Breakfast at Tiffany's
After one of her frequent visits to Tiffany's--New York City's dazzling jewellery store--and the maximum security Sing-Sing prison for mobster Sally Tomato's weekly "weather report", Holly Golightly, Manhattan's elegant socialite, finds herself infatuated with her charming new neighbour, Paul Varjak. Stuck in a persistent creative rut, Paul, too, lets himself drawn into Holly's superficial world, of course, not because he likes the idea that he reminds her of her brother, but because, little by little, he succumbs to Holly's beguiling allure. Even though they don't openly admit it, the two reluctant lovers have a past that they struggle to keep at bay; nevertheless, are their well-hidden secrets powerful enough to keep them apart? After all, Paul and Holly are meant for each other. Will an early-morning breakfast at Tiffany's be the prelude to a breezy young love?
Despite its limited budget of $2.5M, Breakfast at Tiffany's became a box office success, earning $9.5M worldwide—a 280% return. The film's unconventional structure connected with viewers, confirming that strong storytelling can transcend budget limitations.
2 Oscars. 12 wins & 13 nominations
Plot Structure
Story beats plotted across runtime
Narrative Arc
Emotional journey through the story's key moments
Story Circle
Blueprint 15-beat structure
Arcplot Score Breakdown
Weighted: Precision (70%) + Arc (15%) + Theme (15%)
Breakfast at Tiffany's (1961) exemplifies carefully calibrated dramatic framework, characteristic of Blake Edwards's storytelling approach. This structural analysis examines how the film's 15-point plot structure maps to proven narrative frameworks across 1 hour and 55 minutes. With an Arcplot score of 7.4, the film balances conventional beats with creative variation.
Characters
Cast & narrative archetypes
Holly Golightly
Paul Varjak
Doc Golightly
2E Failenson
Sally Tomato
O.J. Berman
José da Silva Pereira
Main Cast & Characters
Holly Golightly
Played by Audrey Hepburn
A young New York socialite and escort with a mysterious past, living a carefully constructed fantasy life while running from her true identity.
Paul Varjak
Played by George Peppard
A struggling writer supported by a wealthy older woman who becomes fascinated with his unusual neighbor Holly.
Doc Golightly
Played by Buddy Ebsen
Holly's gentle former husband from Texas who arrives in New York to bring her home, representing the past she fled.
2E Failenson
Played by Patricia Neal
Paul's wealthy, possessive married patron who financially supports him in exchange for companionship.
Sally Tomato
Played by Alan Reed
An imprisoned mob boss for whom Holly runs messages in exchange for weekly payment, unknowingly participating in criminal activity.
O.J. Berman
Played by Martin Balsam
Holly's former Hollywood agent who tried unsuccessfully to make her a star and maintains a cynical but caring relationship with her.
José da Silva Pereira
Played by José Luis de Vilallonga
A wealthy Brazilian politician who becomes engaged to Holly, representing her ticket to respectability and security.
Structural Analysis
The Status Quo at 1 minutes (1% through the runtime) establishes Holly Golightly emerges from a taxi at dawn in a black evening gown, eating a pastry while gazing into Tiffany's window - establishing her as a glamorous yet lonely figure living a fantasy life of sophistication that masks her emptiness.. Significantly, this early placement immediately immerses viewers in the story world.
The inciting incident occurs at 13 minutes when Paul Varjak and Holly Golightly meet for the first time when she climbs through his window to escape a date. This chance encounter introduces someone who will see through her facade and disrupts her careful emotional distance - he represents a genuine connection she hasn't allowed herself.. At 11% through the film, this Disruption aligns precisely with traditional story structure. This beat shifts the emotional landscape, launching the protagonist into the central conflict.
The First Threshold at 28 minutes marks the transition into Act II, occurring at 24% of the runtime. This reveals the protagonist's commitment to Holly invites Paul to spend a day together doing things they've never done before. Paul actively chooses to pursue a real relationship with Holly, moving beyond casual neighborly interaction. They shoplift masks from Woolworth's, share stolen experiences, and connect authentically - Paul enters Holly's world with intention., moving from reaction to action.
At 58 minutes, the Midpoint arrives at 50% of the runtime—precisely centered, creating perfect narrative symmetry. Structural examination shows that this crucial beat Doc Golightly, Holly's husband from Texas, arrives and reveals Holly's real identity as Lulamae Barnes, a child bride who abandoned her family. This false defeat shatters the illusion of Holly as the sophisticated Manhattan party girl - Paul sees her past and the pain she's been running from. The stakes raise as her fabricated identity crumbles., fundamentally raising what's at risk. The emotional intensity shifts, dividing the narrative into clear before-and-after phases.
The Collapse moment at 85 minutes (74% through) represents the emotional nadir. Here, Holly is arrested for unwittingly carrying mob messages to Sally Tomato. Jose abandons her to protect his political career. Her brother Fred, the one person she truly loved, is dead - killed in a jeep accident. All her safety nets disappear simultaneously: her meal ticket, her romantic escape, and the emotional anchor of her brother's memory., indicates the protagonist at their lowest point. This beat's placement in the final quarter sets up the climactic reversal.
The Second Threshold at 91 minutes initiates the final act resolution at 79% of the runtime. In the taxi to the airport, Paul delivers his confrontation speech: "You call yourself a wild thing... You're just chicken, you're afraid to belong to anybody." He throws the Tiffany ring at her and walks away in the rain. This moment of truth forces Holly to see that her freedom philosophy is actually fear of vulnerability., demonstrating the transformation achieved throughout the journey.
