Poor George Peppard. He never really stood a chance to live up to Cary Grant's chemistry with Hepburn in Charade as with Peppard in Breakfast at Tiffany's. He tries his best, and Audrey picks up a lot of the slack given her much more prominent role here, but I'm afraid charisma is charisma, and Grant wins out any day of the week. I guess it's my own damn fault for watching the former first.

While I might not have loved the film as much as my previous Hepburn outing, I think that might be due more to my hesitation toward straight romances than any detriment to the film itself. It's not afraid to take things slow, using the first hour to build its characters and the second to delve into Varjak and Golightly's romance, and has a surprisingly complex relationship aspect; with multiple objects of Holly's overt affections stymieing Varjak's (rapidly less) tentative advances, and never drops the thread of her troubled and convoluted backstory. Breakfast at Tiffany's might not be an instant favorite, but it's an interesting script study (perhaps more due to Capote's influence than anything else), and clearly a significant example of Hepburn's lasting appeal.