Ted Kramer's wife leaves her husband, 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>
Included among the American Film Institute's 1998 list of the 400 movies nominated for the Top 100 Greatest American Movies. See more »
Prior to Hoke driving Miss Daisy to Alabama the street scene shows very clearly directional arrows painted in the street. These weren't in use until at least the 1970s. See more »
You should have let me keep my old LaSalle. It never would've behaved this way and you know it.
Mama, cars don't behave. They are behaved upon. Fact is, you demolished that Chrysler all by yourself.
Say what you want, I know the truth.
The truth is, you just cost the insurance company $2,700. You're a terrible risk. Nobody's gonna want to issue you a policy after this.
You're just saying that to be hateful!
OK. I am. I'm makin' it all up. Look out there in the driveway! Every insurance company ...
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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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