Having just watched the masterpiece that is "Something Wild" for the first time, something nagging kept gnawing at me. Was I watching a reworking of "Breakfast at Tiffany's?" The shape-shifting theme, the masterful Demme details, the Demme femme sophisticate who is, as it turns out, actually from the 'burbs - it was all too perfect. By the joyful ending with Sister Carol singing "Wild Thing," and the reformed wild child stepping forward wearing a very Holly Golightly-esque dress and hat, I was convinced. As usual after watching a particularly good film, I do a deep-dive into reviews, actors, directors, and foundation material. None of the reviews I happened across mentioned B at T; no comparison / contrast pieces; no quotes from Demme describing the influence of Capote or the film.
Yet ... what's this? Holly Golightly in "Breakfast at Tiffany's" is played to perfection by Audrey Hepburn. Holly's real name, back in her small-town past, is Lula Mae. In Demme's film, main character "Lulu" is actually named Audrey, back in her own suburban origin story. Both women are sexual transgressors; Holly is a call girl, and Lulu / Audrey is a kidnapper of a cute, straight-laced businessman, whom she plies with Scotch, then handcuffs and ravishes. Neither has an apparent means of legitimate income. Both women have a husband lingering in the background until they step forward in drastically different ways; Lula Mae has Doc, and Lulu-Audrey has Ray. Neither man is ultimately capable of hanging onto their spirited, role-playing wife.
Best of all, the repeated renditions of the song "Wild Thing" in "Something Wild" are a harmonic convergence with the iconic "wild thing" scene from "Tiffany's." Holly Golightly tells her husband, Doc, "You mustn't give your heart to a wild thing. The more you do, the stronger they get, until they're strong enough to run into the woods or fly into a tree. And then to a higher tree and then to the sky." Lulu-Audrey sees herself as that same wild thing, thus the theme song making its sonic appearance at the most enchanting moments. Similar to Holly Golightly, Lulu has put herself in a box despite identifying as a wild and free creature. She's still bound to her sociopathic husband, bound to a self image of her own creation, bound to the "wild" life she's created for herself. She's as much an indentured servant to her own decisions as hapless Charles is to his veneer of conventionality, right down to the Ford station wagon he drives.
The ending of B at T parallels the ending of "Something Wild" as Charles searches for Lulu in apparent vain dejection. When he encounters her, she's wearing that striking Hollyesque dress with that very Audrey Hepburn wide-brim hat. It's a beautiful moment, and a clear nod to "Tiffany's" - even without the nameless cat or an acoustic Moon River.
If you haven't seen "Something Wild" or - gasp! - "Breakfast at Tiffany's," here are links to get them. I may receive a commission if you use these links (and I appreciate the support!)
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