Avery Collins
Truman Capote's 1958 novella *Breakfast at Tiffany's* explores the theme of male and female relationships through its portrayal of the protagonist Holly Golightly and her interactions with various male characters. The narrative structure of the film adaptation, directed by Axelrod, centres on 'the gaze', reflecting a male perspective on female characters. Holly's relationships with men, including the narrator, Paul, Trawler, and Doc Golightly, offer insights into female independence, freedom, and the societal expectations of the time. The characterisation of Holly and her relationships challenge traditional gender roles and stereotypes, making it a pioneering piece of literature that addresses sexual oppression in the 1950s.
| Characteristics | Values |
|---|---|
| Female agency | Holly Golightly is a confident, independent, and self-sufficient woman who earns a living by dating rich men. |
| Male gaze | The narrative structure focuses on 'the gaze', a point of view shot of Holly from a man's perspective, reflecting how films were often seen from a male viewpoint. |
| Female sexuality | Holly's clothing and behaviour challenge social norms and promote sexual freedom for women. |
| Homosexuality | The character Joe Bell is inferred to be gay, but this is not explicit and his storyline is discarded in the film adaptation. |
| Female friendship | Holly's relationships with other women, such as Mag Wildwood, are complex and sometimes competitive. |
| Male companionship | Holly's neighbour, the narrator, is her only true friend, but she pushes him away when he criticises her lifestyle. |
| Romantic relationships | Holly's relationships with men are often transactional, but she ultimately seeks emotional security and gives in to social expectations of romance and relationships. |
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What You'll Learn
Male and female characters' relationships with the opposite sex
Holly Golightly, the female protagonist of Breakfast at Tiffany's, has a complex relationship with the opposite sex. She is a self-proclaimed "wild thing" who values her independence and freedom. Holly sustains herself by dating rich men, including Trawler, whom she manipulates into providing her with financial support. She also has a relationship with Doc Golightly, whom she marries when she is only 13 years old, but she eventually runs away from him to California. In the film, Holly falls in love with Paul Varjak, a male sex worker, and their relationship is built on mutual respect.
The narrator of the story, a man, develops a close relationship with Holly, his neighbour. He is fascinated by her and becomes her only real friend, as she pushes away others when they question her lifestyle. The narrator remains largely mysterious, with his age, background, and name unknown.
Paul Varjak, the male love interest of Holly, has a unique relationship with a married, older, wealthy woman who pays for his expenses in exchange for his love. This dynamic emasculates Paul and strips him of traditional male gender roles, making him non-threatening to Holly. Their relationship is one of mutual respect, and they are considered equals, which was rare for films of that era.
Other male characters in the story include Joe Bell, a bartender who falls in love with Holly, and O.J. Berman, a talent agent who helps Holly become a starlet. Mag Wildwood is also mentioned as a female character who has relationships with both José Ybarra-Jaegar and Trawler.
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Female independence and freedom
Holly Golightly, the female protagonist of Breakfast at Tiffany's, is a complex character who embodies themes of female independence and freedom. She is described as a self-sufficient young woman who sustains herself financially by dating rich men. This lifestyle choice, though unconventional, highlights her independence and agency in a patriarchal society.
Golightly's independence is further emphasised by her tough and unapologetic exterior. She is wary of opening up romantically, preferring to keep her relationships transactional to avoid emotional vulnerability. Her past reveals a history of running away from restrictive relationships, including her marriage to Doc Golightly, whom she married at a young age. This suggests a strong desire for freedom and autonomy.
The character of Holly challenges societal norms and pushes the boundaries of female sexuality. In a 1968 Playboy interview, Capote described Holly as "a prototype of today's liberated female", intentionally created to promote sexual freedom for women. Her fashion choices, including her iconic Givenchy dress, reflect this liberation and influenced a new wave of progressive women embracing their sexuality.
Holly's relationships with men in the story are also notable. She manipulates men like Trawler to provide her with financial support, challenging traditional gender dynamics. Her relationship with Paul, a male sex worker, is built on mutual respect and equality, which was rare in films of that era. Their dynamic subverts stereotypical gender roles, with Paul's emasculation allowing him to exist non-threateningly in Holly's world.
Despite her independence, Holly's life is heavily influenced by the men around her. Her relationships, both romantic and platonic, shape her narrative arc. This reflects the reality of the time, where women's lives were often defined by their associations with men. Ultimately, Holly's character represents a pioneering portrayal of female independence and freedom within the constraints of her societal context.
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Emasculation of male characters
The character Paul in Breakfast at Tiffany's is emasculated by the narrative. This is achieved through his relationship with an older, wealthy married woman who pays for his room, rent, and suits in exchange for his love. This dynamic is a reversal of the typical mainstream cinema trope of a man in a position of dominance over a younger woman. Paul's emasculation allows him to be a nonthreatening presence in the female lead Holly's world, freeing him from the stereotypical gender role of a man.
The character of Joe Bell, a bartender who falls in love with Holly, is also feminized by Capote in the novella. Joe is described as arranging flowers with "matronly care", and his interest in stereotypically feminine pursuits implies he is hiding his true sexual orientation. However, Joe is discarded from the film adaptation.
