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| Breakfast at Tiffany's (Special Aniversary Collector's Edition) | 
 enlarge | Actors: Stanley Adams, Elvia Allman, Martin Balsam, Dick Crockett, Buddy Ebsen
Studio: Paramount
Category: DVD
List Price: $12.99
Buy New: $5.86
You Save: $7.13 (55%)
New (47) Used (24) Collectible (3) from $5.38
Avg. Customer Rating:  289 reviews
Sales Rank: 1051
Format: Ntsc, Surround Sound, Widescreen
Languages: English (Original Language), French (Original Language), English (Subtitled)
Rating: Unrated
Number Of Items: 1
Running Time: 114
Aspect Ratio: 1.85:1
Shipping Weight (lbs): 0.3
Dimensions (in): 7.5 x 5.3 x 0.6
MPN: PARD041004D
ISBN: 1415718113
UPC: 097360410044
EAN: 9781415718117
ASIN: B000BTGY1O
Theatrical Release Date: October 5, 1961
Release Date: February 7, 2006
Availability: Usually ships in 1-2 business days
Condition: Brand New and Factory Sealed Item Fast Shipping
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Product Description
Studio: Paramount Home Video Release Date: 01/16/2007
Amazon.com essential video
No film better utilizes Audrey Hepburn's flighty charm and svelte beauty than this romantic adaptation of Truman Capote's novella. Hepburn's urban sophisticate Holly Golightly, an enchanting neurotic living off the gifts of gentlemen, is a bewitching figure in designer dresses and costume jewelry. George Peppard is her upstairs neighbor, a struggling writer and "kept" man financed by a steely older woman (Patricia Neal). His growing friendship with the lonely Holly soon turns to love and threatens the delicate balance of both of their compromised lives. Taking liberties with Capote's bittersweet story, director Blake Edwards and screenwriter George Axelrod turn New York into a city of lovers and create a poignant portrait of Holly, a frustrated romantic with a secret past and a hidden vulnerability. Composer Henry Mancini earned Oscars for the hit song "Moon River" and his tastefully romantic score. The only sour note in the whole film is Mickey Rooney's demeaning performance as the apartment's Japanese manager, an offensively overdone stereotype even in 1961. The rest of the film has weathered the decades well. Edwards's elegant yet light touch, Axelrod's generous screenplay, and Hepburn's mix of knowing experience and naivete combine to create one of the great screen romances and a refined slice of high society bohemian chic. --Sean Axmaker
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| Customer Reviews: Read 284 more reviews...
 a totally enchanting urban fairy tale November 30, 2008
Forget about Capote's cynical novella and enjoy what a couple of master Hollywood craftsmen (Edwards and Axelrod) spin from it. It is pure 24 k Romantic gold. There has never been a more perfect date movie.
Hepburn was never more radiantly beautiful than in 61. And Peppard is quite a piece of male eye candy. Together they are the perfect Upper East Side New York dysfunctional couple: Physical perfection and infantile neurosis wrapped up in one beautiful Tiffany Blue box of a movie.
 Why is "Breakfast at Tiffany's" so loved by people who also think it's a let-down? November 27, 2008
0 out of 1 found this review helpful
In my view, a lot of people reflexively label director Blake Edwards's "Breakfast at Tiffany's" a "classic" -- because of just two things -- Audrey Hepburn's appearance, which is indeed iconic -- and the sensational melodic power of "Moon River."
I think it's a classic too. But it's also a let-down.
The film has a spectacular beginning and a spectacular ending. But without "Moon River" -- and without the star power of adorable Audrey -- there isn't much else to propel today's audiences through a series of many dated, mediocre and "comedic-but-intended-to-be-satirical" scenes.
Combine this with the emotional setback that occurs everytime Mickey Rooney's character appears on screen -- one better understands why "Breakfast at Tiffany's" NEVER makes ANY film group's list of the "top 100" films ever made. Henry Mancini's "Moon River" score bails out the script many times -- and I find myself more "moved" by scenes that would otherwise never work.
