Jackson Reed
Breakfast at Tiffany's, a 1961 film starring Audrey Hepburn, has been criticised for its romanticisation of the protagonist, Holly Golightly, who is a criminal, a sex worker, and a runaway child bride. The film has also been accused of perpetuating outdated gender roles and superficial materialism. Further, Mickey Rooney's portrayal of Mr Yunioshi, Holly's Japanese neighbour, in yellowface has been deemed offensive and stereotypical, reinforcing negative stereotypes and dehumanising an entire race. Despite its status as a classic, Breakfast at Tiffany's has problematic elements that may make modern viewers uncomfortable.
| Characteristics | Values |
|---|---|
| Racism | Yellowface, offensive portrayal of Japanese man, negative stereotypes |
| Glorification of criminal activity | Portrayal of main character Holly Golightly as a criminal and call girl/sex worker in a positive light |
| Outdated gender roles | Woman needing a man to take care of her |
| Superficial emphasis on material possessions | Glorification of jewelry store Tiffany’s |
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What You'll Learn
Racism and discriminatory stereotypes
Breakfast at Tiffany's, despite its status as a classic, has been criticised for its racism and discriminatory stereotypes. The character of I. Y. Yunioshi, Holly Golightly's Japanese neighbour, is played by a white actor, Mickey Rooney, in yellowface makeup. Rooney's portrayal of Yunioshi involves a heavy accent, exaggerated facial expressions, and buck teeth, which serve as comedic relief at the expense of his race. This reinforces negative stereotypes and is dehumanising, reducing Yunioshi to a caricature.
The film also perpetuates stereotypes about Asian men, with Yunioshi being the only non-white character. The fact that a white actor was chosen to play this role, originally advertised as being played by a famous Japanese comedian, demonstrates Hollywood's lack of regard for authentic portrayals of people of colour at the time.
Furthermore, the film has been criticised for its portrayal of Holly Golightly, played by Audrey Hepburn, as a young woman who moves to the city and supports herself by seducing wealthy men. While the film is subtle about how she earns her money, there are implications that she is a sex worker, with references to her asking for ""powder room" tip money and her interactions with men who follow her home begging for sex. This has led to interpretations of the film as glorifying a lifestyle of prostitution and organised crime.
The character of Holly has also been criticised for perpetuating outdated gender roles, where the woman is dependent on a man to take care of her, and for romanticising a troubled past, including underage marriage and criminal activity.
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Yellowface
The character of Mr. Yunioshi in Breakfast at Tiffany's, played by Mickey Rooney, is a widely cited example of yellowface. Rooney, a white actor, plays Holly Golightly's Japanese neighbour. Rooney's portrayal involves wearing yellowface makeup, speaking in a heavy accent, and using exaggerated facial expressions to mimic a Japanese man.
The character is a racist and offensive stereotype, used for comedic relief at the expense of his race. Mr. Yunioshi's character reinforces negative stereotypes and is dehumanising, as he becomes a caricature. This form of racism was common in Hollywood during the time period, but it is now recognised as offensive and disrespectful.
The inclusion of Mr. Yunioshi's character in the film has led to boycotts and criticism. Even when the film was initially released, viewers and critics noted the offensive nature of the character. One UK television station aired a version with Rooney's scenes removed entirely.
The yellowface and stereotyping of Mr. Yunioshi contribute to the problematic nature of Breakfast at Tiffany's, which, despite its status as a classic, contains outdated and offensive portrayals that may make modern viewers uncomfortable.
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Glorification of sex work
Holly Golightly, the protagonist of Breakfast at Tiffany's, is a young woman who moves from a small rural town to New York City and tries to make a living by seducing wealthy men. In the film, she charges men for "conversation" and asks for "powder room" tip money, and they follow her home begging for sex. While the film is more subtle than Truman Capote's original novel in its suggestion of how Holly earns her money, there are plenty of implications that she is a sex worker.
Holly's character has become synonymous with Audrey Hepburn, who plays her in the film. Hepburn's chic and classic aesthetic as Holly has become iconic, with the image of her in a little black dress with pearls and large sunglasses, carrying an oversized cigarette holder, burned into the collective mindset of society. However, this glamorous portrayal of Holly masks the darker reality of her character as a sex worker.
The film's romanticisation of Holly's troubled past and superficial emphasis on material possessions contribute to the glorification of her situation. The fact that Holly is able to live a glamorous life in New York, free from the constraints of a small-town marriage, is presented as a positive outcome. This narrative ignores the very real dangers and challenges faced by sex workers, instead portraying Holly's lifestyle as desirable and even aspirational.
