The themes of Breakfast at Tiffany's

            The 1961 film Breakfast at Tiffany's is regarded as a classic by many which solidified the presence of Audrey Hepburn as a celebrated actress and set the tone stylistically for 1960s cinema. It's score is considered to be the greatest by legendary composer Henry Mancini and the wardrobe immortalized the little black dress as a staple of women's formal wear. While these features add to the enjoyment of the film, Breakfast at Tiffany's is at its soul a character study with a central theme. Individualism, self improvement and the ultimate need for acceptance among others are the motivators for protagonist Holly Golightly. It is important to understand these driving forces to better understand the film and ultimately enjoy it.

            The opening scene of the film is an empty Fifth Avenue in New York City on an early morning. A lone taxi pulls up and drops off its passenger, a woman wearing a black dress carrying a paper bag. The camera then is stationed behind her looking up at the building she stands in from of. The camera sees the name above the doorway, Tiffany & Co. She walks towards the closed jewelry store and peers into the windows admiring the jewelry, while eating a pastry and drinking a cup of coffee. Eventually there is a view of her from the perspective of the interior and the audience sees this is Audrey Hepburn's Holly Golightly looking quizzically at the merchandise. She then walks away, turns a corner and the score that was playing cuts out. This is an iconic introduction that captivates viewers, but more importantly it defines Golightly and her goals.

            This is Fifth Avenue, a busy street in an especially busy part of town, yet she is alone. Isolation can be identified right away from the desolate scene of her and her taxi. The fact that she is on the outside looking in at the expensive jewelry is also indicative of a person who desires wealth and true acceptance among the wealthy, but does not presently have either. The look on her face of deep thought when looking into the store adds to her wonder of what it must be like to have such lovely things. Golightly's dress itself is decadent, but later scenes will show how destitute she is despite her great wardrobe. Within this sequence, the audience can get an idea of what the rest of the film will be about.

            For a brief summary, Breakfast at Tiffany's follows call girl Holly Golightly from the perspective of Paul, her infatuated neighbor, in her quest for a better life. This includes trying to court wealthy suitors despite a lack of emotional attachment and bushing off authentic love because it does not suit her goal. In the end, Holly realizes that her ways are wrong and that love is more powerful than financial security. She can be viewed as unscrupulous, as her career choice is less that savory and she cares little of other people's emotions. Upon further review, these can be seen as defense mechanisms and ultimately she is a good person trying to accomplish the American Dream the best way she can. This brings up the topic of individualism, something that Americans pride themselves in having that sets themselves apart from the rest of the world.

            Holly is an embodiment of the next generation of individualism since the 1950s postwar idealism was drawing to an end. In 1950s pop culture, there was a need to stress the importance of family and hard work to support said family. The 1960s were to be different and Breakfast at Tiffany's defines this with Holly. Like Ward Cleaver, she is the breadwinner for her household and tries her best to succeed, taking random jobs for extra cash and seeking a permanent lover so she can retire from her career. The difference is that Holly has no family, except for a pet cat she feels does not belong to her. She also does not have a stable source of income doing something reputable for a company, instead finding work on her own as an escort. Besides Holly's belief in hard solo work, her individualism is found on her opinions of love. Her distain for the wealthy men she pursues shows that she cares little of others and their feelings. This is an extreme take on Rand's objectivism, but it is still relevant. Holly looks out only for herself and does not care who she hurts in the process. People not belonging to anyone, as Holly puts it, is as individual as a person can get. Comparing being in a serious relationship to being caged is what defines her emotionally.

            Self improvement is another theme of Breakfast at Tiffany's, which runs into individualism and having goals but is different. Anyone can look beautiful and get a rich husband by looking in the right places relentlessly, but Holly goes an extra step to appear more stately. Dressing well despite having little money is one way to look at home among the rich, as is taking French lessons to both learn a new language and speak English more eloquently. When she catches the eye of a Brazilian millionaire, she learns Portuguese and takes an interest in the culture of South America. Steps are taken to wane out of her career and exemplify an ideal future millionaire's wife. Developing one's self to embody an ultimate goal before achieving it is a great confidence booster and can give the appearance of equality among those trying to be impressed. Despite individualism and isolation being seen in this film, there is need of acceptance which the self improvement shows.

