BREAKFAST AT TIFFANY'S (Centennial Collection)

Written by Hombre Divertido

On January 13th Paramount will release Breakfast at Tiffany’s as part of its Centennial Collection, and it is certainly easy to see why this film is held in such high regard. One can only regret that they just don’t make ‘em like that anymore. A simple character and dialog-driven endeavor full of wonderful performances that make you want to rush out to the nearest coffee house in hopes of meeting someone new with a unique personality. Unfortunately, most of us don’t fall into relationships as easy as they did back then, or at least as easy as was depicted in the films of the era.

One could only hope to meet someone as full of life and yet innocently insecure hiding in the elegant beauty that was escort Holly Golightly portrayed with subtle elegance by Audrey Hepburn. The occasionally stiff George Peppard as the underachieving writer and kept man Paul, who falls quickly into a friendship and eventually in love with his new neighbor Holly, but it is his attempts to fit into her awkwardly paced world, summed up beautifully by director Blake Edwards’ legendary cocktail party, that makes the bulk of this film so enjoyable.

Holly and Paul walk through life with what appears to be an ease that we all long for, but the depth of the performances denotes the true guardedness of both characters, and how they grow together.

Recent character studies such as Jack Nicholson in About Schmidt or Nicholas Cage in The Weatherman give us well-crafted insight into the life of the main characters, but it’s not a life that most would be interested in experiencing. Breakfast at Tiffany’s gives us something we are looking to experience, or at the least, reminds us of people we used to know and or admired.

The new release is full of bonus material including commentary by producer Richard Shepherd, and numerous individual productions such as “Henry Mancini: More than Music,” an exceptional look at the life of this extremely talented man; “A Golightly Gathering,” which reunites the participants of the classic cocktail party and features fun and fact-filled interviews; “Behind the Gates: A Tour” is a far-too-short visit to Paramount Studios, “Brilliance in a Blue Box” is a brief history of the iconic jewelry store, “Audrey’s Letter to Tiffany’s,” “The Making of a Classic,” “It’s So Audrey: A Style Icon,” the original theatrical trailer, and photo galleries.

One of the most interesting pieces of bonus material is “Mr. Yunioshi: An Asian Perspective” which yields the reaction to Mickey Rooney’s portrayal of the over-the-top stereotype of Asians of that era. The participants in the feature certainly convey the feelings that existed then and now, and should be respected. From a purely comedic perspective, the performance and antics were far better suited to Edwards later Pink Panther projects. Breakfast at Tiffany’s has a charm and brilliance that was only dulled by the slapstick inclusion of such a caricature.

All the bonus material is enjoyable especially the look at the life of Mancini as poignantly conveyed by his family. Some material is a bit repetitive when packaged together, but watching it immediately after the film does manage to lengthen one’s enjoyment and appreciation of the original project. More material focused on the rest of the talented cast (Patricia Neal, Buddy Ebsen, and Martin Balsam) would have enhanced the attractiveness of this new release, and certainly an interview with Mickey Rooney on the subject of his portrayal in the film would have made for a more well-rounded offering.

Recommendation: Definitely one of the rare movies that doesn’t disappoint after decades of hearing “What? You’ve never seen Breakfast at Tiffany’s?” So, if you haven’t, here is the perfect opportunity.

As the original marketing material states: “It’s everything you’ve always wanted to do, and Audrey Hepburn’s the one you’ve always wanted to do it with.” Funny how true that will ring, even after almost fifty years, and most likely even for those who have never experienced the talent that was Audrey Hepburn.

SABRINA: The Centennial Collection (1954)

Written by Musgo Del Jefe

Ten years before she would play Eliza Doolittle in My Fair Lady, Audrey Hepburn transformed herself from the daughter of a chauffeur to a sophisticated woman as the lead in Sabrina. This DVD release is one of three new releases in the new Paramount Centennial Collection. Also part of this initial release are other 1950s classics, Sunset Boulevard and Hepuburn's initial introduction to American audiences, Roman Holiday.

The plot of Sabrina seems very dated at first glance. Hepburn plays Sabrina Fairchild, the daughter of a chauffeur to the rich Larrabee family on Long Island. Sabrina is in love with the young, playboy David (played by William Holden). But she is ignored by him to the point that she attempts a suicide. This initial plot twist seems very melodramatic and seems extreme based on only one illustration of Sabrina being snubbed by David. Nor do we see any reason that David would be such an attractive catch.

Sabrina is accidentally rescued by David's older brother, Linus Larrabee (played by Humphrey Bogart). Bogart is eleven years removed from his role in Casablanca and shows every bit of his 54 years in his face and demeanor. He seems too far removed from William Holden, who seems much more of a romantic choice at the age of 36. Even a slightly younger Cary Grant (the first choice to play Linus) would have seemed more plausible.

Sabrina is sent off to Paris to attend culinary school. Once again, these scenes seem a little hurried. It's too bad because they are some of the better comedic scenes of the film. Sabrina's transition from young girl to sophisticated woman are only quickly glanced. I would like to have witnessed more of her change in Paris and some of the characters that helped this happen.

Her return to Long Island sets the main plot into action. Sabrina's new found sophistication is illustrated by the great Edith Head costumes that she wears. She immediately attracts the attention of David, who is already betrothed to another socialite. Linus steps in to entertain Sabrina while David recovers from an injury and tries to extricate himself from his impending nuptials. In the meantime, the worst kept secret from the viewers is that Linus is falling in love with Sabrina. He may not want to admit it but it's unmistakable and really could've been acted a little better.

The film finishes with a flourish as Sabrina is headed to Paris - either alone or with one of the the Larrabee brothers. Since this is Hollywood in the 1950s, you know that it won't be alone, but what brother will win out in the end? The one thing that keeps this film from becoming a sappy, run-of-the-mill 1950s Hollywood romance is Billy Wilder's directing. Wilder is in the middle of an incredible run of films in this decade. He's just come off Sunset Boulevard (starring William Holden) and the incredible Stalag 17 (also with Holden) and he's going to follow this up with The Seven Year Itch, Witness For the Prosecution and Some Like It Hot before the '50s end.

Wilder believes in the power of words over style. His direction is simple and very effective in a story like this. The black and white environment of Long Island and of the business world of New York are very rich in texture. But the shots are not obtrusive. The camera rarely moves and holds on characters long enough to see dialog and reaction. In a romance, this can be of utmost importance. And that's where Hepburn completely outshines her co-stars. Holden and Bogart feel a little cast against type. This is not the Holden from Stalag 17 nor Sunset Boulevard, he seems a little one-dimensional as the playboy brother. Bogart feels way out of his league as the hard businessman with a sensitive soul. But somehow Hepburn's combination of innocence and sophistication brings out the best in both men, in the end. Audrey Hepburn shines in a way that few actresses ever do and you can't take your eyes off of her in any scene. Her vibrancy makes her attempted suicide seem even more out of character.

This release comes with some interesting extras but not the type I would expect for such an important film in the Paramount collection. There are no commentaries. Instead, you do get some generic documentaries about Hepburn's Fashion, a good feature on the supporting cast, an interesting piece on the career of William Holden that should have been twice as long and a few others. Many of these feel like they could be generically placed on any film of this Centennial Collection.

Overall, the film doesn't feel as dated as it seems. The lead female has more depth than expected. She is not going to be manipulated by the brothers. Audrey Hepburn steals the show with her energy. The older men can only hope to shine in her brilliance. Sabrina's father instructs her, "Don't reach for the moon." She hits the nail on the head when she corrects him, "The moon is reaching for me."