Avery Collins
Breakfast at Tiffany's, starring Audrey Hepburn, has captivated audiences for over half a century. However, despite its popularity, critical acclaim, and numerous accolades, the film has also been criticised for perpetuating racist stereotypes and romanticising the troubled past of its protagonist, Holly Golightly. The character of I.Y. Yunioshi, Holly's Japanese neighbour, has been singled out as a racist caricature, with a white actor in yellowface portraying a Japanese man using exaggerated facial expressions and a heavy accent for comedic relief. Additionally, the film has been accused of glorifying Holly's profession as a sex worker and ignoring the darker themes of the original Truman Capote novella, such as her involvement in organised crime and her troubled upbringing.
| Characteristics | Values |
|---|---|
| Release date | 5 October 1961 |
| Director | Blake Edwards |
| Screenplay | George Axelrod |
| Based on | Truman Capote's 1958 novella of the same name |
| Stars | Audrey Hepburn, George Peppard, Patricia Neal, Buddy Ebsen, Martin Balsam, Mickey Rooney |
| Music | Henry Mancini |
| Theme song | "Moon River" by Johnny Mercer |
| Main character | Holly Golightly |
| Holly Golightly's profession | Sex worker, escort, or American Geisha |
| Holly Golightly's background | Troubled, stealing, underage marriage |
| Holly Golightly's personality | Naive, eccentric, scatterbrained, fiercely independent, damaged |
| Racism | Mickey Rooney's portrayal of Holly's Japanese neighbour I. Y. Yunioshi in yellowface |
| Sexism | Outdated gender roles, superficial emphasis on material possessions |
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What You'll Learn
Racism and discriminatory stereotypes
Breakfast at Tiffany's, the 1961 film starring Audrey Hepburn, has been criticised for its portrayal of racist and discriminatory stereotypes. The film has been accused of perpetuating the glamour and class associated with the Tiffany's brand while ignoring its underlying problematic aspects.
One of the most notable criticisms of the film is its portrayal of I. Y. Yunioshi, Holly Golightly's Japanese neighbour, played by a white actor, Mickey Rooney, in yellowface makeup. Rooney's performance has been described as a caricature of a Japanese man, complete with a heavy accent and exaggerated facial expressions. This portrayal has been deemed racist and dehumanising, reinforcing negative stereotypes about Asian people. The character was intended to be comedic relief, but the comedy was at the expense of his race, illustrating Hollywood's lack of regard for authentic representations of people of colour at the time.
In addition to the yellowface portrayal of Yunioshi, the film has also been criticised for its stereotypical depiction of a Chinese character with buck teeth by Rooney. This characterisation is seen as a continuation of the racist tropes often employed by Hollywood during that era.
The film has also been criticised for its romanticisation of the main character, Holly Golightly, who is a sex worker in the original novella by Truman Capote. While the film subtlely hints at Holly's profession, audiences tend to overlook this aspect, focusing instead on the glamorous aesthetics and romantic plotline. This selective perception contributes to the ongoing issue of society prioritising glamour over addressing the problematic elements of media they consume.
Furthermore, the film has been criticised for its superficial emphasis on material possessions and outdated gender roles. Holly's obsession with Tiffany's and other luxury brands reflects a superficial value system. Additionally, the film perpetuates the outdated notion that a woman needs a man to take care of her, as Holly jumps from one boyfriend to another.
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Sex work and underage marriage
Breakfast at Tiffany's, the 1961 film starring Audrey Hepburn, has been criticised for its portrayal of Holly Golightly, a young woman who moves from a small rural town to New York City and tries to make a living by seducing wealthy men. While the film received critical acclaim for its music and Hepburn's style and performance, it has also been described as "problematic", with reviewers pointing to its thin plot, flat characters, and outdated gender roles.
