Mansion where Truman Capote wrote Breakfast at Tiffany's sells for record $12million | Daily Mail Online Mansion where Truman Capote wrote Breakfast at Tiffany's sells for record $12million comments The house in New York where Truman Capote wrote some of his most famous works has been sold for around $12million. It is the most expensive house ever sold in Brooklyn - but the price is nonetheless disappointing for the realtors, who were hoping it would fetch closer to $18million. The appeal of the 11-bedroom mansion is strengthened by its status as the place where Capote hammered out his novella Breakfast at Tiffany's in 1958. Celebrity status: This house in Brooklyn Heights has been brought by the Rockstar Games co-founder for $12.5million Colourful: The golden-yellow house has an extensive back garden, a rarity for New York That work became world-famous when it was adapted into a film starring Audrey Hepburn as the mysterious Holly Golightly. RELATED ARTICLES Share However, the house's attractions are not limited to its celebrity past.

It has been described as the best house in Brooklyn's best neighbourhood, Brooklyn Heights, and the agent handling the sale described it as 'like living in a country estate in the middle of New York City'. Pricey: The house is believed to be the most expensive ever sold in Brooklyn Celebrity: Author Truman Capote lived in part of the house for a decade, from 1955 to 1965 Inspiration: While living in the house Capote wrote Breakfast at Tiffany's, later adapted into a film featuring Audrey Hepburn's iconic performance as the mysterious Holly Golightly As well as the huge number of bedrooms, the house - built in 1839 - has 11 fireplaces, parking for four cars and an extensive garden, and is decorated with crystal chandeliers. If it were located in a trendy Manhattan neighbourhood, it would be worth tens of millions of dollars. But after being listed by Sotheby's at $18million in May 2010, the luxurious home took nearly two years to be sold, and lost a third of its estimated value during that time. Now it has finally changed hands after being picked up for a relative bargain by an unidentified buyer.

Luxurious: This is just one of the 11 fireplaces installed in the house's 11 bedrooms Kitchen: Another impressive feature of the Brooklyn Heights house, which was built in 1839 Capote rented an apartment in the house from 1955 to 1965, after persuaded its owner, Broadway set designer Oliver Smith, to let him move in. The author held decadent parties there when Smith was out of town. 'You can imagine Capote running around with his slippers on,' Brooklynite screenwriter Peter Hedges told the Daily News. Bargain: The house was eventually sold to Dan Houser for just two thirds of the $18million asking price Haven: The garden will give Houser a refuge from the hustle and bustle of New York City Breakfast at Tiffany's (1961) - IMDb IMDb There was an error trying to load your rating for this title. Some parts of this page won't work property. Please reload or try later. X Beta I'm Watching This! Keep track of everything you watch; tell your friends.

Error From $2.99 (SD) on Amazon Video ON TV ON DISC ALL A young New York socialite becomes interested in a young man who has moved into her apartment building. Director: Truman Capote (based on the novel by), George Axelrod (screenplay) Stars: a list of 25 titles created 02 Jun 2013 a list of 40 titles created 25 Jul 2013 a list of 27 titles created 06 Oct 2013 a list of 42 titles created 30 Oct 2013 a list of 28 titles created 11 months ago Title: Breakfast at Tiffany's (1961) 7.7/10 Want to share IMDb's rating on your own site? Use the HTML below. You must be a registered user to use the IMDb rating plugin. Won 2 Oscars. Another 10 wins & 12 nominations. See more awards » Videos A bored and sheltered princess escapes her guardians and falls in love with an American newsman in Rome.

Director: William Wyler A playboy becomes interested in the daughter of his family's chauffeur, but it's his more serious brother who would be the better man for her. Director: Billy Wilder An impromptu fashion shoot at a book store brings about a new fashion model discovery in the shop clerk. Director: Stanley Donen Romance and suspense ensue in Paris as a woman is pursued by several men who want a fortune her murdered husband had stolen. Who can she trust? Director: Stanley Donen Romantic comedy about a woman who must steal a statue from a Paris museum to help conceal her father's art forgeries, and the man who helps her. Director: William Wyler A couple in the south of France non-sequentially spin down the highways of infidelity in their troubled ten-year marriage. Director: Stanley Donen When two male musicians witness a mob hit, they flee the state in an all-female band disguised as women, but further complications set in. Director: Billy Wilder The sprightly young assistant of a Hollywood screenwriter helps him over his writer's block by acting out his fantasies of possible plots. Director: Richard Quine A troublemaking student at a girls' school accuses two teachers of being lesbians.

Director: William Wyler Five high school students, all different stereotypes, meet in detention, where they pour their hearts out to each other, and discover how they have a lot more in common than they thought. Director: John Hughes In Casablanca, Morocco in December 1941, a cynical American expatriate meets a former lover, with unforeseen complications. Director: Michael Curtiz After leaving a wealthy Belgian family to become a nun, Sister Luke struggles with her devotion to her vows during crisis, disappointment, and World War II. Director: Fred Zinnemann Edit Storyline Holly Golightly is a flighty Manhattan party girl, who expects "money for the powder room as well as for cab fare" for her companionship. She has even gotten a lucrative once weekly job to visit notorious convict Sally Tomato in Sing Sing, she needing to report back to Sally's lawyer the weather report that Sally tells her as proof of her visits with him in return for payment. Her aspirations for glamor and wealth are epitomized by the comfort she feels at Tiffany's, the famous high end jewelry retailer where she believes nothing can ever go wrong. Her resolve for this wealth is strengthened, if not changed slightly in focus, upon news from home.