To be fair, this is "early" Blake Edwards. His later work is better. For example -- the apartment "party" scene for which Mr. Edwards is most proud (it contains, he says, the most creative material for which he can claim credit) -- is not, in my view, funny nor as pointedly satirical as the office party scene in Billy Wilder's "The Apartment" -- a comedy which won the 1960 Best Picture award the same year (1961) that "Tiffany's" was released.
In "Tiffany's," the party scene is too broad and out-of-place from the A+ "set-up" -- that Mr. Edwards gives us during the film's beautiful first half-hour. It's at this point that I always say to myself, "OK, move it along, we get it. Take us back to Audrey's troubles."
I think the "story" of "Tiffany's" (the film, not the book) -- is about "posers" of all stripes struggling to hide their flaws, their past and other indignities -- while searching for something that grounds them with less artifice. Hence all the stuff that threads throughout the picture, e.g., Holly "doesn't belong to anyone," Holly names a cat just "Cat" -- because it's "hip" and demonstrates independence, Holly can be "bought for anything," Holly thinks being rich and materialistic are superior to true love. Leave true love for sentimentalists, she seems to say. She wants none of it. Holly throws away her identity and roots (i.e., the Lula Mae bit) -- for present day pleasures and a shot at eternal security and prestige.
But Holly's behavior in New York -- betrays her true feelings about the family she left behind -- and betrays the way most young single people feel about love. (Enter George Peppard as a different kind of "poser," a kept man, a failed writer who's the straight-man voice of reason.)
But this is a "romantic comedy." It's not meant to be this deep. It's slap-sticky when it shouldn't be, and I'm not just talking about Mickey Rooney. So we watch Audrey as a flighty clothes-horse who dismisses love -- but in the end, she wants it. She wants what the audience wants FOR HER. The "Moon River" theme swells up, the rain (and tears) pour down, and the film ends happily.
This is the gist of what I get out of "Tiffany's." The premise is great. It just doesn't play well on the screen. Without "Moon River," how much less effective is this story? The film never tops its classic opening scene, featuring Audrey eating a croissant at dawn, Manhattan streets deserted, standing in front of a Tiffany's window. Only the ending comes close. I just wish the stuff "in between" -- was as perfect.
In sum, "Breakfast at Tiffany's" is not, in my view, great -- but it is "essential" -- and a classic on several levels. No film better captures the legend of Audrey Hepburn -- and forever links that legend to a tune we can hear repeatedly without complaint -- "Moon River."
P.S. -- Mr. Rooney is a legend -- and the class act he is -- he has apologized many times for his performance in "Tiffany's." I give him props for that. Audiences laughed at Mickey Rooney in "Tiffany's" back then -- even though most don't laugh today. And despite my distaste for his scenes -- applying today's political correctness to past works of "art" -- is akin to altering history "as it was" in 1961.
 Overrated November 11, 2008
1 out of 4 found this review helpful
The movie is a classic, just a bad one. It's been a while since I've seen it, but the other reviews really helped jog my memory. The movie was shallow and contrived. The main character of a movie should be liked by the audience, but Holly failed to catch my attention or respect. Her unhappiness and lack of self confidence is no excuse for her selfishness. I might have given this move a 3 star if not for the hype. The over the top praise this movie has recieved is unbelievable! I can't help being disappointed in the people who gave it a 5 star. Everyone is entitled to their opinion, but still. I agree with a reviewer who wrote that Breakfast at Tiffany's is so beloved because Audrey Hepburn is in it and because the movie is in color. It's pretty irritating that some people would judge a movie by it's actors and CGI, color, cinematography, etc. Shouldn't the story have some kind of plot or lesson? I guess that I'm just the type of person who likes a movie with a purpose. I don't need symbolism, just some kind of goal in mind. Maybe I need to learn how to enjoy a movie for what it is instead of analyzing everything. Actually, I'm not even sure why I watched it in the first place. Curiosity, I guess, and I felt that I should since I like watching classics. It really wasn't a terrible movie, just disappointing. And also, like another reviewer said, it felt like the beginning of Hollywood's apathetic or "whatever-floats-your-boat" phase.
