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 How Truman Capote’s Breakfast at Tiffany’s Gave Birth to a Cultural Icon and a Provocative Broadway Play | Broadway Buzz | Broadway.com How Truman Capote’s Breakfast at Tiffany’s Gave Birth to a Cultural Icon and a Provocative Broadway Play Features By Marc Snetiker March 14, 2013 - 4:10PM Audrey Hepburn in the film 'Breakfast at Tiffany's' & Emilia Clarke in promo art for the stage version About the Show Videos Chart the journey of 'Breakfast at Tiffany's' from the page to the stage. There’s no name more synonymous with window shopping on Fifth Avenue than Holly Golightly, the goodtime girl at the center of Truman Capote’s classic novella-turned-movie Breakfast at Tiffany’s .

Now that Holly has hit Broadway in a new play written by Tony winner Richard Greenberg and starring Game of Thrones favorite Emilia Clarke , we’re taking a look back at how this swanky character became a bona fide pop culture gem. The Birth of Holly Golightly In 1958, author Truman Capote was already a celebrity when he published his now-iconic Breakfast at Tiffany’s: A Short Novel and Three Stories. Capote declared that the titular novella launched the second cycle of his writing career, following the success of his first novel, Other Voices, Other Rooms. Breakfast at Tiffany's is narrated by a young, nameless writer dubbed “Fred” who becomes fascinated with his mysteriously eccentric, social climbing neighbor Holly Golightly, reportedly an amalgam of many society women Capote knew (including Gloria Vanderbilt, Oona Chaplin and model Suzy Parker). Holly became the writer’s most famous (and his favorite) creation, a character whose name said it all: a happy-go-lucky wanderer who bounced through life like a holiday. “She’s got this never-ending energy,” Emilia Clarke told Broadway.com.

“She is shrouded in mystery, but at the same time is incredibly effervescent and someone you want to be around.” Capote sold the story for $2,000 to Harper’s Bazaar, but the magazine feared that Tiffany’s’ adult language and sexual content would offend both readers and the folks at Tiffany & Co., a major advertiser. Esquire picked up the manuscript and published it serially in 1958. The publicity was enormous, and Hollywood was immediately interested. Holly Goes to Hollywood Film producer Richard Shepherd optioned the rights to Capote’s novella and took it to Paramount, where the film entered development with contract actress Audrey Hepburn in the lead role. Capote wanted Marilyn Monroe, arguing that the prim and proper Hepburn was completely miscast. Screenwriter George Axelrod’s sanitized script was markedly different from the novella. Holly’s profession as a high-end call girl—which was addressed directly in the book—was dialed down in the film, along with her age, bisexual curiosity and propensity for marijuana.

Similarly, the film’s ending was made more upbeat, the setting was changed from wartime 1940s to 1960, and the gayness of the male narrator (played by George Peppard) was completely eliminated. Still, director Blake Edwards' film, released in October 1961, was a whopping success, earning two Oscars (including one for Henry Mancini's haunting hit "Moon River," sung by Hepburn on a fire escape) and catapulting its star into cultural icon status. Both the film and the book caused dozens of women to claim they had inspired Holly; one named Bonnie Golightly even went so far as to file a libel lawsuit against Capote, though it was ultimately unsuccessful. Capote called the entire sensation the "Holly Golightly Sweepstakes." Culture Pops for Capote Though the novella and film became undeniable classics, Tiffany’s entered pop culture in other media as well, including a never-seen ABC pilot for a sitcom titled Holly Golightly starring Stefanie Powers and Jack Kruschen. Of all the adaptations, perhaps most memorable was a notorious 1966 musical version, which was pulled from Broadway after four previews.

Breakfast at Tiffany’s the musical starred Mary Tyler Moore and Richard Chamberlain and featured music and lyrics by Bob Merrill of Funny Girl fame and a book by Edward Albee (replacing an earlier draft by Abe Burrows). The out-of-town tryouts were chaos, with some versions of the show running more than four hours. Holly & Co. limped into Broadway's Majestic Theatre, but producer David Merrick quickly shuttered the musical and placed an infamous ad in The New York Times declaring that he refused to “subject the drama critics and the public to an excruciatingly boring evening.” Playwright Samuel Adamson adapted the novella in 2009 for the Theatre Royal Haymarket in London. Pushing Daisies starlet Anna Friel played Holly, with Joseph Cross as Fred. (Critics liked Friel, who did a nude scene; the script, not so much.) The production was directed by Sean Mathias, who would go on to helm the 2013 Broadway adaptation.

Broadway Has Breakfast In October 2012, producers announced their intention to bring Breakfast at Tiffany’s back to the Broadway stage in a new adaptation by Richard Greenberg, a Tony winner for his baseball-themed comedy Take Me Out. Mathias reprises his role as director, with Emilia Clarke as Holly. “Having an actor play the right part at the right moment when the world doesn’t really know them and they go, ‘Oh my gosh, who is that person?’ That’s what we have with Emilia,” Mathias told Broadway.com. Joining Clarke are Broadway newcomer Cory Michael Smith as Fred and Cheers star George Wendt as bartender Joe Bell (a major character in the novella). The adaptation is based entirely on the book, so audience members expecting the a carbon copy of the film will certainly be in for a surprise (including at least one nude scene ). Still, the play promises to be a nostalgic night at the theater for anyone enamored with the character of Holly Golightly. “Fundamentally, we’re not doing the movie,” explained Clarke.

