June 9, 2013
While passed off as a “romance,” this movie was poison to heterosexuals. It set the 1960’s template where women were allowed to lose their minds and men were forced to rescue them. From that point on, it was all about their needs.
The movie was written by Truman Capote, a product of a broken family who became a homosexual. Like Tennessee Williams, he was championed by our Illuminati Jewish cultural controllers. His crippled, perverted vision was held up to the goyim as the last word in sophistication.
In the movie, the heterosexual Adam and Eve are portrayed in homosexual terms. Essentially they have to traverse a gay obstacle course in order to find heterosexual love and marriage. For 1961, this movie is sick, sick, sick. Let me count the ways:
1. Holly Golightly, played by Audrey Hepburn, is a prostitute. Her appeal is strictly based on “beauty” and occasional repartee. The prostitute part is glossed over and she is portrayed as a “party girl.” She is looking for some nebulous security represented by the store Tiffany’s. She spends her time trolling for a rich husband. Are we supposed to believe this woman is attractive?
2. Her suitor, Paul Varjak, played by George Peppard, is a writer. He is also a prostitute, supported by a richer older woman, played by Patricia Neal, as though she were still in The Fountainhead.
In other words, heterosexuals are prostitutes who must get used to selling their souls in order to survive. Holly and Paul both agree they would marry each other for money in a minute if they had any. “I need money and I’ll do whatever it takes to get it,” Holly vows.
3. Everything Holly does is designed to emasculate Paul. She wants him as a “friend” only. Sleeps in his arms. Whistles down a cab when he can’t. Throws his “arrangement” in his face. She gives mixed signals and blows hot and cold. This became the typical neurotic behavior of modern women.
4. There is a sick subplot where we learn Holly is really from Texas and was married at age 14 to “Doc,” a vet played by Buddy Ebson, a man easily 40. She claims the marriage was “annulled” but obviously they had a sexual relationship.
5. In order to make this crap palatable to heterosexuals, Holly and Paul have to overcome their moral lapses and find their way to each other. But Holly is a royal pain-in-the-ass to the end. Even after Paul dumps his gigolo gig, finds a job and declares his love, Holly is set on going to Brazil with a rich heir she has met. When he dumps her, she is intent on going any way to track “the 50 richest men in South America.” She tells Paul that she doesn’t want to belong to anyone or be put in “a cage.” “I don’t know who I am.”
6. This is the homosexual-feminist message of the movie. Get used to being a whore. Forget about marriage and family. Women have to “find themselves.” This is the way the novel ends. But in order to sell the movie to unsuspecting goyim, they tack on a romantic finale. 110 minutes of homosexual dysfunction; five minutes of heterosexual romance. Paul tells her she is afraid of reality and walks away. She chases after him. Passionate kisses in the rain…
Breakfast at Tiffany’s is another reminder that Hollywood, and popular cult-ure in general, are devoted to Illuminati (satanist) social engineering. They have been subverting western Christian culture from the get-go; and the promotion of homosexuality, which is so obviously socially destructive, is a big part of it.
The reason my generation had to “search for our identity” is because our primary identity as men and women (protectors and providers, wives and mothers) was constantly being attacked and eroded by the Illuminati. (The institution of marriage was designed to provide for women and children, so society can successfully procreate. Most gays want neither marriage nor children. Marriage is a distinctly heterosexual institution; it is being redefined as gay in order to destroy it.)
In 2012, Breakfast at Tiffany’s was deemed “culturally, historically, or aesthetically significant” by the United States Library of Congress and selected for preservation in the National Film Registry. It is considered an iconic movie. It set an example for the 1960’s generation. Women wanted to be Holly Golightly just as women later wanted to be Carrie Bradshaw. (Sex in the City was also written by a homosexual.) Yes, Virginia, we are satanically possessed.