Of its elegance to his mythical figure, DIAMOND SOFA has never ceased to provoke passion and quotation. For this air is so melancholy a “river of the moon”, for its refinement and grace of the look, but especially for its actress, Audrey Hepburn, and the magic of his face.
The look has the wonderful distinction of being the capacitor of our emotions. A single warning is enough to know that the eye doesn’t lie : the eye is a heart movement, a galaxy of feelings in which every being is free and is contains. A corner of the body where the suppressed thoughts, dreams unacknowledged, and the sorrows hidden, merge, and reach us. Because BREAKFAST AT TIFFANY’S is a work about the gaze and the refusal to ” see “. A view of working as a developer inside, which would continue to put off the real, leaving only beings in the nude, crying to the surface of my skin and thoughts exposed. And these augustus diamonds that are the eyes ofAudrey Hepburn, remains only a humanity to contemplate it in the appearances and distinct. Assuming that you will ask your next.DIAMOND SOFA does not live, however, that through an Image. The one that hangs in thousands of lounges and rooms to stylize. A silhouette, a face, glasses. A figure become what they opposed : an implementation of the consumer, of appearances and deception. Because BREAKFAST AT TIFFANY’S is an invitation to scratch the icon to reveal the tears. Its sublime opening could be better to condense all the loneliness behind the sophisticated of her heroine : 5th avenue depopulated to the storefront at Tiffany’s, Holly escapes into an impossible dream ; a place where costumes and become, for a moment, his own.
As by escaping in the luxury shop windows for the superficial and a facade to his own solitude. But the showcase embodies this limit, the barrier of the possible, and the interior layout strengthens its exclusion, rejected by his own idealization, to the point of becoming a commodity that is exposed and that we admire. And it will be just the snapshot of a sequence to make the diamonds become eternal.The evidence appears. BREAKFAST AT TIFFANY’S is a work about the concealability : this sweet face and this look wounded, hidden under the pomp of a pair of glasses, glasses as dark as the tortured conscience of his muse. Because everything is only a question of dressing up, for a society that does not judge only by the look. A fool’s game where the dress makes the person, and where social ascension is only by the merit of the illusion. A way for Blake Edwards captures the eternal image of an urban society/ social status, values, healthy and safe, the chic and the ” party “, that of a peasant taking a lady, Lula Mae to Holly Golightly.
“As a way to conceal by the unveiling”
A mask social that does that through the garment, and the sublime of the metamorphosis. As a way to conceal the unveiling. Paradoxical, and yet, BREAKFAST AT TIFFANY’S works only by the ambiguity of its interactions : the tease (” You light me “) to the innocent, the good-naturedness outdoor is confronted with the fragility of the interior. Has the image of this cat without a name, a symbol of the loss of Holly with itself, an identity that is fading under the weight of the stares and the illusion. Especially when the interiors are of his confinement to a refusal of the outside : an anti huis-clos where the apartment would make a figure of individualism and of freedom in its mode of life.
And where Truman Capote was writing a subversion of every moment, Blake Edwards y prefers (or, rather, is imposed under penalty of censure) the observance of morality by the romanticism. At least in appearances. Because everything happens in the invisible and subtle : Edwards and stimulates his creativity by the non-said and makes for a smooth romance, a work of ambivalence, both in its representation of the liberated woman than in her portrait of a free sexuality. DIAMONDS ON the COUCH is not this bland and naive romance as much maligned by its author, but because of its sophisticated subversion is a permanent allusion to decipher.
“There was once a very lovely, very frightened girl “
But BREAKFAST AT TIFFANY’S is nothing without his myth, his legend, his muse. The one who builds his delicacy in service of a harlot, drunk with pushiness and receptions. Failing to represent this image saucy flower of macadam, Audrey Hepburn infuses her character with a complexity, a duality, allowing him to prevail by the grace where elegance should not exist. An ambiguity nourished by his own experience : the abandonment of his father, the hardships of the war, his play, between naive and skewed, becomes all the more natural and heart-rending. A reinvention for total upheaval of femininity : Givenchy, her black dress, her nightgown, etc., The chic in a moment of grace, where the glasses and the door-cigarettes build the modern face of the icon liberated.This painting of perfection, directed by Blake Edwards wants to draw its strength in the humor visual and the theatricality diverted, by the fluidity of the camera movements and the superb management of the spaces : the sequence of feast worldly overloaded then turns into a farce as “dense” as bold, making the crowd an artifice to emphasize the choking of the characters in this society of appearance. However, the gag there is that to orchestrate the comedy of feelings. A tone of bitter-sweet worn by the unforgettable Moon River ’Henry Manciniand his melody to make you cry guitar ofAudrey.
“Love would end it by choking in the tears of dark glasses ?”
A voice, a glance, a look, an approach. Of the infinite happiness of the see, BREAKFAST AT TIFFANY’S is absorbed the melancholy of the gaze. Each shot breathes the pain of the gentle. As a torrent of tears lessened by the romanticism playful of the set. One illusion to better highlight the choice of a tormented soul, the dilemma through the character of Holly : the love or the money, the loneliness or the union. His rejection of love as a rejection of herself. Run away to not have to choose. The man embodied brilliantly by George Peppard , is also a character-maintained, built on this choice, of this frustration.
A writer down, which would in Holly a figure of inspiration or even a fantasy of his mind. A love that would not exist, therefore, that until it is on paper. And after ? Set against the woes of the world, before, perhaps, resombrer in the face masks of a company of ambition. Since the memorable final distils a feeling with a double meaning : on the happy ending of a kiss in the rain, the eyes look up to see only a narrow alley, garbage containers, garbage, residue, as a reminder of the reality, where kiss two convicts. The love would end it by choking in the tears of dark glasses ?These games of love where passion is formed in the spleen of the moon, DIAMONDS ON SOFA depicts a world where romantic relationships are lost in the instability of choice and false pretenses. A sphere where the whole world is “a prostitute” to become this Other self, the search for security in money; and of mutual benefit. Elegance and brilliant casting, Blake Edwards model, in the pain and the passion of its heroine, a comedy of refinement, where is written the myth of the eye of beauty. The intense melancholy which emerges from it, the view is obstructed by the haze of the heart. And the flight in the face of intimate wounds, a single harmony resonates : that of two vagrants ready to see the world and abandon to the sky, fleeing lost loves. Two For the Road…
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• Achievement : Blake Edwards
• Screenplay : George Axelrod based on the new of the same name by Truman Capote
• Main actors : Audrey Hepburn, George Peppard, Patricia Neal, Martin Balsam, Mickey Rooney
• Release Date : 5 October 1961
• Date exited : January 17, 2018
• Duration : 1h55min