“There will still be people coming to see the show who maybe might expect it, but they’ll get something quite different...but pretty damn special.” Style in film: Audrey Hepburn in “Breakfast at Tiffany’s” | Classiq Cinema, Costume Design, Living with Style 27 August 2013 Style in film: Audrey Hepburn in “Breakfast at Tiffany’s” Today it is hard to imagine anyone else as troubled call girl Holly Golightly, but Truman Capote, on whose novella Breakfast at Tiffany’s was based, was disappointed when Audrey Hepburn was cast in the role. When Capote sold the rights to Paramount, he had envisioned Marilyn Monroe as Holly and believed that Audrey was completely wrong for the part. Paula Strasberg, Monroe’s acting coach, felt that playing a call girl was not good for Marilyn’s image, and the actress dropped out of production. For Audrey, on the other hand, was a welcome change after her princess and chauffeur’s daughter parts she had played in the past, even though Holly Golightly’s character was softened for the screenplay. But Breakfast at Tiffany’s was still a very modern film for 1961, and Audrey was funny, yet moving in her role.

“I should be a stylish Holly Golightly. Even if that’s all I can contribute”, said Audrey. She and Hubert de Givenchy teamed up again for Blake Edward’s romantic comedy. Her wardrobe is simple, elegant, iconic, and Breakfast at Tiffany’s was the movie that, in 1961, consecrated the black sheath dress. The couturier designed two sleeveless black dresses for the film. The first one is the straight lined, black satin gown with a beautiful low-cut back, which was worn with long, black satin gloves, large tortoiseshell Oliver Goldsmith sunglasses reminiscent of the Ray-Ban Wayfarer model, a Tiffany necklace of strands of pearls and diamante hair ornament. Holly wears the dress in the opening scene, that time of morning when the dawn has broken, but the city is still asleep, and she steps out of a yellow cab on a deserted Fifth Avenue, outside Tiffany’s. Riccardo Tisci, creative director of Givenchy, said of the dress: “It was 1961 and this dress is in a way very sixties.

The front is severe, elegant, very clean, but at the back there is the very interesting neckline, somewhere between ethnic and Parisian; a softness that other designers in that time didn’t have.” Three copies of the dress were made: one is held at Maison Givenchy, one at the Museum of Costume in Madrid, and one was given to Audrey. One of the copies was sold at Christie’s in 2006 for $923,187, making it one of the most expensive pieces in film memorabilia. Costume designer Renie Conley remembered observing Edith Head taking one of Givenchy’s gowns apart to create a copy. “It was full of horsehair stuffing and lead weights to make it fall a certain way.” In the scene above, Holly accessorised the dress differently, opting for earrings and a white scarf only. An LBD can be different every time you put it on. The man’s shirt Audrey wears to bed in her own characteristic chic way was designed by Edith Head, who, once again, had to settle for filling out the remainder of Audrey’s needed costumes. Wouldn’t you say that this outfit, completed by the cute sleeping mask, is memorable too? It is to me.

This is the second petit noir Givenchy designed for Holly Golightly. In cloqué silk, with a slightly flared frilly skirt, which Audrey wore with a wide-brimmed hat with an enormous cream silk bow and low-heeled alligator shoes, long gloves and again, oversized sunglasses. She styles the dress in different ways in the film, as you can see below, either with a fabulous lampshade hat and brooch, or with a maxi necklace. To transform Audrey into Holly Golightly, her hair was streaked with blonde highlights, a look that made her look “jazzy” and “a little kooky”, helping her “get away from that primmer lady look, like nuns and princesses”, as Audrey herself said. “It was nice to become a new girl as easily as that. I liked it so much, I decided to keep it for offscreen.” Her bouffant, backcombed hair style, by Grazia de Rossi, launched a fashion too. It’s a bed sheet you see her wearing at her cocktail party. A scene was cut from the film in which Holly is taking a bath and has to improvise a gown on the spot.

One more example that Audrey could look chic in just anything she threw on. At first I didn’t even realise it was a sheet she had on and she could have easily gotten away with that on the spur of the moment outfit if you ask me, but she soon changes into her short shift dress. The blue jeans, grey sweater and cloth around the head she’s wearing as she sings Moon River on the fire escape were also designed by Edith Head. “The real girl comes alive in the blue jeans. Every woman is an actress in a Paris gown”, said Audrey. This look is just as timeless as the little black dress. The beige trench coat, another style item that has been immortalized by Breakfast at Tiffany’s in the final scene, is paired with a head scarf, polo t-shirt and herringbone skirt. The double-breasted orange wool coat was much copied at the release of the film. The funnel neck coat was classic Givenchy and Audrey wore similar versions in Charade (1963), How to Steal A Million (1966), and in her personal wardrobe. In the movie, the coat was matched with a salt-and-pepper patterned dress, fur hat, kitten heels and classic tote.

In her book, Audrey Style, Pamela Keogh Clarke writes: “the Hepburn Givenchy partnership reached the apogee of refined elegance as Holly Golightly’s hangover chic caused a run on triple strand faux pearl necklaces, sleeveless dresses and oversized dark sunglasses that continues to this day.” A hot pink silk cocktail dress studded with green rhinestones and with a pink bow around the waist. It was teamed with a collarless, three-quarter sleeved coat in the same vibrant pink. I love these infusions of colour in an otherwise neutral wardrobe. Casually dressed, in pullover, slacks and ballet flats, Audrey is once again the personification of ultimate chic. I don’t think there is any other actress whose roles have emulated her personal style to such an extent, as in the case of Audrey Hepburn. This wouldn’t have been possible without Givenchy’s creative mind and understanding of Audrey’s figure, needs and personality. photos: screen stills captured by me from this DVD edition . Please link back to Classiq if you’d like to use any of these images.

