I blame Audrey Hepburn. Alright, she wasn’t acting on her own but had a number of accomplices. Alongside her winning looks and performance, Henry Mancini’s composition “Moon River” and Blake Edward’s direction make “Breakfast at Tiffany’s” one of the great films. In fact in 2012 it was recognized as “culturally, historically, or aesthetically significant” by the United States Library of Congress and selected for preservation in the National Film Registry . I’d agree with praise lavished on the film as it is one of my favourites. However, due to the film’s success I thought I could accurately, anticipate what would be in the book and, as a consequence, I had never bothered to pick up Truman Capote’s novella and read it. Yesterday, in preparation for the book club later on, I got around to reading the original and was pleasantly shocked.
There are many times when the book and the film are closely related. For example I doubt anyone could find many important differences between the cinematic and literary versions of Ray Bradbury’s “Fahrenheit 451“. Anyone having read, or seen, one could anticipate the other and there would be no surprises; one art form has held a mirror up to another, created its sibling, and managed to double our pleasure. Sometimes films do take liberties with the content or intention of books and, while the result may be pleasing, they must be seen as two quite separate entities, related but separate, as the messages communicated are potentially very different. This film is so different to the book as to be almost unrelated. Perhaps it is a second cousin twice removed from the original book.
While they have taken the name and the beauty of the Holly Golightly character they have cleaned her up and washed away all the complex and untidy aspects of her nature. They have changed the era in which the story takes place. The novella occurs in wartime – a time of austerity, a time of death and uncertainty and it has the wise-cracking dialogue of the time. The book occurs in the post-war period – a period of optimism and growth and abundance. Holly in the book is a very complicated character, lively and enticing as in the film, but much more free in her spirits, partially a libertine and partially a lost soul. She uses her looks and youth to survive though it is clear that she is a character who has many other strings to he bow – she can act, she can sing and speak other languages – but she can not face being tied down or to live in the mundane world.
“I’ll never get used to anything. Anybody that does, they might as well be dead”
Both the book and the film convey Holly’s beauty and attractions. It is difficult to imaging the character Holly Golightly without imagining Audrey in her sunglasses, elbow length gloves and cigarette holder. In the film the sunglasses carry the glamour of Jackie Onassis and the mystery of the mask. In the book we know that masks do help to hide ourselves but that also the sunglasses can hide the effects, or black eye, from the night before.
She misses all her opportunities for contentment, as to be content is inadequate for her. This leads her to a life possibly overful which makes her question her own, and society’s morals, and wonders if she is a prostitute by living off her appearance and favours :-
“Really, though, I toted up the other night, and I’ve only had eleven lovers — not counting anything that happened before I was thirteen because, after all, that just doesn’t count. Eleven. Does that make me a whore? ”
“Of course I haven’t anything against whores. Except this: some of them may have an honest tongue but they all have dishonest hearts. I mean, you can’t bang the guy and cash his checks and at least not try to believe you love him. I never have. Even Benny Shacklett and all those rodents. I sort of hypnotized myself into thinking their sheer rattiness had a certain allure”
She recognizes that love is more important than sex and it is clear that other characters, who have no libidinous interest in her, do indeed love her and, over a generation ago, she suggested that all love should be considered valuable.
“I’d settle for Garbo any day. Why not? A person ought to be able to marry men or women or — listen, if you came to me and said you wanted to hitch up with Man o’ War, I’d respect your feeling. No, I’m serious. Love should be allowed. I’m all for it”
However, her fears of restraint or curtailment hamper any attempts at forming deeper relationships. We always know this is going to be a picaresque tale and unlike the film there is to be no happy ending. In the book we know that she will be an ever fading beauty who will slide from view as her looks and allure weaken. It is in this area that the book and film differ most markedly. Both are romances but the film is a romance of fairy tales and dreams coming true, while the book is a tale of loosing your heart to someone while you try and live your dream