Furthermore, the film's focus on Holly's aesthetic and material possessions reinforces the idea that her value lies in her physical appearance and her ability to attract wealthy men. This contributes to a problematic narrative that objectifies women and reinforces outdated gender roles, where a woman needs a man to take care of her.
The glorification of sex work in Breakfast at Tiffany's is particularly concerning given the historical context of the film's release in the early 1960s. At the time, sex work was criminalised and highly stigmatised, and sex workers faced significant social, legal, and economic challenges. By presenting Holly's situation as glamorous and desirable, the film contributes to the erasure of the very real struggles faced by sex workers during this period.
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Outdated gender roles
The character of Holly Golightly in Breakfast at Tiffany's embodies outdated gender roles, which contribute to the film's problematic status. Holly is a young woman who moves from a small rural town to New York City, where she tries to make a living by seducing and charming wealthy men. This characterisation reinforces the idea that a woman needs a man to take care of her financially. Holly's dependence on men for financial stability is exemplified by her hopping from boyfriend to boyfriend and charging men for "conversation" and asking for "powder room" tip money.
The film also presents a romanticised version of a woman fleeing an underage marriage, becoming a sex worker, and involving herself in organised crime. While the film suggests that Holly is a carefree party girl, the reality is that she is a troubled young woman with a damaged past, resorting to selling her company to survive in the big city.
Additionally, Holly's character perpetuates the stereotype of the "dumb blonde" or the "manic pixie dream girl". She is portrayed as a naive and innocent young woman who is taken in by the big city and used by criminals. This portrayal contributes to the idea that a woman's value lies in her youth, beauty, and innocence, and that she needs a man to protect her from the harsh realities of the world.
The film's portrayal of Holly as a woman who is financially dependent on men and defined by her relationships with them is a reflection of the gender norms and expectations of the time. However, by today's standards, these gender roles are outdated and contribute to the film's offensive nature.
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Criminality
Holly Golightly, the protagonist of Breakfast at Tiffany's, is a criminal. She is a runaway child bride who becomes a sex worker—a crime in 1960s New York—and is entangled in narcotics-based organised crime. Holly's criminality is disguised by her glamorous portrayal, which has become iconic.
The film's romanticisation of Holly's character and her troubled past is problematic. Holly is a young woman who moves from a small rural town to New York City, where she makes a living by seducing wealthy men. She charges men for "conversation" and asks for "powder room" tip money, with men following her home begging for sex. Holly's criminality is further evidenced by her history of stealing and her involvement in organised crime. She is also described as an "American Geisha", a call girl, and an escort.
The character of Holly Golightly, as a criminal and a sex worker, challenges the traditional image of the protagonist in a romantic comedy. Holly's criminal activities, such as her involvement in organised crime and her history of stealing, are often overlooked or minimised by audiences who choose to focus on the glamour and aesthetic of the film. This superficial emphasis on material possessions and outdated gender roles, where the woman needs a man to take care of her, contributes to the problematic nature of the film.
The portrayal of Holly as a criminal and a sex worker has been criticised for its negative stereotypes and lack of authenticity. The film reduces Holly to a one-dimensional character, defined by her criminal activities and her occupation as a sex worker. This portrayal reinforces negative stereotypes about sex workers and contributes to their dehumanisation and marginalisation.
The character of Holly Golightly, as a criminal and a sex worker, has been interpreted as a symbol of female empowerment and agency. Holly's criminal activities and her occupation as a sex worker can be seen as a means of survival and a way to gain financial independence in a society that offers limited opportunities for women. In this interpretation, Holly's criminality is a form of resistance against the oppressive gender norms and social expectations of her time.
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Frequently asked questions
Breakfast at Tiffany's has been criticised for its stereotypical and offensive portrayal of I. Y. Yunioshi, Holly's Japanese neighbour. The character is played by a white actor in yellowface makeup and speaks in a heavy accent with exaggerated facial expressions. This portrayal reinforces negative stereotypes and is dehumanising.
Yes, the film has been criticised for its portrayal of gender roles, with the female protagonist, Holly Golightly, relying on a man to take care of her. The film also romanticises Holly's troubled past, including her work as a sex worker and involvement in organised crime.
Breakfast at Tiffany's is considered a classic of American cinema and is known for its aesthetics, fashion, and the romantic relationship between its two main characters. However, some viewers have found the film uncomfortable to watch due to its offensive content. It has been the subject of boycotts, and one UK television station aired a version with Mickey Rooney's scenes removed.
The film is based on the Truman Capote novel of the same name but bleaches the darker themes from the original story. The book portrays Holly more explicitly as a sex worker and criminal, while the film hints at these aspects without explicitly stating them.
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