**Disclaimer: Although we recognize that the movie was based off of Truman Capote's novella Breakfast at Tiffany’s, and that there is also a play adaptation, we are only going to focus on the film. If we were to compare it to the novella and the play then we would be straying too far from our blog’s purpose, and it would be a completely different post altogether. And as this is a blog about women in film, we feel it is most appropriate to stay focused on the movie.**
In the 1960’s the role of women changed dramatically as women spoke out against their oppressive society. In 1963 Betty Friedan wrote The Feminine Mystique which said that women were not happy only having children and is credited with bringing about the second wave of feminism in the United States. This idea that women were not happy only staying at home was revolutionary, and is related to many other feminist movements in the 1960’s. Before the 1960’s, women could not own their own credit card, or take out money to start a business. They were limited socially to very specific jobs, and the Commission on the Status of Women in 1963 discovered that women earned 59 cents for every dollar that men earned. Women protested this unfair treatment in the 1960’s and the image of women began to change.
Deeply tied to the issue of overall equality was the sexual revolution of the 1960’s. In 1960 the pill was approved by the FDA for use as a contraceptive. This allowed women to choose when they wanted to become pregnant and have control over their bodies. Women began to focus less on marrying and more on sexual exploration. The book Sex and the Single Girl published in 1962 celebrated the single life and helped to eliminate the idea of the old maid. There was significant conservative backlash to this movement, but as time went on women became more accepted and seen as powerful individuals who could make choices about their career and body. We think that Breakfast at Tiffany’s specifically fits into this movement. Holly Golightly is a very unique character who likes to do what she wants with whomever she wants to.
Along with this idea of sexual exploration is Holly Golightly’s job. She makes money by escorting men out for the evening and will sleep with them if she wants to. Truman Capote said, “Holly Golightly was not precisely a callgirl. She had no job, but accompanied expense-account men to the best restaurants and night clubs, with the understanding that her escort was obligated to give her some sort of gift, perhaps jewelry or a check … if she felt like it, she might take her escort home for the night. So these girls are the authentic American geishas, and they’re much more prevalent now than in 1943 or 1944, which was Holly’s era.” She does make money off of men, so she could be seen as promiscuous but also decides how she lives her life. Paul has a similar setup. He is a gigolo financed by 2-E, a rich married woman. The similarities in how they sustain a living makes them more equal and understanding of each other. One of them isn’t better than the other, and this is a huge reason for why their relationship works.
In the 1960’s the role of women changed dramatically as women spoke out against their oppressive society. In 1963 Betty Friedan wrote The Feminine Mystique which said that women were not happy only having children and is credited with bringing about the second wave of feminism in the United States. This idea that women were not happy only staying at home was revolutionary, and is related to many other feminist movements in the 1960’s. Before the 1960’s, women could not own their own credit card, or take out money to start a business. They were limited socially to very specific jobs, and the Commission on the Status of Women in 1963 discovered that women earned 59 cents for every dollar that men earned. Women protested this unfair treatment in the 1960’s and the image of women began to change.
Deeply tied to the issue of overall equality was the sexual revolution of the 1960’s. In 1960 the pill was approved by the FDA for use as a contraceptive. This allowed women to choose when they wanted to become pregnant and have control over their bodies. Women began to focus less on marrying and more on sexual exploration. The book Sex and the Single Girl published in 1962 celebrated the single life and helped to eliminate the idea of the old maid. There was significant conservative backlash to this movement, but as time went on women became more accepted and seen as powerful individuals who could make choices about their career and body. We think that Breakfast at Tiffany’s specifically fits into this movement. Holly Golightly is a very unique character who likes to do what she wants with whomever she wants to.