The film has been accused of romanticising the troubled past of the main character, Holly, who is a sex worker. In the film, Holly's source of income is left ambiguous, but in Truman Capote's original novella, Holly is explicitly a sex worker, and the film contains several implications of this. For example, in one scene, Holly explains to Paul Varjak's character, "I mean, any gentleman with the slightest sheik will give a girl a $50 bill for the powder room". This statement, along with other interactions between Holly and Paul, suggest that Holly is engaging in sex work.
In addition to being a sex worker, Holly is also fleeing an underage marriage. In the film, Holly is portrayed as a naïve, eccentric "socialite", but in reality, she is a child bride craving freedom, funds, and the luxury associated with Tiffany's. Holly's troubled upbringing is hinted at in the film, as she is shown to have a history of stealing, and her engagement is broken off due to her "salacious existence".
The film's treatment of these themes, particularly Holly's involvement in sex work and her underage marriage, has been criticised for being superficial and failing to adequately explore the darker aspects of Holly's life. Instead, the film focuses on the glamour and excitement of 1960s New York, with Hepburn's performance and style capturing the aesthetic of the time. While the film has its defenders, who argue that it is a product of its time and should be viewed in its historical context, others argue that it is essential to acknowledge and address the problematic aspects of Breakfast at Tiffany's to avoid perpetuating harmful stereotypes and ideologies.
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Outdated gender roles
The lead character, Holly Golightly, is a complex and intriguing woman, but her characterization reinforces gender stereotypes. Holly is portrayed as a materialistic, social-climbing young woman, whose primary goal is to marry a wealthy man. She is shown to be manipulative and uses her feminine wiles to achieve her goals. This portrayal of a woman as a manipulative gold-digger plays into sexist tropes and reduces her character to a one-dimensional stereotype. Holly's primary function in the narrative is to be a romantic interest for the male lead, and her aspirations and personal growth are largely defined by her relationships with men.
The film also presents a very narrow view of acceptable female behavior. Holly's eccentricities, such as her party-girl lifestyle and unique fashion sense, are portrayed as charming and quirky, but ultimately, she is expected to conform to societal norms. Her transformation into a more traditional woman, complete with a white wedding dress and domestic aspirations, is held up as the ideal outcome. This narrative arc reinforces the idea that a woman's worth is tied to her adherence to traditional gender roles and that non-conformity is merely a phase or a means to an end.
Additionally, the lack of strong and diverse female characters beyond Holly further contributes to the film's outdated gender dynamics. The other prominent female characters, such as Holly's wealthy neighbor, Mrs. Failenson, and the Brazilian woman, are portrayed as one-dimensional and exist primarily to further the male characters' storylines or to provide a contrast to Holly's unique personality.
The portrayal of gender roles in *Breakfast at Tiffany's* reflects the societal norms and expectations of the time it was made. However, by today's standards, these portrayals are considered regressive and contribute to a narrow and limiting representation of women on screen. It is important to recognize these outdated gender roles and stereotypes and to encourage more diverse and empowering representations of women in media and popular culture.
To conclude, *Breakfast at Tiffany's* has faced criticism for its portrayal of outdated gender roles, particularly in the lead character of Holly Golightly. The film reinforces stereotypes of women as manipulative, materialistic, and ultimately aspiring to conform to traditional societal norms. While the film is a product of its time, recognizing and addressing these outdated portrayals is essential to fostering a more inclusive and progressive media landscape.
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Romanticising troubled pasts
Breakfast at Tiffany's, the 1961 film starring Audrey Hepburn, has been criticised for romanticising the troubled past of its protagonist, Holly Golightly. The film is based on the 1958 novella of the same name by Truman Capote, and both the film and the novella have captivated audiences for generations. However, the film has been accused of bleaching the darker themes from Capote's original story, presenting a romanticised version of Holly's past that some argue is problematic.
In the film, Holly is portrayed as a naïve, eccentric "socialite" who moves to New York City from a small rural town. She is a glamorous woman with a mysterious past, which the film hints at but never fully explores. While the film suggests that Holly may be a sex worker, with references to her receiving money from men, the audience is largely left to fill in the blanks. This has led to accusations of romanticising Holly's past, as audiences tend to focus on the glamour and fashion associated with the film while ignoring the more troubling aspects of Holly's life.
