This film, based on Truman Capote�s novella, begins its story when writer Paul Varjak moves into the flat above New York socialite Holly Golightly. Superficially, the two could not be more different. Holly is still glamorously asleep by mid-afternoon, whilst Paul, with a worrying tendency towards knitted waistcoat cardigans, is busy moving in. However, a cautious friendship grows between the two as Paul learns exactly how endearingly eccentric Holly is.
In a society where it is perfectly acceptable for a woman to be dependent on a man and yet not vice versa, Paul is receiving hefty cheques from his female sponsor, who also demands his evening hours, and Holly�s main income is in cash �gifts� from her boyfriends. (I know! Only in them days eh, girls?) The script subtly implies the real story: at the end of the day, they�re both whores.
Well, it meanders through their changing relationship, and the film � if, well, a bit predictable in its conclusion � is a delight to watch almost exclusively thanks to Audrey Hepburn. She�s not a legend for nothing, and anyone who doubts it should watch this. Elegant, childlike, thoroughly irresponsible, glamorous, insouciant, Holly gives us no reason to wonder why Paul is falling in love with her. Oh, and did I mention beautiful?
Holly�s combined love of independence and money leads her to see a union with penniless Paul as a bit of a no-no. But true love will prevail, especially when there�s a gorgeously swoony theme tune - Moon River - sweeping in at crucial moments. I challenge you to watch the final scene and stay dry-eyed.
It�s obvious who the right man for Holly is, and she learns about love and the loss of independence � although we can�t help feeling she�ll be a lot less fun when she�s tied down. But although I�m teetering dangerously close to my favourite hobby, bringing feminist criticism into everything, it really shouldn�t be fiddled with. Because it�s a classic of its type and more besides. You simply shouldn�t go to your grave without watching this. |