Into Holly's walk-up apartment building and thus her life is Paul Varjak, a writer who Holly states reminds her of her brother Fred, who she has not seen in years and who is currently enlisted in the army. The two quickly become friends in their want for something outside of their current lot. Paul's situation is closer to Holly's than he ... Written by Huggo See All (111) » Taglines: Audrey Hepburn as Holly Golightly. . .the most hilarious heroine who ever rumpled the pages of a best-seller. . .is serving wild oats and wonderful fun! See more » Genres: 5 October 1961 (USA) See more » Also Known As: Frühstück bei Tiffany See more » Filming Locations: Did You Know? Trivia In the famous "it should take you exactly 4 seconds to cross from here to that door. I give you two" scene, it takes Paul exactly 4 seconds from when he starts walking to when he reaches the door. See more » Goofs Early in the movie, Paul cites a review from The New York Times Book Review of his book; he gives the date October 1, 1956.

The Times Book Review is a Sunday supplement and is dated for Sundays; October 1, 1956, was a Monday. See more » Quotes Sid Arbuck : [seeing Holly enter her building] Hey! [he chases her inside] Great Art or Guilty Pleasure? 6 February 2006 | by smc71 (United States) – See all my reviews I am never sure which Breakfast at Tiffany's is. I can certainly think of movies which more accurately portray the human condition, but of few that are more fun. Neither Holly nor Paul seem to represent real people. Their attraction, which is the focal point of the movie, is a character unto itself. Paul sees Holly as scared, vulnerable, and in need of rescue and enjoys his role as potential knight in shining armor to her damsel in distress. She is drawn to him because he sees beyond her facade of fabulousness to the scared little girl she is inside and which she tries (not that hard really at all) to hide. Adding to her attraction to him is the fact that he stands up to her when she treats him shoddily. This probably does not happen to her too often, and it intrigues her.

These are mostly the tricks a romance novelist uses to keep readers baited and rooting for a fictional, possibly doomed romance to work and do not reflect the real nature of love. There is, however, enough chemistry, genuine affection, and respect between the two characters to keep the story from seeming utterly implausible. Of course, a movie doesn't have to be realistic to realistically portray what is right and what is wrong with the world we live in. Breakfast at Tiffany's doesn't do a whole lot of that either, though. After watching I can never pinpoint one solid message from it. What it does have a lot of, as many others have pointed out, is stylish, witty, good fun. This is almost always the movie I choose on the rare occasions when my husband is working late, my son is asleep, I have energy to spare and good bottle of wine just begging to be uncorked. Believable or not, it is well-told and compelling, and remains one of the better movies a gal can lose herself in. 51 of 71 people found this review helpful. Was this review helpful to you?

Yes Breakfast At Tiffany’s: Summary & Analysis | Online Homework Help | SchoolWorkHelper Breakfast At Tiffany’s: Summary & Analysis You are here: PDF Truman Capote wrote the novel Breakfast at Tiffany’s without a rhyme or a reason. He used real life characters possessing different names. It is stated that the narrator just might have been Truman himself during his early years in New York. It is clear that Mr. Capote does not believe in traditional values. He himself did come from a wealthy unorthodox family life. Capote’s ideal woman was created in Holly Golightly, also known as Lulamae Barnes before she was married as a child bride to a southerner named Doc Golightly. Other people Capote met in his experiences where also included, such as Mag Wildwood (a cunning southern bell from Arkansas who had stolen away Holly’s would be boyfriend, Rusty Trawler.), Sally Tomato (a stock mobster inclined to use innocent girls to fulfill his own needs.), O.J.

Berman (a typical Hollywood agent picking up young girls from the mid-west promising them stardom.) Joe Bell (a shy bar owner who conceals his feeling about the rambunctious Holly.), and Jose` Ybarra-Jaegar (an eccentric Brazilian politician who was involved with Holly for some time.) All or these characters here used to add depth and local color to the story. The theme of the novel is, friendship can make people take drastic measures in helping a friend, which is explained by the narrator’s relationship with Holly. The narrator goes out of his way to be with Holly, such as horseback riding even though he is uneasy about horses and stealing masks from a costume store. The narrator also tries to help Holly as much as possible by taking care of her one-eyed cat while she was gone and helping her escape from jail. This novel appears to be written for pleasure purposes. At the beginning of the novel the narrator starts by explaining the friendship between Joe Bell, Holly, and himself. Capote keeps the reader on his or her toes by there being arguments that would create conflicts putting a halt to the friendships between the main characters.

Such as when Holly travels to Brazil with Mag, Jose` Ybarra-Jaegar, and Rusty Trawler ( Holly’s current boyfriend before Mag had stolen him away and left Holly grateful , but only for awhile, with Jose`) Then, after all was finished, Holly and the narrator would meet and make up over a drink at Joe Bell’s bar or Holly’s apartment room. The whole novel is based around an eccentric friendship. The friendship is still maintained long after Holly’s apparent disappearance from society. The literary movement in this story is Authentic Modernism. Authentic Modernism is marked by a strong and conscious break with traditional forms and techniques. It is a means for an author to live out his fantasies by writing about them. It also implies a historical discontinuity, a sense of alienation, of loss, of despair. It rejects history and its society and traditional values. It prefers the unconscious to the self-conscious. “You b-b-boys not vexed at me for butting in on your p-p-party.” was said by Mag Wildwood, one of Holly’s party friends. Another quote from the story showing unconventional technique and humor is Mag saying,” I’ve ten pairs of Argyles in less than three months. And this is the second sweater.

What’s the point, though? Sweaters in Brazil. I ought to be making s-s-sun helmets. Holly Golightly is a nineteen year-old self-sufficient woman. Some of her personality traits are admirable, affectionate, while being sort of cold hearted. She is motivated in life by striving for her purpose in life, which is to be rich and famous while keeping her ego. She believes that love is not sexual. An important action that Holly did was to make peace with the narrator so easily after a fight, this reinforces Capote’s concept of friendship. Other characters responded very well to Holly, she was very easy to befriend. She had a short relationship with the Brazilian politician Jose` Ybarra-Jaegar, but that was ended by her arrest for helping a drug triangle headed by Sally Tomato unknowingly. She was seeing Sally in jail just to comfort him but Sally was really using her to relay information to his drug empire. Holly was a unique character; she was so well liked because she had a peculiar approach to situations. In conclusion, Capote’s ideal woman was created in Holly Golightly.

