Breakfast at Tiffany's film notes

Breakfast at Tiffany's film notes - Breakfast at...

Info icon This preview shows pages 1–2. Sign up to view the full content.

View Full Document Right Arrow Icon
Breakfast at Tiffany’s (1961) Composition Crew: Director: Blake Edwards • Written by George Axelrod (Based on the Novel by Truman Capote) • Produced by Martin Jurow and Richard Shepherd • Director of Photography: Franz Planer • Edited by Howard Smith • Art Direction: Roland Anderson and Hal Pereira • Set decoration: Sam Corner and Ray Moyer • Original Music by Henry Mancini • Costume Supervisor: Edith Head • Production Company: Jurow-Shepherd • Distributed by: Paramount Pictures Cast: Audrey Hepburn (Holly Golightly) • George Peppard (Paul Varjak) • Patricia Neal (Mrs. Failenson) • Buddy Ebsen (Doc Golightly) • Martin Balsam (O.J. Berman) • Jose Luis de Villalonga (Jose de Silva Pereira) • Alan Reed (Sally Tomato) • Stanley Adams (Rusty Trawler) • Mickey Rooney (Mr. Yunioshi) Running time 115 minutes “If I could find a real-life place that’d make me feel like Tiffany’s, then, then I’d buy some furniture and give the cat a name!” —Holly Golightly Over the course of his career, Blake Edwards has directed in a number of genres, from melodramas to war films and westerns, yet he is most often connected to comedy. And while it might be easy to dismiss Edwards’ work as fluffy and escapist, many of his comedies manage to deal with the more painful sides of life so that even his funniest outings are still tinged with sadness. In many ways, then, Breakfast at Tiffany’s marks an aesthetic and commercial turning point for the director: it represents one of his first and most successful forays into this blending of the serious and the humorous that would come to mark most of his career. In Breakfast at Tiffany’s , Edwards’ keen sense of timing and use of space for physical comedy are not only reminiscent of the great silent comedies, but the combination of physical humor and snappy dialogue give Breakfast at Tiffany’s , as well as his later film Victor/Victoria (1982), an almost universal appeal as comedy while also subtly delivering social critique. 1 Of course, Breakfast at Tiffany’s is not purely comedy, and the film can quite quickly shift from laughter to tears. Peter Lehman and William Luhr point out that these kinds of abrupt tone shifts, from scene to scene, mark Edwards’ later style. In Breakfast at Tiffany’s , these shifts are integral to the narrative, as they emphasize the disorder and extreme highs and lows of Holly’s life.
Image of page 1

Info iconThis preview has intentionally blurred sections. Sign up to view the full version.

View Full Document Right Arrow Icon
Image of page 2
This is the end of the preview. Sign up to access the rest of the document.

{[ snackBarMessage ]}

What students are saying

  • Left Quote Icon

    As a current student on this bumpy collegiate pathway, I stumbled upon Course Hero, where I can find study resources for nearly all my courses, get online help from tutors 24/7, and even share my old projects, papers, and lecture notes with other students.

    Student Picture

    Kiran Temple University Fox School of Business ‘17, Course Hero Intern

  • Left Quote Icon

    I cannot even describe how much Course Hero helped me this summer. It’s truly become something I can always rely on and help me. In the end, I was not only able to survive summer classes, but I was able to thrive thanks to Course Hero.

    Student Picture

    Dana University of Pennsylvania ‘17, Course Hero Intern

  • Left Quote Icon

    The ability to access any university’s resources through Course Hero proved invaluable in my case. I was behind on Tulane coursework and actually used UCLA’s materials to help me move forward and get everything together on time.

    Student Picture

    Jill Tulane University ‘16, Course Hero Intern