Frühstück bei Tiffany

After watching this movie I realized how hard modern romantic movies have it. Then, all it took was one smile of Audrey Hepburn and you were on your way to the movie of the year. Nowadays, the more original the movie with a punchline larger than Beverly Hills, the fewer reasons we have to immediately forget it. But here, I enjoyed more Audreyʼs cat than Audrey herself and since she acted like a douche towards it near the end of the movie, I give Breakfast at Tiffanyʼs three stars. (31.12.2016)

Breakfast at Tiffany’s embodies Hollywood at its most classic and at its worst. On the one hand, we have here the magnificently stellar Audrey Hepburn, a narrative with bittersweet tones and precision craftsmanship. On the other hand, there is the absolutely horribly kitschy ending that utterly negates everything that has gone before. All of the potential depth and ambiguity of not only the central character, but also of the whole depiction of the emptiness and artificiality of the American Cinderella story is bluntly trampled underfoot. At its core, or rather in the book on which it’s based, Breakfast at Tiffany’s is actually a precursor to Soderbergh’s The Girlfriend Experience, which the film version could also have been, up until that off-key climax. Only instead of the sense of detachment and cynicism of modern cinema, the bitterness and self-pity of consumer fairy tales shine through the cracks in the superficial carefreeness and the distracted life of the endless party. With a bit of tolerance and a great deal of sympathy, mainly for the iconic Audrey Hepburn, it’s possible to squint at the film and excuse its betrayal of the viewer in the same way that Mickey Rooney’s much-criticised part deservedly did, which unfortunately was the normal or rather dominant way of going about things at that time. Hollywood was overtly racist then, grinding down the edges of everything that stood out, returning distinctive and headstrong female characters, who were largely ground down themselves, into the arms of the masculine hero and delivering false illusions instead of inspiring catharsis. (06.06.2021)

Everyone should see this gem! Audrey Hepburn has always struck me as a lady with everything that goes with it. She's the reason this film has no shortage of wit, originality, and romance. If there's one thing that's got pizzazz, it's this. The final scene in the rain, when Audrey is running and shouting "Cat, cat, caaaat..." is legendary. I love the music, the interiors, the elegant fashion, the haircuts, the gloves... I love Tiffany! And George Peppard is a real man. Breakfast at Tiffany's is one of my all-time favorites. (14.07.2011)

The great star of world cinema, Audrey Hepburn, was always greatly helped in her career by her fragile appearance, delicate face, and amazing eyes, which she skillfully used to hide the fact that she wasn't such a great actress. Besides the aforementioned advantages, her success also relied on the fact that she was able to choose roles wisely so as not to overexert herself. However, in her filmography, there are much more demanding films than Breakfast at Tiffany's, such as My Fair Lady, or films where she had to demonstrate much more acting talent, such as Wait Until Dark. In the case of her probably most famous film, Breakfast at Tiffany's, I always felt that the film served the viewer not so much with a story, but with Audrey and her charms. It's simply a one-girl show; otherwise, Breakfast at Tiffany's can be considered a mostly average romantic conversation film, which didn't make me laugh once and only slightly touched me in two or three places with its sentimentality. I wanted to give it three stars, but when I revisited the film for the third time, I fell asleep during it, and that shouldn't happen with a three-star film. Overall impression: 45%. (24.10.2010)