Audrey Hepburn - Biography - IMDb Audrey Hepburn Biography Showing all 143 items Jump to: Overview (5) | Mini Bio (1) | Spouse (2) | Trade Mark (4) | Trivia (92) | Personal Quotes (23) | Salary (16) Overview (5) 5' 7" (1.7 m) Mini Bio (1) Audrey Hepburn was born Audrey Kathleen Hepburn-Ruston on May 4, 1929 in Brussels, Belgium. She was a blue-blood and a cosmopolitan from birth. Her mother, Ella van Heemstra, was a Dutch baroness; Audrey's father, Joseph Victor Anthony Hepburn-Ruston, was born in Úzice, Bohemia, of English and Austrian descent, and worked in business. After her parents divorced, Audrey went to London with her mother where she went to a private girls school. Later, when her mother moved back to the Netherlands, she attended private schools as well. While she vacationed with her mother in Arnhem, Netherlands, Hitler's army took over the town. It was here that she fell on hard times during the Nazi occupation.

Audrey suffered from depression and malnutrition. After the liberation, she went to a ballet school in London on a scholarship and later began a modeling career. As a model, she was graceful and, it seemed, she had found her niche in life--until the film producers came calling. In 1948, after being spotted modeling by a producer, she was signed to a bit part in the European film Dutch in Seven Lessons (1948). Later, she had a speaking role in the 1951 film, Young Wives' Tale (1951) as Eve Lester. The part still wasn't much, so she headed to America to try her luck there. Audrey gained immediate prominence in the US with her role in Roman Holiday (1953) in 1953. This film turned out to be a smashing success, and she won an Oscar as Best Actress. This gained her enormous popularity and more plum roles. In contrast to the "sex goddesses" of the silver screen, Audrey Hepburn had a more wholesome beauty and an aura of innocence and class about her which gained her many devoted fans.

Roman Holiday (1953) was followed by another similarly wonderful performance in the 1957 classic Funny Face (1957). Sabrina (1954), in 1954, for which she received another Academy nomination, and Love in the Afternoon (1957), in 1957, also garnered rave reviews. In 1959, she received yet another nomination for her role in The Nun's Story (1959). Audrey reached the pinnacle of her career when she played Holly Golightly in the delightful film Breakfast at Tiffany's (1961)in 1961. For this she received another Oscar nomination. She scored commercial success again in the espionage caper Charade (1963). One of Audrey's most radiant roles was in the fine production of My Fair Lady (1964) in 1964. Her co-star, Rex Harrison , once was asked to identify his favorite leading lady.

Without hesitation, he replied, "Audrey Hepburn in 'My Fair Lady.'" After a couple of other movies, most notably Two for the Road (1967), she hit pay dirt and another nomination in 1967's Wait Until Dark (1967). By the end of the sixties, after her divorce from actor Mel Ferrer , Audrey decided to retire while she was on top. Later she married Dr. Andrea Dotti. From time to time, she would appear on the silver screen. One film of note was Robin and Marian (1976), with Sean Connery in 1976. In 1988, Audrey became a special ambassador to the United Nations UNICEF fund helping children in Latin America and Africa, a position she retained until 1993. She was named to People's magazine as one of the 50 most beautiful people in the world. Her last film was Always (1989) in 1989. Audrey Hepburn died on January 20, 1993 in Tolochnaz, Switzerland, from appendicular cancer. She had made a total of 31 high quality movies.

Her elegance and style will always be remembered in film history as evidenced by her being named in Empire magazine's "The Top 100 Movie Stars of All Time." - IMDb Mini Biography By: Denny Jackson and Volker Boehm Spouse (2) Often cast opposite leading men who were considerably older than she was. Often played classy High Society women. Charming characters who try to wear their troubles lightly Delicate thin frame Was first choice for the lead in A Taste of Honey (1961). Ranked #50 in Empire (UK) magazine's "The Top 100 Movie Stars of All Time" list. [October 1997] Mother of Sean H. Ferrer , with first husband, Mel Ferrer . Son, Luca Dotti (b. 8 February 1970), with second husband, Dr. Andrea Dotti. Chosen by People magazine as one of the 50 Most Beautiful People in the world. [1990] After Wait Until Dark (1967) was offered the leads in Goodbye, Mr.

Chips (1969), 40 Carats (1973), Nicholas and Alexandra (1971), The Exorcist (1973), One Flew Over the Cuckoo's Nest (1975), A Bridge Too Far (1977) and The Turning Point (1977) but decided to stay in retirement and raise her sons. Interred in Tolochenaz, Vaud, Switzerland. Chosen by Empire magazine as one of the 100 Sexiest Stars in film history (#8). [1995] Turned down the film Gigi (1958) after creating the character in the Broadway non musical play. Had a breed of tulip named after her in 1990. Died on January 20, 1993, the day of Bill Clinton 's first inauguration as President of the United States and the 67th birthday of Patricia Neal . They starred together in Breakfast at Tiffany's (1961). She won the 1953 Best Actress Academy Award for Roman Holiday (1953).

