Breakfast at Tiffany's film notes

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

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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. Lehman and Luhr also point out that a common theme in Edwards’ work is voyeurism, and
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This note was uploaded on 02/23/2010 for the course CTCS 190 at USC.

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

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