The theme reached is, friendship can make people take drastic measures in helping a friend, which is displayed by the narrator’s actions toward Holly. Capote used Authentic Modernism brilliantly. Holly was well liked by everyone she came into contact, even though she came across as inconsiderate. Capote creates Holly for his own pleasure and writes her in an unorthodox way. Holly was an unrealistic person in a realistic world interacting with real people is a surreal way. Related posts: 25 Things You May Not Know About 'Breakfast at Tiffany's' | Moviefone 25 Things You May Not Know About 'Breakfast at Tiffany's' by Gary Susman Everyone thinks they know 'Breakfast at Tiffany's,' the classic, urbane romantic comedy released 50 years ago today, on October 5, 1961. The film that cemented Audrey Hepburn's reputation as an all-time fashion icon, set the bar for every New York fantasy/romantic comedy from 'Barefoot in the Park' to 'Sex and the City,' and gave birth to a thousand Manic Pixie Dream Girls (or at least 25 others).

Yet there's a lot you may not know about the movie -- who the real-life Holly Golightly was, how radically different the film might have been if 'Breakfast' author Truman Capote had gotten his way, why the Oscar-winning song 'Moon River' almost got cut from the film, which classic outfits Hepburn herself came up with, how many cartons of cigarettes the tobacco-loving characters smoked on-screen, and what Mickey Rooney has to say about his still-controversial performance. 1. Who was the real-life Holly Golightly? So many women have been named as possible inspirations to Truman Capote -- including Gloria Vanderbilt, Oona Chaplin, writer/actress Carol Grace (who became Walter Matthau's wife), writer Maeve Brennan and model Suzy Parker -- that Capote called the whole speculation "the Holly Golightly sweepstakes." He claimed there was a real Holly, a woman who lived downstairs from him when he was a writer who'd just moved to New York in the early 1940s (like the autobiographical narrator of Capote's tale), though he never identified her by name. A New Yorker named Bonnie Golightly filed an unsuccessful lawsuit against Capote claiming he'd based the character on her. 2.

As George Costanza learned during a memorable 'Seinfeld' episode where he watched the film instead of reading the book for his book club, there are a lot of major differences between Capote's 1958 novella and George Axelrod's screenplay to the 1961 movie. There's the setting (the 1940s, not the contemporary 1960s), the nameless narrator (called Paul in the film), Holly's age (she's still in her late teens in the story but played by 31-year-old Hepburn on-screen), Holly's fondness for marijuana (gone in the film). Holly's bisexuality (ditto), and the wistful, ambiguous ending (replaced in the film by a conventional romantic happy ending). Most of all, there's the sense many readers get that Holly is a professional escort, for taking money from wealthy men whom she sometimes sleeps with. In interviews , Capote described Holly not as a prostitute or golddigger but called her an American geisha girl. The film downplayed any suggestion of prostitution, with Paramount publicists issuing statements like , "The star is Audrey Hepburn, not Tawdry Hepburn." 3.

Capote envisioned his friend Marilyn Monroe in the part, but her acting coach, Paula Strasberg, talked her out of it, saying the role's call-girl-like nature was bad for her image. Others supposedly in line for the role included Jane Fonda, Shirley MacLaine and Kim Novak. Capote was a friend of Hepburn's but thought she was miscast. So did Hepburn herself, until director Blake Edwards persuaded her she could do it. 4. Blake Edwards pleaded on his knees with the producers not to hire George Peppard as the male lead. (Steve McQueen was considered but was unavailable.) Indeed, Peppard tried to play the role as a traditional matinee idol, not a vulnerable, flawed, naive young man. So said co-star Patricia Neal , who played Paul's sugar mama (known in the film as "2-E"). She and Peppard had been friends before the filming, but she wrote in her memoir that she was put off by his apparent desire "to be an old-time movie hunk." (Later, of course, Peppard would age into that more standard, macho kind of leading man, most memorably as the leader of TV's 'The A-Team.') 5.

How did Edwards manage to shoot the memorable opening scene, in which a taxi rolls down an empty 5th Avenue at dawn, Holly gets out in front of Tiffany's and she nibbles on a Danish while gazing longingly through the jeweler's window? There are two conflicting accounts. One said the scene was hampered by challenges -- a gaggle of gawkers longing for a glimpse of Hepburn, the star's dislike of Danishes, and an accident that nearly electrocuted a crew member. Yet Edwards said the shot was relatively easy, with the busy thoroughfare suddenly clearing up as if by divine intervention. "It was as if God said, ''I'm going to give you a break now, but for the rest of your career you're going to have to live off this one,'" he recalled. At a recent screening of the movie , Edwards' widow, Julie Andrews , said the director (whom she would marry nearly a decade after 'Breakfast') claimed he got the shot in one take. 6. For a movie so associated with Manhattan, very little of it was shot there.

There were only about 8 days of location shooting, including inside Tiffany's, which opened on a Sunday for the first time in decades to allow filming, though 40 armed guards and several Tiffany's sales clerks were on hand to prevent pilferage. 7. The party at Holly's apartment, like much of the film, was shot on a Paramount soundstage. A signature Edwards sequence -- he would go on to shoot memorable parties in the 'Pink Panther' movies, '10,' 'Victor/Victoria,' and of course, 'The Party' -- it took six days to film. The extras playing the guests were all friends and relations of the director, Andrews has said. According to studio notes, the revelers consumed plenty of real champagne, as well as 120 gallons of soft drinks, lots of party food (hot dogs, cold cuts, chips, dips, and sandwiches), and 60 cartons of cigarettes. Even that didn't generate enough smoke, so Edwards brought onto the set a smoker of the sort beekeepers use. 8. It's never explained why, at the party, Hepburn is wearing a gown made from a towel.

