Sophia Mitchell
Breakfast at Tiffany's is a novella by Truman Capote published in 1958. It was adapted into a film of the same name in 1961. The novella was composed in the spring of 1958, shortly after the publication of Capote's first full-length novel, Other Voices, Other Rooms. The film grossed $14 million worldwide on a $2.5 million budget and received critical acclaim for its music and Audrey Hepburn's performance.
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What You'll Learn
Truman Capote wrote the novella in 1958
Truman Capote wrote the novella Breakfast at Tiffany's in 1958. It was originally sold to Harper's Bazaar for $2,000 and was intended for publication in its July 1958 issue. However, after longtime Harper's editor Carmel Snow was ousted by the magazine's publisher, Hearst Corporation, Hearst executives began asking for changes to the novella's tart language. Despite Capote's initial refusal, he eventually relented due to the beautiful and atmospheric photographs that accompanied the story. Nevertheless, Hearst ordered Harper's not to run the novella, citing its language and subject matter as "not suitable" and expressing concern about potential backlash from Tiffany's, a major advertiser.
The novella Breakfast at Tiffany's is set in 1940s New York, specifically the Upper East Side, and follows a contemporary writer who recalls his encounters with his captivating neighbour, Holly Golightly. The story explores the dynamic social landscape of the time, with various wealthy characters entering and exiting Holly Golightly's life. The title "Breakfast at Tiffany's" is derived from an anecdote popular among Capote's social circle about an out-of-towner who, when asked which glamorous New York restaurant to visit, replied, "Well, let's have breakfast at Tiffany's."
The character of Holly Golightly has been described as an "unattached, unconventional wanderer" and a "dreamer in pursuit of some ideal of happiness." She is a socialite with a unique zest for life, seeking to marry a Brazilian millionaire. Holly's character was inspired by Capote's eccentric New York friends, as well as figures such as heiress Gloria Vanderbilt and dancer Joan McCracken. Capote himself stated that Holly was his favourite character.
The novella was adapted into a major motion picture of the same name in 1961. While the film received multiple Academy Award nominations and wins, it also sparked controversy due to its portrayal of certain characters. In the novella, there is no romantic relationship between the protagonist and Holly, who simply leaves the United States, leaving the narrator unaware of her whereabouts. This differs significantly from the film, where the two fall in love and remain together.
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Capote's prose style was praised by Norman Mailer
Truman Capote's novella *Breakfast at Tiffany's* was published in 1958. It was adapted into a film of the same name in 1961.
Capote's prose style in *Breakfast at Tiffany's* was praised by his contemporary, Norman Mailer. Mailer, who was also a novelist, journalist, and filmmaker, called Capote "the most perfect writer of my generation" and added that he "would not have changed two words in *Breakfast at Tiffany's*."
Mailer and Capote are both considered innovators of "creative nonfiction" or "New Journalism", a style of news writing and journalism that uses literary techniques that were unconventional at the time. It is characterised by a subjective perspective and a literary style reminiscent of long-form non-fiction. In traditional journalism, the journalist is "invisible", and facts are meant to be reported objectively. However, New Journalism involves reporters interpolating subjective language within facts while immersing themselves in the stories they report and write.
Capote himself acknowledged the shift in his writing style, saying that *Breakfast at Tiffany's* marked the beginning of a new career with a "different point of view" and a "different prose style to some degree". He described this evolution as a "pruning and thinning-out to a more subdued, clearer prose".
Mailer's praise for Capote's prose style in *Breakfast at Tiffany's* highlights the impact and influence of Capote's writing during his generation.
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Capote originally wanted Marilyn Monroe to play Holly
Truman Capote's novella Breakfast at Tiffany's was published in 1958 and was adapted into a major motion picture of the same name in 1961. The film was written by George Axelrod and directed by Blake Edwards.
Capote originally wanted Marilyn Monroe to play the lead role of Holly Golightly in the film adaptation of his novella. However, the role was given to Audrey Hepburn, which led to Capote claiming that the producers "double-crossed [him] in every way and cast Audrey". Hepburn's portrayal of Holly received critical acclaim, and the role became one of her most iconic and memorable ones.
