IMDb > Driving Miss Daisy (1989)
Driving Miss Daisy
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Driving Miss Daisy (1989) More at IMDbPro »

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Driving Miss Daisy -- An old Jewish woman and her African-American chauffeur in the American South have a relationship that grows and improves over the years.

Overview

User Rating:
7.4/10   57,620 votes »
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Director:
Writers (WGA):
Alfred Uhry (screenplay)
Alfred Uhry (play)
Contact:
View company contact information for Driving Miss Daisy on IMDbPro.
Release Date:
26 January 1990 (USA) See more »
Genre:
Tagline:
The comedy that won a Pulitzer Prize See more »
Plot:
An old Jewish woman and her African-American chauffeur in the American South have a relationship that grows and improves over the years. Full summary » | Full synopsis »
Plot Keywords:
Awards:
Won 4 Oscars. Another 24 wins & 14 nominations See more »
User Reviews:

Cast

  (in credits order) (verified as complete)

Directed by
Bruce Beresford 
 
Writing credits
(WGA)
Alfred Uhry (screenplay)

Alfred Uhry (play)

Produced by
David Brown .... executive producer
Robert Doudell .... associate producer
Jake Eberts .... co-executive producer
Alfred Uhry .... associate producer
Lili Fini Zanuck .... producer
Richard D. Zanuck .... producer
 
Original Music by
Hans Zimmer (music composed by)
 
Cinematography by
Peter James (director of photography)
 
Film Editing by
Mark Warner 
 
Production Design by
Bruno Rubeo 
 
Art Direction by
Victor Kempster 
 
Set Decoration by
Crispian Sallis 
 
Costume Design by
Elizabeth McBride 
 
Makeup Department
Lynn Barber .... assistant makeup
Kevin Haney .... makeup consultant
Philip Ivey .... hair stylist (as Phillip Ivey)
Philip Leto .... hair stylist (as Phil Leto)
Manlio Rocchetti .... makeup supervisor
 
Production Management
Robert Doudell .... unit production manager
Russell Paris .... post-production supervisor
 
Second Unit Director or Assistant Director
Martha M. Elcan .... second assistant director (as Martha Elcan)
Katterli Frauenfelder .... first assistant director
 
Art Department
Benjamin Beresford .... property assistant
Wren Boney .... head set dresser
Gary Buckles .... set dresser (as Gary L. Buckles)
Don E. Cochran .... scenic chargeman
Tom S. Gunter .... scenic billboards
Jeanne M. Hall .... greensperson
Paul Huggins .... construction foreman
Tony Kupersmith .... construction coordinator
Kristen McGary .... lead person (as Kris McGary)
John Oliveira .... set dresser
Vera Smith .... property assistant
Philip Steuer .... property
Karen Young .... set dresser
Bill Zullo .... property assistant (as William Zullo)
Steven Blutstein .... lead man (uncredited)
Steven Blutstein .... set dresser (uncredited)
Jeff Cronin .... draughtsman (uncredited)
Patrick Fuhrman .... set dresser (uncredited)
Phil Hayes .... set dresser (uncredited)
George A. Lee .... painter (uncredited)
Amy McGary .... buyer (uncredited)
Stephanie Ryan .... additional art department assistant (uncredited)
Johnny Thigpen .... scenic artist (uncredited)
 
Sound Department
Sandina Bailo-Lape .... foley editor
Tom Bellfort .... adr editor
Gloria S. Borders .... supervising sound editor
Gloria Cooper .... cableperson
Gloria Cooper .... second boom
Melissa Dietz .... dialogue editor
Clare C. Freeman .... assistant editor (as Clare Freeman)
Hank Garfield .... production mixer
Karen Harding .... assistant editor
Robin Harlan .... foley artist
Tim Holland .... effects editor
Matthew Iadarola .... re-recording mixer
Ronald Jacobs .... dialogue editor
Michael Minkler .... re-recording mixer
Matt Patterson .... recordist (as Matthew Patterson)
Andy Rovins .... boom operator
David Slusser .... foley recordist
Kim Cascone .... assistant foley recordist (uncredited)
 
Special Effects by
B.J. Shelley .... special effects assistant
Bob Shelley .... special effects coordinator
 
Visual Effects by
Tim Donahue .... visual effects art director: Introvision (uncredited)
Richard Kilroy .... matte painter: Introvision (uncredited)
Richard Kilroy .... model builder (uncredited)
John P. Mesa .... visual effects cameraman (uncredited)
William Mesa .... visual effects supervisor (uncredited)
Rick Rische .... matte painter: Introvision (uncredited)
 
Stunts
Dan Mabry .... stunt double (as Danny Mabry)
Mags Kavanaugh .... stunt double (uncredited)
Gene Witham .... stunt driver (uncredited)
 
Camera and Electrical Department
Jeff Becker .... best boy
Sam Emerson .... still photographer (as Sam Young Emerson)
Michael Fedack .... dolly grip (as Michael John Fedack)
David J. Frederick .... first assistant camera (as David John Frederick)
Robert Kempf .... key grip
David Meistrich .... second assistant camera
Greg Morse .... playback operator
Erich Roland .... camera operator
Keith Sherer .... gaffer
David Sinrich .... best boy / grip
David Reeder .... first assistant camera: second unit (uncredited)
 
Casting Department
Elyn Wright .... casting: Atlanta (as Elyn S. Wright)
Diane Alexander .... casting assistant (uncredited)
 