A scene that was cut from the final release has her taking a bath when the party breaks out, and she's forced to improvise a gown. 9. What's the movie's connection to 'The Flintstones'? It's Alan Reed , who played gangster Sally Tomato. He was also the voice of Fred Flintstone. 10. Buddy Ebsen had all but retired when he was persuaded to play Doc Golightly, Holly's estranged husband from down South. His brief performance is said to have landed him the role of Jed Clampett on 'The Beverly Hillbillies,' which made him more famous than ever and extended his career by decades. 11. Hepburn's husband, actor Mel Ferrer , seemed to exercise a near-Svengali-like control over his wife during the production. Neal recalled dining with the couple at their home, an evening that included a very light meal and ended practically before sunset; she remarked that now she knew how Hepburn stayed so thin. Ferrer also tried to influence his wife's performance, until Edwards took her aside and insisted that she treat him as the film's sole director.

After that, Ferrer behaved like wet blanket; upon seeing the finished film, his only compliment to his wife was, "I liked your hat." 12. Henry Mancini and Johnny Mercer composed 'Moon River' with Hepburn's limited vocal range in mind, having heard her sing in 'Funny Face.' There was talk of having Marni Nixon dub her vocals (as she would do a couple years later in 'My Fair Lady'), but Edwards decided that Hepburn's own plain, unvarnished rendition of the song fit the character better. 'Breakfast at Tiffany's' - 'Moon River' 13. "Over my dead body!" That was the response to a Paramount executive who wanted to cut the song from the film. It's not clear who said it, however. One account says it was Hepburn, another says it was the producers. 14. Hepburn worked with designer Hubert de Givenchy to craft her costumes for the film. One result: Holly's iconic little black dress, one of the most influential fashion choices in cinema history and a must for nearly every woman's wardrobe ever since.

(Yes, it was Coco Chanel, not Givenchy, who invented the little black dress, but it was the version Hepburn wore that made the garment a fashion staple.) Christie's auctioned the original dress in 2006 and sold it for $923,000 (one of the highest prices ever paid for a piece of movie memorabilia), with the money going to support the construction of a school for the poor in Calcutta. 15. Despite her reputation for elegance, Hepburn enjoyed relaxing in a turtleneck and jeans. Which is what Holly wears while lounging on the fire escape and singing 'Moon River.' 16. You'd never know from Holly's willowy figure that Hepburn had given birth to son Sean just three months before shooting. As a hobby, the new mom took up knitting. 17. Hepburn caught a cold after spending four days in studio-made rain shooting the final sequence. 18. The one part of the film that makes audiences cringe today is Mickey Rooney's performance as Holly's neighbor, Mr. Yunioshi.

Aside from the insult of having a non-Asian performer play a Japanese man by wearing yellowface makeup, Coke-bottle glasses, and buck teeth, there's also the performance's consistent sense of caricature and stereotype. In a 2008 interview , Rooney said Edwards hired him as a veteran comic actor and directed him to play the character broadly, and that if anyone had taken offense at his portrayal -- like the Asian-American activists who got a free public screening of 'Breakfast' in Sacramento yanked in favor of the more anodyne 'Ratatouille' -- it was news to him. "Never in all the more than 40 years after we made it -- not one complaint," Rooney said. "Every place I've gone in the world people say, 'God, you were so funny.' Asians and Chinese come up to me and say, 'Mickey you were out of this world.'" He added that if he'd known the performance would offend people, "I wouldn't have done it." 19. The film reportedly cost $2.5 million to make.

(Some $750,000 of that reportedly went to Hepburn, making her one of the highest-paid actresses of the era.) It earned $4 million in the U.S. upon its initial release and $14 million over its lifetime. 20. Consumers responded almost immediately to the film. Besides the black cocktail dress, Holly's coat and purse became widely copied. Animal shelters reported a rise in demand for ginger tomcats like Holly's cat (whose name, of course, was "Cat"). The soundtrack album went to No. 1 and stayed on the Billboard chart for two years. 21. 'Breakfast' earned Oscar nominations for Hepburn's performance, Axelrod's adapted screenplay, and for art direction. It won two prizes, for Mancini's original score and for Original Song ('Moon River'). They were the first two Oscars of Mancini's career; he'd ultimately win four times out of 18 nominations, and he would compose music for Edwards on many more movies, notably, the 'Pink Panther' films and 'Victor/Victoria.' 22. In 1966, there was a Broadway musical version, starring Mary Tyler Moore and Richard Chamberlain .

It closed after just four performances, becoming one of those legendary flops that -- if as many people who claimed to have seen it actually did -- wouldn't have been a flop at all. 23. In 1969, ABC commissioned a pilot for a TV series, a sitcom called 'Holly Golightly' that starred Stephanie Powers and Jack Kruschen (as Joe the bartender, a character from Capote's novella that didn't make it into the movie). The network ultimately declined to pick up the pilot and make it into a series. 24. The property made it to the stage once more as a straight play in 2009, on London's West End. Anna Friel (the cult TV series 'Pushing Daises') played Holly. 25. In 1995, the band Deep Blue Something had a hit with a Hepburn-inspired song called 'Breakfast at Tiffany's.' The lyrics actually had more references to 'Roman Holiday,' but songwriter Todd Pipes thought the reference to the more iconic tale of Holly Golightly would make a better song title. [Photo: Everett Collection] Breakfast at Tiffany’s | Ms. Brigitte's Mild Ride Ms.

Brigitte's Mild Ride reading too much into things since 1998 … Menu Video Games Breakfast at Tiffany’s DISCLAIMER: The following is a Masters-level annotated discursive bibliography which I wrote in April 2006 entitled “The Critical Evolution of Truman Capote’s Breakfast at Tiffany’s.” I am publishing it here because it is the culmination of months of research and many hours of reading and, as such, it should be of use to anyone researching the critical response to the novella within Capote’s lifetime. I am giving permission for it to be used for educational purposes, however, please refrain from any attempts to pass it off as your own work. Presumptuous, I know, but one should never underestimate the laziness of others. Finally, friendly corrections are welcome, I am blind to my own mistakes. Then again, who isn’t? The Critical Evolution of Truman Capote’s Breakfast at Tiffany’s In 1958 Truman Capote’s novella Breakfast at Tiffany’s was published, signaling the beginning of a dramatic shift in Capote’s writing style. Initially regarded as a Southern gothic writer dealing primarily in grotesques, the light, city-bound world of Holly Golightly indicated that Capote was capable of a wider range.