The original novella by Truman Capote provides some insight into Holly's backstory. In the book, Holly is an independent woman with multiple male friends and a prominent nightlife. She is described as an American Geisha, a term that suggests she may be an escort or sex worker. Capote also hints at Holly's troubled upbringing, including a history of stealing and a possible underage marriage. These darker themes are toned down in the film, which focuses more on the romance and comedy aspects of the story.
The romanticisation of Holly's past in the film has been criticised for downplaying the more complex and troubling aspects of her character. The film portrays Holly as a charming and eccentric woman who is simply looking for love and a fresh start in the big city. However, some argue that this portrayal ignores the underlying issues that may have driven Holly to her situation. By glossing over these issues, the film presents a simplified and idealised version of Holly's story, which some viewers find difficult to reconcile with the darker themes hinted at in the original novella.
Additionally, the film has been criticised for its portrayal of outdated gender roles, where the woman is dependent on a man for financial stability and fulfilment. This dynamic is particularly noticeable in the relationship between Holly and Paul Varjak, the struggling writer who moves into her apartment building. Despite their seemingly equal footing, Holly is portrayed as needing Paul's assistance and protection, reinforcing the idea that a woman needs a man to take care of her.
In conclusion, while Breakfast at Tiffany's has become synonymous with glamour and romance, it is important to recognise that the film romanticises its protagonist's troubled past. By downplaying the darker themes present in the original novella, the film presents a simplified and idealised version of Holly Golightly's story, ignoring the complex and troubling aspects of her character that may provide a more accurate representation of the challenges faced by women in similar situations.
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Criminal involvement
Holly Golightly, the protagonist of Breakfast at Tiffany's, is a complex character with a troubled past. She 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, her character is portrayed as a naïve, eccentric "socialite" who meets a struggling writer, Paul Varjak, and they form a connection. However, in Truman Capote's original novella, the character of Holly has a darker backstory.
The criminal involvement in Holly's backstory is a significant aspect that has been toned down in the film adaptation. In the novella, Holly is a sex worker, which was a criminal act in New York during the 1960s. This aspect is implied in the film through various hints, such as her interactions with Paul about their "situations" and her statement about gentlemen offering money. While the film does not explicitly portray Holly as a sex worker, it does retain a sense of her selling her charms to survive.
Holly's involvement in organised crime is another layer to her character that is hinted at in the film. She is shown to have a history of stealing and is entangled in narcotics-based organised crime. Her past as a child bride fleeing an underage marriage also contributes to her criminal involvement, as she seeks freedom and a better life.
The criminal aspects of Holly's character have been softened in the film adaptation, possibly to maintain the glamour and allure of the story. However, these elements are integral to understanding Holly's motivations and the complexities of her persona. They provide a deeper insight into her psychological state and her desire for a different life, represented by the allure of Tiffany's.
While the film may have toned down the criminal involvement, it is an essential part of the original story's appeal. It adds a layer of complexity to Holly's character, showcasing her resourcefulness and determination to escape her troubled past. The criminal elements also reflect the grittier reality of a young woman navigating the challenges of city life during that era.
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Frequently asked questions
Breakfast at Tiffany's was not banned. However, it has been criticised for its portrayal of I.Y. Yunioshi, Holly's Japanese neighbour, by a white actor in yellowface.
Yellowface is when a non-East Asian actor portrays an East Asian character, often using makeup to mimic East Asian features and mannerisms.
This form of racism reinforces negative stereotypes and is dehumanising, as the character becomes a caricature.
The film has been criticised for its romanticisation of the troubled past of the main character, Holly Golightly, and for its superficial emphasis on material possessions and outdated gender roles.
While the film has been popular for generations, some viewers may now choose to avoid watching it due to its problematic aspects.
