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Fifth Avenue, 5 A.M. Audiobook Summary

Audrey Hepburn is an icon like no other, yet the image many of us have of Audrey–dainty, immaculate–is anything but true to life. Here, for the first time, Sam Wasson presents the woman behind the little black dress that rocked the nation in 1961. The first complete account of the making of Breakfast at Tiffany’s, Fifth Avenue, 5 A.M. reveals little-known facts about the cinema classic: Truman Capote desperately wanted Marilyn Monroe for the leading role; director Blake Edwards filmed multiple endings; Hepburn herself felt very conflicted about balancing the roles of mother and movie star. With a colorful cast of characters including Truman Capote, Edith Head, Givenchy, “Moon River” composer Henry Mancini, and, of course, Hepburn herself, Wasson immerses us in the America of the late fifties before Woodstock and birth control, when a not-so-virginal girl by the name of Holly Golightly raised eyebrows across the country, changing fashion, film, and sex for good. Indeed, cultural touchstones like Sex and the City owe a debt of gratitude to Breakfast at Tiffany’s.

In this meticulously researched gem of a book, Wasson delivers us from the penthouses of the Upper East Side to the pools of Beverly Hills, presenting Breakfast at Tiffany’s as we have never seen it before–through the eyes of those who made it. Written with delicious prose and considerable wit, Fifth Avenue, 5 A.M. shines new light on a beloved film and its incomparable star.

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Fifth Avenue, 5 A.M. Audiobook Narrator

Grover Gardner is the narrator of Fifth Avenue, 5 A.M. audiobook that was written by Sam Wasson

Sam Wasson is the author of six previous books on Hollywood including the New York Times bestsellers Fifth Avenue, Five A.M.: Audrey Hepburn, Breakfast at Tiffany’s, and the Dawn of the Modern American Woman and The Big Goodbye: Chinatown and the Last Days of Hollywood, and Fosse, the basis for the limited series “Fosse/Verdon.” With Jeanine Basinger, he is co-author of Hollywood: The Oral History. He lives in Los Angeles.

About the Author(s) of Fifth Avenue, 5 A.M.

Sam Wasson is the author of Fifth Avenue, 5 A.M.

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Fifth Avenue, 5 A.M. Full Details

Narrator Grover Gardner
Length 5 hours 40 minutes
Author Sam Wasson
Category
Publisher HarperAudio
Release date June 26, 2012
ISBN 9780062217271

Subjects

The publisher of the Fifth Avenue, 5 A.M. is HarperAudio. includes the following subjects: The BISAC Subject Code is Film & Video, General, Performing Arts

Additional info

The publisher of the Fifth Avenue, 5 A.M. is HarperAudio. The imprint is HarperAudio. It is supplied by HarperAudio. The ISBN-13 is 9780062217271.

Global Availability

This book is only available in the United States.

