Driving Miss Daisy (Special Edition) Reviews

• The best of the best

  
  By A2ODBHT4URXVXQ on 2003-12-24
  Superb casting of Jessica Tandy as a stubborn elderly Southern woman of privilege and Morgan Freeman as her loyal and capable and patient chauffeur makes this one of the best dramas and character studies of all time. Tandy won an Oscar for this 1989 performance and Freeman was nominated for one. This is a movie of wonderful spirited characters, people who demonstrate sassiness, independence, tolerance, admiration, and respect for each other - but only after a few years of working together. It all started when Miss Daisy crashed her car and her son, Dan Aykroyd, a pompous banker type, declared she absolutely could drive no more. So he hired a chauffeur for her. At first, all the old Southern prejudices came into plan, prejudices of class, race, and education. But gradually the wisdom and quiet patience of Freeman's character won her over.
  At its core, this is the story of an unlikely friendship that shows it's possible to transcend prejudice and appreciate the human being within.

  Highest marks.
  
  

• This Widescreen shows less picture than Fullscreen!

  
  By A1TW0IK9NUQPJR on 2004-09-25
  Driving Miss Daisy is one of my all-time favorites. I bought the Special Edition widescreen DVD (ISBN 0-7907-7237-X, UPC 0-85392-33402-5) and was horribly disappointed. It shows less picture than does my old fullscreen VHS tape (and I seem to be the only one who has noticed)! Although the image is with a widescreen aspect ratio, the left & right sides of the picture do not extend beyond those of the VHS. And the top & bottom letterbox black bars on the DVD image are actually covering up parts of the picture that I can see on the VHS. In other words, THE PICTURE BETWEEN WIDESCREEN DVD AND FULLSCREEN VHS IS IDENTICAL, EXCEPT THAT THE DVD HAS BLACK BARS LITERALLY COVERING UP THE TOP & BOTTOM. For instance, at the end of the movie, the VHS tape clearly shows Miss Daisy's hand fumbling with the fork, and her slice of pie sitting there on the table. On the widescreen DVD, this is all covered up by the bottom black bar, so all you see of the pie is the few bites that Hoke raises (out of the void) to Miss Daisy's mouth. The touching scene is completely ruined. I'm not exactly sure what's up with this pseudo-widescreen version, but it stinks.
  
  

• Old Friends.

  
  By A2HIWDD2TDXS19 on 2004-07-16
  Lovely is such an old fashioned word, I know. But that's the word that describes this film, for me. The story of the developing friendship over many years between the black chaueffeur and the older Jewish woman is very heartwarming in its simplicity. Jessica Tandy is marvelous as "Miss Daisy" the fiercely independant, irascible widow, whose advancing age requires her son to employ, against her wishes, a driver/companion for her. Miss Tandy, who originated the role of Blanche DuBois on Broadway in "A Streetcar Named Desire", was a wonderful actress. This was one of her last films, and all the skill, sublety, and experience of her life-long craft come together to create a living, breathing "Miss Daisy." Morgan Freeman meets her skill in his portrayal of "Hoag", the accomodating chaueffeur. He has the manner of a certain resignation that an older black man may have felt in the turbulent, prejudiced south in which he lived, yet exudes dignity. He has the manner of "Hoag" down pat, right down to the closed mouth laugh that I have seen in the old black men who hang out on the corner. This is not a caricature, he IS "Hoag." His relationship with Miss Daisy starts out very rocky, to say the least, but, as time passes, their places in each others lives develope into almost a "marriage", with a quiet understanding of, and dependence on, each other. And though Miss Daisy insists she was not prejudiced, and inherently wasn't, it is touching to see her slowly let go of her last universally accepted beliefs of peoples place in society, where the "colored" help were always servants of some sort, and the line was just never crossed. Scenes such as the one where she and "Hoag" are both eating their dinner in the house, she in the dining room, he , alone in the kitchen, express this. The very thought of them dining together, it just wasn't done. As time goes on, and she becomes quietly aware of the similarities of the prejudices against her religion and the prejudices and injustice against Hoags race, the differences that seperate them become insignicant. Dan Akroyd and Patti Lupone are fine as Miss Daisy's son and his typically '50s wife, who admonishes her black maid for the unforgivable sin of forgetting to tell her she was out of coconut for the ambrosia she was serving to her guests... a '50s hostess' nightmare. There are a few moments when their performances threaten to lapse into parody, but one is only aware of this because this is basically a two person play, and the skill and realism of Tandys and Freemans performances just eclipse the others, they are basically props compared to the skill and, yes, sublety of the leads . The exception is Esther Rolle as "Idella" , Miss Daisys black maid. Though her part is small, and her lines few, she manages to convey a resigned dignity also, and her dead-pan delivery of several one liners is very humorous. Miss Daisys affection and respect for Idella is clearly etched upon her face, however, at Idella's funeral. This is just a wonderfully simple, beautiful film. It never treads into being overly sentimental, thanks to the casting of two very special stars. This film took many by surprise by winning the Oscar for best film of the year, proving that a movie with no special effects, and, that actually tells a story, can still move audiences. The final scene, where their years-long friendship comes full circle, will have tears in your eyes, as Miss Daisy conveys the sweet sad wisdom of the old, who know that "all shall soon pass...."
  
