and social climber whose appreciation for men extended only barely past their bank balance and marital potential. It’s no surprise that Holly can never be bothered to call Peppard’s character by his real name, preferring to dub him “Fred,” after her idealized and absent brother, and that even if the film ends with them embracing in the rain, it’s not the chastened, humbled Holly who has been idealized these five decades, but the mercenary, couture-clad Holly of the title sequence, a woman for whom sex is a lure and family an afterthought.