Goodreads Reviews

Ashley

June 15, 2017

This book was an alternative pick for the non-fiction (Hollywood history-centric) #CannonBookClub, and it was my pick. I saw it and I knew I had to read it ASAP, even if it didn't end up winning the vote (it didn't; that honor, of course, went to Life Moves Pretty Fast, which I haven't read yet as of writing this review).I'd actually never seen Breakfast at Tiffany's before a couple of weeks ago, though I'm familiar with its legacy, both positive and negative. (Positive: Audrey as fashion icon, a central pivot point in changing sixties womanhood; Negative: Mickey Rooney and the racist portrayal of the character Mr. Yunioshi). Watching the film for the first time in 2017 was an interesting experience. It's tame in content compared to both its source material and the more no-holds-barred approach we have these days (relatively) in terms of film and TV content. Watching it is simultaneously like stepping into a time machine and visiting a more (on the surface, and perhaps entirely illusory) innocent past, and watching the end of that same era begin to appear. I wasn't aware of the extent of the latter until reading this book, however. Wasson really puts into context how revolutionary Breakfast at Tiffany's was for Hollywood film, for fashion, for women in film, for romantic comedies. Forcing down the hated Danish. You can feel the push and pull throughout the film, between a more conservative, restrictive mindset (most prevalent in that romantic Hollywood happy ending, and the softening of Holly Golightly from hooker to "kook") and the inescapable boundary pushing nature of the story (a girl having sex and not being punished for it, Audrey Hepburn living a life without a man, the casual normative treatment of sex work). Slim as the book is, Wasson does a great job contextualizing all of that, planting you back in the fifties and sixties so you can really feel the historical impact of the film as people would have felt it at the time. He portrays the birth of the film from start to finish, the origins of Capote's novel, the production process, casting, behind the scenes drama, and the film's reception and legacy. You know she's a kook because of the cat. Without the cat: HOOKER.Fifth Avenue, 5 A.M. is first and foremost a historical biography of a film, but bound up in that by nature are discussions of gender roles, contemporary social mores, Hollywood history lessons, and portraits of the film's stars, most obviously Audrey Hepburn, who is the star of this book in much the same way she is the star of the film.Reese Witherspoon had the best Audrey costume in Big Little Lies. Fight me.The book wasn't perfect. I mentioned earlier that it was slim. In fact, it clocks in at just over 200 pages, and those pages are on the smaller side for a hardcover, with relatively large print. I zoomed through it in several hours and it was fast and engaging, but I frequently found myself wishing Wasson would dwell a little more on his subject. This book could have easily had 100 more pages, and been the better for it. There were also individual moments that needed clarifying, for instance, he goes on and on about how unusual looking Hepburn was at the time, and the narrative voice he employs doesn't leave much room for contextualizing that. He points out her perceived "flaws" (as they were considered at the time), but he never says why they were considered flaws, or offers up an alternative vision of womanhood. We in 2017 are living in a post-Audrey world, and these things are not as obvious to us as he perhaps thinks they should be.A book recommended if you enjoy Hollywood history, behind the scenes stories, making-of books, and if you love the film. [3.5 stars, rounded up just because I wanna]

Kressel

March 20, 2017

I've recently become a big fan of a Hollywood history podcast called "You Must Remember This," and when I heard the episode on Audrey Hepburn, it cited this book, which I first heard of last year when the "101 Books" group read Breakfast at Tiffany's. I saw the movie years before reading the original, so I could only imagine Audrey Hepburn's Holly Golightly the whole way through, even though I knew that Truman Capote said she was all wrong for the part. This book goes into that conflict in detail.The book goes into many more delicious details than that. I read all about Audrey: her "discovery" by Colette, her relationship with costumer Edith Head and designer Hubert de Givenchy, and her rocky marriage to Mel Ferrer. I learned more about the original Holly, Truman Capote's mother, and his glamorous women friends that he called "the Swans." I learned about director Blake Edwards: his sensitivity to Audrey, who was nervous about the role, and the expensive party he threw to film the 13-minute party scene. There was even a paragraph on the casting of the cat! But one of my favorite parts turned out to be the composition of "Moon River," which won the film its only Oscars (scoring and song). I had it going through my head to the end of the book, and there's a lot to be said for reading those lyrics typed out. The lyrics were written by a small-town Southern man who settled in glamorous New York to capture a character created by another small-town Southern man who'd settled in glamorous New York. Truman Capote may have hated the movie, but what did he think of the song?On top of all that, the book is also about the changing views of womanhood. It argues that the film represents the transition from the "good girl" of the 1950's to the feminism of the 1960's. It gave me a lot of food for thought, but it's not quite digested yet. If anyone wants to discuss it further, there are always comments. Go ahead. I invite you.This was the most fun book I've read all year. Whenever I was in a bad mood, all I had to do was turn to this book for a pick-me-up. It was the perfect mix of lightness and seriousness. And now I'm ready to tackle something purely edifying and probably depressing.