Only slightly less than a year after the novella’s publication Capote would learn of the murders that would become the focus of In Cold Blood and, with its publication in 1966, his place in the canon would be undeniable. In 1961 Breakfast at Tiffany’s was remade into the movie of the same name starring Audrey Hepburn in one of her defining roles. The presence of the novella’s film version, albeit a severe alteration of the original work, has colored much of the criticism since, and treatment of the film is just as common as that of the text. Examining only at the critical works on the novella published within Capote’s lifetime gives a poignant sense of the evolution of his literary career, as well as the way in which Breakfast at Tiffany’s came to symbolize the culmination of his most optimistic style. Paul Levine’s “Truman Capote: The Revelation of the Broken Image” was published in the same year as Breakfast at Tiffany’s and had a lasting impact on the criticism of the novella that followed.

Levine opens his essay with the now dated assertion that the “inclusion of Truman Capote in any discussion that pretends to be … at least literary is usually frowned upon” by critics (81). Aiming to alter the then-popular critical view of Capote as a minor literary figure, Levine examines the dichotomies that exist within Capote’s works using the thematic labels “daylight” and “nighttime” (81). The daylight and nighttime metaphor that Levine discusses was in critical use for years to come, with Breakfast at Tiffany’s eventually considered one of Capote’s quintessential daylight works (Garson 79). The characteristics of a daylight story, Levine writes, are that it is “realistic, colloquial, [and] often humorous,” while a nighttime story is more “dreamlike, detached, and inverted” (82). One way to distinguish which style one is reading is to look at the position of the protagonist; in daylight stories the “movement is out towards the world,” while in nighttime stories there is a turning inward (82).

Appearing slightly less than two years after Levine’s essay, Ihab Hassan’s “Birth of a Heroine” applies Levine’s daylight/nighttime metaphor (Hassan refers to the latter as “nocturnal”) to a discussion of Capote’s published works. Hassan’s focus is on Breakfast at Tiffany’s with an emphasis on Holly Golightly, the novella’s heroine, as the character that literary critics have been searching for to embody the new hero of American fiction with “its absurdities and crazy yearnings” (109). Holly, while a gifted liar, shows “no revulsion against [her] identity,” and is “very much attached to this world, and therefore … herself” (111). She possesses a “loyalty to her own feelings for which she is willing to risk all” which allows her to “implicate herself in a wider range of experience than her predecessors encompass” (111). Yet Holly is not a one-sided character, the painful “price of unorthodoxy” is paid in full by a character still late in her teens (111).

While Holly’s story is “lovingly told,” Hassan also points out the “gentle criticism” inherent in the narrative (112). Holly’s breakdown at the end of the novella, however momentary, reveals her humanity and allows the reader to see the cost of living by one’s own rules: that one never knows when they will find the “grace of knowledge and repose” (112). This search for a place that feels like home (not merely the place that one lives, but the place wherein an inner quietness can be obtained) is a driving theme throughout Breakfast at Tiffany’s. Stylistically, Hassan claims that the novella “approaches perfection” and that Capote is able to treat his topic with “marvelous selectivity” (112). While not technically innovative, all of the elements blend together in such a way that the subject springs to life and the interplay between the outer world of Holly and the inner world of the narrator balance each other perfectly (112-13).

That Holly is both “innocent and experienced” makes her an “American hero,” insisting on freedom of experience because that type of freedom “is no longer tolerated;” she is outside of acceptable society, moving ahead of it (114). In 1960, shortly after the publication of “Birth of a Heroine,” Ihab Hassan’s “Truman Capote: The Vanishing Image of Narcissus” appeared in Wisconsin Studies in Contemporary Literature. Based on the daylight/nocturnal dyad he treated previously, the theme of “Narcissus” is blended into the discussion and Hassan’s critical views are refined. The image of Narcissus comes in to play, Hassan writes, when one understands that the daylight and nocturnal styles are both “developments of a central, unifying, and self-regarding impulse … traditionally embodied” by Narcissus (231). While Breakfast at Tiffany’s in some ways eludes either category, it “confirms the emergent pattern of Capote’s work” by carrying both themes a step further, specifically, “the movement toward light which retains the knowledge of darkness” (231).

Hassan discusses many of Capote’s works throughout the essay and expands on the daylight/nocturnal distinction. While the “supernatural defines the nocturnal mode of Capote, humor defines his daylight style,” where the narrative “assumes the chatty, first-personal informality of anecdotes” (233). The nocturnal stories of Capote deal with the supernatural as a metaphor for the unconscious, yet this is also “the source of our uniqueness, our insight and creativity” (238). The unconscious that makes the “nocturnal” stories so dark are, in essence, the wellspring of what makes the “daylight” stories so bright. Section V of Hassan’s essay is, quite literally, the essay published as “Birth of a Heroine,” but the insights in the surrounding sections shed light on this previously published section. He writes that there is a “peculiar image of freedom [Holly] invokes” that separates her from the main characters of Capote’s other daylight works (235).

Specifically, it is Holly’s self-awareness as the novella ends, illustrated through her confession of a “fear of perpetual homelessness” that sets her apart; she moves outside of the narrative and confesses this fear “to a real listener” (256). Because of this, Holly shatters the “pure self-reflectiveness” of Narcissus and achieves freedom (256). While Hassan’s articles discuss Holly Golightly as the new American hero, Nona Balakian’s 1962 “The Prophetic Vogue of the Anti-heroine” explores her character in an entirely different context. In her article, Balakian discusses “the radical change that heroines in … serious novels and plays have suffered in the past two decades” (134). Traditionally, women in literature have been “subsidiary figures, treated uncritically and seen more often as prototypes than as individuals,” yet there has been a recent shift within fiction towards with “de-romanticization of women” (135).