Along with this idea of sexual exploration is Holly Golightly’s job. She makes money by escorting men out for the evening and will sleep with them if she wants to. Truman Capote said, “Holly Golightly was not precisely a callgirl. She had no job, but accompanied expense-account men to the best restaurants and night clubs, with the understanding that her escort was obligated to give her some sort of gift, perhaps jewelry or a check … if she felt like it, she might take her escort home for the night. So these girls are the authentic American geishas, and they’re much more prevalent now than in 1943 or 1944, which was Holly’s era.” She does make money off of men, so she could be seen as promiscuous but also decides how she lives her life. Paul has a similar setup. He is a gigolo financed by 2-E, a rich married woman. The similarities in how they sustain a living makes them more equal and understanding of each other. One of them isn’t better than the other, and this is a huge reason for why their relationship works.
We read multiple reviews from 1961 on Breakfast at Tiffany’s, and by all accounts people found the movie to be very entertaining and Audrey Hepburn to be very charming. Putting aside any differences they found with the book, the reviewers thought it was a very good film. The New York Times found that the movie had “the overpowering attribute known as Audrey Hepburn, who, despite her normal, startled fawn exterior, now is displaying a fey, comic talent that should enchant Mr. Capote...as well as moviegoers.” This is certainly a nod to Hepburn’s talent, as well as saying that it is her, along with “enough other ingredients to make it pleasantly memorable entertainment.” They also discussed their take on her portrayal of Holly saying that though the character is still “as implausible as ever,” with Audrey Hepburn as her vessel she is “a genuinely charming, elfin waif who will be believed and adored when seen.” Variety agreed with Miss Hepburn’s skill by saying “ in the exciting person of Audrey Hepburn, she comes vividly to life on the screen.” Along with that, The Hollywood Reporter also agreed by calling Hepburn’s performance “appealing” and stating that she is “responsible to a great degree for the credibility of her complex character,” calling her portrayal “winning.” The Hollywood Reporter reviewer viewed Holly as “immoral but virtuous.” The reviewer also made the observation that her values changed due to her relationship with Paul. He helps her to accept the concept of responsibility and commitment. We find this to be a really interesting observation.
When watching the movie, we noticed her evolution, but we didn’t look at it as a change of values. Holly never really had any true bonds with anyone before Paul, save for maybe her brother Fred. We found this fact to be rather alarming. She was always running away from her problems, and even though she doesn’t want to get tied down or “caged,” we don’t think Paul is doing that. We also think that part of her need to not settle down was due to her brother Fred. We think that she was waiting for him to return so they could find home together, but once he was gone for good, she realized there was nothing holding her back anymore. That’s why she was so willing to just settle down and play wife with Jose. It was a logical step to her. But with Paul, it wasn’t about the logical timing of the moment, there were actual feelings there too, and Paul helped her see that wasn’t anything to be afraid of.
It is very hard to officially say that Breakfast at Tiffany’s passes the Bechdel Test. Although there are more than two female characters; Holly, 2-E, and Mag, they don’t interact very much with one another. When they do, there often is a man involved in the topic matter. Unfortunately, what makes it difficult is that it is not specified if there is a way characters can be talking about a man and have it pass the Bechdel test. Holly and 2-E have a brief encounter when Paul first arrives, but they don’t directly address each other. Holly does ask for Paul and 2-E to move out of her way so she can get into the cab, noting that she is in a hurry, but this is so indirect that it’s hard to officially count it as a conversation amongst the two women. At the party, Mag asks Holly if she’s mad at her for bringing an uninvited guest, who does so happen to be a man, but Mag isn’t referring to his gender. And later on Holly also tells her that she’s being a “bore.” We think that it’s possible to argue that this encounter could meet the standards of the Bechdel Test. However, both the strongest and most uncertain argument for the Bechdel test is when Holly and Paul go to the public library. Holly speaks with the librarian about Paul’s book. It is a moment still referencing a man and is so small a moment that we’re not sure it counts either. However, because the topic matter is of Paul’s work and not of him in a romantic or intimate sense, perhaps this encounter could pass the standards.
