A movie that is practically synonymous with Audrey Hepburn, Breakfast at Tiffanys provides beautiful images for your eyes to feast on- sparkling stones in shop-windows try to match Hepburn’s own giant, marble-sized, thickly-lashed green eyes (the stones have a disadvantage-they can’t match the expression in her eyes). Lovely early-morning city-streets, stone stairs and tall buildings form the background for her frame (that looks as if it were carved in one movement out of a monolith) and the beautiful, pronounced angles of her face. Doesn’t Audrey Hepburn look just like marble statuary brought to life?
The movie unfortunately has to depend on the idea of the emotionally uncontrolled eternal woman-child who can add two and two, but larger numbers confuse her. Isn’t that adorable? Also Audrey relies on that breathy-voiced style of acting in the old movies that I’ve never managed to find very credible, although women who made it their own voice were very charming and very impressive. Life seems to be lived on a higher register for such a character than for everyone else. You’re a heroine with a capital “H”. Imagine doing that sort of thing in more plain-spoken times! What we have is the cast of Girls and Lena Dunham! I do remember reading something about how …people thought that if you could suffer like Ingrid Bergman did in Gaslight then it was okay, to be unhappy in a romantic, high-toned way was the thing.
This a movie which won’t be too exasperating in its portrayal of Holly Golightly’s feyness, because she was ‘married’ at 14 to a middle-aged man, whom people keep calling her husband, until she says with the air of one who understands her responsibilities, that the ‘marriage’ was annulled. When a character is caught in such a cat’s cradle of societal norms and expectations, you really can’t quibble over how most women would realise that taking money from a famous drug-dealer may eventually end your dubious marriage prospects to a pompous Brazilian politician. Obviously, these are the sober thoughts of a more fortunately circumstanced person. Why are female protagonists always like that, though? The Shopaholic girl in the books is just as moronic, and we have to accept her mental vacuum as being representative of- get ready for it- niceness. All the nice people I ever met were also more than nominally intelligent. Just saying.
Speaking of her fey, precious, eccentricity:
How did they get the cat to refrain from biting her after she chucked him out in the rain? He’d only just found a dry box before she snatched him up and began squashing him like that. Maybe it was a double?
According to someone on the internet:
“Orangey the Cat is the only cat in history that has won the Patsy Award twice. For those who do not know, the Patsy award is the animal kingdom’s equal of an Oscar. The Patsy Award is awarded by the American Humane Association”
Just talent then.
Mickey Rooney’s racist portrayal of the Japanese neighbor has been making people uncomfortable enough for a while now, so I won’t dwell on it. It was the reason I went rather off this movie for a while, before memories of Audrey’s eyes, and the actors’ expert modulations, and the Moonriver soundtrack reeled me back in. Patricia Neal was just wonderful as the wealthy woman who ‘kept’ Paul Varjak (played by a delightful looking George Peppard). My favourite Audrey moment has always been the “How do I look?” scene, after fastening on one earring, large marble-like eyes framed by a enormous black hat. It’s as ineradicable from my mind as a song stuck in my head.