Ted Kramer's wife leaves him, allowing for a lost bond to be rediscovered between Ted and his son, Billy. But a heated custody battle ensues over the divorced couple's son, deepening the wounds left by the separation.
An elderly Jewish widow living in Atlanta can no longer drive. Her son insists she allow him to hire a driver, which in the 1950s meant a black man. She resists any change in her life but, Hoke, the driver is hired by her son. She refuses to allow him to drive her anywhere at first, but Hoke slowly wins her over with his native good graces. The movie is directly taken from a stage play and does show it. It covers over twenty years of the pair's life together as they slowly build a relationship that transcends their differences.Written by
John Vogel <email@example.com>
In the scene where Miss Daisy gives Hoke a writing book as a gift, she mentions to Hoke, that she taught Mayor Hartsfield out of the same book. This is a reference to William Hartsfield (1890-1971) who was a six term mayor of Atlanta from 1937-1961. See more »
The baking soda box on the kitchen counter has the reminder calendar showing, which was printed later than the era of the movie. See more »
[Hoke and Idella are walking to Daisy's house and notice Boolie's car in the driveway]
Now what do you suppose he's doin' here this early in the mornin'?
Dunno... can't be good, I promise you that!
See more »
"Driving Miss Daisy" is so quiet and genteel that it threatens to evaporate right off the screen.
The source material is well written and carries with it a certain poignancy and power, but one suspects that it carried even more power on stage. The impression left by the film is that director Bruce Beresford had trouble filling out the screen.
He does get nice performances from his actors, though, especially Jessica Tandy as the title character, a privileged white woman through whose unique perspective we see the gradual changes wrought by the civil rights movement. Morgan Freeman is her chauffeur, and he does the gentle sage routine that seemed fresh at the time because we hadn't yet realized that that's all he would do for the next twenty years. And Dan Aykroyd takes an uncharacteristic stroll through more dramatic terrain as Miss Daisy's son.
"Driving Miss Daisy" is a pleasant enough movie, but the fact that it won the 1989 Academy Award for Best Picture, more than emphasizing the quality of this particular film, points out the lack of quality of everything else that year.
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