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>
Alfred Uhry's 1987 play, on which this movie is based, is the first of his "Atlanta Trilogy" of plays about Jews in Atlanta, Georgia. The other two plays are "The Last Night of Ballyhoo" (1996), a play about a family preparing for the Atlanta Jewish society cotillion, and "Parade" (1998), a musical about the false conviction and 1915 lynching of Atlanta factory manager Leo Frank. See more »
In the very early scene where Miss Daisy is inside starting her car it is a 1949-1953 Chrysler. The car shown backing over the wall from the outside is a 1946-1948 Chrysler. See more »
[on a pay phone calling Boolie after taking Daisy to the Piggly Wiggly]
Hello, Mr. Werthan? Yeah, it's me. Guess where I'm at? I jus' finished drivin' yo mama to da store.
Oh, yeah, she flap around some, but she's all right, she in da store. Oh, Lord, she jus' looked out da window an' seen me on da phone... prob'ly gonna throw a fit right there at da checkout!
You sho' right about that! Only took me six days. Same time it took the Lord to make the world! All right, 'bye now!
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Film title logo appears at the end of closing credits See more »
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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