  

• Wonderful Performances!

  
  By A2BX9UPWBK2I8V on 2000-03-28
  This is simply a wonderful film! The performances by Jesica Tandy, Morgan Freeman, Dan Ackroyd and Esther Rolle are top-notch. The pace of the film is magnificent; there is not a dull moment in the entire one and a half hours. The set is lovely and period correct, as is the music and even the automobiles (mostly vintage Cadillacs). The chemistry between the two lead characters is very special, and Jessica Tandy certainly deserved the Academy Award for her performance. It is wonderful to see the progression over the period of several decades, and the friendship that develops between a proud, old Jewish widow and her newly appointed chauffeur. Dan Ackroyd as Miss Daisy's son is surprisingly effective also. An all round gem of a movie that deserves to be seen again and again.
  
  

• Not impressed with the DVD version

  
  By AYF436RRS97PQ on 1999-11-29
  I was very disappointed with the DVD version of this movie! Not only was it the full-screen format, but the picture was just not digital quality. I don't know what WB was thinking!
  
  
• A contemporary classic!
  By on 2001-02-22
  This is a superb film with excellent performances, a strong story line and a beautiful setting! It's all about an aging but strong minded southern belle (Jessica Tandy) who builds a strong and enduring friendship with her patient and unflappable chauffeur (Morgan Freeman). At first they were adversaries that couldn't agree on anything, but as the years passed they built a friendship based on mutual understanding and respect. This wonderful movie also stars Dan Aykroyd, Patti Lupone and Esther Rolle. This beautifully made masterpiece features Bruce Beresford's wonderful direction, excellent performances by ALL of its actors, lead and supporting and a memorable music score. This gem of a film also features tons of beautiful and picturesque southern scenery, as it was filmed on location, in and around Atlanta. This is definitely one film you'll want to see, unfortunately they don't make movies like this anymore. This was a sleeper when first released in theaters, but went on to become a box-office smash and an American classic. If you enjoy Jessica Tandy's performance, be sure to see her in Fried Green Tomatoes (1991) with Kathy Bates, The Birds (1963) with Tippi Hedren and Rod Taylor and The Seventh Cross (1944) with Spencer Tracy, Agnes Moorehead and Tandy's real life husband Hume Cronyn. Morgan Freeman fans should see Lean on Me (1989) with Robert Guillaume, Lynne Thigpen and Regina Taylor.
  
  
• Captivating story skillfully presented
  By ABN5K7K1TM1QA on 2004-12-28
  Take an intense and flawless performance by Jessica Tandy (80-years-old when the movie was released in 1989) and a charming and slyly witty performance by Morgan Freeman (closing in on his fifties)--she a rich Jewish lady of the South, high-toned, spoiled, stubborn to a fault, he a black illiterate chauffeur, wise, patient and in need of a job--and we have the basis for a profound character study. What we are studying is both the character of the leads and the character of a way of life passing languidly before our eyes.
  