The unnamed narrator of the novella is a passive, reserved man who develops a close relationship with Holly, his intriguing neighbour. He is more interested in telling Holly's story than his own, and his reserved nature could be seen as a form of emasculation in contrast to Holly's bold, unapologetic personality.
Holly's life is defined by the men in it, including her brother Fred, her husband Doc Golightly, and her dates, who she manipulates for financial support. However, her relationships with men are transactional, and her true friendships are few and far between. Holly's independence and self-sufficiency mean she does not conform to the stereotypical gender role of a woman, and she is wary of opening her heart to anyone.
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Homosexuality and the male gaze
Truman Capote's Breakfast at Tiffany's novella, published in 1958, was a pioneering piece of literature that addressed the sexual oppression of the 1950s. The narrative structure of the film adaptation, however, has been criticised for focusing on the male gaze. This is evident in the way the romance between Holly and Paul is portrayed, with the inclusion of a heterosexual romance at the centre of the story. This shift from the original text, where the narrator is anonymous and voyeuristic, to a male protagonist in the film, reinforces the male gaze and a heteronormative perspective.
The character of Holly Golightly has been analysed as a representation of female liberation and sexual freedom. In the film, her fashion choices and behaviour provoked and supported a new wave of progressive females embracing their sexuality. However, this interpretation of Holly as a liberated woman has also been criticised as a temptation aimed at the male gaze. This critique suggests that Holly's character and story are viewed through a male lens, reinforcing heterosexual norms and the objectification of women.
The novella, on the other hand, contains subtle references to homosexuality, particularly in the characterisation of Joe Bell, who is described as having both masculine and feminine interests. Capote never confirmed the sexual orientation of his characters, but the inclusion of these allusions in the novella is significant given the taboo nature of homosexuality at the time. In the film adaptation, the character of Joe Bell is discarded, further emphasising the shift towards a heterosexual narrative and the male gaze.
The character of Fred, Holly's brother, is also worth discussing in the context of homosexuality and the male gaze. In the book, Fred is referred to as "Maude," which was slang for a male prostitute and/or homosexual. This reference is absent from the film, where the focus is on the heterosexual romance between Holly and Paul. The erasure of these homosexual allusions in the adaptation further emphasises the prioritisation of heterosexual relationships and the male gaze in the film's narrative structure.
In conclusion, while Breakfast at Tiffany's, particularly the novella, addressed sexual oppression and included allusions to homosexuality, the film adaptation's narrative structure and character relationships are influenced by the male gaze. The shift towards heterosexual romance and the erasure of homosexual references contribute to a heteronormative perspective that reinforces the objectification of women and the male viewpoint.
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Female empowerment and the sexual revolution
Truman Capote's novella *Breakfast at Tiffany's* (1958) and its subsequent film adaptation explore female empowerment and the sexual revolution within the context of the 1950s and 1960s. The story centres around Holly Golightly, a young woman who challenges societal norms and embraces her sexuality and independence.
Holly Golightly, born Lulamee Barnes, is a self-proclaimed "wild thing" who resists being caged by societal expectations, particularly in romantic relationships. She is orphaned at a young age and marries Doc Golightly at only 13 years old. However, she soon runs away to California and then to New York, where she sustains herself by dating rich men. This lifestyle choice, though frowned upon by society, grants her financial independence and freedom from traditional gender roles.
In the film adaptation, Holly's character is portrayed as a fashionable and sophisticated woman who embraces her sexuality. Her iconic black dress was one of the first of its kind on screen, reflecting the emerging wave of progressive women experimenting with their sexuality through clothing in the early 1960s. Holly's unapologetic attitude towards her lifestyle choices challenges the traditional male gaze in cinema and promotes sexual freedom for women.
The relationship between Holly and Paul in the film also contributes to the theme of female empowerment. Their romance is built on mutual respect, and they can be seen as equals, which was rare for films of that era. Paul's lack of dominance over Holly further dismantles stereotypical gender roles, allowing for a non-threatening dynamic between them.
Additionally, the novella includes subtle connotations alluding to homosexuality, particularly in the characterisation of Joe Bell, a bartender fascinated with seemingly feminine interests. Capote's inclusion of these characters and themes challenges the repressive nature of the time regarding homosexuality.
Overall, *Breakfast at Tiffany's* is a pioneering work that boldly addresses sexual oppression, female empowerment, and the evolving social landscape of the 1950s and 1960s. Holly Golightly, with her independent spirit and unapologetic embrace of her sexuality, embodies the emerging ideals of female empowerment and the sexual revolution.
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Frequently asked questions
Holly Golightly, the heroine of the story, is a self-sufficient woman who sustains herself by dating rich men. She is wary of opening her heart to anyone, and her true friendships are few and far between. Holly's life is defined by the men who inhabit it.
The film adaptation focuses on 'the gaze', a point of view shot of a woman from a man, meaning that the film is seen from the male perspective. Holly's character became an infamously beloved heroine, embracing her sexuality and pioneering a new wave of progressive females.
The novella includes subtle connotations alluding to homosexuality. For example, the bartender Joe Bell is fascinated with ice hockey and soap operas, implying he is pretending to be interested in stereotypically masculine pastimes to veil his true sexual orientation.
The film characterises a male relationship between Holly and Paul, which is built on mutual respect. Paul is emasculated, allowing him to be a nonthreatening presence in Holly's world, stripping him of the stereotypical gender role of a man.