On March 25th, 1954, she accepted the award from the much revered Academy president Jean Hersholt . After accepting the award, Audrey kissed him smack on the mouth, instead of the cheek, in her excitement. Minutes after accepting her 1953 Oscar, Audrey realized that she'd misplaced it. Turning quickly on the steps of the Center Theater in New York, she raced back to the ladies' room, retrieved the award, and was ready to pose for photographs. Christened simply Audrey Kathleen Ruston, her mother Baroness Ella Van Heemstra temporarily changed her daughter's name from "Audrey" to "Edda" during the war, feeling that "Audrey" might indicate her British roots too strongly. During the war, being English in occupied Netherlands was not an asset; it could have attracted the attention of the occupying German forces and resulted in confinement or even deportation. After the war her father Joseph Victor Anthony Ruston found documents about his ancestors, some of whom bore the name "Hepburn". This is when he added it to his name, which caused her daughter to have to add Hepburn to her legal name as well, thus Audrey Kathleen Hepburn-Ruston.

Was fluent in English, Dutch, Spanish, French, and Italian. She was raised bilingually; speaking English and Dutch (resulting in her unique accent). Throughout her life, she used multilingualism to great advantage with international press in both her careers as an actress and humanitarian. Was briefly considered for the main role in Cleopatra (1963) but the part went to Elizabeth Taylor She confessed to eating tulip bulbs and tried to bake grass into bread during the hard days of World War II. Audrey felt that she was miscast as Holly Golightly in Breakfast at Tiffany's (1961) although it was one of her most popular roles. Was trained as a dental assistant before making it big. Henry Mancini said of her: "'Moon River' was written for her. No one else had ever understood it so completely. There have been more than a thousand versions of 'Moon River', but hers is inquestionably the greatest". Turned down a role in the film The Diary of Anne Frank (1959) because, as a young girl in the Netherlands during the war, she had witnessed Nazi soldiers publicly executing people in the streets and herding Jews onto railroad cars to be sent to the death camps.

She said that participating in the film would bring back too many painful memories for her. Years later, in 1990, during her humanitarian career, she accompanied composer Michael Tilson Thomas and the New World Symphony orchestra to narrate portions of Frank's diary for a symphonic work he had written, "From The Diary of Anne Frank", which she performed on a small tour in the United States and London. Proceeds from all the concerts benefited UNICEF. Like Humphrey Bogart , Hepburn also starred in five of the movies listed by American Film Institute in its Top 100 U.S. love stories (2002). They are Roman Holiday (1953), ranked #4 on the list, Sabrina (1954) ranked #54, which co-starred Bogart, My Fair Lady (1964) ranked #12, Two for the Road (1967) at #57 and Breakfast at Tiffany's (1961) #61. During the battle of Arnhem, 16-year-old Audrey was a volunteer nurse in a Dutch hospital.

The hospital received many wounded Allied soldiers, one of whom young Audrey helped nurse back to health was a young British paratrooper - and future director - named Terence Young . More than 20 years later, Young directed Hepburn in Wait Until Dark (1967). In 1954 she was presented with her Best Actress Oscar for Roman Holiday (1953) by Jean Hersholt . In 1993 she was posthumously awarded the Jean Hersholt Humanitarian Award. During World War II, she lived in Arnhem, Netherlands. She worked with the Dutch Underground, giving ballet performances to collect donations for the anti-Nazi effort and as an occasional courier. She also received dance training and later studied ballet in London. Presented the Best Picture Oscar at the Academy Awards four times (in 1955, 1960, 1966, and 1975), more than any other actress. Told People Magazine that she was very self-conscious about her size-10 feet. She was voted the 21st Greatest Movie Star of all time by Entertainment Weekly.

In 1993 she became the thirteenth performer to win the Triple Crown of Acting. Oscar - Best Actress for Roman Holiday (1953), Tony for Best Actress in a Play for "Ondine" (1954) and Emmy for Outstanding Individual Achievement Was fashion designer Hubert de Givenchy 's muse, who dressed her for the films Sabrina (1954), Funny Face (1957), Love in the Afternoon (1957), Breakfast at Tiffany's (1961), Paris When It Sizzles (1964), How to Steal a Million (1966), Charade (1963) and Love Among Thieves (1987). In 1996 the British magazine Harpers & Queen conducted a poll to find the most fascinating women of our time. She was in the #1 spot. As of 2005, she is one of only nine performers to win an Oscar, a Tony, an Emmy and a Grammy Award. Her father was of approximately one quarter English and three quarters Austrian descent. Her mother was Dutch, with remote French and English roots.

Some reports incorrectly identified Audrey as having Irish ancestry on her paternal side (which even she believed), but her father's only ties to Ireland were having resided there in the latter part of his life. Followed winning the Academy Award for Roman Holiday (1953) with winning Broadway's 1954 Tony Award as Best Actress (Dramatic) for "Ondine." Voted #1 in TheAge.com's Top 100: Natural Beauties of all time. She owned a Yorkshire Terrier called "Mr. Famous". She was voted the 18th Greatest Movie Star of all time by Premiere Magazine. Was named #3 on The American Film Institute's 50 Greatest Screen Legends Her biggest film regret was not getting the Anne Bancroft role in The Turning Point (1977). "That was the one film", she later admitted, "that got away from me." Is portrayed by Jennifer Love Hewitt in The Audrey Hepburn Story (2000) When she failed to receive an Academy Award nomination for her role as Eliza Doolittle in My Fair Lady (1964), Katharine Hepburn wired her with a message of encouragement: "Don't worry about it.

