Driving Miss Daisy

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.

Although not being an American we here in Europe also know about racism and the crises between black and white people in the US and maybe especially in the southern part of the country. However I found this film immencely beautiful showing the growing affection between two people (Morgan Freeman and Jessica Tandy) coming from such different cultures.

It was so great to watch that it truly is possible for two so different people to bond in such a strong and loving/respectful way as we witness in this film.

Of course it's a true Hollywood-type of film but anyhow it really got my personal respect and the way the story developed was also quite remarkable. From the beginning where Jessica Tandy will not accept a black driver till years and years after where they really become close to one another although still knowing their particular place in the household.

It is a beautiful film in that way that it really shows us that it is possible that we all, if we make an effort, can learn to live side by side without hatred. And then the then old (now no longer among us) Jessica Tandy plays her role of her lifetime with such a dignity that only a truly talented actress can do. An actress of the "old school"..

Absolutely worthwhile watching although many people may find it boring (since it's not an action film) but it has a story to tell and that indeed makes it a good film.

After watching this film for the second time I realized just how important the affection that occurs between Hoke and Daisy really is. What grows between these two is something most people only wish to have in their lives. What is so special about it, though?

From the beginning of their relationship, the two are forced to be together. Daisy is forced to have a driver and Hoke is hired on for that position. For both, the relationship is one out of need. Hoke needs a paying job and Daisy needs a driver in her old age (although, she would never admit it to anyone especially herself).

As time goes by, though, Daisy's need of Hoke becomes clearer to herself. She begins to depend on him. This is definitely made clear at the end when Hoke is feeding Daisy her pumpkin pie, and she enjoys each bite fully.

Another aspect of the movie which got to me was the great array of choices the director made with the filming. Hoke is a character of very few words but teaches Daisy so much. Morgan Freeman's acting in this character is amazing. The knowledge he shows within his eyes is one reason I almost felt closer to him than Daisy did throughout the first half of the movie. In a way, he teaches her a new way of life. He does so by showing himself truly and honestly.

Another choice the director made was in the symbolic way the film was made. The beauty of the many seasons is shown through the changes of the landscape. The trees transform from winter to spring and the streets go from sheets of ice to warm asphalt. And the cars get larger and more high tech. Time is so important in Daisy's and Hoke's affection/friendship that this is a great way to show that.

There are so many aspects of this film which I could go on and on about. It is a wonderful film of which any person can get a fulfilling movie watching experience out of. They can also learn a lot from it, too! Watch it.

When Jessica Tandy won her Oscar for Driving Miss Daisy a lot of people forget this was hardly the first southern lady that the British born Tandy played. On Broadway Jessica was the original Blanche Dubois in A Streetcar Named Desire and was the only one of the original cast who didn't make the trip to Hollywood with Vivien Leigh playing Blanche and winning a second Oscar for it. But there is a universe of difference between Blanche Dubois and Daisy Werthing and it ain't just age.

In fact Tandy may play the only role film history where you start at 70 and then age in the part. She's a genteel southern woman, but formidable who happens to be Jewish. One day she has an accident and emerges unhurt, but the car is wrecked and son Dan Aykroyd decides that his mother needs a chauffeur.

An idea not pleasing to Tandy as she's used to doing for herself. Even the presence of Esther Rolle as a cook was upsetting to her, but Rolle toughed it out and became a household fixture. So when Aykroyd hires Morgan Freeman to be a driver, Freeman will have his work cut out for him.

The success of Driving Miss Daisy is really dependent on the chemistry between Tandy and Freeman. You haven't got that and the film would sink. Fortunately they click beautifully together.

Author Alfred Uhry grew up in the Atlanta of the time and Atlanta was relatively a beacon of some light in the cracker and segregated south of the time. Mayor William B. Hartsfield of the period always advertised his city as the one too busy to hate. Given the parameters of the times, Hartsfield moved to gradually end segregation and to improve the services for Atlanta's black population. Hartsfield is mentioned in passing in the film. Remember Tandy's character is Jewish, a people not looked on too fondly either by a lot of the Deep South. But in Atlanta they have some measure of safety.

Uhry's memories yielded him a Pulitzer Prize winning play and an Academy Award Best film. He also got an Oscar for adapting his off Broadway success to the screen. Of course Jessica Tandy became the oldest player to ever receive an acting Oscar. And Driving Miss Daisy also got an Oscar for Best Makeup.

And it was nominated for Best Art&Set Direction, Best Editing, Best Costumes with Oscar nods for Morgan Freeman for Best Actor and Dan Aykroyd for Best Supporting Actor.

For Freeman his best moment comes when on a trip to Mobile,Alabama with Tandy he puts up with the indignities and humiliation of segregation and exposes Tandy to a world she really wasn't aware of. And Tandy got her Oscar for the moment when she and those around her realize that Alzheimer's Disease has gotten control. For an elderly player to even contemplate such a thing that could so easily happen to them must be a nerve wracking experience. Jessica Tandy saw in her life such colleagues as Rita Hayworth, Dana Andrews, and Edmond O'Brien among others lose their last few years and careers to the long lingering twilight of Alzheimer's, no doubt she drew from all of them and her own fears that it could happen to her to deliver this performance.

Driving Miss Daisy is one of the best films of the last half of the last century and one that will be studied and revived for years to come. Budding actors who need chemistry lessons should study what is working between Tandy and Freeman.

Daisy Werthan (Jessica Tandy) is an elderly Atlanta Jewish woman. The movie opens with her backing the car into her neighbor's yard. Her son Boolie (Dan Aykroyd) is a wealthy Textile factory owner, and he refuses to allow her to drive. He hires Hoke Colburn (Morgan Freeman) as her driver. She hates having him around at first, but their relationships eventually grows to the closest of friendship.

Written by Alfred Uhry from his award winning play, this is a touching evolution of the two's relationship. Jessica Tandy and Morgan Freeman are absolutely wonderful. Tandy would win the Oscar. The beauty in this is that it doesn't hit the audience over the head. She's not some two dimensional racist. Mostly she doesn't want to put on airs, and she doesn't want somebody bothering her at the her house.