Posts Tagged ‘Marilyn Monroe’
Stream Anatomy of a Murder Movie Online
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Stream Anatomy of a Murder Movie Online.
Movie Title: Anatomy of a Murder Anatomy of a Murder is available for streaming or downloading. |
Based on the renowned Traver current, ANATOMY OF A Slay is an extremely complex film that defeats easy definition. In some respects it is a social document of the era in which it was made; primarily, however, it is a detailed portrait of the law at work and the machinizations and motivations of the individuals enthusiastic in a seemingly straight-forward case–and in the process it raises definite ethical issues re attorney behavior and the lengths to which an attorney might go to fetch a case.
Paul Biegler (James Stewart) is a small-town lawyer who has recently lost a re-election for the station of District Attorney and who is down on his luck–when a headline-making case inspiring assault, alleged rape, and abolish drops into his lap. As the case evolves, there is no inquire about the identity of the killer. But a knowing lawyer might be able to pick up him off impartial the same and redeem his occupy career in the process, and with the serve of an weak friend (Arthur O’Connell) and his formidable secretary (Eve Arden), Biegler sets out to do precisely that. Opposing him in the courtroom is Claude Dancer (George C. Scott), a high powered prosecutor who is equally definite to accept a conviction… and who is no more adverse to coaching a inspect than Biegler himself. The two square off in a constantly shifting battle for the jury, a battle that often consists of underhanded tactics on both sides.
The performances are impressive, with James Stewart ideally cast as the attorney for the defense, Ben Gazzara as his unsavory client, and a truly knowing Lee Remick as the sexy and disreputable wife who screams rape where fair possibly none occurred; O’Connell, Arden, and Scott also offer expedient performances. The script is though-provoking, frigid, and meticulous, the direction and cinematography both effective and completely unobtrusive, and the renowned jazz secure adds quite a bit to the film as a whole. Although we can’t encourage rooting for Stewart, as the film progresses it seems more and more likely that Remick is lying through her teeth and Gazzara is as guilty as sin–but the film balances its elements in such a arrangement as to execute a disturbing ambiguity that continues apt through to the ruin. If you inquire a courtroom thriller with sudden revelations and twists you’ll likely be disappointed in ANATOMY OF A Cancel, but if you want a thought-provoking consume on the law you’d be hard pressed to derive one better. Recommended.
Otto Preminger, who produced and directed this splendid courtroom drama starring James Stewart, Lee Remick, George C. Scott and Ben Gazzara, had a knack for translating best-selling mid-cult novels to the cover (The Man with the Golden Arm (1955) ; Exodus (1960) ; Swear and Consent (1962) and others) usually in a nervy manner, sometimes heavy-handed, sometimes pretentious, but always worth a examine. Section of his secret was star power. Like Hitchcock, he liked to go with great names supported by beautiful character actors. And portion of his secret was his long experience in both the theater and films going relieve to the quiet film era. He knew how to establish together a movie. But more than anything it was his near-dictatorial control over the production (something directors seldom have today, and never in great budget films–Preminger’s were substantial budget for his day) that allowed him to successfully win the movie-going audience at midcentury.
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This and Laura (1944) are two of his films that go beyond the merely commercial and carry out something that can be called art. Seeing this for the first time forty-three years after it was released I was struck by the glowing acting all around and the sturdy, well-constructed direction. James Stewart’s performance as the Michigan north country lawyer Paul Biegler might shine even more luminously than it does except for a sure performance by Gregory Peck three years later as a southern country lawyer in the unforgettable To Demolish a Mockingbird (1962) . Lee Remick, in a frank, but unpleasant imitation of Marilyn Monroe, co-stars as Laura Manion, the wife of army Lt. Frederick Manion (Gazzara) whom Bielger is defending on a destroy charge. The defense is temporary insanity because the man he shot raped his wife. Bielger slyly gains sympathy for his client by deliberately allowing it to near out that Laura is sexy and flirtatious enough to drive any man crazy. Indeed, he tricks the prosecution into doing his work for him. George C. Scott plays Claude Dancer, a huge city prosecutor, with snake-like precision while Gazzara manages to combine introspection and cockiness as the young lieutenant. Aesthetic benefit comes from Eve Arden (best known as Our Miss Brooks on TV and in the movie of that name) as Biegler’s steady secretary and Arthur O’Connell as his alcoholic mentor. Kathryn Grant, who gave up a promising film career to marry Bing Crosby and have children, has a modest role as the murdered man’s daughter.
