On this day 24 years ago, the world lost an icon. Audrey Hepburn is undoubtedly one of the most famous actresses who ever lived; she has grace, style, beauty and charisma, unmatched by anyone else. She was the definition of an icon, and an inspiration to the world. To pay tribute to her on the anniversary of her passing, I’m going to take a look at three of her films. Of course, there were many, including the Billy Wilder classic Sabrina and the Oscar winning Roman Holiday, and I’ve already reviewed the 1966 classic Two for the Road, but today I’m looking at two other films that struck a chord with me the most. In this piece, let’s revisit what is undeniably her most iconic role, Breakfast at Tiffany’s.

Paul Varjak (George Peppard) is a struggling writer who moves into an apartment in New York, where he finds himself entranced by his new neighbour, Holly Golightly (Audrey Hepburn). Holly is something of a gold digger; she spends her time with wealthy men and gladly takes what they’ll give her, but she runs away once she’s gotten it. Deep beneath all that lies a real person with real passions, most prominently for her brother Fred, and the pair form a bond. Holly’s lifestyle both frustrates and excites Paul, as he finds himself with the most unforgettable person he’s ever met.

Breakfast at Tiffany’s is like a poster child for classic cinema; how many people have had the shot of Hepburn leaning on a table, smiling in her black dress with her hair in a high chignon and a cigarette in her hand taped to their wall? It’s one of the most iconic images in film history, and it’s weird to think that there’s actually an entire film behind that picture. A truly wonderful film at that, one that earns its reputation in spades. Let’s start off with maybe the film’s only negative, and boy is it a negative…I am of course talking about Mickey Rooney’s performance the landlord, Mr. Yunioshi. Yes, it was a different time with different standards, but it’s absolutely painful to watch. This could be a perfect film, if it wasn’t for Rooney’s bumbling, bucktoothed horrible racist portrayal of an Asian man that today is just unbearable. Beyond that admittedly crippling flaw, this film is a masterpiece.

Breakfast at Tiffany’s is infinitely charming; every scene just feels so right, and it all flows wonderfully. George Peppard turns in a great performance as a great character. Paul is most definitely the audience character, in the sense that he experiences Holly in the same way we do. Holly is very perplexing. It’s so easy to hate what she does and be angry, yet at other times, you’re completely smitten with the woman. It’s things like her sloppiness and her sense of wonder towards ordinary things, not to mention the more revealing scenes where things really come to the surface, that really turn the audience onto her. She’s completely full of intrigue, from her hidden past to her often (almost frustrating) optimistic look on just about everything, and it makes her one of the most interesting film characters of all time. This is all of course completely enriched by Hepburn’s stunning performance; if any woman could woo an audience, it was her, and it’s her grace, humour and humanity that brings to light easily one of the most fascinating characters ever. Aforementioned issue aside, it’s an almost perfectly crafted film, in terms of direction, editing, framing and screenplay, but perhaps the most delightful technical aspect this film has to offer is its music. Henry Mancini conducts and composes a score with a lot of class to it, that decorates in such a definitive way, but there’s nothing more defining than Moon River. Moon River is just about one of the most beautiful songs ever written, and Hepburn’s incredible voice only compliments that. Seriously, that song is going to be played at my funeral.

Breakfast at Tiffany’s is a film that earns it’s reputation as a classic; great performances, a beautiful score, a well made film on every level and a fascinating tale.