Fifth Avenue, 5 A.M.: Audrey Hepburn, Breakfast at by Sam Wasson

By Sam Wasson

“Reads like conscientiously crafted fiction…[Wasson] consists of the reader from pre-production to on-set feuds and conflicts, whereas additionally noting Hepburn’s influence on model (Givenchy’s little black dress), Hollywood glamour, sexual politics, and the hot morality. Capote could were entranced.” — Publishers Weekly (starred assessment)

“Sam Wasson’s beautiful portrait of Audrey Hepburn peels backs her candy facade to bare a way more advanced and fascinating lady. He additionally captures a desirable turning element in American history— while ladies began to loosen their pearls, and their inhibitions. I wolfed this book.” — Karen Abbott, writer of Sin within the moment urban

Fifth street, five A.M. by means of Sam Wasson is the 1st ever whole account of the making of Breakfast at Tiffany’s. With a solid of characters together with Truman Capote, Edith Head, director Blake Edwards, and, after all, Hepburn herself, Wasson immerses us within the the US of the past due fifties, sooner than Woodstock and contraception, whilst a not-so-virginal woman by way of the identify of Holly Golightly raised eyebrows around the kingdom, altering model, movie, and intercourse, for sturdy. With scrumptious prose and massive wit, Wasson offers us from the penthouses of the higher East facet to the swimming pools of Beverly Hills providing Breakfast at Tiffany’s as we now have by no means obvious it before—through the eyes of these who made it.

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Extra info for Fifth Avenue, 5 A.M.: Audrey Hepburn, Breakfast at Tiffany's, and the Dawn of the Modern Woman

Sample text

After multiple dares from George, Benmont shoots him in the foot, which George concedes “burns like hellfire”. This shooting triggers more acts: Sally jumps up screaming; George retrieves his rifle, vowing “to kill somebody now”; Nobody suddenly appears and slits George’s throat; Benmont readies his rifle again, but Blake shoots him with a gun that has been tucked in Blake’s trousers yet overlooked by the trappers as they fondled him. Then Sally prepares to fire, but Nobody accidentally shoots him with George’s rifle, causing Sally to crawl away.

But the departures in Dead Man are more emphatic and numerous. Further, Dead Man has a grotesque, hallucinatory quality that strains the definition of slow movies proposed in the introduction. 67 The scene in Dead Man involving Sally and his comrades, Big George Drakoulious (Billy Bob Thornton) and Benmont Tench (Jared Harris), hinges like the rest of the film on killing and dying, but also on reversing the pall of repression that helps mark Dead Man as well as Stranger Than Paradise as slow movies.

Your hair’s soft. ” Big George joins in. Having already admired Blake’s suit (“pretty”) and assured him (“I clean up real good, you know”), he marvels at the hair (“Now how do you get it that way and keep it like that? See this old stuff of mine? It’s just, well, it’s just like old barn hay”). Then Benmont also fingers Blake’s hair, and George quickly objects: “God damn it. ” But Benmont will not be deterred, as apparently he was in the past. “You had the last philistine”, he snarls at George, utilising the new word Sally has furnished him with.

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