Aurora and Emma are mother and daughter who march to different drummers. Beginning with Emma's marriage, Aurora shows how difficult and loving she can be. The movie covers several years of ... See full summary »
James L. Brooks
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>
Three black men are seen crossing railroad tracks in Atlanta. All three of these men are descendants of the real person (Will Coleman) that the "Hoke" character was based upon. See more »
When Hoke is eating while sitting at the kitchen table, there is a bottle of hot sauce on the table. The bottle cap can be seen to have a tamper-proof seal in place. Those weren't used at that time. See more »
[Hoke and Boolie are at the nursing home visiting Daisy. Daisy appears unwilling to speak much]
Hoke, I thought of you the other day on the expressway. I saw an Avondale Milk truck. Monster of a thing, must have had about sixteen wheels.
You don't say!
I was wondering how you'd like drivin' that thing around!
Hoke came to see me, not you!
Look like one o' her good days!
Boolie, go charm the nurses!
She wants you all to herself.
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Morgan Freeman and Jessica Tandy (in Oscar Winning performance) invoke grace and dignity in this sensitive treatment of race relations and old age. Freeman stars as a gentle, wise black chauffeur in the service of a spunky Jewish widow, played by Tandy. As the years pass, their relationship evolves into a remarkable friendship despite their different backgrounds.
The film is skillfully adapted from the award-winning play, unfolding against the backdrop of civil rights changes in the South. Somewhat simplistic to be considered a strong statement about race relations, the Best Picture/Best Screenpaly Oscar Winner makes a heartwarming effort to give witness to dignified aging.
Freeman was never better, and the chemistry between the two leads is simply beautiful to watch. This is a very special cinema experience.
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