Shannon

January 11, 2020

This book is an absolute delight! I bought a copy because I'm going to be teaching the novella and film in the Adaptation Study module; it's proved to be not only an excellent source for teaching the adaptation but a highly entertaining read in its own right. Honestly, I wasn't expecting that.Wasson writes with a light, humorous touch but never sounds like he's gossiping. The book covers all facets of the making of the film, from the author himself and the inspiration for the character of Holly Golightly, to the difficulties of shooting a scene inside Tiffany's itself. Wasson details how Audrey got into acting (via Colette and Gigi), her difficulties in creating a family, and why she didn't want to play the role of Holly. Hepburn's marriage to actor-director Mel Ferrer, a man who is described by many as controlling and who would criticise Audrey in public, fills in the background to the film production - in true historian style, Wasson never explicitly judges but lays out witness accounts and details from other sources, laying bare both the truth of the relationship as well as Audrey's own flaws.As fascinating and enjoyable as it is to read about the making of the film itself, it was the cultural context aspect that really lifted this book into one of intelligent insight. Wasson explains how Hollywood stars are made into "saleable commodities" no matter their talent. They were "built, not born" [p.19]. "To foster that desirability, studios manufactured stars to suit the fears and fantasies of the day, giving faces to paradigm shifts, and therefore historical consequence to their chosen personae. [...] American moviegoers have been devouring a steady dosage of self-image." [pp.20-1] For women, Wasson explains, there were only two choices for actors: you were either a slut or a saint. For Audrey Hepburn, the ultimate "good girl", to play a promiscuous socialite whom some call a "hooker" (including Audrey herself, after she read the script), a new type of heroine was born, one who was good but flawed. Independent yet somehow still wholesome, because it was Audrey. "What Audrey offered - namely to the girls - was a glimpse of someone who lived by her own code of interests, not her mother's, and who did so with a wholesome independence of spirit." [p.23] Such a woman had never been seen on the 'silver screen' before.And then there is the context of the American housewife of the 1950s. After the war, Wasson writes, "the entire country, it seemed, was on vacation. [...] The task now was to forget, or at least deny [the horrors of the war]." [p.16] Alcohol, drugs and entertainment were the main options. For women, suddenly and forcibly removed from the jobs they had competently and successfully managed while the men were at war, marriage was also a "tonic" against anxiety. Gender lines "had to be reinstated and the American woman found herself alone at the sink, wondering how it all happened." [p.17] Television was a balm, with little portable sets that could be carried throughout the house, wherever chores needed to be done. And everything on the TV was a message written and packaged by men. The result: "the fifties woman was the single most vulnerable woman in American history to the grasp of prefab wholesale thought, and by extension, to the men who made it. The message of conformity poured in through every opening from the outside, making it impossible for her to shut it out without shutting out the world." [p.18] This was the key market for films, the bored housewife, and Audrey Hepburn was the perfect actress: she was eye candy for the husbands but didn't alienate the wives.The main changes made by scriptwriter George Axelrod are, if I'm to be honest, the very things I like about Capote's novella - and yet I still enjoy the film. "He took out Capote's brittle edge and replaced it with soft-focus pluck. Out went the bitchy exchanges between Holly and Mag Wildwood. Out went her illegitimate pregnancy and miscarriage. Out went the scene when she saves the narrator from a rogue horse and out went her flight to Brazil with Jose and eventual disappearance in Africa. Anything of the know-how and resilience Capote instilled in his heroine was now out of step with the new Holly [...] Playing up the Tulip, Texas, girl was a good move, strategically speaking; not only did it cater to Audrey's screen personality, but as a discretionary precaution, it also would help the audience forget that their lead was turning tricks in her spare time." [p.88-9] The difficulty of making Breakfast at Tiffany's into a film was chiefly caused by the censorship board, called the Production Code Administration. Anything sexually explicit was, of course, not allowed, but so was anything sexually implicit. The challenge was to make a film about a call girl that wasn't about sex. To get past the censors, Axelrod and director Blake Edwards turned Capote's novella into a romantic comedy with a traditional happy ending - heterosexual marriage - and appeased the censors by changing Capote's gay narrator into a straight man, albeit one who's a gigolo. It's interesting that the platonic friendship and love between the novella's heroine and narrator was changed into a romance - which leads to sex even if it doesn't show it - and that's more acceptable.But despite all the changes, Audrey Hepburn's Holly Golightly was still a prefeminist role model. When the film came out in 1961, the second wave of feminism was really just a thought bubble, simmering in the wings. There was no contraceptive Pill, no "women's lib", no "bra burning". But here was a woman, Holly, who did things her way, did them for pleasure, and followed her own interests. She proved you could be sophisticated, attractive, chic - and at the end, so agreed many film critics, you didn't get the sense that the happy-ever-after was an 'ever after', that Hepburn and George Peppard's characters weren't going to have a lasting marriage. Not what you'd expect from a romance (though part of that impression could be because Hepburn and Peppard hated each other - it'd be hard to have convincing chemistry).A lot has changed in the decades since Breakfast at Tiffany's, the film, was released. There have been great gains for women's rights and while there is no single source of these changes, the film helped reshape the idea of what it meant to be a woman in the minds of the average American housewife. This is important, because the average American housewife is the 'groundswell' needed for social change. And while the film is still a message by men, packaged by men, it is Audrey Hepburn, so Wasson argues, who delivered a potentially life-altering message to the masses. We might watch the movie now and be less than impressed, but in the context of how rigid, conformist and conservative society was at the time, it really is a breakthrough film. Sam Wasson, in Fifth Avenue, 5 A.M. has done a fantastic job of bringing the making of the film to life. Far from being a dry recount, he recreates conversations, fleshes out real-life historical figures into characters, and structured the book into short scenes within longer acts, so that as you read you get a sense of time and place, of the overlapping nature of events, decisions, conversations - all without becoming confusing or overwhelming. A pleasure to read.