The conclusion we’ve reached is that it is possible to argue both sides. We actually found that we differed in opinion on this one, just because it was so debatable. Libby found that Breakfast at Tiffany’s did not pass the Bechdel Test, whereas Megan found that it did, though narrowly and just barely pass. The answer is definitely debatable and in order to come to a true final conclusion, we both feel we need more information. What we do know, though, is that the majority of the movie is between Paul and Holly. They do interact with other characters here and there but the focus of the movie is on their relationship. We don’t necessarily view this as a bad thing though. This isn’t a story about Holly and her girlfriends. This is a story about Holly Golightly, the “wild thing” who is trying to live an exciting life, and how her friendship with Paul helps her grow. If Breakfast at Tiffany’s is found to pass the Bechdel Test, that would obviously be great. If it’s not, we’re not so sure that’s a bad thing, because we don’t view this film as poorly portraying a woman. We also recognize that the Bechdel Test isn’t the only method for determining if a film is a good representation of women and that it might not always be the most telling, as we’ve learned here.
Breakfast At Tiffany’s is perhaps one of the most classic movies from the time of Old Hollywood. Maybe this is because of Audrey Hepburn, maybe it’s because of the story, or maybe it’s because of all the incredible costumes. Although there are many iconic scenes and quotes from the movie, we’d have to say that Holly Golightly’s black dresses are just as iconic.
When watching the movie, we noticed her evolution, but we didn’t look at it as a change of values. Holly never really had any true bonds with anyone before Paul, save for maybe her brother Fred. We found this fact to be rather alarming. She was always running away from her problems, and even though she doesn’t want to get tied down or “caged,” we don’t think Paul is doing that. We also think that part of her need to not settle down was due to her brother Fred. We think that she was waiting for him to return so they could find home together, but once he was gone for good, she realized there was nothing holding her back anymore. That’s why she was so willing to just settle down and play wife with Jose. It was a logical step to her. But with Paul, it wasn’t about the logical timing of the moment, there were actual feelings there too, and Paul helped her see that wasn’t anything to be afraid of.
It is very hard to officially say that Breakfast at Tiffany’s passes the Bechdel Test. Although there are more than two female characters; Holly, 2-E, and Mag, they don’t interact very much with one another. When they do, there often is a man involved in the topic matter. Unfortunately, what makes it difficult is that it is not specified if there is a way characters can be talking about a man and have it pass the Bechdel test. Holly and 2-E have a brief encounter when Paul first arrives, but they don’t directly address each other. Holly does ask for Paul and 2-E to move out of her way so she can get into the cab, noting that she is in a hurry, but this is so indirect that it’s hard to officially count it as a conversation amongst the two women. At the party, Mag asks Holly if she’s mad at her for bringing an uninvited guest, who does so happen to be a man, but Mag isn’t referring to his gender. And later on Holly also tells her that she’s being a “bore.” We think that it’s possible to argue that this encounter could meet the standards of the Bechdel Test. However, both the strongest and most uncertain argument for the Bechdel test is when Holly and Paul go to the public library. Holly speaks with the librarian about Paul’s book. It is a moment still referencing a man and is so small a moment that we’re not sure it counts either. However, because the topic matter is of Paul’s work and not of him in a romantic or intimate sense, perhaps this encounter could pass the standards.
The conclusion we’ve reached is that it is possible to argue both sides. We actually found that we differed in opinion on this one, just because it was so debatable. Libby found that Breakfast at Tiffany’s did not pass the Bechdel Test, whereas Megan found that it did, though narrowly and just barely pass. The answer is definitely debatable and in order to come to a true final conclusion, we both feel we need more information. What we do know, though, is that the majority of the movie is between Paul and Holly. They do interact with other characters here and there but the focus of the movie is on their relationship. We don’t necessarily view this as a bad thing though. This isn’t a story about Holly and her girlfriends. This is a story about Holly Golightly, the “wild thing” who is trying to live an exciting life, and how her friendship with Paul helps her grow. If Breakfast at Tiffany’s is found to pass the Bechdel Test, that would obviously be great. If it’s not, we’re not so sure that’s a bad thing, because we don’t view this film as poorly portraying a woman. We also recognize that the Bechdel Test isn’t the only method for determining if a film is a good representation of women and that it might not always be the most telling, as we’ve learned here.