You'll get it one day for a part that doesn't rate it." Ironically, when Audrey's next (and last) nomination came for Wait Until Dark (1967) in 1967, Hepburn beat her in Guess Who's Coming to Dinner (1967) - in a part that arguably didn't rate it. Her character in Funny Face (1957) was inspired by Suzy Parker , who made a fashionable cameo appearance in the film (her first film) in the "Think Pink" sequence. According to her biography, "Audrey Hepburn: An Intimate Portrait", she made a vow to herself never to exceed 103 pounds. With the exception of her pregnancies, she succeeded. Turned down the title role in Gigi (1958) to make Funny Face (1957). Ironically, her agent initially rejected the film, but Hepburn overrode the decision after reading the script. Her mother, Baroness Ella Van Heemstra , makes a cameo appearance as a sidewalk café patron, and her Yorkshire terrier "Mr. Famous" appears as the dog in the basket during the "Anna Karenina" train shot.

Hepburn did not want to be separated from husband Mel Ferrer , so filming of the Paris scenes was timed to coincide with Ferrer's filming of Elena and Her Men (1956). Paris' unseasonably rainy weather had to be worked into the script, particularly during the balloons photo shoot scene. During filming of the Paris scenes, much of the crew and cast were on edge because of riots and political violence that were gripping the city. The soggy weather played havoc with the shooting of the wedding dress dance scene. Both Fred Astaire and Hepburn were continually slipping in the muddy and slippery grass. In "Funny Face" she was lucky enough to sing several songs. Her next full musical, My Fair Lady (1964), had her singing voice dubbed by Marni Nixon , much to Hepburn's disappointment. The face portrait unveiled in the darkroom scene was photographed by Richard Avedon . The film was shot back-to-back with Love in the Afternoon (1957). According to director William Friedkin , Audrey was Warner Bros.

first choice for the role of Chris MacNeil in The Exorcist (1973) after her box-office successes with the studio's productions The Nun's Story (1959), My Fair Lady (1964) and Wait Until Dark (1967). She would only agree to star if the film were made in Rome, so that she would be able to remain home to raise her sons. Both Friedkin and writer William Peter Blatty rejected the proposal, and eventually cast Ellen Burstyn . Her performance as Holly Golightly in Breakfast at Tiffany's (1961) is ranked #32 on Premiere Magazine's 100 Greatest Performances of All Time (2006). Asked for the part of Emma Jacklin in The Turning Point (1977) but Anne Bancroft had already been cast in the role. Hepburn was diagnosed with appendiceal cancer on November 1, 1992 (not colon cancer, as it is often mistakenly called). The cancer spread into the lining of her small intestine.

She had one foot of intestine removed in surgery and went through chemotherapy, but in a second surgery it was decided that the cancer had spread too far and could not be treated. Her son Sean H. Ferrer believes it had probably been developing over the course of the previous five years. From 1980 until her death, she lived together in Switzerland with her partner, Dutch actor Robert Wolders . The US Postal Service issued a 37 cent commemorative stamp honoring her as a Hollywood legend and humanitarian (2003). Her famous "little black dress" from Breakfast at Tiffany's (1961), designed by Hubert de Givenchy , was sold at a Christie's auction for approximately $920,000 (5 December 2006). Was voted "most beautiful woman of all time" by the readers of "New Woman" magazine (2006). Godmother of Victoria Brynner , the daughter of Doris Kleiner and Yul Brynner . Saved the life of her friend Capucine , who attempted suicide on several occasions.

In Italy she was almost exclusively dubbed by Maria Pia Di Meo , except in her first two films ( Roman Holiday (1953) (Vacanze Romane) and Sabrina (1954)) and in Green Mansions (1959) (Verdi dimore), where she was dubbed by Fiorella Betti . She was presented with her 1953 Best Actress Oscar for "Roman Holiday" by actor and humanitarian Jean Hersholt . Forty years later she would posthumously receive the Jean Hersholt Humanitarian Award by the Academy of Motion Picture Arts and Sciences for her work with UNICEF. As of 2007, she and Katharine Hepburn are the only "Best Actress" Oscar-winners to share a last name. Of course, they are not related. Met future husband Mel Ferrer at a party hosted by Gregory Peck . It was Ferrer who sent Hepburn the script for "Ondine", which Hepburn agreed to play on Broadway, in which the couple co-starred. Was friends with Eva Gabor .

Once admitted that she would not have accepted the role of Eliza Dolittle in My Fair Lady (1964) if she had known that producer Jack L. Warner planned to have all of her singing dubbed. Hepburn was offered the role of a Japanese bride opposite Marlon Brando in Sayonara (1957) but turned it down. She later explained that she "couldn't possibly play an Oriental. No one would believe me; they'd laugh. It's a lovely script, however, I know what I can and can't do. And if you did persuade me, you would regret it, because I would be terrible". Broke her back during filming of a horse-riding scene in The Unforgiven (1960). Won a 1968 Special Tony Award (New York City). Was considered for the part of Tony Gromeko in Doctor Zhivago (1965), but Geraldine Chaplin was cast instead. Was a close friend of Gregory Peck , Ben Gazzara and French actress Capucine . Was a three-pack-a-day smoker.