I’ve seen many courtroom dramas, some actual, some fictional, since this film first appeared, but I have to say it stands up well. The action (for the most fraction) feels realistic and the tension is nicely created and maintained. The resolution is satisfying and the ending is as sly and subtle as any country lawyer might want. Incidentally, if this movie had more total votes cast at IMDb, it would noxious in the top one hundred of all time, which is where it belongs.
See this for James Stewart whose easy, adroit style under Preminger’s direction found bulky range. Although he gave many ravishing performances, I don’t judge Stewart was ever better than he was here.
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Watch As Young As You Feel Movie Online
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Watch As Young As You Feel Movie Online.
Movie Title: As Young As You Feel As Young As You Feel is available for streaming or downloading. |
As Young as You Feel is best known as one of Marilyn Monroe’s most impressive early performances, but it is a immense, gripping, richly laughable, and thought-provoking movie in its gain accurate. The entire cast is righteous, boasting particularly impressive performances from the always acerbically silly Thelma Ritter, supporting actor extraordinaire David Wayne, the comely Jean Peters, and the impeccably immaculate Monty Woolley. Woolley plays John Hodges, a man who loses his job working a hand press at a printing company when he turns sixty-five, as it is the policy of Consolidated Motors to force all of the workers at its subsidiaries to retire at that age. When he inquires about the parent company, no one seems to know anything about it, not even the president’s name. Thus is born a shimmering plot whereby Hodges dies his white hair and whiskers, assumes the identity of none other than CM president Harold P. Cleveland, and easily convinces the executives of Acme Printing to ignore the mandatory retirement clause in its operations. Things go a itsy-bitsy farther than he planned, though, and he soon finds himself giving a speech at the Chamber of Commerce, dining at the country club, and causing a trudge among both the public at gargantuan and the business world. His speech about the nobility of the worker, the wholly unquantifiable contribution of the aging yet skilled artisan who takes pride in his work, and his emphasis of the individual over the bureaucracy is published and spreads like wildfire, restoring a sense of pride and commitment in the public, sending the stock of Consolidated Motors through the roof, and rallying the entire national economy. This is where things pick up complicated, as the actual president of Consolidated Motors finds out about the mammoth speech “he” made, the truth of the matter begins to slowly work itself out, and a number of related personal issues between many of the prominent characters approach to a head.
Marilyn Monroe is absolutely extraordinary in her slight yet primary role as the secretary to the president of Acme Publishing, demonstrating the beauty, talent (both dramatic and comedic), and charm that would soon effect her a superstar. Even though her shroud time ranked far below that of several of her talented co-stars and her name appears sixth in the credits, Marilyn was actually featured most prominently in the publicity associated with the movie’s release in 1951, which is a noteworthy testament to her star potential at that time in Hollywood. Perhaps this role as powerful as any of her early movie appearances brought her to the attention of the public, the critics (who hailed her performance here), and the powers that be in Hollywood. No Marilyn Monroe fan should forego the privilege of watching her shiny performance in this heart-warming comedy, and no fan of great movies in general should pass up the opportunity of enjoying a film that gives exact meaning to the phrase, “They don’t obtain them like this anymore.”
Thelma Ritter, Monty Woolley and Constance Bennett star in AS YOUNG AS YOU FEEL, a breezy comedy satire about an ageing worker in a printing firm who simply refuses to retire!
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This has been issued (along with several other features) as supplements to the ‘Marilyn Monroe Diamond Collection’ box sets. AS YOU AS YOU FEEL is one of her earliest features, though her role is really only slightly bigger than a cameo. It’s lovely positive that Fox was unsure how to fully market Monroe and was leary as to her potential.