Balakian’s criticism differs drastically from that of the critics all ready discussed in that there is little affection in the way that she treats the character, initially labeling Holly an “asexual clown,” and proceeding from there (135). Holly Golightly, Balakian writes, is one of Capote’s virtual children, “so injured in the ways of the world that freedom consists in departing” from it (137). Yet she does discuss Holly’s virtues, such as her ability for “spontaneous companionship,” her equal distribution of loyalty, and her ability to inspire “non-erotic, tender affection” in some of the work’s other characters (137). The latter is the quality which Balakian seems to find the most admirable, as it inspires in others the recognition that “what is different and unique in another person and ends up strengthening the capacity to love” in those who are inspired (137). Capote’s “essentially humanitarian” view of Holly allows him to escape some of the criticism that Balakian levels against other authors and allows for the hope that “the heroine’s spiritual liberation, now long overdue” may come about at last (141).

In the essay collection, Violence in Recent Southern Fiction, published in 1965, Louise Gossett briefly treats Breakfast at Tiffany’s. The themes of the grotesque, the Southern genre, and violence seem especially forced in “Violence in a Private World: Truman Capote” wherein Capote’s works are discussed. While Gossett does state that Capote’s characters “have an intensity and reality” there is also the contention that they “stay entirely within his created worlds” (145). Holly Golightly is almost certainly in mind when Gossett states that there are “positive relationships which affirm the ability to love, but these are limited to children or to childlike adults” (146). Holly’s breakdown near the end of the novella, which for Hassan solidifies her humanity and takes her outside the scope of the work, is dismissed by Gosset: “Whatever [Holly] might have learned … is lost in her flightiness, which is childish rather than childlike” (155). William Nance devotes an entire chapter of The Worlds of Truman Capote to a discussion of Breakfast at Tiffany’s and analyzes its “dreamer heroine” in relation to Capote himself (107).

Nance states that Holly “belongs to a later generation of Capote heroines who have leaned to preserve their integrity by safeguarding their uniqueness” from a society who “admires her and considers her crazy at the same time” (112). However, unlike the “society” of the novella, personified by the wavering attitudes of the work’s supporting characters, “Capote and his narrator have only admiration” for Holly (112). Nance’s discussion of Holly differs drastically from previous criticism in that he explores Holly as “a new avatar for [Capote’s] constantly unfolding self” (115). There is an agreement with Balakian’s view that one of Holly’s greatest strengths is her ability to develop an “ideal relationship” with the narrator, however, it is one that is “tender but distant, and consisting largely of admiration for her brilliance and strength” (119). Exploring Holly as Capote’s alter ego, Nance claims that Holly’s faith to her own internal moral compass is a vehicle through which Capote expresses an acceptance of himself, which is a “dominant impulse in most of [his] writing” (119).

Holly’s arrest plays into this as Capote illustrates the way in which “the innocent dreamer becomes a prisoner; as always, she is at odds with the literalistic, moralistic society” (120). It is an awareness of death that keeps Holly “from feeling at home anywhere,” as she is constantly fighting against a collapse into fear, which she describes as “the mean reds” (123). While multiple critics have dismissed the scene wherein Holly breaks down over the loss of her unnamed tomcat as sentimental, Nance claims that it is far from that. Rather than “sentimental excess,” the scene is “an intensely serious expression of a profound fear of relinquishment” (123). However Holly might fear the looming threat of fate (death), which finds a constant presence in Capote’s works, it “is held at bay by friendship” (121). Additionally, the novella represents a pivotal place in Capote’s transition into nonfiction writing and a movement away from the “private dream world” towards that of reality (124).

In 1980, ten years after the publication of Nance’s work, Helen Garson published Truman Capote in the Modern Literature Series, which included the essay “Never Love a Wild Thing: Breakfast at Tiffany’s.” Having the benefit of reading nearly everything that Capote would publish in his lifetime gives Garson the advantage of being able to look back on nearly all of Capote’s cannon. Writing that Breakfast of Tiffany’s was, by that time, widely regarded as the culmination of Capote’s daylight works, Garson confirms what previous critics could have only hypothesized (79). Holly’s personality is similar to that of Capote’s other “most admired” figures in that she is “young and childlike, slight but attractive, friendly yet remote, her personality a … mixture of innocence and sophistication” (79). The ability of Holly to inspire “deep affection and loyalty” does not escape note, and discussion of her “childlike” qualities are not in a negative light (81).

The childlike nature of Holly attracts admiration from those around her, but her self-awareness also causes her to feel a sense of “pity for those who are unattached,” like herself, because there is no feeling of security (85). It is apparent from the beginning of the story, wherein the narrator’s memories of Holly are triggered by unexpected, vague news of her, that she “has never found her place” of profound, spiritual comfort (86). The narrative style, wherein events described have long past, gives the novella an air of “sweet sadness,” that is “an identifying element of Capote’s style” (88). The abrupt awareness of how deeply Holly is affected by a fear of homelessness is positioned in the narrative at the furthest point from the reader’s knowledge that she has never settled down. Yet at the same that the story “pleases and delights” the reader, it conveys a “melancholy for the days that are no more” on the part of the narrator (89). Breakfast at Tiffany’s came to occupy a unique place in Capote’s cannon, representing his daylight form at its best, and existing as a way station between his early and later styles.

The evolution of the critical regard for the novella within Capote’s lifetime reflects more than the critical treatment of Capote the author; it reflects the cultural and critical trends of the two decades wherein they took place. Works Cited Balakian, Nona. “The Prophetic Vogue of the Anti-heroine.” Southwest Review 47 (1962): 134-141. Garson, Helen S. “Never Love a Wild Thing: Breakfast at Tiffany’s.” Truman Capote. Modern Literature Series. New York: Ungar, 1980. 79-89. Gossett, Louise Y. “Violence in a Private World: Truman Capote.” Violence in Recent Southern Fiction. Durham: Duke UP, 1965. 145-58. Hassan, Ihab. “Birth of a Heroine.” Prairie Schooner 34 (1960): 78-83. Rpt. in Waldmeir and Waldmeir 109-114. —.

