蒂凡尼早餐简介：本片是根据德鲁门·凯波特同名畅销小说改编，由布莱克·爱德华兹执导的爱情电影。奥黛丽·赫本出任本片主角，并凭此片第四度获得奥斯卡最佳女主角的提名。《第凡内的早餐》被影评界誉为上世纪“60年代美国最佳喜剧片"，四十年来魅力丝毫不减，至今每年仍然吸引一大批新的观众，影片还是奥黛丽。赫本的表演履历中最值得提及的作品，也是她所有影片里上座率最高的一部,她生动自然的表演为影片频添异彩。影片获得了1961年第三十四届奥斯卡最佳音乐(歌曲)，最佳音乐(剧情片与喜剧片配乐）两项奥斯卡奖，影片音乐同时获得了当年美国格莱美最佳歌曲奖。本片除了有优雅美丽、闪闪动人的奥黛丽．赫本外，其主题曲“月亮河”(Moon River)更是让人难以忘怀，由亨利·曼西尼作曲，安迪·威廉斯演唱。其婉转低回的旋律柔美悦耳，回肠荡气，逼人深思。月亮河，一条多么美丽的河啊！而在影片中，奥黛丽．赫本坐在窗前拿着吉它的原唱，细腻地倾诉她的梦想，更成为一个令人难忘的经典场景！《月亮河》也获得了1961年第三十四届奥斯卡最佳歌曲、葛莱美年度最佳歌曲奖项。

by Stephen Cook & Bruce Eder

This soundtrack to the movie adaptation of Truman Capote's novel Breakfast at Tiffany's is one of Henry Mancini's best. The pleasing blend of pop (the perennial "Moon River") and swing stays fresh over the album's 12 tracks and shows off Mancini's considerable writing and arranging skills. The cuts range from the layered, big-band mambo "Something for Cat" to the transcendentally smooth lounge number "Sally's Tomato" with some vaudeville moments coming via "Mr. Yunioshi" (check out that banjo eating up the faux Japanese scales) and "Hub Caps and Tail Lights" (sounds like the "Addams Family Theme"). Mancini keeps the lounge/easy listening mood from collapsing in on itself with many fine jazz solos, a driving rhythm section, and his expert (yet pleasantly cheesy) handling of the liquid-toned chorus parts. He also strikes a nice balance here between his crime-jazz backdrops for the Peter Gunn TV show and Touch of Evil and the later, more streamlined soundtracks for The Pink Panther and Charade. Throughout Breakfast at Tiffany's solid program, Mancini makes it clear that he isn't just a peddler of Muzak but a fine composer. The 2005 Japanese BMG reissue offers crisp remastering to audiophile standards, similar to what was done with Elvis Presley's catalog in Japan -- the results are startling, with exceptionally vivid textures throughout, but nowhere more so than on "Moon River," where the opening quote of the central melody on the harmonica, the next instrumental verse picked up by the strings, and the third done by the chorus, all sound like they're right in your lap. The whole album sounds that way, with the result that all of the musicianship and Mancini's finely nuanced direction never seemed more up close and personal.