Truman Capote’s novel turned classic film, Breakfast at Tiffany’s is proof that, like the Cracker Jack box, the film industry has always packaged a promise of something unexpected for the masses. And that something expected, in my opinion, was Mrs. Audrey Hepburn. She conveyed pure independence and class throughout the film. Looking through reviews, the film has promised, “an Audrey Hepburn like we’ve never seen her before”, a novel character turned into this strong female persona that every woman dreams of being.
Molly Haskell’s ‘From Reverence to Rape’ described Audrey Hepburn as “boyish and invulnerable” (Haskell 246), and stated that she had “crystallized every aspect of her on-screen persona that eventually becomes hers for posterity (all future generations)”. For most of the film, Hepburn’s character, Holly Golightly, signifies class and glamour, interesting characteristics, and definite non-conformity; but by the end of the film, most of what she projected
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In a time where social dynamics were heavily watched by the media, the “Lady” or “Housewife” happened to be the most predominant female media types, none of which applied to Miss. Golightly. She’s much too distinctive and not nearly as voluptuous enough to be the “Lady”—the sexually available “product” of the 1950s (i.e. Marilyn Monroe). Hepburn’s character never cared for or about the “codes” of female modesty, causing her to become somewhat of an “outcast” of the stay-at-home wives (Barbara Billingsly in Leave it to Beaver). Creating a “plot twist”, Holly does basically the complete opposite. She parties all night and sleeps all day…most of the time it’s in the nude; she frequently shoplifts for fun (and pulls in Varjak), and despises the thought of marriage. Towards the end of the film Holly even states, “I can’t think of anything I’ve never