  Adapted for the screen from his Pulitzer Prize winning stage play by Alfred Uhry and directed by Bruce Beresford, who previously gave us the remarkable Aussie classic, Breaker Morant (1980), Driving Miss Daisy is one of those films that is a work of art as well as a sociological discovery. Using beautifully constructed scenes carefully observed, Beresford allows us to recall a way of life and a culture that characterized the South during the middle of the last century. Freeman's Hoke Colburn is black; and, as he mumbles, "not all that much has changed" since the days of slavery. He still has to "yes'em" and shuffle his feet and show deference to white folk just to get by. Miss Daisy Werthan herself is rich and very tight with her money. She is also as racially prejudiced as a Dixie sheriff, but blind to her prejudices as she rages against the infirmaries of age.
  
  The movie begins as she loses control of her car and drives it off the road and into a drainage ditch. She is shaken but unharmed. However her driving days are over. Her son Boolie Werthan, played with a fine touch and surprising restraint by comedian Dan Aykroyd, decides to get her a chauffeur. But she will not hear of it. She feels her independence is being threatened, and she doesn't need her son to tell her what to do. She can take care of herself. When Boolie arrives with Hoke, who is clearly black, Miss Daisy declares she will not have that man in her house.
  
  One feels very strongly at this point how compromised the infirm are when they must rely on help from others. Let a stranger into your house and there is no telling where it might end. More that this though, is the underlying idea that dependence on people from a lower social-economic class will in fact have a leveling effect on class distinctions, and this is again something that Miss Daisy (in her ignorance of herself) will not abide.
  
  But Hoke says he has wrestled some hogs in the mud in his time and has yet to let one get away, and he will do what is necessary to secure his position as Miss Daisy's driver. He comes highly recommended, and after listening to him, Boolie has little doubt he got the right man for the job. Miss Daisy of course is having none of it, and indeed she tells him to get out. She refuses to get into the car; she won't let him clean the chandelier or weed her garden. However, he doesn't give up. He takes all of her contrariness with good spirit and a sunny attitude, and then one day as she tries to go shopping on foot, he follows alongside of her in the car, and after some walking she is persuaded to hop in.
  
  On one level this is about racial politics in the South, circa mid- twentieth century, and on another level it is about growing old and coping with life as one grows old. It is about taking care of oneself and getting the most out of life despite the handicap of a declining body. This applies to both Hoke and Miss Daisy. He knows that the physical demands of a chauffeur are more appropriate to his age than some of the physical work he did when younger, and she knows that to live the full social life that she desires, she needs help in getting around. Naturally, as the film progresses they learn from one another. At first they are drawn together by her sharp wit and his appreciation of somebody who can speak the truth with a barb and not mince words. Later they are drawn closer together by their mutual strength of character and the plain fact that she needs a driver and he needs a job. But finally they are drawn together because they become, as she suddenly observes one day, best friends.
  
  This then is a story of love as well--love between two people from different walks of life. The differences are not just those of race and socio-economic status, or of religion and gender, but of world views and personal psychology, hers demanding and exacting, highbrow and imperial, his practical and easy-going, naturistic and democratic.
  
  A tide is turned when her temple is burned to the ground by "the same ones as always" as Hoke informs her, which forces Daisy to realize that her enemies are the same as his. Consequently she attends a speech given by Martin Luther King, Jr. He prefers to wait outside in the car and listen to it on the radio. At once we see the commonality of their understanding, but still the differences of their stations in life remain. The dream and the reality are meshing but slowly, as all things do in the Old South, or, for that matter, most anywhere.
  
  See this above all for the captivating performances by Jessica Tandy and Morgan Freeman, two of the great actors of our time, and for the touching and bittersweet story by Alfred Uhry. Also noteworthy is director Beresford's careful attention to detail and his unobtrusive guidance so that the film flows as sweetly as Tupelo honey on a warm southern day.
  
  
• Tandy and Freeman a wonderful duo
  By on 1999-09-27
  I own this video and watch it frequently. I think Jessica Tandy was probably one of the best actresses of this century. Morgan Freeman should have won the oscar for his portrayal of Hoke. The entire cast was excellent. A movie like this is a true classic. Wish there were more of this type movie made in Hollywood instead of the trash they are putting out now.
  
