters. They are unhappy, unfulfilled and they differ from some moral standards. Their relationship is based on an unconditional friendship. There is no a chemistry or love sparks. He has, in an elusive and unreliable girl, found an inspiration in his life. She has found a man who will, regardless of her excesses and lies, always be beside her and lend her a hand when she falls.

Their support are Patricia Neal (Mrs. Emily Eustace "2E" Failenson) as a cool rich woman with a beautiful smile and a magnetic gaze. Martin Balsam as O.J. Berman is very funny as a Hollywood agent. Mickey Rooney as I.Y. Yunioshi is an inappropriate and hackneyed cliché.

This is an odd collection of turbulent and false feelings, which is a comic and melodramatic at the same time, and even occasionally pleasant to watch.

Breakfast at Tiffany's is a mostly charming film which serves as a wonderful showcase for the great Audrey Hepburn. In her portrayal of Holly Golightly Hepburn created one of the most iconic characters in film history. This is a memorable film and it's Hepburn who makes it so. She is at the center of everything that goes on in the film and you can't help but be charmed by Holly Golightly. The movie has its flaws, most notably one incredibly unfortunate casting decision, but all these years later it is rightly remembered fondly by most who have had the pleasure of seeing it.

Holly Golightly makes her living as an escort, but it's not as unseemly as it might seem. What she really is more than anything else is an extroverted Manhattan socialite around whom all kinds of craziness swirls. That craziness is best typified in a famous party scene in Holly's apartment. There are so many people crammed into Holly's little apartment, there's so much going on that you don't even know where to look. But inevitably the eye is drawn back to Holly herself. The character has such style and charisma, as of course does the actress playing her. Everyone remembers the famous black dress but the beauty and elegance of Audrey Hepburn shine through no matter what Holly Golightly's wearing. Heck, she could wear a sheet and make it seem elegant. In fact she does. And that sums up Holly Golightly rather nicely. Beautiful, charming, engaging...and more than a touch eccentric.

It's Audrey's movie through and through and she is never anything less than wonderful in her performance. Playing opposite her in the key male role is George Peppard and he at times comes across as being a little wooden, maybe somewhat dull. But perhaps his character is just suffering in comparison to Holly Golightly who is many things, dull certainly not one of them. Buddy Ebsen has a small role but an important one as it is his character who provides some insight into who Holly really is, or at least who she used to be. We come to learn that Holly has pretty much reinvented herself and there are some wistful moments as we see why she may have felt the need to do so. There will be some roadblocks thrown up in the way of Holly's seemingly blissful existence and as she confronts these obstacles there are times where you know she's doing the wrong thing. But you love her anyway and just hold out hope she'll get it right in the end. That's the irresistible charm of Audrey Hepburn working its magic.

It must be said that for all its charm the film does have one serious black mark against it. Mickey Rooney's portrayal of Holly's bucktoothed, slant-eyed stereotyped Japanese neighbor Mr. Yunioshi is absolutely appalling. It's the type of thing you'd expect from a film made in the 1920s. By 1961 you would have hoped people would have known better. Apparently not. Every time this character appears on the screen you can't help but cringe. The character takes you out of the movie watching experience entirely. You don't see him as a character named Mr. Yunioshi, all you see is Mickey Rooney in hideous yellowface makeup. Awful. And for a character meant to serve as comic relief, even had an Asian actor been cast there is no way around the fact that the character is just not funny at all. It's the one major flaw in a film which, while maybe not an all-time classic, is certainly charming and enjoyable throughout. And as a showcase for the talents and elegance of Audrey Hepburn it could not work any better.

I am never sure which Breakfast at Tiffany's is. I can certainly think of movies which more accurately portray the human condition, but of few that are more fun.

Neither Holly nor Paul seem to represent real people. Their attraction, which is the focal point of the movie, is a character unto itself. Paul sees Holly as scared, vulnerable, and in need of rescue and enjoys his role as potential knight in shining armor to her damsel in distress. She is drawn to him because he sees beyond her facade of fabulousness to the scared little girl she is inside and which she tries (not that hard really at all) to hide. Adding to her attraction to him is the fact that he stands up to her when she treats him shoddily. This probably does not happen to her too often, and it intrigues her.

These are mostly the tricks a romance novelist uses to keep readers baited and rooting for a fictional, possibly doomed romance to work and do not reflect the real nature of love. There is, however, enough chemistry, genuine affection, and respect between the two characters to keep the story from seeming utterly implausible.

Of course, a movie doesn't have to be realistic to realistically portray what is right and what is wrong with the world we live in. Breakfast at Tiffany's doesn't do a whole lot of that either, though. After watching I can never pinpoint one solid message from it.

What it does have a lot of, as many others have pointed out, is stylish, witty, good fun. This is almost always the movie I choose on the rare occasions when my husband is working late, my son is asleep, I have energy to spare and good bottle of wine just begging to be uncorked. Believable or not, it is well-told and compelling, and remains one of the better movies a gal can lose herself in.

Even now 57 years after its original release, Breakfast At Tiffany's remains a charming love story between two hustlers of sorts. Audrey Hepburn is not the Holy Golightly that Truman Capote intended, she couldn't be but she was Audrey Hepburn in all of her 1961 glory. Amazing how it still works that Audrey Hepbun touch. George Peppard is gorgeous but impenetrable. Mickey Rooney, unforgivable. Henry Mancini, opportune but. strangely enough the character that fascinated me the most in my latest viewing is Patricia Neal. I would love to see a full movie about that woman. She exudes sensuality and smartness. Blake Edwards concocts a lighter fare from Capote's book and as it happens, it's still very much alive and surprisingly relevant.