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  1. Breakfast at Tiffany's (1958) Last appearance: Breakfast at Tiffany's (1961) Created by: Truman Capote (novella) Blake Edwards (film) Portrayed by: Mickey Rooney (film) James Yaegashi (play) In-universe information; Alias: Mr. Yunioshi: Gender: Male: Occupation: Landlord: Origin: Japan: Nationality: Japanese

  2. 5 Videos. 99+ Photos. Comedy Drama Romance. A young New York socialite becomes interested in a young man who has moved into her apartment building, but her past threatens to get in the way. Director. Blake Edwards. Writers. Truman Capote. George Axelrod. Stars. Audrey Hepburn. George Peppard. Patricia Neal. See production info at IMDbPro. STREAMING

    • (188K)
    • Comedy, Drama, Romance
    • Blake Edwards
    • 1961-10-06
  3. Breakfast at Tiffany's is a 1961 American romantic comedy film directed by Blake Edwards, written by George Axelrod, adapted from Truman Capote's 1958 novella of the same name, and starring Audrey Hepburn as Holly Golightly, a naïve, eccentric café society girl who falls in love with a struggling writer while attempting to marry ...

  4. 1 de dic. de 2017 · This article studies Breakfast at Tiffany’s (dir. Blake Edwards, US, 1961) to examine the constitutive role Mickey Rooney’s yellowface performance of Mr. Yunioshi plays in shoring up the infamous brand of white femininity embodied by Audrey Hepburn’s Holly Golightly.

    • Melissa Phruksachart
    • 2017
  5. 20 de oct. de 2017 · And Mickey Rooney’s performance, a holdover of Japanese stereotypes from WWII-era cartoons, is “unnecessarily incongruous,” said Tubelle. But fans of the film overlook these things.

  6. Reparto. Audrey Hepburn - Holly Golightly / Lula Mae Barnes. George Peppard - Paul Varjak. Patricia Neal - Sra. Emily Eustace "2E" Failenson. Buddy Ebsen - Doc Golightly. Martin Balsam - O. J. Berman. Mickey Rooney - I.Y. Yunioshi. Alan Reed - Sally Tomato.

  7. This article studies the production decisions around Mickey Rooney’s yellowface performance of Mr. Yunioshi in Breakfast at Tiffany’s (dir. Blake Edwards, US, 1961), as well as theorizes how his presence cannot be excised from the film.