Breakfast at Tiffany's - Book Review
The little black dress. The pearls; the oversized sunglasses and the absurdly long cigarette holder.
Ms Golightly of the book and Ms Golightly of the film are in fact rather different, but both sparkle like a Tiffany diamond. She is a beguiling character: a seductive but kooky society girl, maddeningly flitting and flirtatious.
View image of Holly is prone to suffering bouts of crippling fear Credit: Credit: Alamy. The latest production to have a crack at staging this mercurial creature is currently touring the UK; written by Tony-winning American playwright Richard Greenberg. Pixie Lott plays Holly Golightly — not a terrible bit of casting.
Holly is the proto It Girl: a not-quite-actress who achieves notoriety by going out and about rather than really doing anything; Lott is a fading pop star turned reality TV contestant turned actress, a tabloid staple and general face-about-town.
You could say there are parallels. When a girl is best known for how she looks in a little black number and chignon, any attractive young star can play her, right? When the play opened on Broadway in , it starred Emilia Clarke, another stage debut for an actress keen to reshape her reputation, synonymous as she is with the icy-blonde Daenerys in Game of Thrones.
But the show closed quickly, after lukewarm reviews, with complaints it was too downbeat and Clarke lacking the enigmatic insouciance of this most charming creation. Holly, it turns out, is a tougher part than she seems, despite how easy Hepburn made it look.
Not that kind of girl? View image of There are major differences between the book and the film Credit: Credit: Penguin Books. I'll give you two.
We see Holly oh-so-charmingly closing her door on an exasperated would-be suitor. His complaint?
The door is shut. But the most famous changes the film makes are, surprise surprise, to the ending. The book is narrated by an unnamed — probably gay — writer, and forms a melancholic look back at a captivating girl he once knew, who fled New York after being implicated in a drugs bust.
Literary Devices in Breakfast at Tiffany's
The film, however, makes him a heterosexual Hollywood hero, the romantic lead who eventually persuades the tearaway young girl to settle down and embrace love. For balance, Paul is also a kept man — his interior decorator an older woman leaves him cash after their romantic trysts, ostensibly supporting his writing career — making him and Holly an equivalent pair of misfits, who need to shun their foolish youthful ways. She keeps on going lightly over the world, even if the need to keep reinventing herself starts to look more like a heavy burden.
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