In December 1992, President George Bush presented her with the Presidential Medal of Freedom in recognition of her work for UNICEF. She did not attend the ceremony, due to being ill with cancer. Nearly married James (later Lord) Hanson, a businessman, after filming Roman Holiday (1953). An ivory satin wedding gown was designed by the Fontana sisters, but Hepburn called off the wedding at the last minute. Her last humanitarian mission for UNICEF was to Somalia in September 1992. She was reported to have begun experiencing stomach pains towards the end of the trip, leading to her cancer diagnosis, two months later. Returned to work nine months after giving birth to her son Sean H. Ferrer in order to begin filming Breakfast at Tiffany's (1961). Suffered from hydrophobia, a condition that severely hampered some of her scenes in Two for the Road (1967). When a shot called for co-star Albert Finney to throw Hepburn into a swimming pool, divers were placed on standby (off-camera) just to placate the actress after it was learned that she had a morbid fear of water.

During his acceptance speech honoring her work for UNICEF, Sean H. Ferrer dedicated his mother's Jean Hersholt Humanitarian Award to "the children of the world". Is one of the only 12 people who are an EGOT, which means that she won at least one of all of the four major American entertainment awards: Emmy, Grammy, Oscar and Tony. The other ones in chronological order are Richard Rodgers , Barbra Streisand , Helen Hayes , Rita Moreno , Liza Minnelli , John Gielgud , Marvin Hamlisch , Jonathan Tunick , Mel Brooks , Mike Nichols and Whoopi Goldberg . Streisand, however, won a Special Tony Award, not a competitive one, and Minnelli won a Special Grammy. She donated all the salaries she earned for her final projects to UNICEF ( Love Among Thieves (1987), Always (1989), and Gardens of the World with Audrey Hepburn (1993)). Art was one of her longtime hobbies, she drew pictures of stories when she was a child to distract herself from chronic hunger pains during WWII. As an adult, she took up painting to pass time while pregnant with her son, Luca.

Samples of her work can be seen in the book "Audrey Hepburn: An Elegant Spirit". In addition to her first son Sean H. Ferrer , Hepburn became pregnant another four times by her husband Mel Ferrer (in 1954, 1958, 1965, and 1967). However, she suffered miscarriages on all of those occasions. She fell pregnant twice with Dr. Andrea Dotti; giving birth in 1970 to her second son, Luca, but miscarried in 1974. Is one of 15 actresses to have won the Triple Crown of Acting (an Oscar, Emmy and Tony); the others in chronological order are Helen Hayes , Ingrid Bergman , Shirley Booth , Liza Minnelli , Rita Moreno , Maureen Stapleton , Jessica Tandy , Anne Bancroft , Vanessa Redgrave , Maggie Smith , Ellen Burstyn , Helen Mirren , Frances McDormand and Jessica Lange . Ranked #82 in Men's Health 100 Hottest Women of All Time (2011).

She auditioned for, and did a costume test for, the role of Lygia in Quo Vadis (1951), but M-G-M turned her down because she was too unknown at the time and went with Deborah Kerr . When Hepburn was in the final stages of her illness, the press took pictures of her while she was at home, and published the photos, much to the disapproval of everyone who knew her. While working in a minor movie, We Go to Monte Carlo (1951), in Monaco in 1951, Hepburn was spotted by novelist Colette , who deemed her the ideal choice to play the title role in the upcoming Broadway version of her play "Gigi." Although she lacked experience and confidence, she ultimately got the part. She never singled out any of her films as a favorite, but often spoke fondly of Breakfast at Tiffany's (1961), Roman Holiday (1953), Funny Face (1957), The Nun's Story (1959), and Charade (1963) in interviews.

She reportedly did not enjoy working on The Unforgiven (1960) due to injuries sustained while shooting, and Wait Until Dark (1967) from the stress of her failing marriage. She was said to have also disappointed with the results of Paris When It Sizzles (1964) and Bloodline (1979). Nonetheless, she had a great reputation for her professionalism and almost always got along well with her co-stars and directors. Studied Ballet in London under Madame Rambert. Release of the biography, "Enchantment: The Life of Audrey Hepburn" by Donald Spoto . [2006] Release of the biography, "Audrey Hepburn: An Elegant Spirit" by her son, Sean H. Ferrer . [2003] Was the 40th actress to receive an Academy Award; she won the Best Actress Oscar for Roman Holiday (1953) at The 26th Annual Academy Awards (1954) on March 25, 1954. Is one of 26 actresses to have won an Academy Award for their performance in a comedy; hers being for Roman Holiday (1953).

The others, in chronological order, are: Claudette Colbert ( It Happened One Night (1934)), Loretta Young ( The Farmer's Daughter (1947)), Josephine Hull ( Harvey (1950)), Judy Holliday ( Born Yesterday (1950)), Goldie Hawn ( Cactus Flower (1969)), Glenda Jackson ( A Touch of Class (1973)), Lee Grant ( Shampoo (1975)), Diane Keaton ( Annie Hall (1977)), Maggie Smith ( California Suite (1978)), Mary Steenburgen ( Melvin and Howard (1980)), Jessica Lange ( Tootsie (1982)), Anjelica Huston ( Prizzi's Honor (1985)), Olympia Dukakis ( Moonstruck (1987)), Cher ( Moonstruck (1987)), Jessica Tandy ( Driving Miss Daisy (1989)), Mercedes Ruehl ( The Fisher King (1991)), Marisa Tomei ( My Cousin Vinny (1992)), Dianne Wiest ( Bullets Over Broadway (1994)) Mira Sorv

ino ( Mighty Aphrodite (1995)), Frances McDormand ( Fargo (1996)), Helen Hunt ( As Good as It Gets (1997)), Judi Dench ( Shakespeare in Love (1998)), Gwyneth Paltrow ( Shakespeare in Love (1998)), Penelope Cruz ( Vicky Cristina Barcelona (2008)), and Jennifer Lawrence ( Silver Linings Playbook (2012)).

