“You call yourself a free spirit, a “wild thing,” and you’re terrified somebody’s gonna stick you in a cage. Well baby, you’re already in that cage. You built it yourself. And it’s not bounded in the west by Tulip, Texas, or in the east by Somali-land. It’s wherever you go. Because no matter where you run, you just end up running into yourself.”
You know the situation, we’ve all been there.
You’ve just been let out of the police station on suspicion of passing messages from a convicted mobster in jail, but rather than staying safely put you decide to take a flight to Rio with the ticket your Brazilian not-quite-fiance gave you, even though your not-quite-fiance has just broken it off, owing to the aforementioned crime. Hmmm.
Not really the most universal of experiences is it?
This is one of the climactic scenes of the classic film version of Truman Copote’s ‘Breakfast at Tiffany’s.’ A film, that for me, has always been overshadowed by the undeniably iconic performance Audrey Hepburn gives as Holly Golightly. When I recently decided to watch the film for the first time, pretty much on a whim, I was expecting an experience of style over substance, really just interested in ticking the film off my list. I was pleasantly surprised therefore when I was struck by the timeliness of the film and the thoughtful questions it poses about how we view our lives and relationships.
If you don’t know the film, a brief summary of the plot is as follows. Holly Golightly is a good time girl living in New York, ‘a phony’ perhaps but a good one. She parties the week away in her sparsely furnished flat, with an adopted stray cat named ‘cat’ (because why should she name a cat that she doesn’t own?) The plot revolves around her pursuit of rich suitors, with the aim of being able to provide for her younger brother Fred who is about to get out the army. It is also about her life intersecting with her neighbour, writer, kept man and possible gigolo, Paul Varjak.
What struck me most when watching the film is just how modern the story seemed. When I say modern, I mean how relevant the questions it poses are. While we may not have the glamour and charm of Audrey Hepburn, we all face questions about the future. We all have to think about how we view ourselves and our relationships. Holly is confronted with her fear of being caged, changed against her will, by entering into a loving relationship. She is held back by her fear in a way that so many in my generation seem to be all the time, myself included.
We look to the future and see bright possibilities, if not rich suitors then new jobs and relationships we might gain. We feel that our lives have not really started, extending adolescence well into our thirties, always looking for that opportunity that will make us suddenly truly ‘grown up.’ We complain about the mundanities of ‘adulting,’ seeking to be wild and crazy to avoid responsibility, while also having a desire for stability and a longing for ‘normality’ in one form or another. We fear making the wrong decision, anticipating future regrets before we’ve even done anything.
Like Holly, we are presented with a dizzying array of entertainments and distractions, an endless stream of possibilities for our future. Like moths fluttering between flames, we are drawn hither and thither by the different future lives and future selves we might have or become.
In my case, I know that I am torn between desires for my future. Desires for relationships, for home, for dreamed of careers and wealth, and for stability. I often find myself thinking thoughts along the line of ‘when will my life begin?’ The decision about where to live has taken up a lot of my thinking, as I know that my instinct is often to move on, looking for new places and experiences. This desire is tempered by another thought along the lines of ‘staying is good.’ I worry about making the wrong decision and fear the consequences in a way that is honestly irrational.
Holly Golightly seems to have a similar struggle at the heart of her character; stay or keep running. Commit or flit away. In her case, it takes a decisive intervention for her to see that staying put might be the best decision, for her to see that she can stay and still be the joyful, fun-loving person she has been for the whole film. In her case, she also sees that a loving relationship doesn’t have to be a cage. That she can be free and honest with another in a way she never could be with her rich suitors. A danger of always moving on to the next thing is that our relationships become increasingly shallow.
All these swirling ideas, dreams and goals that we experience all the time can become, like they did for Holly, a cage we build for ourselves. We can end up tripping up as we stumble from one thing to the next. We nave no roots or even fear becoming too attached to where we are. While holding out bright hopes for our futures we are actually overcome with fear of failing. Of making the wrong choice.
Like Holly, I am glad to have people around me (though not currently any writer/gigolos) who tell it like it is. Who see me and my dreams, encouraging and cautioning me. Pushing me to stay, pushing me to go, reminding me of the bigger picture. That is what Holly needed and it’s what we all need.
We are a generation brought up to believe we can do anything, be anybody, see everything. Yet we are also a generation with unprecedented levels of anxiety for ourselves and for the future. We need people in our lives who can put this self-belief and this fear into perspective, helping us to live lives free from fear.
We need to remember that making ‘sensible decisions’ can be joyful and freeing, just as making crazy choices can be liberating and exhilarating. We should make sure that we have people around us who can wisely push in either direction.