Breakfast At Tiffany’s is perhaps one of the most classic movies from the time of Old Hollywood. Maybe this is because of Audrey Hepburn, maybe it’s because of the story, or maybe it’s because of all the incredible costumes. Although there are many iconic scenes and quotes from the movie, we’d have to say that Holly Golightly’s black dresses are just as iconic.
It is very rare to see her character not in a black dress. There are only three instances, not counting what she sleeps in, that she isn’t wearing a black dress.
Her style and elegance show her materialistic and outgoing character. It is through her appearance and outfits that the persona of Holly Golightly was created, and her appearance is critical to keeping her job and attracting men. At different points in the movie her outfits are key to showing her mood. For example, when she first really meets Paul in his apartment, she wears a bathrobe over her slip, showing her vulnerability and openness.
As Paul gets to know her, Holly wears many different styles of dresses, and she can sometimes be flamboyant while other times elegant and subdued.
When she is on her terrace singing Moon River, she is wearing jeans, a grey sweater, and her hair pulled back in a wrap while strumming the guitar. This is such a simplistic and serene moment. We see this moment as going back to her roots as Lulamae.
Finally, at the end of the movie she wears her hair down and wears a chic but casual outfit, displaying her desire to marry and desire to be more down to earth. She is always stylish but Holly’s many outfits are important to are a key part of her character.
The lighting in the movie does a really good job of directing the viewers focus. When Paul first comes into Holly’s apartment and is getting ready to go to Sing Sing, her face is highlighted in the mirror. This places our attention directly on her. Next, when she’s walking towards Paul’s window while in his apartment, they are both in shadows until she looks into the mirror, where her face is again highlighted. They keep the light very natural to the time of day it is. Since it’s night time, it’s logical that unless they’re directly in the light of the lamp they’re in shadow. But by highlighting her face continually in the mirror, it directly emphasizes her presence in the scene, actually making her a more dominant presence during that moment. This also helps to highlight Paul’s vulnerability in the moment, and Holly’s care free attitude. Paul remains on the bed, seemingly unclothed, under his sheet. Holly just wanders in and walks around not seeming to notice or care. Later that night when they’re cuddling, the light changes to reflect the change in the outside lighting. The only light in the room is from the moon, highlighting them on Paul’s bed when Holly has a bad dream about Fred, while lying in Paul’s arms. The rest of the room is in darkness, allowing them to pop out.
During Moon River, you can see her, though it’s not very bright out on terrace. The colors are all subdued to show the innocence of the moment and it connects what she’s wearing to the color of bricks around her, giving her an earthy feel. This, again, is a nod to her Lulamae roots. When they’re back in the brownstone after trying their hands at theft, the lighting around their faces after lifting up masks in a close up has a warm glow. When they kiss, their shadows overlap. This helps to show the intimacy of the long awaited moment of romance. One of the most emotional lighting moments is after Holly opens the letter about Fred. She’s lying on her bed after her tantrum. The room is dark, she’s cast in the shadow, and the only light seen is from the hallway as Jose opens the door, outlining his figure. Her face is turned into the pillow slightly to show the distress of the moment, making her a weaker presence in the scene, adding to her vulnerable state.
As we mentioned earlier, Holly struggles with a serious fear of commitment. The possibility of something really happening between her and Paul is terrifying to her, so she pushes him away and tries to ignore it. By trying not to be locked in a cage by someone else, she’s put herself in one. She’s too afraid to admit that “Okay, life's a fact, people do fall in love, people do belong to each other, because that's the only chance anybody's got for real happiness.” We think this is where Paul is really good for her. He’s not trying to change her like Jose. He loves her for who she is. And that’s all he wants to do, love her. He’s also not a “rat” like the other guys. He’s reliable and he’s there for her. They understand each other, and if we’re really looking at it, he’s one of the only people Holly truly trusts. She doesn’t have too many other people consistently in her life. And given the fact that she had such a great fear of commitment, the fact that Paul could get her to want to be with him is a huge step for her.
