Blake Edwards
Breakfast At Tiffany's

"-I'll tell you one thing Fred, darling, I'd marry you for money right away! . . And would you marry me for money?
-Immediately...
-Luckily neither of us is rich? eh...?
-Right?"

Who is Holly Golightly? And who is Lulamae Barnes? Who is the exuberant and slightly mischievous neighbor of the new tenant Paul Varjak (George Peppard) in a quiet New York apartment building? These are the questions that more insistently arise in the mind of the viewer while watching this splendid film based on Truman Capote's novel of the same name; the answers are not immediate, the character of Holly is extremely complex, behind her face that conveys all her extroverted nature hides a mysterious life, a difficult past that Paul will slowly uncover, revealing all the fragility of Lulamae, a crystal heart so reluctant to bond with people for fear of suffering.

This changeable and captivating character is brought to the big screen by an extraordinary Audrey Hepburn, who, after the birth of her son Sean (... "I felt like a tiger") manages to construct her most challenging character, far from her shy nature, and she does it magically despite Capote initially wanting Monroe (but he soon changed his mind). Hence, Holly lives alone, with her bizarre parties full of completely unknown people making life difficult for the poor neighbors, with only a cat to keep her company, unnamed because "If I found a place in this world that made me feel like Tiffany's... I'd buy furniture and give the cat a name!", there's Tiffany's, the temple of luxury and appearance, of the superfluous, the film opens precisely with this beautiful sequence in which Holly, after one of her nights of revelry, gets out of the taxi and approaches Tiffany's windows, and with a completely lost look, she surrenders to her breakfast and performs her ritual, she must chase away the "mean reds". Probably all her dreams begin and end in those windows, Holly is an ambitious one, apparently, she wants to settle down with a rich billionaire, and this betrays her need for security from the start, and then the poor little girl Lulamae surfaces, who could only rely on her brother Fred's help, now in the army. Holly immediately sees in Paul the secure face of her brother, the broke and struggling writer "-He has a magnificent machine.../-Who only writes crude, intensely felt, and promising things. /-There's no ribbon though/-...there isn't?/-No" he will come to understand at his own expense who his neighbor really is, not just an open and superficial woman, but a wounded girl with an enormous need for love.

A fascinating and poignant story, with memorable scenes, one of all when Holly becomes infatuated with a wealthy Brazilian landowner and cooks a sort of chocolate rice for Paul that explodes in the pressure cooker, completely splattering them with cocoa, or when Holly sings "Moon River" at the window, accompanying herself on the guitar, a splendid scene in which Hepburn sings one of the most famous songs in music history, written by Henry Mancini just for her "...I knew perfectly the tone of her voice, and I knew it would work wonderfully for "Moon River". To this day, no one has ever sung it with as much feeling."

"Breakfast At Tiffany's" is, in the end, a simply wonderful movie, seemingly romantic but in reality an immense comedy perfectly performed that absolutely must be seen in its original language, you cannot take away Hepburn's voice, which expresses all the despair, happiness, and melancholy of her Holly.