            While Holly works on her own and seems to care only about herself, she does need the assistance of others. Her clients are the ones that give her income, she needs to appear notable to get others to accept her and she of course will need to marry someone to ultimately be secure. These are all examples not only of how Holly needs to rely on others, but of how true individualism is impossible in modern society. Holly's need for emotional and financial assistance mirrors the needs people have for acceptance in reality despite the faces they put on. She realizes this at the end of the film, discovering that no man is an island and happiness is more important than lofty goals. This is not to say that love and success are complete opposites, but rather that following one's heart to may be better than a disappointing future that appeared great.

            The final message of this film is that individualism and free will define people, but in the end nothing is stronger than the simply joy of companionship. This is what makes Breakfast at Tiffany's a classic and remembered for so long. Aspects like costumes, cinematography and music all contribute to a great final project, but a film is only as strong as the story it tells and how well the actors do this. In this case, Breakfast at Tiffany's exceeds expectations and delivers a great story emotionally performed that makes audiences think about various aspects of society and their lives. Looking beyond events of films and into the minds of characters unlocks messages meant for viewers, something that is overlooked in the present day.

Carol: Interesting Retrospect on the Past

            While my reviews were meant to focus on older pictures, nothing is concrete and I will today be focusing on something newer. This is a 2015 film that was set in the 1950s so it keeps with a retro tradition despite the release date. Carol is a drama starring Cate Blanchett and Rooney Mara that was directed by Todd Haynes. Based on a novel by Patricia Highsmith, it chronicles the tale of a married suburban woman who takes an interest in a younger shop girl. This interest is romantic, but does not feel as heavy or obvious initially. The development of strong feelings as time progresses is one strength that this film has. Another strength is the mentality of the universe the story is set in. While not tackled directly, ramifications of this relationship would be met with strong criticism by 1950s America and Carol avoids being heavy handed. It is for this reason Carol excels in its delivery; telling a contentious story in a hostile environment while not being very overt. Parallels to Nicholas Ray and Douglas Sirk, critics of the Post-War Era in their time, are found in Carol and make the film enjoyable to fans of melodrama.
            The plot is very simple and yet conveys an amazing story. Aspiring photographer Therese, played by Rooney Mara, is working at a department store in New York City, where she befriends a customer named Carol. After Carol, portrayed by Cate Blanchett, forgets her gloves at the store, Therese returns them and a friendship is formed. Little does Therese know, Carol is married and in the process of divorcing her husband. The main issue in their marriage is that Carol is a lesbian and is no longer interested in her somewhat abusive husband. The two women eventually take a road trip when Carol's husband, performed skillfully by Kyle Chandler, forbids her from seeing her daughter until the divorce is finalized and threatens sole custody of her. The road trip can be seen as Carol escaping her troubled life in New York while for Therese it may be her breaking free of inhibitions surrounding her sexual orientation. One thing leads to another and our protagonists return home jaded with the world. Will true love reunite our lovers or will social norms stave off happiness?

            When watching this film, the first film I thought of Funny Face. This was due to Therese wearing frumpy 1950s clothes while managing to look cute, much like Jo Stockton in the first half of that film. Immediately after that thought, I was reminded of Sirk and his exposé on forbidden love in All That Heaven Allows. That story followed a wealthy widowed housewife in her 40s falling in love with a gardener half her age. That film had the message that societal expectations could prevent true love; keeping up appearances and maintaining social stature for others might ruin individual happiness. Like All That Heaven Allows, Carol also tells the audience about love between an older, almost single housewife and a younger, less prominent individual. The main difference here is that All That Heaven Allows was a story of heterosexual love, while this is a homosexual story. This difference is not that extreme as far as storytelling is concerned, but the consequences are worse. While not discussed in depth, there are allusions that her orientation is the ammunition her husband can use in the event Carol fights him on custody of their daughter. Another consequence of the time is seen when Carol decides to relocate from the suburbs to New York City and gain employment. This could show the alienation that she would receive in the community.