Holly is a free spirit, a “wild thing,” and that makes her an interesting character. She’s not obsessed with settling down, she’s not in any rush. Whenever she finds a place where she “and things go together,” then she’ll settle down and “buy furniture and give the cat a name.” She doesn’t necessarily care about falling in love either. She likes to have fun and live well, that’s most important to her. She views most guys as rats and that’s probably why she holds this view. That is why we wondered why this movie chose to end with Holly and Paul together. It can be disappointing to see so many female characters have their life fulfilled or completed by being a relationship. We’re not against Paul or their relationship, in fact we like them together, but if she’s such a free spirit then why must Holly settle down?
We think the answer to this question is that Holly wasn’t really forced to change or giving into societal pressure. She changed because she gave into her feelings. She wanted to stop running because she realized she can’t run forever. “No matter where you run, you just end up running into yourself.” She’s such a strong character. For example, even at the very end when Jose breaks up with her by letter she doesn’t shed a tear. Her response is more “good riddance to you” than “no, why did you do this to me?!” And even though she has her moments of stubbornness, she does evolve. Not only does this make for an interesting character to watch, but it makes an admirable one too. We don’t believe that she forced herself to give up her lifestyle to be with Paul, we think that she realized that she is ready to stop running and truly accept her life.
Breakfast at Tiffany’s truly is an iconic movie. Between the story, the outfits, the quotes, and Holly Golightly’s charm through the incomparable Audrey Hepburn, it’s no wonder it is a classic. The story is an adventure in and of itself, and it holds onto that throughout, making it an exhilarating and charming tale to watch unfold.
We think the answer to this question is that Holly wasn’t really forced to change or giving into societal pressure. She changed because she gave into her feelings. She wanted to stop running because she realized she can’t run forever. “No matter where you run, you just end up running into yourself.” She’s such a strong character. For example, even at the very end when Jose breaks up with her by letter she doesn’t shed a tear. Her response is more “good riddance to you” than “no, why did you do this to me?!” And even though she has her moments of stubbornness, she does evolve. Not only does this make for an interesting character to watch, but it makes an admirable one too. We don’t believe that she forced herself to give up her lifestyle to be with Paul, we think that she realized that she is ready to stop running and truly accept her life.
Breakfast at Tiffany’s truly is an iconic movie. Between the story, the outfits, the quotes, and Holly Golightly’s charm through the incomparable Audrey Hepburn, it’s no wonder it is a classic. The story is an adventure in and of itself, and it holds onto that throughout, making it an exhilarating and charming tale to watch unfold.
Cited Sources
"The Pill and the Sexual Revolution." PBS. PBS, n.d. Web. 04 May 2015.
Halford, Macy. "Was Holly Golightly Really a Prostitute? - The New Yorker."The New Yorker. The New Yorker, 07 Sept. 2009. Web. 05 May 2015.
Larrabeiti, Rose De. "Sex and the Single Girl." Radio National. Whistledown, 15 Dec. 2013. Web. 04 May 2015.
McLaughlin, Katie. "5 Things Women Couldn't Do in the 1960s - CNN.com."CNN. Cable News Network, 25 Aug. 2014. Web. 04 May 2015.
Powers, James. "'Breakfast at Tiffany's': Read THR's 1961 Review." The Hollywood Reporter. The Hollywood Reporter, 1961. Web. 04 May 2015.
Tubelle, Larry. "Film Review: 'Breakfast At Tiffany's'" Variety. Variety, 06 Oct. 1961. Web. 04 May 2015.
Weiler, A. H. "The Screen: 'Breakfast at Tiffany's':Audrey Hepburn Stars in Music Hall Comedy." The New York Times. The New York Times, 6 Oct. 1961. Web. 4 May 2015.