Here are some facts about the movie on its 55th anniversary. Shirley MacLaine said it was one of her biggest regrets. Kim Novak also said no. I have to operate entirely on instinct. It was Blake Edwards who finally persuaded me. He, at least, is perfectly cast as a director, and I discovered his approach emphasizes the same sort of spontaneity as my own. John Frankenheimer had been on board to direct the film, but Hepburn wanted a bigger name. Edwards also suggested Tony Curtis to the producers.
While Curtis was interested, the producers were not. Edwards did not want George Peppard. They share a kiss when they arrive home.
It is implied that Holly and Paul spend the night together. The next day, Paul informs Mrs. Failenson that he no longer needs her. Holly trashes her apartment in grief. Months have passed. Paul has moved out of the brownstone but has been invited to dinner by Holly, who is leaving the next morning for Brazil.
After Holly's dinner preparation goes awry, they decide to go out to dinner and, upon returning, are arrested in connection with Sally's drug ring.
Holly spends the night in lock-up. The next morning, Paul is waiting with a taxicab when she is released from jail. An emotional Holly impulsively orders the driver to stop and she throws Cat out into the pouring rain from the cab. Paul leaves the cab after confronting Holly for being afraid to accept Paul's love. Holly runs after him and together they find Cat.
Holly and Paul kiss. Capote's novella is more explicit when detailing both Holly and Paul's sources of income. While the film never directly states it, it is implied that Holly is merely providing men with platonic company or, at the very most, is a courtesan.
Paul's role as a kept man while a struggling writer is also never discussed in great detail, although in one scene his female companion is seen leaving money for him on his nightstand as she exits his apartment after a late-night encounter. The Hays Code of may have also played a role in the specious interpretation of their shared occupation.
The Oscar-nominated screenplay was written by George Axelrod , loosely based on the novella by Truman Capote. Capote, who sold the film rights of his novella to Paramount Studios, wanted Marilyn Monroe to play the role of Holly Golightly in the film. Barry Paris references a quote by Capote: "Marilyn was always my first choice to play the girl, Holly Golightly.
A number of changes were made to the storyline to adapt the story to fit the medium of cinema. Capote's novella included language that was toned down for the film. The character of 2E Patricia Neal was invented for the movie. This character, Mrs. Failenson, is called 2E because her real name is Emily Eustace.
He gets a sick apartment; the older woman gets hot sex with a good looking guy. It's a win-win. But let's not be naive and pretend this doesn't complicate the love story. Paul's main attraction toward Holly seems to be that she's even more screwed up than he is, and he wants to save her.
He literally says he wants to help her. Help her what , Paul? It's kind of cool and role-reversal-y to see a "kept" man falling for a seemingly strong-headed commitment-phobic woman instead of the other way around. They don't meet because of the sparkling magic of Manhattan; he moves into her building because his lady needs a sex pad. This is the big one.
The part of BaT people seem to completely forget when talking about the film's appeal. How many girls who visit New York begging to be taken to Tiffany's do you think understand that the third-biggest star in the film is Mickey Rooney wearing fake teeth and pretending to be a Japanese man?
He's the only nonwhite character in the film, and he's played by a white man. And he's a stereotype in literally every way that could have easily been cut from the plot, but was kept in, presumably, for comic relief. Sure, it was a different time—I'm not going to hold a movie from to standards. But—and this is a big but—if you're going to list this movie among your favorites, you have to contend with the fact that there are some pretty unsavory undertones.
As the romantic plot kicks in, I think the story remains fresh because the barrier keeping Holly and Paul a part directly relates to their choices and moving from a cynical outlook to a more hopeful, but risky one. Holly turns on him implying he has already sold himself out. They reconcile in a fun and lovely escapade around New York. They meet the most patient sales associate in cinema who agrees to engrave a Cracker Jack ring.
Paul returns the experience by bringing Holly to the library to try and check out the book he wrote. Their day of fun ends in the vestibule of their apartment with a kiss. I still get chills watching that scene, seeing how different their characters seem in that one moment. Holly, a vivacious siren, looks diminutive and innocent. The previous day has shifted something in Paul. With new found confidence he decides to cut ties with 2E, played by the sassy Patricia Neal.
Paul: No Thanks. When you get yourself a new writer to help, try and find one my size. To his surprise he finds her in the library researching South America. Like Paul, Holly displays a new sense of focus and determination to change her life, but with disastrous implications.
0コメント