            For Therese, there is little to be lost from being public about her sexuality. Apart from losing a pushy boyfriend, nothing really changes negatively for her. She is already at the bottom of the class ladder and associates with writers, young intellectuals and others who would be more open minded. Therese is actually the one who has seen an improvement to her life, as she quits the department store and starts working for the New York Times in some capacity related to her passion of photography. This contrast between Carol and Therese after meeting each other is viewed as commentary of their worlds. The citizens of Carol's suburban monotony were in control of America in the 1950s and were hesitant to accept change. On the other end, the beat generation was starting to come fruition and new ideas were starting to arise from them. Therese can be seen as a member of that generation; based on her friends, artistic passion and neighborhood it can be assumed she is willing to be comfortable with herself without worry of judgment. Specifically set in late 1952 and early 1953, the divide between these ideologies is seen by Eisenhower campaign signs in Carol's suburbs and Stevenson posters in Therese's part of the city. Neither character is political, but it is another example of setting up the different communities and associated viewpoints of their worlds. In the end, the audience realizes that Therese is the one that grows into her true self from the relationship in more ways than one.

            Outside of the message of individuality going against social group standards, Carol is memorable for other reasons. The score, composed by Carter Burwell, is mostly a dignified melody punctured by moments of loud strength. This provides the audience with music that corresponds to the stable, mature nature of Carol and Therese's relationship with the occasional conflict it receives. The makeup and hair were the strongest parts of the film, almost on the same level as the acting in importance. Hairstyles and makeup both put audiences into Carol's 1950s setting more so than the costumes and old cars. The realism of this film is essentially grounded in how authentic the characters act and look. Visually appealing characters are the aesthetic touch that propel the acting in Carol to excellence. The cinematography was in color, but very muted, almost like pastels in their faintness. The vibrancy of lipstick, nails and hair are what jump from the screen and set the two main characters apart from their faded surroundings. This is another facet that further stresses the importance of cosmetics to the film.

            This was an amazing film that felt real, presented a point and told a great story. It was not over the top in its delivery, something that came as a surprise based on the subject matter. The theme of uniformity in society going against individual free will is something unexpected and more akin to 1950s dramas. This does make sense as this is the spirit the story is trying to capture. The novel was also written in the 1950s as a drama, it was a very reasonable theme in its time and now. The tone is dramatic but not exaggerated, as the characters react as people normally would. There is no overacting, which is a great change of pace compared to other films that have scenes where an actor will excel just to win an award. Reality over excess should be used more often in acting to capture the practicality of stories. The images on screen are also astonishing, providing viewers with amazing sights that mix with the score and action to form something surprising. Carol is a great picture and would be highly recommended for viewing.

My Fair Lady: Beloved Misfire

            One of the greatest fundamental stories in literature is that of Pygmalion and Galatea. The story originates in ancient Rome from the writer Ovid; it chronicles the story of a sculptor named Pygmalion who makes a model of his perfect woman using stone. He names the statue Galatea and falls in love with its beauty. He prays to the gods that Galatea comes to life, as no real woman matches her in beauty. In the end this wish is granted and they live happily ever after. According to one interpretation, this story is about relationships with friends and potential lovers. The main theme is that the image of a person or expectations for hypothetical person are too perfect when compared to reality. People should accept others as they are and comprehend flaws. George Bernard Shaw retold this in 1912 and had Pygmalion sculpt Galatea into a high society woman not from stone, but from a lower class girl.

            Pygmalion's name is now Henry Higgins, Galatea is Eliza Doolittle and the hammer and chisel are replaced with the English language and dresses. Also named Pygmalion, this story set in 1910s London was a successful play and contributed to Shaw winning a Nobel Prize in 1925. It tells of Higgins, a phonetics professor, in his attempts to pass lowly flower girl Eliza Doolittle off as a duchess in high society London. The ultimate test is a grand ball, where she is to be accepted by attendees as an equal without incident. Getting there is done through Higgins teaching Eliza phonetics, elocution and etiquette. The fact that a person's public image and treatment can be improved by better grammar and clothes shows how all people deserve respect. To paraphrase Shaw, the difference between a duchess and a flower girl is how they are treated. A very beloved remake of Shaw's take in the 1964 film My Fair Lady. A direct remake of the Broadway play of the same name released a decade earlier, this film tells the story of Higgins and Doolittle with music. While many enjoy My Fair Lady and it won the Academy Award for Best Picture in 1964, there are issues to be had with it.

