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Driving Miss Daisy (1989)

PG | | Drama | 26 January 1990 (USA)
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An old Jewish woman and her African-American chauffeur in the American South have a relationship that grows and improves over the years.

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(screenplay), (play)
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2,454 ( 1,851)
Won 4 Oscars. Another 17 wins & 21 nominations. See more awards »

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Cast

Cast overview, first billed only:
...
...
...
...
Florine Werthan (as Patti Lupone)
...
...
William Hall Jr. ...
Alvin M. Sugarman ...
Clarice F. Geigerman ...
Muriel Moore ...
Sylvia Kaler ...
Carolyn Gold ...
...
Bob Hannah ...
...
Trooper #1
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Storyline

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 <jlvogel@comcast.net>

Plot Summary | Plot Synopsis

Taglines:

The comedy that won a Pulitzer Prize See more »

Genres:

Drama

Certificate:

PG | See all certifications »

Parents Guide:

 »
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Details

Country:

Language:

|

Release Date:

26 January 1990 (USA)  »

Also Known As:

Miss Daisy und ihr Chauffeur  »

Box Office

Budget:

$7,500,000 (estimated)

Gross:

$106,593,296 (USA)
 »

Company Credits

Show detailed on  »

Technical Specs

Runtime:

Sound Mix:

| (DVD version)

Color:

(Technicolor)

Aspect Ratio:

1.85 : 1
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Did You Know?

Trivia

While Daisy and Hoke are driving to Boolie and Florine's house for a Christmas party, Daisy says of Florine, "I hope she doesn't take in into her head to sing tonight." Patti LuPone, who played Florine, is a multiple Tony- and Grammy- Award-winning Broadway musical star. See more »

Goofs

Just after Hoke comes to Miss Daisy's and is trying to stay busy, he is working outside in her zinnia bed. Miss Daisy bangs on the upstairs window to get him to stop. The window has Plexiglass in it, and doesn't make the sound that single-pane window glass of the period would have if someone banged on it with their knuckles. See more »

Quotes

Hoke Colburn: [Hoke walks in, Boolie and Daisy are there to confront him about a missing can of salmon] Mornin', Miss Daisy. I think it's gettin' ready to clear up out there! Oh, 'scuse me, Mr. Werthan!
Boolie Werthan: Hoke, I think we're gonna have to have a little talk.
Hoke Colburn: All right, sir. Just let me get outta my coat.
[pauses, then turns to Daisy]
Hoke Colburn: Oh, Miss Daisy, yesterday, while you was out visitin', I went and ate a can of your salmon. Now, I know you said eat the left-over pork chops, but they was kinda stiff. So, I ...
[...]
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Connections

Referenced in Ocean's Eleven (2001) See more »

Soundtracks

SONG TO THE MOON
(1901)
(excerpt from the opera "Rusalka")
Composed by Antonín Dvorák
Performed by Gabriela Benacková & the Ceská Filharmonie (as Czech Philharmonic)
Conducted by Václav Neumann (uncredited)
Courtesy of Supraphon Int'l
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Frequently Asked Questions

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User Reviews

 
A gem
31 May 2005 | by (New York City) – See all my reviews

Driving Miss Daisy is an unusual film. Although it's really more of an extended pair of entwined character portraits--spanning a quarter of a century--it has all of the narrative focus and tightness of a more traditionally structured mystery plot.

The character portraits are of Daisy Werthan (Jessica Tandy) and Hoke Colburn (Morgan Freeman). The film is set in suburbs of Atlanta and begins in the late 1940s or early 1950s. Daisy is wealthy, but she wasn't born that way. Her son, Boolie (Dan Aykroyd) runs the successful family business--a large textile factory. At the beginning of the film, we see Miss Daisy, who is already around 60 years old or so, have a driving mishap--she has the car in the wrong gear and runs off of her driveway, almost completely backing over a 10 foot drop to the neighbor's driveway, at about 20 miles an hour. This naturally concerns Boolie, and when Daisy has a problem finding a company that is willing to insure her after the accident, Boolie hires Hoke--also rapidly approaching "elderly"--as her driver, against her protests. She doesn't want a driver. She doesn't want someone else in her house. She doesn't want to be treated as if she's incapable. Driving Miss Daisy is an exploration of Hoke and Daisy's relationship, all the way into the early 1970s.

Alfred Uhry adapted the script from a play he wrote by the same name that was first produced Off-Broadway. Although the play began in a small theater, it had good reviews and good word of mouth, necessitating a move to a larger theater. Uhry eventually won a Pulitzer Prize for his work. He has said that that Driving Miss Daisy was semi-biographical about his grandmother and her driver.

That fact probably helped create the remarkable depth of character shown in the film, although certainly director Bruce Beresford, Freeman, who also starred in the play, and Tandy do more than their share to build a charming, frequently funny and poignant portrayal of two very different humans learning to see eye to eye.

It's significant that Driving Miss Daisy is set in the South and spans the period prior to and slightly after the civil rights movement in the US. And it's significant that Hoke is an African-American while Miss Daisy is Jewish.

Miss Daisy is humorously fussy, prim and proper. Well, to the audience at least--I don't suppose it would be so humorous to have to deal with it. This helps create an initial "formal antagonism" between Daisy and Hoke. Only infinite calm and patience from Hoke earns a gradual softening of Daisy's public displeasure and curmudgeonliness. The unusual structure means that Driving Miss Daisy is more a series of vignettes, each significant to the gradual coming together of Hoke and Daisy, although most incidents are relatively minor in isolation. Uhry makes the film a collection of those small but memorable, important and frequently amusing (at least in retrospect) moments that make up a lifetime of telling memories in any familial relationship--and Hoke does become family. Eventually, Hoke and Daisy form a bond that is perhaps stronger than Daisy's bond with her own son.

As for the significance of Hoke and Daisy's ethnic orientations, Miss Daisy makes a vocal point of not being racist or otherwise discriminatory. She also likes to focus on her humble beginnings--a few incidents near the beginning of her relationship with Hoke hinge on her being embarrassed at her wealth. And of course, as a Jew in the South, she is well aware of discrimination and disadvantage, having experienced it first hand.

One of the more touching scenes of the film features Hoke and Daisy driving to Alabama to attend her brother's 90th birthday party. It's Hoke's first time outside of Georgia. They've parked temporarily on the side of the road. Two white Alabama policemen see Hoke and pull over. They want to know what Hoke is doing with a nice, new Cadillac. When they discover that Daisy is Jewish, they are disparaging through implicature, and they make a literally discriminatory remark to each other when Hoke and Daisy drive off. Although these kinds of events are much more major than say, apparently stealing a can of salmon, Uhry and Beresford tie them together wonderfully so that they all have about the same significance.

Related to these themes, the film is also charming and moving for juxtaposing a kind of personal consistency throughout time with a rapidly changing society. That's why the profound social changes happening "just next door", so to speak, are largely kept in the background.

Technically, Driving Miss Daisy is a gem. It's full of subtly complex and aesthetically pleasing cinematography, well blocked scenes and a fabulous and deservedly famous score from Hans Zimmer. But the story and performances are so good that it's almost difficult to notice the technical stuff.

Unless you are completely averse to anything even slightly in the realm of realist drama/light comedy, Driving Miss Daisy is a must-see. It's sentimental but not syrupy and touching but not overly serious--you'll laugh just as often as anything else. Don't miss this one if you haven't yet seen it.


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