Costume and Wardrobe Department
Kris Kearney .... costumer (as Kristine Kearney)
Susan Mickey .... costumer (as Susan E. Mickey)
Marsha Perloff .... wardrobe supervisor
 
Editorial Department
Donald Likovich .... assistant film editor
Jeremiah O'Driscoll .... apprentice film editor
Bob Putynkowski .... color timer
Steven Ramirez .... first assistant film editor
Tom Shaffer .... color timer
 
Music Department
Barry Levine .... music supervisor
Laura Perlman .... music editor
Jay Rifkin .... music scoring mixer
 
Transportation Department
Cindy Parker .... transportation captain
J.L. Parker .... transportation coordinator
Ronald F. Debranski II .... driver (uncredited)
 
Other crew
Royce D. Applegate .... additional voice (as Royce Applegate)
Bowen Astrop .... production assistant
Robert Ballentine .... assistant location manager
Ronni Chasen .... public relations
June Christopher .... additional voice
Andrew M. Comins .... location manager
Leigh French .... additional voice
Nanette Guidebeck .... assistant production coordinator
Archie Hahn .... additional voice
Annette Haywood-Carter .... script supervisor
Colleen Hess .... stand-in
Bob Hoffman .... unit publicist (as Robert Hoffman)
B.J. Hughes .... stand-in
Jim LaClair .... production assistant (as James LaClair)
Eugene Lee .... additional voice
Robert E. Lee .... production accountant
Lois Middlebrooks .... stand-in
Charlene Murray .... production secretary (as Charlene Murray/Rose)
Stoke T. Renigade Patterson .... production assistant (as Stroke T. Renigade)
Letha Perkins .... stand-in
Felton Perry .... additional voice
Wendy Price .... production accountant (as Wendy M. Price)
Patricia Sammons .... craft service (as Tricia Sammons)
Judith Schefke .... assistant to the producers
Katherine Shaw .... researcher
Ruth Silveira .... additional voice
Michael C. Smith .... police coordinator (as Mike Smith)
Gregory Snegoff .... additional voice
Eric P. Steckler .... production accountant
Lynne Marie Stewart .... additional voice (as Lynne Stewart)
Sean Swint .... production assistant
Arnold F. Turner .... additional voice (as Arnold Turner)
Leon Watkins .... stand-in
Jonathan Watson .... production assistant
Teresa M. Yarbrough .... production coordinator
Frans J. Afman .... financial services (uncredited)
Larry Gilbert .... police security (uncredited)
Tim Haslam .... Majestic Films sales executive (uncredited)
 
Thanks
Irving Vendig .... our gratitude to: creator-writer, "The Edge of Night"
 
Crew verified as complete


Production CompaniesDistributorsSpecial EffectsOther Companies

Additional Details

Also Known As:
Runtime:
99 min
Country:
Language:
Color:
Color (Technicolor)
Aspect Ratio:
1.85 : 1 See more »
Sound Mix:
Dolby | Dolby Digital (DVD version)
Certification:
Argentina:Atp | Brazil:Livre | Canada:PG (Canadian Home Video rating) | Canada:G (Manitoba/Nova Scotia/Quebec) | Canada:F (Ontario) | Chile:14 | Finland:S | Germany:6 | Iceland:L | Peru:PT | Portugal:M/12 (Qualidade) | Singapore:PG | South Korea:All | South Korea:12 (DVD rating) | Sweden:Btl | UK:U | USA:PG (#29912) | West Germany:6

Did You Know?

Trivia:
One of only 4 films to win an Academy Award for Best Picture without also being nominated for Best Director. The others are Wings (1927), Grand Hotel (1932/I) and Argo (2012).See more »
Goofs:
Continuity: Hoke drives past the same house with the same truck in front of it twice in in fifteen seconds when going home from the temple.See more »
Quotes:
Daisy Werthan:[Hoke and Daisy are driving to Boolie and Florene's for a Christmas party. Daisy, a Jew, is annoyed at the extraneous Christmas light displays] Everybody's wishing the Georgia Power Company a Merry Christmas.
Hoke Colburn:I bet Miss Florene got 'em all beat with the new house.
Daisy Werthan:If I had a nose like Florene's, I wouldn't go around wishing anybody a Merry Christmas!
Hoke Colburn:[laughs] Yes'm... but, I tell ya, I do enjoy a Christmas at their house.
Daisy Werthan:Of course, you're the only Christian in the place!
Hoke Colburn:Well, they got that new cook.
Daisy Werthan:[sighs] Florene never could keep help. Of course, it's none of my affair. Too much running around, if you ask me.
[Hoke agrees]
Daisy Werthan:The Garden Club this, the Junior League that... as if any of them would give her the time of day! But, she'd die before she'd fix a glass of iced tea for the Temple Sisterhood! I just hope she doesn't get it into her head to *sing* this year!
Hoke Colburn:[coming up on Boolie's house, looking at the gaudy light display] Oh, Lord, look what Miss Florene done done!
[...]
See more »
Movie Connections:
Soundtrack:
AFTER THE BALLSee more »

FAQ

What movie was Idella watching when she dies of heart attack?
See more »
80 out of 90 people found the following review useful.
A gem, 31 May 2005
Author: Brandt Sponseller from New York City

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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Didn't Hoke end up buying the house? sugasnaxxx
You're a doodle, mama... tannsmom01
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Thank Goodness that era is long gone.... vburden-vb
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