Mary Ronan

December 21, 2010

Another book for my 10 Best of 2010 list. This is the story of the making of the movie, Breakfast at Tiffany's and its part in Audrey Hepburn's career. The book is full of anecdotes and detail. The Edith Head/Givenchy contretemps regarding what exactly Holly Golightly would wear (and who would get the credit.) The open cat call to cast the 12 or so cats who acted in the movie. The real story behind that hilarious party. The shooting at Tiffany's, and Audrey's being forced (forced) to wear the Schlumberger necklace with Tiffany's 128.54 carat (sic) yellow diamond. The alternative endings. The ufortunate choice of Micky Rooney to play the Japanese neighbor. And what Truman Capote really thought about the movie. We all know how disappointed he was that Marilyn Monroe didn't get to play Holly.We won't go into the relationship between Patricia Neal and George Peppard on the set and off.The book is the best of it's kind and I'm now off to find Sam Wasson's previous book: A Splurch in the Kisser: The Movies of Blake Edwards.

Karlene

November 10, 2011

If you know me, even just a little , you know how much I love Audrey Hepburn and that my favorite movie of all time is "Breakfast at Tiffany's." It being the 50th anniversary I was thrilled to hear there was a book about to be released about the making of that movie. But this book was so much more than just a telling of how this movie came to be, it was about the American culture that surrounded this movie and what challenges that brought for the makers of this film. For instance, the LBD. In 1961, "good girls" did not wear black, especially in the movies. To put Audrey Hepburn, Hollywood's princess, in a slim fitting black dress was borderline controversial. But that one dress changed the way American women dressed forever, it would be hard to find a woman today who doesn't have that little black dress somewhere in her closet, I am sure I have several. And I wear black almost everyday in some form. I loved all the backstories about all aspects of this film; Capote's feelings, making a movie about a call girl without making it a movie about a call girl, the song "Moon River," and so much more. If you love old black and white movies, love reading about how movies are made, or just want to read a fun book about how something like a movie can change American culture, I would highly recommend this book. And if you love Audrey Hepburn like I do, it is a must read.

Hermien

March 13, 2018

I thoroughly enjoyed this book about the making of Breakfast at Tiffany's, Audrey Hepburn, Truman Capote and a bit of the film industry in general.