Hepburn is mentioned by name in the Frank Sinatra standard "Nancy with the Laughing Face.". She accepted her final role as "Hap" in Always (1989) simply for the opportunity to work with Director Steven Spielberg . Hepburn was moved by Spielberg's film E.T. the Extra-Terrestrial (1982) after taking her youngest son to see it in Rome, and remarked: "The man is a genius!" She vowed to work with him, ever since. Was to play the lead in a screen version of the Henry Cecil novel "No Bail for the Judge," which was to be Alfred Hitchcock's followup to North by Northwest. Hepburn was to play the daughter of an English judge who enlists the aid of a thief ( Laurence Harvey ) to exonerate her father, a High Court Judge who has been arrested for the murder of a prostitute. Hepburn dropped out of the project when she became pregnant, and that, along with subsequent changes in British law regarding prostitution, caused Hitchcock to lose interest in the project, and it was never made.

A few years later Hepburn starred with Cary Grant in Charade (1963) , which is sometimes referred to as "the best Hitchcock film that Hitchcock never made.". Spoke 5 languages: English, French, Spanish, Italian and Dutch. Increased her smoking habit to 60 cigarettes a day while filming The Unforgiven (1960). Personal Quotes (23) I never thought I'd land in pictures with a face like mine. I was asked to act when I couldn't act. I was asked to sing "Funny Face" when I couldn't sing and dance with Fred Astaire when I couldn't dance and do all kinds of things I wasn't prepared for. Then I tried like mad to cope with it. Remember, if you ever need a helping hand, it's at the end of your arm. As you get older, remember you have another hand: the first is to help yourself, the second is to help others. I was born with an enormous need for affection, and a terrible need to give it. My own life has been much more than a fairy tale. I've had my share of difficult moments, but whatever difficulties I've gone through, I've always gotten a prize at the end.

For me, the only things of interest are those linked to the heart. I never think of myself as an icon. What is in other people's minds is not in my mind. I just do my thing. I probably hold the distinction of being one movie star who, by all laws of logic, should never have made it. At each stage of my career, I lacked the experience. My look is attainable. Women can look like Audrey Hepburn by flipping out their hair, buying the large sunglasses, and the little sleeveless dresses. Success is like reaching an important birthday and finding you're exactly the same. I know I have more sex appeal on the tip of my nose than many women in their entire bodies. It doesn't stand out a mile, but it's there. [talking about a severe coughing attack she had when she was six weeks old, slowly turning blue and finally stopping breathing until her mother's prayers and spanking brought her back to life] If I were to write a biography, it would start like this: I was born in Brussels, Belgium, on May 4, 1929 . . . and I died six weeks later.

[about her "comeback" in 1976] Whatever happens, the most important thing is growing old gracefully. And you can't do that on the cover of a fan magazine. It's that wonderful old-fashioned idea that others come first and you come second. This was the whole ethic by which I was brought up. Others matter more than you do, so 'don't fuss, dear; get on with it.' [on filming Funny Face (1957), while coping with extreme Paris weather and a grumpy co-star] Here I've been waiting for 20 years to dance with 'Fred Astaire', and what do I get? Mud in my eye! I think sex is overrated. I don't have sex appeal and I know it. As a matter of fact, I think I'm rather funny looking. My teeth are funny, for one thing, and I have none of the attributes usually required for a movie queen, including the shapeliness. You can't let yourself worry when you play a classic role. I'm an introvert anyway. Playing the extroverted girl in Breakfast at Tiffany's was the hardest thing I ever did.

If I had stopped to think about comparison with my predecessors as Eliza, I'd have frozen completely. But I loved this part. Eliza is vulnerable, but she has a beautiful inner strength. I made myself forget the problems. I threw myself into it and tried to make it me. I understood the dismay of people who had seen Julie on Broadway. Julie made that role her own, and for that reason I didn't want to do the film when it was first offered. But Jack Warner never wanted to put Julie in the film. He was totally opposed to it, for whatever reason. Then I learned that if I turned it down, they would offer it to still another movie actress. So I felt I should have the same opportunity to play it as any other film actress. - On My Fair Lady (1964). You can even say that I hated myself at certain periods. I was too fat, or maybe too tall, or maybe just plain too ugly ... you can say my definiteness stems from underlying feelings of insecurity and inferiority. I couldn't conquer these feelings by acting indecisive. I found the only way to get the better of them was by adopting a forceful, concentrated drive.

[on "The Diary of Anne Frank"] I was given the book in Dutch, in galley form, in 1946 by a friend. I read it...and it destroyed me. It does this to many people when they first read it but I was not reading it as a book, as printed pages. This was my life. I didn't know what I was going to read. I've never been the same again, it affected me so deeply. When I've made about 70 films and the public still wants me, then I shall think of myself as a star. Only the absolutely determined people succeed. [1991 - Comparing her acting ability with her contemporaries] I couldn't do what Cher , or Michelle Pfeiffer , or even Meryl Streep do. No, I think Cher, for instance, is so versatile. She deals with dialogue as if it's just coming out of her skin, you know, it's just part of her. She has enormous scale of emotions, and total lack of inhibitions, which I envy. Michelle Pfeiffer, for instance, can sing, and she can be very dramatic, and she can be very sexy.

