Audrey Hepburn remains one of the most beloved icons in Hollywood history, remembered for her grace, charm, and unforgettable performances. Among her many memorable roles, Holly Golightly in Breakfast at Tiffany’s (1961) stands out as one of her most iconic. With her little black dress, pearls, and effortless elegance, Audrey Hepburn cemented herself as the epitome of chic and sophistication in this role.
However, what many people don’t know is that Audrey Hepburn almost never played Holly Golightly. The beloved character, written by Truman Capote in his novella Breakfast at Tiffany’s, was nearly portrayed by someone else.
Before Audrey Hepburn was cast, the studio and those involved in the production considered several other actresses for Holly Golightly, including Marilyn Monroe, Natalie Wood, Shirley MacLaine, and Kim Novak. Each of these actresses brought a very different energy to the table, and the debate over who would best embody Truman Capote’s iconic character created casting drama that nearly left Audrey Hepburn out of the running.
The Origins of Holly Golightly: A Role Unlike Any Other
Before delving into Audrey Hepburn’s near-miss with the role, it’s important to understand the origins of Holly Golightly. Truman Capote’s Breakfast at Tiffany’s was published in 1958, and Holly was unlike any female character readers had encountered before. She was a young, free-spirited woman living in New York City, charming her way through life with a mix of wit, beauty, and mystery.
Truman described Holly as a “real phony”—someone who pretended to be worldly and sophisticated but was ultimately searching for love and belonging. She was glamorous yet vulnerable, carefree yet desperate to escape her past. The novella quickly became a sensation, and Hollywood saw its potential as a film.
However, Holly’s morally ambiguous nature—she was essentially an escort who relied on the generosity of men—posed a challenge for filmmakers. In the conservative 1960s, studios needed a leading lady who could bring Holly’s charm and complexity to the screen without alienating audiences.
Truman himself had strong opinions about who should play the role, and his vision for Holly didn’t align with the studio’s plans.
Truman Capote’s First Choice: Marilyn Monroe
When it came to casting Holly Golightly, Truman had one actress in mind: Marilyn Monroe. He believed Marilyn perfectly embodied Holly’s mix of innocence and sensuality. In Truman Capote’s eyes, Marilyn’s ability to balance vulnerability with charm made her the ideal choice.
At the time, Marilyn Monroe was at the height of her fame, known for films like Some Like It Hot and Gentlemen Prefer Blondes. She had proven herself as a talented actress who could bring depth to her roles, and Truman felt she had the charisma to capture Holly’s magnetic personality.
However, Marilyn’s involvement never materialized. Her acting coach and confidante, Paula Strasberg, advised her against taking the role, reportedly telling Marilyn that playing a “lady of the night” could harm her image. Marilyn ultimately turned it down, leaving the door open for other actresses to be considered.
Truman Capote was devastated. He famously declared, “Marilyn was my Holly Golightly. Audrey is an old friend, but she isn’t right for that part.” His disappointment would linger, even as Audrey Hepburn went on to redefine the role.
The Studio’s Search: Natalie Wood, Shirley MacLaine, and Kim Novak
With Marilyn Monroe out of the picture, Paramount Pictures began considering other actresses for the role, and Audrey Hepburn wasn’t at the top of their list.
Natalie Wood
Natalie Wood, a rising star in Hollywood at the time, was one of the studio’s early choices for Holly Golightly. Known for her roles in Rebel Without a Cause (1955) and Splendor in the Grass (1961), Natalie Wood had a youthful charm and acting chops that made her a viable contender. However, Natalie’s image leaned more toward the girl-next-door archetype, and the studio ultimately felt she lacked the sophistication needed to portray Holly’s glamorously complicated nature.
Shirley MacLaine
Another actress considered for the role was Shirley MacLaine, known for her quirky charm and comedic timing. Shirley’s bubbly yet grounded personality might have brought a different energy to Holly Golightly, but she reportedly turned down the role to pursue other projects.
Kim Novak
Kim Novak, who had just captivated audiences in Alfred Hitchcock’s Vertigo (1958), was another strong candidate. She had the sultry sophistication and enigmatic allure that aligned with Capote’s vision of Holly. However, Kim Novak’s association with dramatic, sensual roles may have worked against her, as the studio wanted someone who could balance Holly’s glamour with a lighter, more whimsical touch.
Audrey Hepburn: A Surprising Contender
By the time Audrey Hepburn entered the conversation, she was already a major star, thanks to her performances in Roman Holiday (1953), Sabrina (1954), and Funny Face (1957). But Audrey Hepburn’s casting came as a surprise to many.
Holly Golightly was a morally ambiguous, unconventional character, and Audrey was known for playing refined, wholesome roles. She wasn’t the obvious choice for a brash, free-spirited New York socialite. Even Audrey herself had doubts about taking on the role.
Audrey’s Hesitation
Audrey Hepburn later admitted that she initially felt she wasn’t right for the part.
I had never read anything like it before. I liked it, but I was terribly afraid I was wrong for the part.
Audrey Hepburn
Audrey was concerned that audiences wouldn’t accept her as Holly Golightly, and she feared she wouldn’t be able to capture the character’s complexity.
The Role Gets Rewritten for Audrey Hepburn
One of the reasons Audrey ultimately agreed to take the role was the way Holly Golightly was adapted for the screen. To make the character more acceptable for 1960s audiences—and to align with Audrey’s image—screenwriter George Axelrod and director Blake Edwards softened some of Holly’s rough edges.
In Truman Capote’s novella, Holly is explicitly portrayed as a call girl who relies on wealthy men to support her lavish lifestyle. The film, however, downplayed this aspect of her character, portraying Holly as more of a quirky, high-society socialite. This sanitized version of Holly allowed Audrey Hepburn to take on the role without compromising her reputation as a virtuous leading lady.
Truman Capote’s Disappointment
Despite the studio’s confidence in Audrey Hepburn, Truman Capote remained unhappy with the decision. He felt Audrey lacked the sensuality and natural flamboyance that defined Holly in the novella.
Truman’s dissatisfaction with Audrey’s casting lingered long after the film’s release. However, audiences and critics disagreed with him. Audrey Hepburn’s performance was universally praised, and Breakfast at Tiffany’s became a massive success.
Audrey Hepburn Redefines Holly Golightly
Once the cameras started rolling, any doubts about Audrey Hepburn’s ability to play Holly Golightly quickly disappeared. She brought a unique charm and elegance to the role, capturing both Holly’s carefree exterior and her underlying vulnerability.
Audrey’s interpretation of Holly was more sophisticated and restrained than Capote’s original vision, but it resonated deeply with audiences. Her performance gave Holly a timeless allure that continues to captivate viewers today.
A Legacy That Almost Didn’t Happen
Audrey Hepburn’s portrayal of Holly Golightly is now considered one of the most iconic performances in film history. However, it’s fascinating to consider how close the role came to being played by someone else. From Marilyn Monroe’s initial involvement to Natalie Wood, Shirley MacLaine, and Kim Novak being considered, Holly Golightly could have been a very different character in the hands of another actress.
Audrey Hepburn’s journey to becoming Holly is a testament to her versatility, determination, and ability to defy expectations. While she wasn’t everyone’s first choice, she made the role her own and redefined what it means to be a leading lady in Hollywood.
