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Breakfast at Tiffany's

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While the real-life similarities between Holly and Marilyn practically write themselves (“I’ve never had a home,” Monroe once told Capote, “not a real one with all my own furniture”), Martin Jurow—producer of the Breakfast at Tiffany’s film—was merely unconvinced that Monroe was a strong enough actress for the role. “Holly had to be sharp and tough, and as anyone who saw Marilyn could sense, she was about as tough as a tulip,” Wasson wrote. “It was difficult to imagine a personality like that living like Holly, all on her own in the big city.” And, of course, there were very practical matters of film production to take into account. For all that we’ve come to love and appreciate about Marilyn now, she did have a reputation for chronic lateness and an almost pathological inability to remember dialogue, sometimes requiring upwards of 50 takes for a single line. “It’s not that she was mean,” remembered Billy Wilder, director of The Seven Year Itch. “It’s just that she had no sense of time, nor conscience that that three hundred people had been waiting hours for her.” Holly and the narrator have a drink, and the narrator tells her that he’s a writer. Holly says she’ll help him become well-known and asks him to read a story aloud. When he does, she critiques it. This deeply hurts the narrator, but he still finds Holly appealing and she endears herself to him once more. As someone used to sharing personal information, Holly tells the narrator that she visits a mobster named Sally Tomato in prison every Thursday, explaining that Sally’s lawyer approached her and asked if she would keep Sally company. Holly agreed, she tells the narrator, so she goes to see Sally each week, delivering coded messages, though she mainly enjoys the man’s company and doesn’t think too much about whatever information she’s communicating. After selling the screen rights for Breakfast at Tiffany’s to Paramount, it became somewhat common knowledge that Capote had one and only one actress in mind to play Holly Golightly: little girl lost herself, Marilyn Monroe. Several myths surrounding the actress not getting cast have continued to circulate, with the general consensus being that Marilyn was already considered to be a high-maintenance diva and too much of a liability, so Paramount refused to even consider her. But that was never entirely true.

Breakfast at Tiffany’s Study Guide | Literature Guide | LitCharts

Later, Capote claimed that the inspiration for Holly Golightly came from a German refugee, a young girl of just 17 years who arrived in New York City at the beginning of World War II. “Very few people were aware of this, however, because she spoke English without any trace of an accent,” he said. “She had an apartment in the brownstone where I lived and we became great friends.” He claimed that Holly’s friendship with gangster Sally Tomato was fictionalized, but based on true events that happened to the real Holly. Gerald Clarke said that Capote told him a similar story. “But in the version I heard she was Swiss. He even gave me her name. I could never find any of his friends who remembered her.” Clarke was also well aware of women who continued to claim they were the real Holly Golightly even decades later, all of them alleging they were friends with Capote at one time or another. “There were lots of women like that in those days,” he said, “and my guess is that Holly owed something to any number of them.” So we’re suddenly in a classic rom-com situation, and their final-scene kisses in the pouring rain becoming the blueprint for the genre, from Four Weddings and a Funeral to The Notebook. The novella meanwhile – despite the frothy, fizzing readability of Capote’s shimmering prose – leaves a more bitter taste, Holly scooting away in a cab never to be seen again. Golightly is a wild thing; there’s no containing her, no making her stay. She keeps on going lightly over the world, even if the need to keep reinventing herself starts to look more like a heavy burden. Challenging the sanctity of heterosexual dominion, Capote is suggesting that the gendered strictures of who makes the money (men) and who doesn’t (women) might not be as enriching as the romance between a gay man and straight woman,” wrote Wasson. “This isn’t because he believed platonic relationships were somehow ideal, or because he considered straight people bores, but because in 1958, with wives across America financially dependent upon their husbands, being a married woman was a euphemism for being caught.”In the end Holly's destiny remains unclear and this leaves us many questions. Has she forgotten about her friend and that's the reason why she never writes to him? Where did her affairs bring her? Did she find that perfect place where she felt like at Tiffany's? Finally, Holly emerges and tells O.J. that the narrator is a writer, though O.J. is uninterested. Gradually, the living room fills with men who all seem surprised by the crowd, each one having thought Holly invited him exclusively. The narrator identifies the most boisterous and confident person in the room as Rusty Trawler, who gregariously makes martinis while the narrator stands by the wall and pretends to read the books on Holly’s shelves. As he does so, he finds a newspaper clipping about Rusty, which explains that his parents died when he was a boy, turning Rusty into a highly-publicized millionaire orphan. Ever since then, Rusty has gotten a scandalous divorce and gone through legal battles that have appeared in the tabloids. He is also a widely-suspected Nazi-sympathizer. As the narrator reads these things, Holly approaches, deflecting the narrator when he asks about her visit to Sally Tomato that week. The moment when you finally understand why the book is called "Breakfast at Tiffany's" is the one when you find out Holly's biggest dream and the main purpose in life. The main idea of the book is expressed in Holly's words "Never love a wild thing, Mr. Bell,[…] If you let yourself love a wild thing, you'll end up looking at the sky." In this book, "the wild thing" is a metaphor for Holly, a person who listens only to her heart, breaks the rules and doesn't really care about the future. She is that kind of woman which can't be tamed and who is in a continual search for the place which she calls "home". Two men came into the bar, and it seemed the moment to leave. Joe Bell followed me to the door. He caught my wrist again. “Do you believe it?”

