Breakfast at Tiffany’s

This is a romantic American movie of 1961 with Audry Hepburn and George Peppard as Holly Golightly and Paul Varjak respectively as the main characters, introducing Patricia Neal, Buddy Ebsen, Martin Balson and Mickey Rooney. The director of this movie is Blake Edwards and its release was done by Paramount pictures. A number of themes can be realized as follows, Stability vs. Freedom, Naming as Identification, Rebirth, The Diversity of Love, and Art as Commodity.

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Need for solidity and freedom is fundamental guide of this movie. In the movie Holly meets Paul and this greatly affects Paul’s life and it is through his eye we come learn more about Holly and therefore it is very vital that the two become friends. On the Christmas Eve, the two are having a dispute and the writer comes to know that Holly and he are completely unlike. She to a great extent condemns the topics he narrates on saying she entirely misapprehends them and that he does not pay any attention to the options she proposes on. Paul abuses her wisdom and he wants to hit her and in reaction to that Holly chases him from the house. The writer vows by no means to talk to her in the future. For Holly, the difference that exists between steadiness and liberty is shown by the symbolism used in the movie that is Her pet cat and Tiffany. She hates putting animals into a cage and for that reason refuses to give her cat a name. Holly’s dream to take a “breakfast at Tiffany’s,” was ridiculous since Tiffany’s never serves meals, this shows her alternative to stay away from stability casting it in the unattainable ideals of fantasy. The use of two conflicting sides of the stability and freedom implies that each has something to find out from each other.
All through Breakfast at Tiffany’s, giving a name is inscribed to with a special implication. The many important names in “Breakfast at Tiffany’s” indicates a correspondence that is between naming and individual characteristics that gives the viewer a specific insight into the movie’s two star. Holly as a strange personality modifies her identity in order to avoid to be known by others concerning her poor background. In addition, she declines to give her darling cat a name, since she thinks that he doesn’t correctly “belong” to her. This declaration shows how, in the movie, correct names represent both private and public self. Holly’s use of a false name and her unwillingness to award a name on her cat are therefore signs of her refutation of constancy. She turns down the option of taking or awarding a permanent name in anticipation of when she feels at home.

Rebirth is evident in the movie as various essential events in this movie happen on or approximately Christmas date. On Christmas Eve, Holly and Paul exchange Presents that substantiate the power of their companionship and representatively show each character’s longing for both steadiness and lack of restrictions. Paul grants her an award, and she confers him a cage for birds.

The planning of Christmas emerges as the most connected to Holly. Her fictitious names – Holiday and Holly – are suggestions of the “holy day” and the established Christmas tree. In the Christian practice, Christmas is a sign of new beginning, as the Messiah is born and allow His group to become “born again” through the bible and the rite of baptism. In addition, Christmas indicates the start of New Year; a moment in time which a lot of people feels that it holds the opportunity of new establishments.

The multiplicity of Love is the climax of this movie. This is an assessment of the varied types of love that identify and supplement human being relationships. In contrast to overriding communal and fictional illustration of love, the movie investigates the soundness and influence of genderless relationships, frequently portraying such preparations as more satisfying than their romantic corresponding people. This differentiation is basically interesting is that non-romantic associations are not superior, not for the reason that they lack sex, but because they are not triggered by need or desire. Breakfast at Tiffany’s put together love and desire, thereby attracting a sharp difference between Holly’s associations guided by desire, and her associations free from it. The association between Holly, Jose, Mag, and Berman seems to be abit different but all are basically in those relations guide by need. Jose likes holly sexually; Mag likes to be part of her social class that she mingles with as well as her apartment, While Berman would like to benefit from Holly’s ability as an actress. On the other hand Holly wishes to be with the specific individuals for what they can give her in return. The Common returns are professional contacts, financial gifts, and ordinally assistance in or around her house.

Breakfast at Tiffany’s intensely pays attention to the idea art and the role played by art and its changing place in the end user’s customs. This movie uses Holly as its main sign of art. Holly’s qualities are wholly self-made. Holly’s hair is colored; she goes on a diet, and hides her deprived vision with trendy shady glasses. Besides her hiding her real identity, Holly’s self-dressing shows that she sees herself more of a man-made object, an art effort of her own construction. It is this man-made personality that the well-off men in Holly’s life take care of; building Holly as an art item which also to be put up for sale as a product in the sexual marketplace.

Holly’s readiness to take her body for sale, her fame grows her feelings about art in general. She is mainly puzzled by the storyteller unwillingness to write principally for earnings. In the writer’s beauty philosophy, art is a reflective term of individual and public facts and is therefore inappropriate to the frequent insensitive preferences of crowd culture. Changing his principled writing styles in order to satisfy the needs of the public is likely to have negative effects on the integrity of the writer.

In the opening scene, there exists a road along which there exist buildings as well as shops on both sides of the road and there to help communicate the idea they use skyscrapers and long avenues. A taxi vehicle yellow in color moving down the street until it reaches to a building and halts. The background paintings are still unattractive but the taxi is very attractive because of its bright color. This acts as representation America’s yellow taxi vehicles which are all over United States of America.

The lady is in a treasure necklace as well as the hair made in a graceful way. The camera captures to a low down viewpoint shot of the backside of the lady’s head looking up to imply significance of the building, even more significant than her. This shows that the building is very significant to her and many treasure the building. A woman with a stretched black wear and her hair smartly done. She is facing off the direction of the camera which implies a mystery.

A ladies image could be viewed through the window unclearly. A superstore window that is close to the woman is captured that reflects the significance of the superstore. As audience we are looking from the shop window at the main character which gives a connection between the audience and the character. This gives the audience a chance to spy on the character.

All through the whole the first few scenes, the movie introduces us to a calming and classical song to imply riches and category, then when the camera captures onto the window view the sound is bridged, holding unto being classy and smart, showing that the scene has not changed, but it is another song to allow the audience to recognize the significance of the window and what is in it. The sound of the song also becomes louder to develop a feeling of accomplishment when looking into the window.

Throughout the window picture and her moving away, the sound remains the same and is used to connect the two cuts together and this makes the audience not to recognize the change in parts making the film to flow.
In terms of Cinematography, the beginning shot is used to bring in the viewers slowly but surely into the movie. The panning shot down as the character walks away develops a devide between the movie actor/actress and the viewers, due to the viewers not being able to view her face. In a small number of captures to pursued there is a reverse capture of this actor looking into a superstore’s window, but what is cleaver is the viewers are now subjected to in front of the character via the window, which, even though is offered as an imtimate shot, it is still keeping the viewers at a space due to the window.  In making the audience the window, we on no account manage to see entirely what she is appreciating and it grows into a riddle.

The first captured picture shows a town like environment, but not grimy or full of people, but quiet and serene and the illumination is usual. This City hasn’t been represented as dull, but sophisticated and beautiful. The complexity is strengthened later when a lady in a formal black fitting dress appears. Her hair is tidy, stylish and her attitude and position filled with composure. She is wearing black long gloves, escorted by a small black purse and a white treasure necklace. The stuff of garments that she wears on, implies prosperity and manners. The shops that she visits are all dirt free and healthy, filled with what seems to look like diamond chandeliers. The colors which have been used such as grey and black are all used to represent riches and lavishness.

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