Twentieth Century-Fox placed Marilyn in supporting roles at the beginning of her contract. These were mostly B-comedies, where she more often than not played a secretary or the sexy girl neighbour. Perhaps her best ‘bit role’ came when she played Miss Caswell in ALL ABOUT EVE. Monroe really got her first substantial acting role as Nell in the eerie noir drama DON’T BOTHER TO KNOCK (and that same year she played opposite Barbara Stanwyck in CLASH BY NIGHT) .
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Buy,Download, Or Stream As Young As You Feel! Click Here
AS YOU AS YOU FEEL is a must-own for Marilyn completists, though the present rightly belongs to Ritter, Woolley and Co.
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Stream The Misfits Movie Online
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Stream The Misfits Movie Online.
Movie Title: The Misfits The Misfits is available for streaming or downloading. |
It’s almost impossible to review this as honest a movie, as it is, to movie buffs at least, such a curio portion. As everyone knows, the screenplay, written by Arthur Miller, started out as a tribute to his wife, Marilyn Monroe, but proved to be the death knell for their marriage. Though this looks like a “Western”, it is far from it. It is an almost crude peep into the coming together of a group of lost souls who have nothing left to lose. This John Houston film was famously fraught with problems, many related to M.M.’s genuine life breakdown, and went over budget, and became, at that time, the most expensive dusky & white film to date, a dubious distinction. That Miller based “Roslyn” on Marilyn is now well known, a portrait at once flattering and brutally unbiased. If there’s any doubt that Roslyn is M.M., peep for the scene when Marilyn opens a locker, in she & Clarks tiny “admire cottage”, there are well known glamour pin-ups of the accurate life Marilyn hung inside, which “Roslyn” refers to as “honest some extinct pictures of me.” Also the scene of M.M. & Gable, as they awaken one morning, and she is seen nude from the attend, is one Marilyn fought for, wanting her breast, which was visible in the rushes, kept in the final film. This was unheard of at that time, and was reduce out of the final print. At the time, M.M. commented: “I fancy to do things the censors won’t pass, after all, what are we here for, objective to stand around and let it pass us by? … Gradually, they’ll let down the censorship, sadly, probably not in my lifetime “, a prophetic comment from a woman who was ahead of her time. Though she drove John Houston to distraction during the filming, he years later commented: “Marilyn was as exquisite an actress as any I ever worked with… she objective reached down within herself and pulled her possess emotions out, it was proper.” This film, aside from Clark Gable, also stars excellent M.M. friend Montgomery Clift, another true life misfit, also honorable M.M. friend Eli Wallach, both fellow alumni of The Actors Studio, and the unbelievable Thelma Ritter, who seems to be the only one obliging of holding it together. At the films release, during Marilyns now distinguished scene in the desert, where she lashes out at the brutality of “the men” as they purchase a horse for slaughter, apparently many in the theatres laughed out loud at this unacceptable version of their Marilyn, which is very murky. I have always found this scene devestating, and only shows the struggle she had to face, in her attempts to grow as an actress, and not be confined by peoples itsy-bitsy vision of her. Contrary to common notion, this film was not a total artistic failure, and received many sure reviews at it’s opening. The Unusual York Tribune: “Here Miss Monroe is magic but not a living pin-up dangled in skin tight satin, and can anyone mutter that in this film, these performers are at their best? ” Modern York Daily News: “Gable has never done anything better on shroud, nor has Miss Monroe.” The fact that Gable died two weeks after shooting wrapped, and that Marilyn never completed another film, only seals the account surrounding this films making. In hindsight, it was truly the extinguish of an era. If you want a inspiring read on the making of this film, try and find the long out of print “The Memoir Of The Misfits”, by James Goode. Published in 1963, it’s a day by day narrative of the films making, and, though only a year after M.M.’s tragic death, handles her memory with total respect…the chronicle had already begun. This black, but ultimatley hope filled miniature drama, filmed in the almost tiring, desert, is maybe not for the viewer looking for lots of excitement and action. But if you’re a serious viewer who can like brilliantly subtle performances, starring two of filmdoms biggest legends… in a movie steeped in Hollywood folklore, then you’ll luxuriate in this film. How fitting that their final scene has them riding off, heading “for that astronomical star.”