“Truman Capote: The Vanishing Image of Narcissus.” Wisconsin Studies in Contemporary Literature 1 (1960): 78-83. Rpt. in Radical Innocence: Studies in the Contemporary American Novel. Princeton: Princeton UP, 1961. 230-58. Levine, Paul. “Truman Capote: The Revelation of the Broken Image.” Virginia Quarterly Review 34 (1958): 600-17. Rpt. in Waldmeir and Waldmeir 81-93. Nance, William L. The Worlds of Truman Capote. New York: Stein, 1970. Waldmeir, Joseph J., and John C. Waldmeir, eds. The Critical Response to Truman Capote. Critical Responses in Arts and Letters. Westport: Greenwood P, 1999. Share this: Happy 50th anniversary, 'Breakfast at Tiffany's' – The Marquee Blog - CNN.com Blogs I think, that you are mistaken. I can defend the position. Write to me in PM. P.S.

Please review Blue Cube Icon from graphic-icons September 17, 2012 at 7:05 pm | Report abuse | Log in to Reply icon-design Excuse, that I can not participate now in discussion – there is no free time. I will be released – I will necessarily expesd the opinion on this question. P.S. Please review our icons for Windows and windows12icons. September 13, 2012 at 5:48 am | Report abuse | Log in to Reply Carolyn One of my all-time favorite movies. I LOVED that Audrey, who is not a singer, did actually sing Moon River in the movie. It is far sweeter than an dubbed voice could have been. One of my favorite parts! Audrey was a classic. October 6, 2011 at 11:20 am | Report abuse | Log in to Reply Anomic Office Drone What a terrific film this was. Watching it makes me wish people still dressed elegantly. I would prefer a woman in that black dress over one in sweat pants that say something like "juicy" across the butt any day of the week. Plus, think of all the benefits.

For the added effort of being more elegantly dressed ourselves, it puts societal pressure on the kind of people who are such slobs they look underdressed at McDonalds to clean themselves up a bit. October 6, 2011 at 12:40 pm | Report abuse | Log in to Reply rose October 6, 2011 at 9:58 am | Report abuse | Log in to Reply Beautiful Vixen October 6, 2011 at 8:48 am | Report abuse | Log in to Reply 12 October 6, 2011 at 7:17 am | Report abuse | Log in to Reply roxie October 5, 2011 at 7:50 pm | Report abuse | Log in to Reply jake I felt bad for Uncle Jed. That Holly ran off from the farm and didnt help get the crops in or nuthin. She was kind o the original runeaway bride.

October 5, 2011 at 6:50 pm | Report abuse | Log in to Reply Truman Capote October 6, 2011 at 11:41 am | Report abuse | Log in to Reply poop BREAKFAST AT TIFFANY'S by Truman Capote | Kirkus Reviews Tweet Note from Kirkus' Vintage Review Editor: Many movie houses that show classic films cannot resist placing Breakfast at Tiffany’s on their marquee again. Audrey Hepburn is irresistible, of course. Truman Capote, who wrote the original novella in 1959, assisted on the screen writing for the movie as well. Capote was maturing as a writer in the late ‘50s and working up to his 1965 masterpiece In Cold Blood. Our reviewer of Breakfast found the stories included with the novella’s publication to be “gentle, delicate and almost sound.” It can be a rewarding reading experience to read a prominent author’s early works, knowing there are hints of genius within. — May 27, 2013 KIRKUS REVIEW Excursions into other worlds of other depths have been the source material and trademark of Capote's literary career.

Breakfast at Tiffany's, a novelette and three short stories, is no exception and bears the indelible mark of Capote and an indication of his literary maturation. Holly Golightly, the heroine of the novelette, is the neurotic product of experience as child-bride, girl-about-New York, pay-as-you-play. Innocent services to a dear Mr. Sally Tomato result in her complicity in gangsterdom. She takes a quick trip to Rio and soon discovers rich and duhvine Senor, forgetting, thereby, the insults wafted by a rich Brazilian of indefinable vocation, a Hollywood VIP, and a lost cat. The short stories, notably "House of Flowers," are more reasonable. A girl from the mountains, who had turned prostitute, gives up all for love; an old prisoner revives his interest in life when Tico Feo, a soft-spoken Cuban boy, plays his diamond guitar; recollections of fruit-cake-making by a young child and his friend, an old woman. The vague undertones of homosexuality and the elements of weirdness are not as pronounced as in former books. These stories are gentle, delicate and almost sound. Pub Date: Oct.

28th, 1959 ISBN: 0307456323 Breakfast at Tiffanys Essay - 1322 Words 2 April 2014 Breakfast at Tiffany’s: Movie vs. Novella Writer, Truman Capote, created a goldmine when he wrote the book (turned film) Breakfast at Tiffany’s. Both the book and film center around a 19 year old young woman named Holly Golightly who lives in New York City. Golightly has a high spirit and bright smile, but within she is lonely, and yearning for the love that she needs. The film has a few differences from the book such as supporting characters and scenes, the description of the narrator’s feelings for Holly and the endings which makes it easy to say that the movie was overall better than the book. In the book, Breakfast at Tiffany's, the reader is unaware of the narrator’s name. However, Capote identifies him as somewhat of a successful writer who eventually falls in love with the main character, Holly. In the beginning of the book, Holly moves into the apartment that the narrator also stays in but is somewhat of a hassle.

