65 years later, Breakfast at Tiffany’s is still a movie I can return to and enjoy while recognizing that it is not perfect.
Written by Codie Allen
It is hard to believe that Breakfast at Tiffany’s is celebrating its 65th anniversary. There are movies that become classics because they are important pieces of film history, and then there are movies that remain genuinely fun to watch decades later. For me, Breakfast at Tiffany’s is very much the latter. I absolutely love this movie. It has the kind of glamour, charm, romance, and melancholy that makes it incredibly easy to fall into, and 65 years later, Audrey Hepburn's Holly Golightly remains one of the most recognizable characters in American cinema.
A huge part of that is obviously Hepburn herself. Holly is constantly performing a version of herself for everyone around her. She wants to appear independent, carefree, and completely in control of her life, but underneath that is someone deeply vulnerable and afraid of being trapped. Hepburn makes Holly incredibly charming without hiding those flaws. She can be funny and completely ridiculous one moment, then unexpectedly heartbreaking the next, and Hepburn makes that transition feel completely natural.
And then there are the clothes. I would absolutely love for Hubert de Givenchy to curate my wardrobe because the fashion in this movie is everything. Holly's wardrobe has become iconic for a reason, but the costumes aren't just beautiful. They are part of the character she has created for herself. Every outfit contributes to the glamorous image of Holly Golightly that she presents to the world, and Hepburn wears all of it so effortlessly that it is easy to understand why this movie had such an enormous impact on fashion and popular culture.
The New York setting adds so much to the movie as well. Breakfast at Tiffany’s presents Manhattan almost like a fantasy, with Holly drifting between parties, apartments, restaurants, and the streets of the city while trying to create the life she thinks she wants. The opening is one of the most famous sequences in movie history, with Holly standing outside Tiffany's in that beautiful black dress while eating breakfast and looking into the windows. Even if you've never watched the movie, you probably know the image.
Of course, I can't talk about Breakfast at Tiffany’s without talking about "Moon River." Yes, I love this song. Yes, I think it deserved the Oscar. And yes, I will absolutely defend it as one of the greatest Best Original Song winners ever. Hepburn's performance is so simple and vulnerable that it becomes one of the most emotionally affecting moments in the movie. Henry Mancini's score gives the entire film this beautiful mixture of romance and sadness, and the music is a huge part of why the movie still has such a distinct atmosphere.
George Peppard also works wonderfully opposite Hepburn as Paul Varjak. Their relationship is messy and complicated, but there is something incredibly sweet about watching these two people slowly realize how much they actually mean to each other. Both Holly and Paul spend so much time trying to convince themselves that they don't need anyone, only for the movie to gradually reveal that what they really need is someone who understands them.
Of course, celebrating Breakfast at Tiffany’s at 65 also means being honest about the parts that have aged terribly. The most obvious example is Mickey Rooney's performance as Mr. Yunioshi. It is racist, offensive, and completely unnecessary. Rooney's exaggerated portrayal relies on stereotypes and caricature, and there is simply no way to watch it today without recognizing how uncomfortable and unacceptable it is. What makes it even more frustrating is that none of this was necessary for the movie to work. The character could have been written or cast differently without losing anything important.
There is also the uncomfortable history between Holly and Doc Golightly, particularly the revelation that Holly was only fourteen when they married. The movie treats that part of her past much more casually than audiences today are likely to, and watching Doc attempt to bring her back to Texas is deeply unsettling. It adds another complicated layer to Holly's character and her desperate desire to create a new life for herself, but it is still something worth acknowledging rather than glossing over.
I don't think acknowledging these problems takes away from the rest of the movie. Breakfast at Tiffany’s can be an influential and beloved classic while also containing things that are deeply offensive or uncomfortable. We don't have to pretend those things don't exist simply because we love the movie. Part of revisiting older films is understanding the context in which they were made while still being willing to criticize the parts that deserve criticism.
Even with those flaws, I still love Breakfast at Tiffany’s. Very much. I love Audrey Hepburn's performance, the fashion, the New York atmosphere, the romance, the ridiculous parties, Henry Mancini's score, and, of course, "Moon River." There is a reason this movie has remained part of the cinematic conversation for 65 years. Its imagery is unforgettable, its lead performance is iconic, and there is a genuine emotional warmth underneath all of the glamour.
Even 65 years later, Breakfast at Tiffany’s is still a movie I can return to and enjoy while recognizing that it is not perfect. Some parts are timeless, while others are reminders of the attitudes and limitations of the era in which it was made. Those contradictions don't make the movie less interesting. If anything, they make revisiting it more worthwhile.
So, happy 65th anniversary to Breakfast at Tiffany’s, a movie I still adore despite its flaws. Holly Golightly remains an icon, Givenchy remains the dream, “Moon River” remains perfect, and I will probably never get tired of watching Audrey Hepburn wander through New York looking like the coolest woman alive.
Breakfast at Tiffany's is available to rent or buy at home.
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