This is a small, humorous movie in some ways, but it has a huge heart. What a nice experience.

Ok... Let's be honest. It cannot be the best movie but is quite enjoyable. The movie has the potential to develop a great plot for future movies

The film never slows down or bores, plunging from one harrowing sequence to the next.

This is a coming of age storyline that you've seen in one form or another for decades. It takes a truly unique voice to make yet another one worth watching.

Definitely one of my top 10, Audrey Hepburn and George Peppard are brilliant.I am Asian, so I don't like the racist portrayal of the Japanese neighbor, but that alone can be easily overlooked because the movie itself is great!

The statement concluded the DVD commentary of Richard Shepherd, co-producer with Martin Jurow of 1961 classic "Breakfast at Tiffany's", Audrey Hepburn's signature role as the "woman who get 50$ to go to the powder room" or to put it à la "Friends": the one with the black Givenchy dress and the cigarette holder. That Mickey Rooney is still mentioned at the end of the commentary says how much a burden he is for the film's legacy. Shepherd' feelings echo those of thousands of viewers, including myself, who just love the film and consider Rooney's 'yellow face' performance as Mr. Yunioshi a disgraceful stain that needlessly soiled a classic romantic comedy.And I've seen romantic comedies, whether in the big Applesauce or any other town in the world, the direction is always the same: guy-gets-girl. But I was misguided about the film. A Youtube thumbnail showed Miss Hepburn crying alone in the backseat of a car and I thought it was the film's ending scene... when in fact, just in time, Holly realized she was renouncing true love (stud George Peppard) for some gold-digging dreams... and worse, she had just abandoned her cat. That was a satisfying climatic reunion, if only because she could find the Cat. And I've seen rain kisses too, but that one satisfied me like a few did, I wanted it, Holly Golightly was such a lively and sparkling personality she could miss everything but a happy ending. A happy ending for a great film with great acting (even the cat was good) but again, Mickey Rooney's gesticulation, buck teeth and speech pattern that made him closer to Donald Duck that any Japanese person who ever existed. He's got such a small part they could just have put a real Asian man or just Rooney playing an ordinary guy.This is going to be a riddle for the ages. How can a film so effective in its depiction of upper and sleazier New York City, of parties where people get drunk and wild, and I mean wild, where Martin Balsam takes a woman twice his size for a bathtub kiss, where George Peppard is the 'kept man' (euphemism for gigolo) to a Patricia Neal pulling a Tallulah Bankhead, where Miss Audrey Hepburn, of all the actresses, plays a prostitute (although it's never explicited), how can such a bold and mature film allowed this abomination to happen? Of course, the film sugarcoated the original material from Truman Capote's novel, Holly isn't bisexual anymore and Paul is infatuated with her like the obligatory romantic leading man and is painted in more virile traits (at Peppard's request for some scenes) while his book counterpart was a gay gigolo. The prostitution is very much toned down and reduced to quests for compensated marriage. Still, even by the 60's standards, the film was ahead of its time while Rooney's cringe-worthy performance was also worthy of the worst WWII propaganda. You had four minutes of a beautiful opening scene with Hepburn eating croissants while contemplating Tiffany's jewelry at the morning, the streets was empty, Mancini's music mesmerizing, and then Rooney spoiled everything... a real party pooper not just in the context of the film. But I guess I should look at the half-full croissants' bag, to Blake Edwards' directing and George Axelrod's adaptation (he would also write the screenplay of "The Manchurian Candidate") that even the controversy couldn't tarnish its reputation. So let's get back to the film.It's slice of Holly Golightly's life, the name fits like her black dress, she just goes lightly about everything, she might be a prostitute if you go by the book but she has a way to handle her professional as well as her social life that you can't really tell, as Balsam would say "she's a phoney, but a real phoney". When she hangs out with men, she doesn't enjoy it but appreciates the lifestyle these relationships promise, she less likes money than the comfort it provides. Like Julia Roberts in "Pretty Woman", she wants the Charming Prince, the fairy tale.Indeed, Holly embodies the dreams of many Cinderellas who understood there's nothing glamorous about being poor. Since the book is written by Capote, I guess he also created a gigolo for a gender balance showing that we deal with a business: where there's supply, there's demand. Maybe it's one of the truths of life that women want to be beautiful to marry a rich man and men want to be rich to marry a beautiful woman. Wealth and beauty are two elements that can mix well, but if you spoil the dosage you either fall into decadence or loneliness. Maybe that's why the studios originally wanted Marilyn Monroe but she was advised to take more dramatic roles and rightfully so because her last film was the unforgettable "The Misfits". This allowed Audrey Hepburn to add this dimension of eternally childish naivety and gamin-like frivolity in a character who's supposed to be an escort girl. And she's so communicative that anyone hesitates before contradicting her.There's a moment where Buddy Ebsen makes his entrance as Holly's Southern husband and I expected him to be an antagonist yet he remained understanding all along. In fact, it is Holly who keeps on alienating herself from the world, and I could relate to the way she longs for freedom by escaping from the responsibilities of life, yet ironically building her own gilded cage. Maybe we're never as free as when we free from our own misconceptions. Freedom can be a trap. Many romantic comedies rely on adultery, treasons or plot twists but this one only needs a three-dimensional living paradox in the person of Holly Golightly, playful and fragile, delicate and strong-minded. And there couldn't be a more beautiful song than that hypnotic "Moon River" to translate into words that strange mood of her. A close to perfect film... if it wasn't just for (as Holly would say) the big casting faux pas.