Meryl Streep is a highly dramatic actress, and also, again, can do anything she wants. I can't. Salary (16) At 50th Anniversary Screening of 'Breakfast at Tiffany's', Julie Andrews Says Holly Golightly Was No 'Heavy Hooker' | Moviefone At 50th Anniversary Screening of 'Breakfast at Tiffany's', Julie Andrews Says Holly Golightly Was No 'Heavy Hooker' by Michael Hogan The question of whether Holly Golightly -- the irresistibly unattainable city girl played by Audrey Hepburn in 1961's 'Breakfast at Tiffany's' -- was a mercenary call girl or simply a free spirit who happened to accept large sums of money from wealthy men every time she used the powder room has vexed and fascinated viewers for years. According to Sam Wasson's 2010 book ' Fifth Avenue, 5 A.M. ,' Paramount's P.R.

department twisted itself into breakfast crullers trying to advance the latter view, with weird statements like "The star is Audrey Hepburn, not Tawdry Hepburn." Fifth Avenue, 5 A.M.: Audrey Hepburn, Breakfast at Tiffany's, and the Dawn of the Modern Woman: Sam Wasson: 9780061774164: Amazon.com: Books Review “So smart and entertaining it should come with its own popcorn.” (People) “A bonbon of a book...as well tailored as the little black dress the movie made famous.” (Janet Maslin, New York Times) “Anyone even slightly interested in Capote/Hepburn/Breakfast at Tiffany’s will delight in [Wasson’s] account.” (USA Today) “This splendid new book is more than a mere ‘making-of’ chronicle. Wasson has pulled it off with verve, intelligence, and a consistent ring of truth...compulsively readable. Fifth Avenue, 5 A.M.

is both enjoyable and informative: everything a film book ought to be.” (Leonard Maltin, author of Leonard Maltin's 151 Best Movies You've Never Seen) “A fascination with fascination is one way of describing Wasson’s interest in a film that not only captures the sedate elegance of a New York long gone, but that continues to entrance as a love story, a style manifesto, and a way to live.” (New York magazine) “Crammed with irresistible tidbits…[Wasson’s] book winds up as well-tailored as the kind of little black dress that Breakfast at Tiffany’s made famous.” (New York Times) “Fifth Avenue, 5 A.M. offers lots of savory tidbits [from the making of Breakfast at Tiffany’s]. Mr.

Wasson brings a lively and impudent approach to his subject.” (Wall Street Journal) “Wasson’s story is part encyclopedia, part valentine, and worth reading just to find out what exactly went into making the amazing party scene.” (The Huffington Post) “Sam Wasson is a fabulous social historian...[Fifth Avenue, 5 AM] is as melancholy and glittering as Capote’s story of Holly Golightly.” (The New Yorker) “A brilliant chronicle of the creation of Breakfast at Tiffany’s. Wasson has woven the whole so deftly that it reads like a compulsively page-turning novel. This is a memorable achievement.” (Peter Bogdanovich) “Wasson offers enough drama to occupy anyone for days...The whole thing reads like a cool sip of water.” (Daily News) “Reads like carefully crafted fiction…[Wasson] carries the reader from pre-production to on-set feuds and conflicts, while also noting Hepburn’s impact on fashion (Givenchy’s little black dress), Hollywood glamour, sexual politics, and the new morality.

Capote would have been entranced.” (Publishers Weekly (starred review)) “A breezy tale of dresses and breakfast pastries, this is not.... The subtexts of Breakfast at Tiffany’s—materialism, sexual freedom—were decidedly more complicated.” (Women's Wear Daily) “Rich in incident and set among the glitterati of America’s most glamorous era, the book reads like a novel…[Wasson] has assembled a sparkling time capsule of old Hollywood magic and mythmaking.” (Kirkus Reviews) “The anecdotes are numerous and deftly told. This well-researched, entertaining page-turner should appeal to a broad audience, particularly those who enjoy film history that focuses on the human factors involved in the creative process while also drawing on larger social and cultural contexts.” (Library Journal) “Sam Wasson unfolds the dramatic story of the film’s creation. He also offers a fascinating slice of social history.” (Arrive Magazine) “Reading a book about a movie is seldom as entertaining as watching the film, but Wasson’s is the rare exception.” (Christian Science Monitor) “[We] couldn’t put down Sam Wasson’s new book, Fifth Avenue, 5 A.M.....

Along with juicy film gossip, the book offers behind-the-scenes insight on how Hepburn and designer Hubert de Givenchy created Holly Golightly’s iconic style.” (AOL Stylelist) “Sam Wasson’s exquisite portrait of Audrey Hepburn peels backs her sweet facade to reveal a much more complicated and interesting woman. He also captures a fascinating turning point in American history— when women started to loosen their pearls, and their inhibitions. I devoured this book.” (Karen Abbott, author of Sin in the Second City) See all Editorial Reviews If you buy a new print edition of this book (or purchased one in the past), you can buy the Kindle edition for only $2.99 (Save 73%). Print edition purchase must be sold by Amazon. Learn more . For thousands of qualifying books, your past, present, and future print-edition purchases now lets you buy the Kindle edition for $2.99 or less. (Textbooks available for $9.99 or less.) Thousands of books are eligible, including current and former best sellers. Look for the Kindle MatchBook icon on print and Kindle book detail pages of qualifying books.

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Question: Who played 'Holly Golightly' in Breakfast at Tiffany's?
Answer: Audrey Hepburn