It's been 45 years since Breakfast at Tiffany's hit theaters and Audrey Hepburn made her indelible impression as beautiful, vulnerable, flighty Holly Golightly—a woman who could teach Carrie Bradshaw and her pals a thing or two about Sex and the City. Forty-five is not exactly an anniversary on par with 50, but perhaps aware of time passing and the dwindling number of people alive who were involved in making the film (Hepburn, costar George Peppard, and Oscar-winning composer Henry Mancini, for example, are all gone), Paramount Home Video has chosen this as the time to release a special-edition DVD with all-new extras. It's at least the third DVD edition out since the introduction of the format, meaning many people who already own the movie now have to decide whether they need to go to the extra expense of purchasing a new copy. They may want to save their money: the new bonus features are certainly pleasant enough, but overall, they are very thin.

For those who have somehow managed to miss one of Hepburn's most luminous turns in the spotlight, her Holly is a gal-about-town who expects to eventually marry a millionaire and whom men generously tip $50 each time she goes to the powder room. In other words, she is a hooker, though this 1961 adaptation of Truman Capote's novella was not going to be vulgar enough to say so out loud. She lives in a sparsely furnished apartment on Manhattan's East Side with an orange-striped alley cat she declines to name, and she perpetually loses her key, to the consternation of her upstairs neighbor, Mr. Yunioshi (Mickey Rooney playing an offensive Japanese stereotype, the movie's one jaw-dropping blunder), who continually has to buzz her into the building.

When handsome Paul Varjak (Peppard) moves into the apartment directly above her, they could be two peas in a pod. Ostensibly, he is a writer—he has published a book of short stories—but in reality he is a kept man, the boy-toy of wealthy Mrs. Failenson (Patricia Neal), whom he playfully calls "2-E." He and Holly have a lot in common even before he begins to sense the real young woman hiding beneath her bright surface. Expeditions to Tiffany's, the library, and the five-and-dime both seal and undermine a friendship that has the potential to bloom into something more. He delights in their growing closeness, but for the former Lula Mae Barnes of Tulip, Texas, who has already jettisoned one husband, Doc (Buddy Ebsen), and a gaggle of stepchildren, that kind of intimacy is something to run away from. Rich men can offer her financial security. What can Paul offer her but the power to break her heart?

Rooney is a big problem whenever he is on screen, and Peppard is frankly weak in the leading-man department. One wonders how much the movie might have sizzled if someone genuinely sexy had had the opportunity to star opposite Hepburn. But she is so good, the New York settings are so inviting, the final scene is so moving, and Mancini's score and the "Moon River" theme song are so haunting that they manage to overcome those weaknesses. As movie romances go, there are few finer than Breakfast at Tiffany's, and after 45 years, it's lost none of its glow.

For this edition, Paramount includes an audio commentary by producer Richard Shepherd and four brand-new featurettes. Shepherd's commentary is sweetly nostalgic, but there's not enough of it—he is one of those commentators who simply stops talking for long stretches of time. It may be that what he says is all he has to say, and that's fine, but in that case, Paramount needed to put in a little extra effort and find another commentator. If director Blake Edwards wasn't interested, perhaps a critic or film historian who could put the movie into context was the way to go.

Of the four featurettes, two directly have to do with the Tiffany's jewelry store. Nice for fans of the place, but hardly necessary. One is a short history of the store from its 1837 inception up until today; the other is about a letter Hepburn wrote for a book commemorating the store's 150th anniversary in 1987. A third featurette, "It's So Audrey: A Style Icon," is all about the actress's legendary fashion sense and her long relationship with designer Hubert de Givenchy (an association that began when she was looking for clothes for the film Sabrina and which almost did not get off the ground when the designer, thinking he had an appointment with Katharine Hepburn, nearly blew off the then barely known actress). It's a pleasant enough feature, but rather flimsy.

The fourth featurette, "The Making of a Classic," is by far the best, although, again, it's very superficial. In this extra, Shepherd, Edwards, Hepburn's companion (Robert Wolders), her son (Sean Ferrer), casting director Marvin Paige, and several extras from the movie's party sequence are on hand to talk about the making of the movie and its place in the Hepburn oeuvre. It's short—not even 20 minutes long—but the glimpse it offers into the life of the actress and into the making of the movie is fascinating. It's just too bad there isn't more of itthat could have made this anniversary edition something truly special.