            Upon first glance, the audience sees a majestic assortment of extras wearing elegant clothing leaving a theater performance. This is a lovely sight and captivates the viewers into being invested in the story. However, once the physical backdrop is established the spark is extinguished. What should be the exterior of a theater appears to be a set, hastily made and obviously indoors. The rain and street are both inauthentic, something that sets the tone for the rest of the film and the acting.

            We are then introduced to Henry Higgins, played in an over the top manner by Rex Harrison. Harrison played Higgins on Broadway, but he feels like a novice alternating between extreme emotion and dull recitation of the script. His singing is not actually singing, but rather talking to the music that plays off screen. This was how the songs were meant to be performed but it comes across as weak. Higgins outside of the songs is meant to be a complex and troubled person; what is witnessed is a bipolar person who relies on quips to be appealing. This weak performance also translates to Audrey Hepburn portraying Eliza. Her performance is dreadful, feeling like she read the script in a terrible accent in as few takes a possible. The singing for Eliza was not done by Hepburn, except for one song that is obviously worse than the rest. If the audience is to gain sympathy for Eliza, feeling she was a duchess all along, it would help if she is portrayed as a human being. Showing emotion and being authentic are very important to get audiences to care. What is found in My Fair Lady is a dull man hammering phonetics and elocution into a uninteresting character.

            As mentioned previously, the physical design of My Fair Lady is a mixture of great costumes and terrible sets. Both were overseen by Cecil Beaton, a photographer and costume designer with a distinguished career. This would explain how every extra in the theater and ballroom scenes look amazing. The attire worn by the two protagonists are also breathtaking and help to establish the class difference between Eliza and Higgins. My Fair Lady excels grandly as far as costumes are concerned, but this is a feature length film and not a fashion show. That brings up the topic of sets, which were lacking in originality. The film is set in London, like the play, but was shot in California. This would not be a problem if there were exterior scenes shot outside with a realistic sky in the background and vegetation, but this did not happen. From the start of the film, nothing feels real about the story. If the sky is painted monochromatically grey outside the theater and is unnaturally blue above Higgins' house, an audience cannot be invested the plot. The story is amazing, but the artificial environment distracts from that and destroy the experience. Interior shots feel the most real, but are an bland monotone of either brown or white. This may have been done to help the audience pay attention to characters but does nothing else terrific.

            The largest saving grace of the film is the songs. These will not be discussed with as much depth as the acting and design, as bringing the story to life outweighs peripheral features like songs. It should be stated that a musical needs to be great even without music. While Harrison's songs are essentially monologues with music in the background, they are quite catchy. As distracting as the lack of synchronization is between Hepburn's lips and her songs, they are some of the best songs in musical history. Wouldn't It Be Loverly? provides more character exposition for Eliza than the acting performance. I Could Have Danced All Night shows the passion Eliza has for her linguistic accomplishment and is the highlight of the film. The story itself is astonishing, but has been told several times before and since My Fair Lady. It is a humorous take on expectations for people and societies attitudes towards each other, but the execution is subpar in this example. I would recommend the far superior 1938 non-musical Pygmalion over this picture for those who want to see the story of Henry Higgins creating his perfect woman. My Fair Lady is only slightly recommended for general audiences due to historic significance and is highly recommended lovers of musicals solely for the music.