Jenny

October 11, 2011

Holly Golighty Needs a New DressSam Wasson’s Fifth Avenue, 5 A.M.: Audrey Hepburn, Breakfast at Tiffany’s, and the Dawn of the Modern Woman is a little black dress of a book: sleek, suggestive, and elegantly subversive. A delightful read full of gratifying anecdotes and provocative cameos of movie people and the glitterati -- Colette, Anita Loos, Gloria Vanderbilt and, of course, Truman Capote and his swans -- the book’s greatest strength lies in Wasson’s multi-stranded account of how a movie gets made. He divides the narrative into thematic ribbons -- costume, music, production, direction, the action both on set and off -- all colorfully woven around the book’s maypole: Audrey Hepburn. Wearing a sublime black number designed by Hubert de Givenchy in the opening scene of the iconic film, Hepburn as Holly Golightly cinematically introduces 1960s women to a new way of seeing and being seen. The black dress is, writes Wasson, “the choice of someone who needs not to attract. Someone self-sufficient. Someone more distant, less knowable, and ultimately, mysterious. Powerful.” Leaving the pastels of the Doris Day set behind, Audrey Hepburn embodies the color black and its “charged intimations of power, sexual knowing and reversals of traditional passivity.” She creates a new kind of bombshell -- a woman who radically refuses to be defined by male desire, who values her independence above all, and represents a multilayered woman who isn’t punished for her sexual precocity.Read the rest of my review at Bookslut http://www.bookslut.com/the_bombshell...

Gerry

March 20, 2016

When Truman Capote sold the film rights of his novella 'Breakfast at Tiffany's' to Paramount Studios he did not realise what drama was to follow. For a start Capote wanted Marilyn Monroe to play the film's heroine Holly Golightly, who was a young woman working in New York City as an expensive escort and who was searching for a rich, older man to marry. But Monroe's drama coach Lee Strasberg advised her that playing 'a prostitute' would be bad for her image and she turned the part down. The studio had by then engaged George Axelrod to 'tailor the screenplay for Monroe' but this was then not going to happen so the search was on for a replacement leading lady.There was talk of such actresses as Shirley Maclaine, Rosemary Clooney, Jane Fonda, Doris Day, Elizabeth Taylor, Sandra Dee and Debbie Reynolds but Maclaine had already signed a deal for a picture with MGM and the others were deemed not right for the part. Eventually the studio decided that they would go for Audrey Hepburn, even though she initially thought that she could not play the part. Capote's view of the affair was 'Marilyn was always my first choice to play the girl, Holly Golightly. Paramount double-crossed me in every way and cast Audrey.' But what a good decision it turned out to be for Audrey, belying her initial worries, was nominated for, but did not win, the best actress award at the subsequent Oscar ceremony. Cast opposite Audrey was George Peppard who director Blake Edwards, himself a late choice after others had either been not interested or were contracted elsewhere, initially liked working with and of whom he thought highly but as the film progressed his liking for the actor dissipated somewhat. But such petty squabbles and in-fighting that went on, and there were plenty of them, did not hinder the film and it was eventually nominated for, but did not win, the best adapted screenplay, although many changes had been made to the original novella, particularly in the area of the sexual content.What the film did win was Oscars for the best score of a dramatic or comedy picture and for the best original song. The winners in these categories respectively were Henry Mancini and Henry Mancini and Johnny Mercer for the song 'Moon River'. Ironically some of the production team wanted the song cut from the final movie but fortunately common sense prevailed. Mancini was thrilled to be chosen to write the score and when he wrote the music for 'Moon River' there was only one lyricist that he wanted and that was Johnny Mercer. And the collaboration worked excellently although at one time the song could have been called 'Blue River' - would it have made the same impact I wonder with that title?Sam Wasson does an excellent job in bringing together all the strands of the story, beginning with plenty of background on Truman Capote's life followed by details of Audrey Hepburn's career to the point of being chosen for the role and of her romantic involvements, which saw her lose her first love to the pressure of the movie industry and then marry Mel Ferrer, who it seems was intensely jealous of her later success.He relates interesting tit-bits about Mickey Rooney in his role as the Japanese gentleman I. Y. Yunioshi, about Buddy Ebsen as Holly's father, Doc Golightly and of the Mancini/Mercer collaboration. And he points out that, although Edith Head was acknowledged as the major domo of the costumes, it was actually Hubert de Givenchy who was directly responsible for Audrey's wardrobe and particularly for that Little black dress, which in the beginning of the film is cited as one of the most iconic items of clothing in the history of the 20th century and is, arguably, the most famous little black dress of all time.And after it was all pulled together, 'in the can' and previewed, the reviews were enthusiastic with the New York Times stating, 'wholly captivating', Variety writing, 'surprisingly moving' and Brendan Gill in the New Yorker saying, 'Breakfast at Tiffany's is one of those odd works that if it were any better would be a lot worse [?] ... Millions of people are going to be enchanted with this picture.' He was not wrong in his latter view as 'Breakfast at Tiffany's' holds its allure to this day and Wasson's book is the sort of read that will entrench such thoughts in the minds of readers.I must watch the film again. I will certainly see it in a different light, armed with all the interesting and entertaining background.