This once nearly forgotten movie, the last film of Clark Gable and Marilyn Monroe is now coming forward in the lexicon of film history as an underrated gem. Universally misunderstood for the most portion at the time it came out it is distinct now that this film was at least five of six years ahead of it’s time. It fits in more comfortably with films of the slack 60′s and early 70′s.
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The screenplay by Miller is one of his most striking works. A sage of a group of people lost in the wide expanse of the West in search of the discarded souls of their misspent lives. The film’s comely cinematography by Russell Metty stands out as kindly artistry at the demise of the shaded and white era. It shimmers with the silver of the deep expanse of the desert and the flat grays and blacks of the distant mountains upon which the last act of the narrative plays. The music by Alex North is among his best work and gives a savage punch to the aerial scenes and the round up at the destroy of the wild mustangs.
Montgomery Clift, by now sliding into the last years of his life is touching in his performance of Perce. His broken cowboy with the broken heart is almost painful to view. His phone call home to his mother is among some of his best work. Eli Wallach gives a strong deeply arresting portrait of Guido who has lost his wife, his procedure, and his humanity. He shines in his scene with Monroe where he asks her to effect him. When she can’t to at least say “Hello Guido”.
Thelma Ritter is, well, Thelma Ritter in yet another of her marvelous character roles. Ritter is the master of the one line wisecrack but here as Isobel she laces the cracks with an underlying sadness and vulnerability.
As Contented Langland, Clark Gable gives what I contemplate to be the best performance of his career. It was a dauntless depart for Gable to buy on the role of what on the surface seems another one of his typical macho made to fit parts. But as the record unfolds from Arthur Miller’s pen Jubilant reveals that beneath his gruff, not a care in the world, cowboy is a man in deep wound and despair at his losses. The world has left him late. Abandoned by his children the drunken Gable breaks so violently it is a shock to recognize the immense man drop. This is Clark Gable at his finest ever.
Marilyn Monroe gives an improbable performance as Roslyn Tabler the newly divorced dancer. A damaged woman who finds in the company of these three men something to finally acquire in, something to stand up and fight for, she finds life. It is a performance ground out in fragment from her have person and experience and in allotment by the director John Huston and the editor George Tomasini who helped a nearly destroyed Monroe beget her fine Roslyn. This, her last performance is her best and the correct example of the collaborative creation that film really is. That Marilyn under the circumstances of her life at that time could be so sterling is a testament to her talent as an actress and a star. Study her when she is listening to the other actors. This is where she shines; this is the just sign of a tremendous veil actor. To be able to listen and way you into the inner life of the character through that deceptively simple act of listening and reaction is her gift to the audience. Her scene with Monty in aid of the bar, sitting on a pile of trash, her afore mentioned scene with Eli Wallach in the speeding car. These are but a few of the examples in this film of her tremendous talent. In the 1950′s and early 60′s there were only a handful of vast young actresses in film, Elizabeth Taylor, and Marilyn Monroe where at the summit of the runt mountain.
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Watch Breakfast At Tiffany’s – Paramount Centennial Collection Online
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Watch Breakfast At Tiffany’s – Paramount Centennial Collection Online.
Movie Title: Breakfast At Tiffany’s – Paramount Centennial Collection Breakfast At Tiffany’s – Paramount Centennial Collection is available for streaming or downloading. Click Here to Stream or Download Breakfast At Tiffany’s – Paramount Centennial Collection |
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A word that can record the Centennial Collection release of the 1961 film “Breakfast at Tiffany’s”, the classic romantic comedy starring Audrey Hepburn and George Peppard.
Having reviewed previous versions of “Breakfast at Tiffany’s” before on DVD, I’m determined many Audrey Hepburn fans are probably wondering how else can Paramount improve from the 2006 45th Anniversary Edition on DVD? Well, I can grunt you suitable now… plenty! Please read on.
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A film that stars quite a bit of talent, “Breakfast at Tiffany’s” remains not unbiased one of the most memorable romantic films of all time but a film that exemplifies the beauty of Audrey Hepburn, the chic style of the times and more (which I will discuss more in the special features fraction of my review) .
VIDEO & AUDIO:
The film is presented in widescreen format, enhanced for 16:9 TV’s. A lot of the Centennial Collection releases have been remastered for high definition and having the previous DVD’s, I can advise you that the DVD looks tall. But I can only imagine how this film would search for in 1080P if released in Blu-ray.