Breakfast at Tiffany's tells story about Holly Golightly,played by It Girl of 60s - Audrey Hepburn who becomes interested in life of her new neighbour Paul Varjak,played by George Peppard. This masterpiece was based on Capote's novel and directed by Blake Edwards,it was first collaboration between Blake and Audrey.Movie is perfect for anyone who loves Manhattan,as well romantic comedies.The most interesting thing might be the connection between Holly and Paul as well how they met.This movie shows that it doesn't have to be meet cute to draw audience's attention and to create great romance.Great chemistry is all that takes.For me,most annoying character is Mr Junioshi.He claims to be an artist and the only thing he does is complaining on Holly because of noise and parties which breaks his sleep routine.Most notable scene is Paul watching Holly while she sings Moon River.What I most like about Holly's personality is that she calls herself "wild" and free spirit but she's actually different.And I think that ot was her destiny to meet Paul,because he made her realize what kind of person she really is and that she actually has someone to rely on,even if it's just him.

Classy, beautiful and stylish, they simply don't make films like this anymore, and that's a real shame!The iconic image of Audrey Hepburn, that cigarette holder and that little black dress congers up memories of sheer class, it was a time when women could just be women, without having to worry about words like sexist, feminism and equal rights..., we can yarn for the return of this era but take it from me, they're never coming back. Enjoyable and pleasant, Breakfast at Tiffany's is a tale of a New York socialite whose estranged husband has been banged up in Sing Sing prison, Holly Golightly played by Hepburn is on the prowl and comes across her next prey, a young writer by the name of Paul Varjak, played by the underrated George Peppard (most famous for his portrayal of Hannibal in the A Team), a getting to know you session ensues and before long romance blossoms, before the spark his sadly blown out and the two eventually part ways, Holly has seemingly found someone better and more suitable. In the end the couple, realising they are right for each other after all, make up with a rainy kiss (with cat in tow) and the film reaches its inevitable climax. Yes the film is predictable, very much so, you know how it's going to end up, but that's not the point, with a classic film like this predictability is a virtue, it aids in its success, you relate to the two main characters and steadily full in love with Holly (or Audrey, or both, with me it was both) and you feel sympathetic towards Paul (or as Holly calls him, Fred); you want the ending to be this way, you absolutely crave it, and in the end you're rewarded with what you've been craving for the whole film..., ching-ching! Take watch modern film makers, this is how you make a film! The romance is repressive, get the idea? The sexual repression deepens your desire and draws you further into the film, are you taking note modern films makers? Breakfast at Tiffany's is a joy to watch because your watching the big boys come out to play, this is how the grown ups do it, the parents and grandparents of the current generation; the film was released at the tail end of the golden era and benefits from the rub it receives from being of the same era as other classic films. Audrey Hepburn is one of the greatest actresses to ever grace the silver screen, and with Breakfast at Tiffany's you can easily tell why, just a shame she didn't win the Oscar for best actress, she really should've done! And on a final note, this was the film that gave birth to the all time classic song, Moon River, no one sings it better than Audrey. Truman Capote the writer, Blake Edwards the director and Audrey Hepburn the legend, thank you!