Nora|KnyguDama

August 28, 2016

SAM WASSON "PENKTASIS AVENIU: PENKTĄ VALANDĄ RYTO"O, Audrey Hepburn... ji mano ikona, idealas, dievaitė jau bala žino kiek laiko. Be paveikslų, atvirukų, suvenyrų susijusių su Audrey, mano namų lentynos pilno ir knygų apie ją. 3 biografijos, 2 albumai, patarimų apie Audrey stilių knygos... Visko ko tik įmanoma su Audrey aš turiu. Ir šią knygą įsigijau kai tik ji pasirodė knygynų lentynose. Bet jos skaityti iš karto nepuoliau. Mat viską ką apie Hepburn turėjau - perskaityta. "Aveniu" taupiau kaip dietininkė desertą - tai ypatingąjai progai. Ir štai ta diena atėjo - pačios rankos tiesėsi prie šios knygos. Na, ir pasidaviau pagundai - kibau ir suvalgiau kone per dieną.Filmą "Pusryčiai pas Tifani", kaip ir visus kitus Audey filmus mačiau šimtus kartų. Tai filmai, kuriuos žiūriu su didžiausiu pasimėgavimu. Jie yra išskirtiniai, ir daugaiusia dėl pačios Hepburn asmenybės, kurią ji taip puikiai perteikia visuose savo vaidmenyse. Kaip vienas jos kolegų yra pasakęs: "Yra žmonės, ir yra Audrey Hepburn." Būtent tokia ji ir buvo - vienintelė ir nepakartojama. Esu tikra, niekada žemėje negims jokia moteris prilygstanti Audrey elegancija, grožiu, švelnumu, natūralumu ir be abejo talentu.Šią knygą skaičiau su begaliniu pasitenkinimu. Atrodė ir filmą mintinai moku ir apie Hepburn žinau viską. Pasirodo ne. Knyga pasakoja tiek įdomių smulkmenų, kad net pieštuku ją subraukiau. Pradedant Audrey karjera, o baigiant filmo kūrimo paskalom, kurios priverčia dar kartą žiūrėti filmą, tik kitomis akimis. Ar žinojot, kad Audrey nieko taip nesikratė kaip šio vaidmens? Jog jos filmo partneris George Peppard buvo pati arogantiškiausia asmenybė? Kad vyko Katino atranka, kurioje sudalyvavo begalė katinų? "Pusryčiai pas Tifani", 1961 metais pasauliui pristatė kitokį moters idealą. Tamsiaplaukę, trumpaplaukę, liekną it smilgelė, be jokių taip prastų Holivudui smilių formų. Ne kvailutę blondinę, pasiryžusią savo skaistybę saugoti iki vedybų, o amerikietiškąją geišą, kuri pragyvendavo iš savęs pačios. Tyrumo įsikūnijimui Audrey Hepburn, šis vaidmuo buvo va bank. Pamynusi nusistovėjusį savo personažą, mano ikona sutiko su šiuo vaidmeniu. Ir anot jos: "Tai buvo ir geriausia ir sudėtingiausia ką kada nors esu dariusi". Už tai, šiandien visas pasaulis jai lenkiasi.Skaitydama šią knygą praplėčiau savo nemenką bagažą žinių apie Hepburn. Tikrai buvo stebinančių faktų! Negana to, knyga ir išleista be galo gražiai - elegantiškai. Kas yra tikrai svarbu, kai kalbama apie tokią asmenybę. Man labai gaila, kad apie tiek daug pasiekusią moterį, tokią ištikimą sau, menui ir gėriui moterį yra tiek mažai knygų lietuvių kalba. Juk Audrey buvo Holivudo perversmas! Mano lentynoje 99% knygų apie Hepburn yra anglų kalba, siunčiuosi jas. Nesuprantu kodėl apie Coco Chanel, kasmet yra išleidžiamos bent trys knygos (su ta pačia informacija!!!), o kitos pasaulio ikonos paliekamos užnugaryje. Aš jokiu būdu nenuvertinu CC talento ir asmenybės, tačiau užteks piršti tą patį per tą patį. Kaskart džiaugiuosi atradusi kitokių knygų. O jei jos apie Audrey Hepburn - jūs mane papirkot, gerąja to žodžio prasme.