Die Verfilmung von "Frühstück bei Tiffany" ist mit bestimmten Erwartungen verbunden. Die Legende spricht von Audrey Hepburn, angeblich die ideale Modeikone, und natürlich von Tiffany-Schmuck. Aber zum Glück gibt es noch etwas Wichtigeres. Truman Capote, dessen Text von 1958, wie sich zeigte, unsterblich ist. Im Gegensatz zu dieser freien Verfilmung, die nicht gelungen ist. Ich gebe zu, dass die kurze Szene des Incognito-Rendezvous zwischen Holly und Paul durchaus etwas an sich hatte (vor allem die Zerstörung des Vermögens der New York Public Library), aber man kann nicht einen ganzen Film auf dieser einen Idee aufbauen. Alles ist unnatürlich, alles ist künstlich wie die falschen Strähnchen, die Audrey in diesem unerträglichen Dutt trägt. Der Höhepunkt des Sixties-Kitsches ist natürlich die Partyszene, die so typisch für das Chaos vieler anderer Blake-Edwards-Filme ist. Aber zum Glück für alle, die Capote verehren, wird es immer die Radioversion mit Hana Maciuchová und Jiří Adamíra geben, die, obwohl sie 1991 nur in einem Studio in Dejvice eingepfercht waren, mehr zustande brachten als die gesamte berühmte Hollywood-Produktion. Es macht einfach keinen Sinn, die Geschichte von 1943 an einem anderen Ort spielen zu lassen. (10.12.2019)

The film is held together by the awesome charisma of Audrey Hepburn, who once again delivers a divine performance, and excels in every emotional position the script demands. Overall, I don't think it’s memorable for its romantic plot or classical execution, but thanks to its pleasant humour, a number of endearing characters (the angry roommate clearly leads the way) and admirable human insight, it's still lovely to watch after all these years. Roman Holiday, however, remains unbeaten :-) 80% (22.07.2013)

Recently, I bought the book "Breakfast at Tiffany's". I must admit that the movie "Capote" was responsible for it. I wanted to learn more about Capote not only from the movie about him but also from his own work. I have to say that the novella really intrigued me, so I had to watch the movie as well, which I successfully avoided for quite some time. In the end, I gave in and I did the right thing. First, the director's name caught me off guard. Blake Edwards? I had to make sure it was the same Blake who made the "Pink Panther" movies. It was the same one. I started the movie a bit uncertainly and immediately recognized that it was indeed the same person. Mr. Yunioshi is a classic Edwardian character, filling the "Pink Panther" films literally. By the way, Yunioshi is not played by an Asian actor at all, but by Mickey Rooney, whom you might know from the movie "Night at the Museum", to remember something more recent. However, this actor has already had over 320 film and television roles in his career. He is now ninety-two and still enjoys sufficient health to continue filming. But back to "Breakfast at Tiffany's". It is a memorable film, especially thanks to the character of Holly, beautifully portrayed by Audrey Hepburn. She is not the prototype of an American beauty, but that doesn't matter at all. The character suits Holly perfectly. The only difference compared to the original is that the book's Holly is less dumb. The movie version is somewhat idealized. The adaptation differs mainly in the ending, which is completely different. But this new, different ending works in the film. I don't want to say that it is better; I think it isn't. But the audience gets what they want. The book's ending would maybe be too open, and besides, Edwards and screenwriter Axelrod actually made the narrator, who is not even named in the book, the main character, although it should have been Holly in reality. For this reason, it was necessary to slightly modify the overall feel. But it's not bad. It's definitely not as terribly awkward as in the movie "Fear and Loathing in Las Vegas", for example. If I had to say something about the movie "Breakfast at Tiffany's", the best description would be "a nice film". More: http://www.filmovy-denik.cz/2012/12/motocyklove-deniky-proposition-v-zajeti.html (02.03.2013)

Dieses Werk hat wirklich Glück, dass es 1961 gedreht wurde und die Chance bekam, fast ein Hollywood-Kultfilm zu werden. Leider ist es aus meiner Sicht ein ziemlich schwacher Trash, dessen Länge langsam unerträglich wird. Für den Film hätte maximal eine Stunde völlig ausgereicht. Das gilt auch für eine flache Audrey Hepburn in einigen Passagen, die kaum glaubhaft war. Der Film spielt etwas vor, was er nicht ist. Er hat nur einen Charme, und das sind die Zeit und der Ort, an dem er gedreht wurde. (13.01.2021)