Audio is featured in Dolby Digital English 5.1 Surround/English, Restored Mono, French Mono and Spanish Mono. The film of course is dialogue-driven but determined enough, the music of Harry Mancini is alive and well when blaring through your speakers.
SPECIAL FEATURES:
As mentioned before, there have been several releases of “Breakfast at Tiffany’s” prior to this Centennial Collection, the older DVD’s really hardly came with anything but the trailer until the 2006 “Special 45th Anniversary Collector’s Edition” which came with a grand number of special features and a commentary by producer Richard Shepherd.
Well, what I can speak you is that the Centennial Collection contains all of the special features from the Anniversary DVD release but also adds quite a few fresh lengthy featurettes as well. On the first disc, the first disc contains the movie and the same commentary from the Anniversary disc by Producer Richard Shepherd. You can announce that Shepherd gets drawn in to the film and doesn’t grunt in the commentary until he feels distinguished.
So, for those wanting a verbose commentary, Shepherd doesn’t do that. But it’s actually quite elegant because when he does deny, you learn a lot of things from him about the filming. For example, the opening shot featuring Audrey Hepburn in front of Tiffany’s in Fifth Avenue. Where the dwelling is typically packed with cars and people, for that time… there was hardly any traffic and no people. So, a very lucky time in filmmaking for the crew.
Also, Shepherd is quite apologetic about casting Rooney as Mr. Funiyoshi and he does that quite a bit in the commentary. You realized he didn’t want the yellow face routine (Caucasian actor looking like an Asian stereotypical character) but it was kept in. Also, commenting of how determined scenes worked then but would never cruise now. But most of all, his continued feeling of Audrey Hepburn as a class act. Overall, a very marvelous commentary that you learn a lot from.
The special features on disc 2 are as follows:
* A Golightly Gathering – A 20-minute featurette that reunites the talents who were in the cocktail party scene from “Breakfast at Tiffany’s”. One of the coolest parties ever on film, it’s gigantic to seek the talent from the film reunite and discuss their experiences of filming that piece scene 40-years later. I had no understanding the party-scene took 8-days to film but it was mountainous to hear everyone talk about their scene, working with Audrey Hepburn, George Peppard and Blake Edwards. But what a enormous featurette and so pleased of it’s inclusion.
* Henry Mancini: More Than Music – This nearly 21-minute featurette is a fabulous featurette that features interviews with Henry Mancini’s wife, daughter and son. Seeing private photos and even videos of Henry and having their family talk about him and what they remember about him, winning the two Academy Awards for “Moon River” and working on other films is unbiased extraordinary.
* Mr. Yunioshi: An Asian Perspective – A 17-minute featurette. Despite the popularity of the film, the sad cloud that has lingered on this film was the casting of Mickey Rooney as “Mr. Yunioshi”. A talented actor, the “yellow face” role was fair infamous and retort by the director, producer and a cast member was unprejudiced terribly wicked in casting Rooney for that role. This feature has interviews with representatives of the Media Action Network of Asian Americans. I’m blissful that Paramount did include this featurette on this collection.
* The Making of a Classic – Originally from the Anniversary release, this segment features interviews with Producer Richard Shepherd and Director Blake Edwards. A 16-minute featurette and you definitely learn a lot about the film, especially from Blake Edwards. One could image how his director’s commentary would have been if included, especially with what he had to say on this featurette.
* It’s So Audrey: A Style Icon – An eight tiny featurette with interviews with designers, Hepburn’s son and companion. How Audrey Hepburn made simple things quite sexy. How Audrey never opinion of her body proportions that sexy but she did have a sterling gape for style and how she became a fashion and style icon.
* Slow the Gates: The Tour – This 4 runt featurette gives people a behold leisurely the gates of the Paramount lot. A qualified promotional for those who would like to tour the Paramount lot.
* Brilliance in a Blue Box – A six cramped featurette about the history of Tiffany’s. Originally featured on the Anniversary DVD.
* Audrey’s Letter to Tiffany – A two tiny featurette about the letter Audrey wrote for the preface of the 150th Anniversary book for Tiffany’s.