Breakfast at Tiffany's November 6, 2008
1 out of 1 found this review helpful
It's the classic opening scene of a timeless romantic comedy that many would recognize, Audrey Hepburn gets out of a big yellow taxi cab, while Henry Mancini's Moon River plays in the background, in a long elegant black evening gown with her diamond tiara, fabulously large pearl necklace and elbow length black gloves, she walks to the Tiffany's store window to look at the gorgeous jewelry and chandeliers all while enjoying a croissant and a cup of coffee then heading home after a night on the town. In the film Breakfast at Tiffany's, Audrey Hepburn plays the strong-willed and glamorous female lead, Holly Golightly, who easily captivates viewers through her charming wittiness and saddening desperation. For Holly Golightly Tiffany's represents the high expectations that she has set for her life, "I don't want to own anything until I find a place where me and things go together. I'm not sure where that is but I know what it is like. It's like Tiffany's.' `Tiffany's? You mean the jewelry store.' `That's right. I'm just CRAZY about Tiffany's!' (Breakfast at Tiffany's).
Next we meet the nonchalant and attractive Paul Varjac (who Holly calls Fred because of his resemblance to her brother), a struggling writer who is Holly's new neighbor. From their conversation we quickly learn that they have something in common, they both take money from wealthy admirers. Ms. Golightly is a very social woman who goes out with many rich men and uses her looks and charming personality to get money from them, whether it be through them giving her fifty dollars for the powder room, or going to visit an ex-mobster in Sing Sing prison and delivering the "weather report" to his lawyer. She always knows when a rich man is present and is ready to seduce him, "that's Robert Trawler, he just happens to be the ninth richest man under fifty in America...I keep track of these things" (Breakfast at Tiffany's). Paul, on the other hand, is having an affair with a very affluent married woman whom he met in Rome and she is paying for his apartment and its decorations and giving him an allowance to live off of. The intriguing aspect of this shared lifestyle is that they actually acknowledge their need to use lovers "Holly: Fred, darling...I'd marry you for your money in a minute, would you marry me for my money? Paul: In a minute. Holly: I guess its lucky neither of us is rich, huh?" (Breakfast at Tiffany's). Ultimately Paul's feelings for Holly move from friendship to love causing him to end his affair, but Holly has her heart set on marrying Jose, a suave, wealthy South American. This leaves the viewers rooting for Paul and yearning for Holly to just give into the feelings for him that we all know she has.
Perhaps one of the most original scenes in the movie is the party scene, in which Holly throws a party in her apartment that gets extremely out of control. The people who attend this party are swanky and chic and come across as carefree and looking for a good time. The party quickly becomes extremely crowded and turns into an amusing drunken circus, occurrences range from hats accidentally getting set on fire to women literally hanging on men. The police are called to break up the party however both of our main characters escape any consequences.
At first Holly comes across as very simple but we later find that she has a great deal of depth. She is not just a swanky socialite with an easy life, she has had a rough past, involving being orphaned at an early age leaving her to fend for herself and her younger which causes her to marry a rural doctor, who is much older than her, that she does not love romantically. Another character that deserves some analysis is Mr. Yunioshi, the buck-toothed simple-minded Asian man who lives upstairs. "The inclusion of the stereotyped Asian character of Mr. Yunioshi (played by Mickey Rooney) borders on offensive. Mr. Yunioshi's sole purpose is to provide cheap comic relief, but, what might have been funny in 1961 has long since lost its humorous edge. The character's presence is a double blow to the Asian community - not only is he fatuous and uncomplimentary, but he is played by a Caucasian actor in heavy makeup" (Berardinelli).