Kasa

August 19, 2010

Delicious mix of fact and dish.

Maria

January 22, 2022

A strange mix of gossip and an analysis of a particular social strata allows a glimpse into the lives of the “influencers” of the romantic comedy and the changes within the genre at the time.

Offbalance

November 17, 2017

Oh, what joy can be found in minutiae! While I'm not sure that the author accomplished all that he set out to find in this work (which reads like a spunky term paper) at least in terms of pointing Hepburn's performance of Holly Golightly as causing the dawn of the "modern woman" (whatever that means), but this is a fun collection of anecdotes of what led to the making of the film version of Breakfast at Tiffany's. Behind-the-scenes of film stories are a particular favorite of mine, and while Wasson took a few liberties in the method storytelling, at the end of the book, he was able to show the fact base for all of these ideas, which I appreciated. It made for a lively read that I actually found myself wishing to be a bit longer. This book is a must for any serious fans of the film.

Jenny

February 20, 2013

I generally am not a fan of Capote, I didn't care for the movie (except for the dress), but reading this book has made me want to both read, and watch; this time from a different perspective. The author gives a detailed account of the details behind, and the making of Breakfast At Tiffany's as well as the impact it had on the women of the early '60s. An easy, fun read. I enjoyed it on my Kindle.

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Speechify is one of the best apps for audiobooks. The pricing structure is the most competitive in the market and the app is easy to use. It features the best sellers and award winning authors. Listen to your favorite books or discover new ones and listen to real voice actors read to you. Getting started is easy, the first book is free.

Research showcasing the brain health benefits of reading on a regular basis is wide-ranging and undeniable. However, research comparing the benefits of reading vs listening is much more sparse. According to professor of psychology and author Dr. Kristen Willeumier, though, there is good reason to believe that the reading experience provided by audiobooks offers many of the same brain benefits as reading a physical book.

Audiobooks are recordings of books that are read aloud by a professional voice actor. The recordings are typically available for purchase and download in digital formats such as MP3, WMA, or AAC. They can also be streamed from online services like Speechify, Audible, AppleBooks, or Spotify.
You simply download the app onto your smart phone, create your account, and in Speechify, you can choose your first book, from our vast library of best-sellers and classics, to read for free.

Audiobooks, like real books can add up over time. Here’s where you can listen to audiobooks for free. Speechify let’s you read your first best seller for free. Apart from that, we have a vast selection of free audiobooks that you can enjoy. Get the same rich experience no matter if the book was free or not.

It depends. Yes, there are free audiobooks and paid audiobooks. Speechify offers a blend of both!

It varies. The easiest way depends on a few things. The app and service you use, which device, and platform. Speechify is the easiest way to listen to audiobooks. Downloading the app is quick. It is not a large app and does not eat up space on your iPhone or Android device.
Listening to audiobooks on your smart phone, with Speechify, is the easiest way to listen to audiobooks.

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