She has numerous amounts of parties which annoy the neighbors and typically result in her asking them to let her in. Overtime, the narrator develops a friendship with Golightly which teaches him that the sweet, energetic, and boisterous young woman he spends his time with is actually sad, lonely, and confused. Holly has been on her own since the age of 14 and just wants to be happy but living the life that she has she doesn’t know exactly what she wants. At the end of the movie, like the film, Holly is arrested for drug trafficking, and eventually moves to Brazil where she never speaks to the narrator again. The movie, Breakfast at Tiffany’s, is directed by Blake Edwards and stars Audrey Hepburn as Holly Golightly, and George Peppard as the narrator. Unlike the novella it originated from, the movie identifies the narrator as Paul Varjack. In the book, Paul is a homosexual writer, but in the film he is complete eye candy for every woman in sight.

Over time, Paul develops strong feelings for his neighbor Holly which is greatly expressed in two scenes throughout the film beginning with the argument between Paul and his “sponsor.” Not only is this scene not mentioned in the book, but the character is completely made up as well. The addition of this character, who is unnamed in the film, leads the viewer to believe that Varjack is somewhat of a prostitute because his “sponsor,” played by Patricia Neal, does nothing but give him money for doing whatever she wants him to do. The woman even pays his rent. Once he meets Holly, Paul begins to write more and more and gets inspired, which leads him to eventually ending his relationship with his “sponsor” benefiting his career. The argument and ending of their relationship, helped to show how much Paul really cared about Holly and their friendship as a whole. This is a feeling that could not be understood from the novella. Another scene that offers a look into Paul’s feelings for Holly was their trip to Tiffany’s. Tiffany’s, a highly expensive jewelry store, was Holly’s favorite place to go.

At the store, Paul wants to get something engraved for Holly but being that he’s on a tight budget all he could afford was the ring he found inside a cracker jack box. Because it was from Tiffany’s however, Holly did not complain and instead was elated. This scene really showed how much Paul cared for Holly. Being an unsuccessful writer, without a lot of money, one would expect him to do something less costly, but instead he spent his last on something he knew she would love. Along with showing the narrator’s emotions towards Holly, the movie also adds a bit of comic relief and excitement to the story as well. Characters were both added and removed, as well as the addition and removal of certain scenes to make this happen. For starters, in the novel, Madam Spanella is the one often complaining about Holly’s parties being too noisy, about Holly coming in too late, etc but she is not seen in the movie. Instead,... Breakfast at Tiffanys Essay ...I strongly recommend this book to all those who like dramas and who love analyzing the main characters.

Breakfast at Tiffany's (Penguin Essentials) by Truman Capote Buy it from the Guardian bookshop Search the Guardian bookshop Tell us what you think: Star-rate and review this book The action is placed in Manhattan where a unnamed writer meets a young woman called Holly Golightly, with unusual habits and a strange story which she keeps secret. Holly... 315 Words | 1 Pages Breakfast At Tiffanys Essay ...﻿Film vs. Novella Breakfast at Tiffany’s, both the film and novella, is a classic that deserves recognition even today. It is a story about a woman, Holly Golightly, who receives money from both from male escorts and a man in prison. She one day meets the new writer that lives in her apartment complex, Varjak. As time goes on she gets close to Varjak, the writer, and meets a man named José. She later in the film decides she wants to marry him to get away but ends up not going...

777 Words | 4 Pages Breakfast At Tiffany S Research Paper ...﻿Reem Badr Professor Motlagh Essay 1 26 February 2015 Breakfast at Tiffany’s and its Message of Moral Damnation In the process of adapting Truman Capote’s Breakfast at Tiffany’s into the iconic movie directed by Blake Edwards, a number of key changes have been made. Be them the alternate ending, the alteration to the sequence of events, the addition and... 1264 Words | 5 Pages Breakfast at Tiffany s Essay ...﻿Breakfast At Tiffany´s – Truman Capote Author Born in New Orleans in 1924, the homosexual Capote was abandoned by his mother and raised by his elderly aunts and cousins in Monroeville, Alabama. As a child he lived a solitary and lonely existence, turning to writing for consolation. In his mid-teens, Capote was sent to New York to live with his mother and her new husband. Disoriented by life in the city, he dropped out of school, and at age seventeen, got a...

2628 Words | 7 Pages Essay about Breakfast at Tiffanys ...“Breakfast at Tiffany’s” Film 280 Hanna K Assignment #1 The movie begins appropriately with the lead Holly Goligthly having breakfast outside of Tiffany’s in New York and already that sets the tone of the whole movie. She’s dressed in a black Givenchy dress and her hair resembles something of a pineapple. She is looking in to the store and we see her perfectly polished reflection in the well-polished windows. Appropriately I say, since the title says just... 535 Words | 2 Pages Tiffany Essay ...Heinz Ketchup "To do a common thing uncommonly well brings success." -Founder Henry John Heinz Tiffany Ling-Vannerus Abstract In this report, I will first briefly discuss the history of the well-known brand “Heinz Ketchup”, its early days and the reasons why they’re still the number one keptchup in the industry, along with some fond memories. I did not touch the remark of their competitors seeing as the competitiors I’m familiar with all exsist in Sweden and not in...

1979 Words | 5 Pages Breakfast at Tiffanys Film Review Essay ...Tiffanys is now any girls best friend. The perfect blend of romance, comedy and tragedy, Breakfast at Tiffany’s is the must-see classic that captures the life of the young and ambitious, and shows the clear statement of what it is like to make it in a big city. Perfectly put together by Blake Edwards, and creatively written as a novel by Truman Capote, Audrey Hepburn (Holly Golightly) and George Peppard (Paul Varjak) make this film just as special as its name.... 661 Words | 2 Pages Breakfast at Tiffany s Essay ...﻿Breakfast at Tiffany’s Organic unity is achieved throughout the novel Breakfast at Tiffany’s by Truman Capote through its uses of symbolism, setting, and tone. The symbolism, setting, and tone of the novel create the thematic idea of personal freedom. The protagonist, Holly Golightly, demonstrates her inability to establish roots when she refuses to give her cat a name. The theme is further transmitted through the setting of the novel – Holly’s unpacked... 881 Words | 3 Pages

Question: Who wrote the novella "Breakfast at Tiffany's"?
Answer: TRUMAN CAPOTE