This is one of my all time favorite movies because it is the sort of movie that you can watch when you are having a terrible day and are in need of an emotional boost or when you are in a great mood and simply want to laugh and continue your cheerful mood. Perhaps this makes me a little bias but I believe there is no doubt that this is a captivating film, which successfully remains simple while still having strong underlying meanings and has very intriguing characters.
There's such a lot of world to see October 29, 2008
1 out of 1 found this review helpful
Audrey Hepburn had a lot of memorable, glamorous roles as highly individual, sensitive young women.
But her most iconic turn was as Holly Golightly, a frivolous young woman with a highly sensitive core. Hepburn is a ball of shimmering charm here, whether she's setting hats on fire or chasing nameless cats through the rain, and she's able to shine brightly enough to obscure a few flaws (such as Mickey Rooney). The other actors do serviceable jobs, but she's undeniablythe star.
"Breakfast at Tiffany's" is a daily ritual for Holly Golightly (Hepburn), a social butterfly who hosts parties, entertains drunken men for their fifty-dollartips, and dreams of owning a horse farm in Mexico with her brother. When kept-man Paul Varjak (George Peppard) moves into a neighboring apartment -- courtesy of his rich patroness -- he is instantly enchanted by the ditzy, sweet-natured Holly.
But for all Holly's fun, Paul starts to realize that all is not well with her. She's desperate to marry a spectacularly wealthy man, parties with wild crowds, visits a notorious gangster in jail, and hides that she was an illiterate teen bride to a hick doctor. As Holly's life starts to deteriorate, Paul sets out to show her what her life will be like without real love.
Reportedly Truman Capote wasn't happy with the movie version of "Breakfast At Tiffany's" -- they changed the ending from his short story's, and he didn't like Hepburn as Holly Golightley. But this is one case where the movie's quality is not reflected by what the author thought of it -- taken on its own merits, it's a fine chocolate with a bittersweet center.
Much of the movie is devoted to the friendship (and unspoken attraction) between Holly and Paul, and how it disrupts their comfortable shallow lives. Paul spends the whole movie unravelling the unhappy tale of Holly's life as she starts spinning out of control. Things climax nastily with Holly's already-questionable reputation being sullied, but the finale is an exquisite mix of brutal honesty, true love and a very unglamorous rainstorm.
That said, it's a pretty hilarious movie -- witty dialogue ("... if you like dark, handsome, rich-looking men with passionate natures and too many teeth") and plenty of kooky humour ("TIMBER!" Holly yells as a drunken model keels over, followed by the crowd parting like the Red Sea). And there are plenty of charming, warm'n'fuzzy moments, like the cute day trip through New York.
One thing that will make viewers cringe: Mickey Rooney's caricatured Japanese landlord who objects to Holly's parties. Not. Funny.
Though she was no party girl, Audrey Hepburn is pitch-perfect as Holly -- she can be flaky and adorable ("I'm CRAAAZY about Tiffany's?"), chattery and glamorous, with a cat she refuses to name because they're just a pair of "poor slobs who don't belong to anybody." But she can just as easily flip the switch to show the wounded, almost childlike side.
George Peppard is just as good -- albeit less winsome -- as a writer-turned-kept-man-turned-writer-again, whose protective affection for Holly grows as the movie goes on, but who has to get through her ironclad defenses. And Patricia Neal rounds out the cast nicely as the icy, cynical woman whom Paul gives his non-literary services to.
The Centennial Edition of this movie is, like all the others, a two-disc affair. There's a boatload of extras here -- a producer commentary, the original trailer, featurettes about the "making of" and about Audrey herself, such as "Brilliance in a Blue Box" and "Audrey's Letter to Tiffany." And there's also insights into Henry Mancini's score, Asian perspectives on Mr. Yunioshi, and the "Golightly Gathering." And so on, and so forth.
Hepburn is the flawed diamond at the heart of "Breakfast at Tiffany's," and her charm and acting ability elevate this beyond just another adorable romantic comedy.
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