There were several reasons why Capote wanted Monroe to play Holly. Firstly, Monroe shared certain characteristics with Holly, such as their shared "platonic conception of themselves", as described by F. Scott Fitzgerald. Both Monroe and Holly had to navigate the fissures between their earlier selves and their public personas, which often threatened to divide them. Additionally, Holly's character in the novella is described as an "unattached, unconventional wanderer, [a] dreamer in pursuit of some ideal of happiness", which bears similarities to Monroe's intriguing and tumultuous life.
Furthermore, Monroe's sexuality would have been at the forefront of her portrayal of Holly, thereby changing the mood and dynamic between the characters. Holly is described as a "party girl/call girl" who dates rich older men to obtain money, gifts, and favors. While she is not explicitly a prostitute, she engages in questionable activities to maintain her social status and associates with notorious gangsters. Monroe's sexuality and life experiences would have brought a different dimension to the role, making her a better fit for the character than Hepburn, according to some critics.
However, Monroe was under contract with Twentieth Century Fox, and the producers of Breakfast at Tiffany's feared that she would complicate the production. As a result, they chose Hepburn, who embodied a certain innocence and accessibility that contrasted with Holly's character in the novella.
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Capote was unhappy with the film casting
Truman Capote, the author of the 1958 novella Breakfast at Tiffany's, was unhappy with the film adaptation's casting. He had originally envisioned Marilyn Monroe as Holly Golightly, the story's protagonist, and lobbied the studio for her to play the role. However, the film was produced by Paramount Pictures, and Monroe was under contract with Twentieth Century Fox, so she was never a realistic possibility for the role.
Audrey Hepburn was cast as Holly, and Capote was vocal in his disapproval of the decision. He described the film as "the most miscast" he had ever seen, believing that Holly was meant to be a "tough character, not an Audrey Hepburn type at all". Hepburn herself was hesitant to take on the role, doubting her ability to portray an extroverted character.
In addition to his objections to Hepburn's casting, Capote was also unhappy with the choice of Mickey Rooney for the role of I.Y. Yunioshi, Holly's Japanese neighbour. Rooney's portrayal has since been criticised as a racist caricature, with the use of makeup and a prosthetic mouthpiece to alter his appearance. At the time, Rooney's casting was defended by some involved with the film, but it has since been acknowledged as an example of Hollywood's racist depiction of East Asians.
Capote also had issues with other aspects of the film's production. He was unhappy with the tone and the director, Blake Edwards, feeling betrayed by Paramount for not keeping the promises they made when acquiring the rights to his book. Despite Capote's disapproval, the film was a critical and commercial success, receiving multiple Academy Award nominations and grossing $14 million worldwide.
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Screenwriter Sumner Locke Elliott first adapted the novella
Sumner Locke Elliott was an Australian novelist, screenwriter, and playwright. He was born in 1917 and became an American citizen in 1955. Elliott began his career in the theatre community in Sydney during and after World War II. He made his mark with the 1948 play "Rusty Bugles," which was the first Australian play to be staged simultaneously in two states. However, Elliott himself was not in Australia for the opening night, as he had already relocated to New York.
Elliott had a string of failed Hollywood and Broadway dreams. His most well-documented disappointment was losing the screenwriter's job for the highly anticipated film "Breakfast at Tiffany's." Despite this setback, Elliott persevered and established a new writing identity, drawing on his experiences. He went on to write several novels and had a successful career in American screenwriting during the 1950s, including serving as the lead writer for more than thirty live television broadcasts.
Elliott's interpretation of "Breakfast at Tiffany's" was ultimately not used for the final film. The film's producers, Martin Jurow and Richard Shepherd, hired Elliott to write the screenplay, but they were dissatisfied with his work. They brought on George Axelrod, who had previously altered the source material for "The Seven Year Itch" (1955). Axelrod, Jurow, and Shepherd collaborated to make significant deviations from Capote's novella. These changes included transforming the gay narrator into a heterosexual male love interest, adding new characters, and reducing the gay subtext.
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Frequently asked questions
It is unclear how long it took to write Breakfast at Tiffany's. However, it was composed in the spring of 1958 and published the same year.
There are no sources that detail the length of the writing process for Breakfast at Tiffany's.
Breakfast at Tiffany's was written in the spring of 1958.
Breakfast at Tiffany's was published in 1958.