LitCharts Holly Golightly (Lulamae) Character Analysis - LitCharts

I strongly recommend this book to all those who like dramas and who love analyzing the main characters. Never love a wild thing, Mr. Bell," Holly advised him. “That was Doc’s mistake. He was always lugging home wild things. A hawk with a hurt wing. One time it was a full-grown bobcat with a broken leg. But you can’t give your heart to a wild thing: the more you do, the stronger they get. Until they’re strong enough to run into the woods. Or fly into a tree. Then a taller tree. Then the sky. That’s how you'll end up, Mr. Bell. If you let yourself love a wild thing. You’ll end up looking at the sky.” The narrator becomes increasingly interested in what happens in Holly’s apartment. Mag moves in, and she intends to marry a Brazilian politician named José starts coming to see her. Mag intends to marry him. At one point, the narrator learns that a small literary magazine has accepted one of his stories, and he rushes to show the letter to Holly, who insists that they go to lunch to celebrate. They spend the afternoon walking around together. The narrator shows Holly a large birdcage in a shop window that he has been admiring for quite some time. She admits it’s beautiful, but hates the idea of restricting a bird’s freedom. That Christmas, Holly gives the narrator the birdcage.Although on the surface Paley had everything she could have ever wanted and more, she and Bill had a relentlessly unhappy marriage. According to Capote’s testimony to Clarke, Babe had twice attempted suicide, once with pills and once by attempting to slit her wrists, and both times Capote claimed to have saved her. “Babe was caught,” Wasson wrote. “Truman would fashion Breakfast at Tiffany’s so Holly Golightly wouldn’t be.” In the end, I find that each of us has to decide for themselves what they like best: the movie or the book, as they both are extraordinary creations. While there are several “swans” who are believed to have contributed to the fictional creation of Holly, including Gloria Guinness, Oona O’Neill Chaplin, Carol Marcus, and Gloria Vanderbilt, there is one in particular that is thought to have gone above and beyond in terms of inspiration: Babe Paley, the wife of William S. “Bill” Paley, founder of the CBS television network. of Capote’s most popular works, Breakfast at Tiffany’s, is a novella about Holly Golightly, a young fey café society girl; it was first published in Esquire magazine in 1958 and then as a book, with several other stories. Read More The movie “Breakfast at Tiffany’s” written by George Axelrod and directed by Blake Edwards came out in 1961. Starring Audrey Hepburn and George Peppard as the main characters, the movie was bound to be successful. And so it was. It soon became Hepburn’s most memorable role and one of the most beloved Hollywood films.

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