The Red Shoes

With the dawn of awards season upon us, we are finally seeing the films that cinephiles live for. Amazing stories presented in unique ways flood the theaters in this period of fall and early winter. Every year audiences expect the best and the filmmakers deliver. On one such fall years ago in 1948, a British picture was released in the United States. Directed by the duo of Michael Powell and Emeric Pressburger, this film was called The Red Shoes. These two men had formed a partnership in the studio system days of the Rank Organization and turned out several dramas with elements of fantasy. The Red Shoes was no different in that whimsical tone, but stands out as one of the most beautiful films ever made. This beauty lies on so many levels, not just the aesthetics. A story is the most important part of any film; this is one of intensity and motivation that remains embedded in the minds of viewers. The crew behind the scenes were the best of their craft and made a universe that audiences adored. Lastly, the actors were not only thespians, but skilled artists who were adept at handling anything. All of these aspects collide to provide audiences with an amazing experience.

The plot of this film is very simple and is alluded to on a few occasions. The story chronicles two young artists, a ballerina and a composer, who are given the opportunity to join a world famous ballet company. Personally selected by the proprietor, Boris Lermontov (Anton Walbrook), dancer Victoria Page (Moira Shearer) and musician Julian Craster (Marius Goring) are seen as the best of a new generation and can achieve the extraordinary. The first major collaboration of our two protagonists is the creation of a ballet based on a Hans Christian Andersen story called The Red Shoes. In the fairy tale, a girl puts on a pair of shoes to dance. However, when she becomes tired the shoes continue to dance against her will and she does so until her death. The ballet is a great success and Victoria and Julian begin to fall in love. This seems to be a happy ending, but Lermontov believes that in order to achieve greatness an artist must devote their whole of their desire to their art. He orders to couple to break up or leave the company and the real tension begins. Conflict that was merely superficial and pertaining to work is now within the characters and threatens to destroy them. Will Lermontov have a change of heart or will the young lovers fight to see their dreams come true?

The story is brilliant, but there is so much more to the film. The first thing people notice about the film is the colors, brought out by Technicolor. Using a three-strip method, where three different colored reels of film pass through the camera at the same time, various colors could be represented easily. This is similar to how CRT televisions could make every color imaginable from red, green and blue. Varying shades would enhance one of the strips of film more so than the other two and new colors besides the three on the film would be made. Technical specs aside, the film is presented amazingly. Set and costume designers worked tirelessly to ensure the picture was just as marvelous as the story. In charge of set design was Hein Heckroth, who was known as a surrealist painter in his time. Heckroth brings surrealism to life in the ballet sequence and uses bright colors and employs realistic settings outside of the ballet world. The contrast between a normal setting and the ballet stage is noticed as if they are two worlds; in many ways they are.

The actors in this film were a mix of Powell and Pressburger regulars and newcomers. Mainstays like Walbrook and Goring hit hard and memorably. The ire that Walbrook channels into his later scenes confirm the tone of Lermontov established by his reserved, Faustian nature earlier in the film. Goring was great as Julian, the long suffering student who has his chance to excel, taking every setback as a blow but working nonetheless. Watching their performances, few would realize that most of the ballet dancer characters in The Red Shoes were played by actual dancers. They do dance well, as would be expected, but their acting is authentic. Even Moira Shearer, the protagonist Victoria, was a novice actor. She delivered a powerful performance despite this being her first film, specifically excelling in conveying emotions. The fact that she only acted a handful of times afterwards makes this performance even more special. Also in the supporting cast was Robert Helpmann, who not only acted but did the choreography. This ability to act and work behind the scenes was not uncommon in that era, but stands out today since the choreography was something to behold. 

 

As far as obscure themes are concerned, some have been highlighted already. Dividing ballet from reality through set design, using Technicolor to heighten the experience of wonder and the story within a story are all great. However, it should be noted that there are a few marks that make viewers think. First is the ballet sequence, not only does it tell the story of The Red Shoes, it acts out the struggle that Victoria will face on an emotional level. The inability to stop voluntarily, various people yearning to her as a star and the captivation with something that may not be good are found in the ballet and as the film progresses. The use of red is very prevalent in the film and is expected by viewers. Besides referring to title, the color symbolizes passion. Words written in red, red lipstick, red posters and Victoria's red hair are found in almost every scene. This illustrates the desire that Victoria, Julian and even Lermontov have to surpass their expectations. This drive to perfection is the force behind The Red Shoes, and few will forget that.