Emotional Journey
Breakfast at Tiffany's's emotional architecture traces a deliberate progression across 15 carefully calibrated beats.
Narrative Framework
This structural analysis employs structural analysis methodology used to understand storytelling architecture. By mapping Breakfast at Tiffany's against these established plot points, we can identify how Blake Edwards utilizes or subverts traditional narrative conventions. The plot point approach reveals not only adherence to structural principles but also creative choices that distinguish Breakfast at Tiffany's within the comedy genre.
Blake Edwards's Structural Approach
Among the 15 Blake Edwards films analyzed on Arcplot, the average structural score is 7.1, reflecting strong command of classical structure. Breakfast at Tiffany's represents one of the director's most structurally precise works. For comparative analysis, explore the complete Blake Edwards filmography.
Comparative Analysis
Additional comedy films include The Ministry of Ungentlemanly Warfare, The Bad Guys and Lake Placid. For more Blake Edwards analyses, see Curse of the Pink Panther, 10 and Victor/Victoria.
Plot Points by Act
Act I
SetupStatus Quo
Holly Golightly emerges from a taxi at dawn in a black evening gown, eating a pastry while gazing into Tiffany's window - establishing her as a glamorous yet lonely figure living a fantasy life of sophistication that masks her emptiness.
Theme
Holly explains to Paul her belief that people don't belong to people, stating "I'll never let anybody put me in a cage" - the thematic premise about freedom versus connection, independence versus love, that will be tested throughout the story.
Worldbuilding
Introduction to Holly's bohemian Manhattan lifestyle: her brownstone apartment, bizarre parties, visits to Sing Sing to carry messages for mobster Sally Tomato, her relationship with wealthy Brazilian Jose, and her search for rich men. Paul moves in upstairs as a kept writer supported by a married woman (2-E). The world is one of beautiful surfaces masking desperate survival strategies.
Disruption
Paul Varjak and Holly Golightly meet for the first time when she climbs through his window to escape a date. This chance encounter introduces someone who will see through her facade and disrupts her careful emotional distance - he represents a genuine connection she hasn't allowed herself.
Resistance
Holly and Paul begin to form a friendship despite her resistance to real intimacy. She explains her "mean reds" (existential anxiety deeper than the blues). Paul is intrigued but uncertain about pursuing someone so emotionally unavailable. Holly continues her escapist lifestyle, while Paul struggles with his own kept status and writing career.
Act II
ConfrontationFirst Threshold
Holly invites Paul to spend a day together doing things they've never done before. Paul actively chooses to pursue a real relationship with Holly, moving beyond casual neighborly interaction. They shoplift masks from Woolworth's, share stolen experiences, and connect authentically - Paul enters Holly's world with intention.
Mirror World
During their adventure day, Paul and Holly visit Tiffany's together. The sales clerk treats them with unexpected kindness, helping them find a Cracker Jack ring engraved with their shared spirit of connection. This relationship becomes the emotional center that will challenge Holly's philosophy of non-attachment.
Premise
The promise of the premise: watching Holly and Paul's unconventional romance develop against Manhattan's glamorous backdrop. Wild parties, romantic moments, comedy with the Japanese neighbor Mr. Yunioshi. Paul breaks free from 2-E. They kiss in the rain. The fun of watching two lost souls find each other while Holly continues pursuing wealthy men and Paul encourages her dreams.
Midpoint
Doc Golightly, Holly's husband from Texas, arrives and reveals Holly's real identity as Lulamae Barnes, a child bride who abandoned her family. This false defeat shatters the illusion of Holly as the sophisticated Manhattan party girl - Paul sees her past and the pain she's been running from. The stakes raise as her fabricated identity crumbles.
Opposition
Holly sends Doc away, refusing to return to her old life, but the exposure of her past deepens her fear of being trapped. Jose proposes marriage and offers escape to Brazil. Paul declares his love but Holly resists, insisting people don't belong to people. The FBI closes in on the Sally Tomato operation. Holly's worlds collide as her survival strategies fail and genuine love threatens her carefully maintained defenses.
Collapse
Holly is arrested for unwittingly carrying mob messages to Sally Tomato. Jose abandons her to protect his political career. Her brother Fred, the one person she truly loved, is dead - killed in a jeep accident. All her safety nets disappear simultaneously: her meal ticket, her romantic escape, and the emotional anchor of her brother's memory.
Crisis
Holly, out on bail, decides to flee to Brazil alone. She packs frantically, refuses Paul's help, and retreats into her philosophy of non-belonging. Paul watches helplessly as she prepares to run from the one real connection in her life. The dark night before she chooses between freedom and love.
Act III
ResolutionSecond Threshold
In the taxi to the airport, Paul delivers his confrontation speech: "You call yourself a wild thing... You're just chicken, you're afraid to belong to anybody." He throws the Tiffany ring at her and walks away in the rain. This moment of truth forces Holly to see that her freedom philosophy is actually fear of vulnerability.
Synthesis
Holly frantically searches in the rain for Cat, whom she abandoned in an alley as the ultimate symbol of her non-attachment. Finding Cat represents her choice to stop running, to accept belonging, to embrace connection despite the risk. She finds Cat, and Paul finds her - the final synthesis of freedom and love.
Transformation
Holly and Paul embrace in the rain, holding Cat between them. The image mirrors the opening - Holly outside in the early morning - but she's transformed from the lonely woman gazing into Tiffany's window to someone who has found her real home in human connection and belonging.