* Unusual Theatrical Trailer – The novel two slight trailer with its dust, scratches and all.
* Galleries – Featuring production stills, movie stills and publicity shots for the film.
The Centennial Collection also comes with a booklet that features information of facts of the film, from how Capote wanted Marilyn Monroe for this film, information on Orangey the cat and how the “Original York Status” that was filmed at the Paramount lot is now forever lost due to the huge Paramount fire help in 1983 that destroyed historical sets.
And the DVD is objective classy with it’s dark and gold packaging (which most of the Centennial Collection are packaged) and ditching the pink and white packaging.
I absolutely adore this film. From the memorable dialogue, that first scene with Holly standing in front of Tiffany’s, the cocktail party, Holly Golightly singing “Moon River” on her guitar, the cat and of course the final scene between Holly and Paul.
“Breakfast at Tiffany’s” is a classic Audrey Hepburn film that is a must-own. I know that the film has been re-released many times on DVD and the 45th Anniversary was unprejudiced a pleasure when it first came out and at the time, it was a definitive release. But now, with this “Centennial Collection” featuring a remastered version of the film and the unusual (and quite lengthy) featurettes that is included on this collection, this is the definitive version on DVD.
Personally, I can only imagine how this would examine once it becomes available on Blu-ray but for now, these Centennial Collections from Paramount are fair improbable. Especially “Breakfast at Tiffany’s”, I’m really amazed how far Paramount went in order to build this release distinguished more special.
The addition of “A Golightly Gathering” featuring the actors who took fragment in that cocktail party was awesome, the Henry Mancini featurette for those who honest appreciate his musical work will worship this featurette and of course, for those who have felt the afflict of the “yellow face” segment in the film, Paramount going the extra step by including a featurette dedicate to that on this DVD.
But in the ruin, this DVD is indeed a special tribute to Audrey Hepburn. Hepburn is impartial an icon of style and elegance and this DVD does a large job of giving special attention to such an unbelievable film. And after seeing this film so many time times, I peaceful have not grown tired of it. It’s one special film that I highly recommend
“Breakfast at Tiffany’s” is flawless blend of a crowd-pleasing star-vehicle for the effortlessly charming Audrey Hepburn and a bittersweet, painfully sparkling contemplate at care for, life, and happiness. Director Blake Edwards, the man gradual “The Pink Panther” series, “The Party”, “Operation Petticoat”, “Victor/Victoria”, etc., has crafted a truly timeless film based on the novella by Truman Capote. Though numerous elements of Capote’s myth were altered, the film smooth has a strong core and message that urges audiences to ask their bear lives, loves, and happiness.
Everything about this film is classic. You have the timeless Hepburn and her defining performance as Holly Golightly, a sophisticated, sassy call-girl with a secret past who is ultimately one of the most vulnerable characters Hepburn ever played. Then there’s George Peppard, a vastly under-appreciated actor who manages to maintain his possess next to Hepburn while playing a struggling writer living off an older married woman. Peppard’s boyish obliging looks and surprising depth earn him the ideal match for Hepburn’s Golightly.
Then of course there’s Henry Mancini’s wistfully romantic rep and the tremendously celebrated theme-song, “Moon River”, a legal gem of a song that capture’s the film’s essence perfectly. In addition, you have Hepburn’s unbelievable, style-setting wardrobe courtesy of her lifelong friend Hubert de Givenchy. In this one film alone, Hepburn and Givenchy practically invented the “itsy-bitsy gloomy dress”, popularized ballet flats, and introduced capris as a stylish alternative to regular pants.
My accepted quote:
Holly Golightly: You know those days when you gain the mean reds?
Paul Varjak: The mean reds, you mean like the blues?
Holly Golightly: No. The blues are because you’re getting burly and maybe it’s been raining too long, you’re honest dusky that’s all. The mean reds are unpleasant. Suddenly you’re shrinking and you don’t know what you’re worried of. Do you ever find that feeling?
Paul Varjak: Obvious.
Holly Golightly: Well, when I gain it the only thing that does any satisfactory is to jump in a cab and go to Tiffany’s. Calms me down suitable away.
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