Breakfast at Tiffany’s

Charm can go a long way. Especially so when it is being delivered by that epitome of charm, Audrey Hepburn. So it goes here. Indeed, Hepburn is exactly what you expect in this film. The real revelation is George Peppard, who turns in a terrific performance as Paul, the writer and neighbor who has the unenviable task of trying to rein in Hepburn’s Holly Golightly. Also starring in this flick: early’60s New York, that long-lost world that crops up now and again in movies, to the viewer’s delight and/or puzzlement, depending upon how far removed from that yesteryear the viewer is. The story achieves a delicate balance between dramatic and comedic, staying largely light and humorous while dipping into the serious now and then, without ever descending too deep into darkness; the tone never becomes a drag. Overall, the setting, script and presentation stays straightforward; director Blake Edwards plays it straight and never tries to get overly artistic in this presentation. Also notable element: it’s nice to see a cat play its part in a movie so well, and never miss a mark; good kitty! Lastly, one must acknowledge that Henry Mancini's score is note perfect in setting the mood throughout. They don’t make them like this anymore, or if they do somebody is keeping it well hidden. That’s why it is truly a worthwhile experience to take this step backwards and experience the old days and the old ways once in a while. If you too are digging for (cinematic) gold, this is an invite worth accepting. 

The Fox and the Hound

Banal, badly executed and oddly redneck. Again we have the weirdly anachronistic setting--this film was made in the eighties, for Christ’s sake--featuring cars that Henry Ford designed and old-timey language, none of which serves any real purpose to the story. This movie's tale could easily have been made contemporary without any loss of its character. The songs are bleh; the score often reminds one of detective shows from the old CBS late movie. The subplot of birds--annoying birds--trying to catch a worm only acts to insert clumsy and unwelcome slapstick into the proceedings. In fact the film’s tone is all over the place, from maudlin to menacing to ridiculous, and mostly just too goofy and unserious to make the central relationship have any real gravity for any viewer besides very young children. At least the visuals--backgrounds in particular; the studio never lost its touch in presenting nature--look relatively impressive. What I can’t get over is the hillbilly angle; I hear fox and hound, and I think England … not Tennessee (or wherever this is supposedly set). The setting choice is odd and jarring and really quite dumb. I guess you can just about say that about the whole thing. This film, ultimately, may represent the nadir of the Disney studio's fortunes.