  
• racist and typical hollywood
  By on 1999-10-31
  personally morgan freeman is a genius of an actor and jessica taddy is good.but this film is so typical of hollywood.black man has drive around this elder white woman and be always careful.this isn't progress this is streotype hollywood style.
  
  
• Love This Movie
  By A33NMQ80MGVE0G on 2005-10-26
  I actually grew up watching this movie. I think I probably saw it first around the age of 5 or 6. I'm 19 years old now. This is one of my favorite movies. I love the music and the atmosphere of this film. It's one of those movies you can just sit down on a quiet day and watch. I probably watched it over a million times. Morgan Freeman, Jessica Tandy, & Dan Aykroyd are some of my favorite actors. This is just an age old southern classic that I think I'll cherish forever. If you like nice southern movies I think you'll like this movie just as much as I do.
  
  
• Entertaining, poignant and heart-warming
  By A1ZAVMB4XZL8KA on 2006-02-14
  "Driving Miss Daisy" is about an elderly, well-to-do, widow named Miss Daisy (Jessica Tandy), a retired school-teacher. Her son believes that she needs extra help with her errands, so as opposed to having his mother, Miss Daisy walk everywhere to run her errands, then her son (Dan Aykroyd) takes it upon himself to hire Miss Daisy, (his mother), a chauffeur (Morgan Freeman).
  
  At first, Miss Daisy doesn't like the idea of being driven around town because she feels that that is being boastful, proud and snobbish. Ironically, Miss Daisy is somewhat of a snob, in her own way, but not purposefully. She's set in her ways, a true traditionalist, who refuses to become progressive. at all costs. While wealthy, she doesn't want to appear as pretentious or ostentatious because after all, she was just a poor farm girl as she puts it in the film; hence, her reasons for refusing to hire a chauffeur; although, ironically, she does have a maid, who is one of her best friends.
  
  At first, Miss Daisy is extremely hateful and rude to her chauffeur, (Morgan Freeman), but realizes that he's only doing his job to the best of his abilities and as the times change, so does Miss Daisy's attitude toward her driver.
  
  As the film progresses, so does Miss Daisy's affinity (i.e., liking) for her chauffeur (Mr. Morgan Freeman). She teaches him how to read because sadly he cannot read. Being a retired teacher, while visiting her deceased husband at the cemetary, she realizes that Mr. Freeman is illiterate. Contrary to what most people might do, she doesn't coddle him, but rather encourages him with a tough love approach yet is sensitive to his plight. Her Christmas gift to him, although, she doesn't celebrate Christmas because she doesn't celebrate it, the reason being that she's Jewish, offers him a token of her appreciation and gives him a practice workbook, in order, that he can learn to read and write. Mr. Freeman plays the character in a dignifed manner--not feeling pity for himself because his character is illiterate, but remains friendly, well-mannered and humble. Not once in the film does Morgan Freeman's character allow himself to feel pity for himself. He's a true character, who's humble, well-mannered and most importantly, respectful.
  
  Eventually, Miss Daisy travels to the deep south to visit a relative. Eventually, Miss Daisy and her chauffeur (Morgan Freeman) stop on the side of the ride to eat lunch. When they're approached and confronted by a racist and obnoxious police officer, who wishes to see Miss Daisy's chauffeur's proof of ownership and insurance. Miss Daisy's chauffeur politely honors his request and shows him the proof that it's Miss Daisy's car. Secure in knowing that the car is not stolen because that is what is implied by the officer's reasons for harassing Miss Daisy and her driver, then the officer leaves and Miss Daisy's driver and her are soon on their way. Miss Daisy not being an ignorant fool, knows the real reason that they were being confronted by this obnoxious and evil police officer and it was because she is Jewish and her driver is of African-American descent. Of course, being the sophisticated and dignified person that Miss Daisy is along with her driver, they do not choose to acknowledge this overt example of racism. Unfortunately, this was the era, in which, the "Jim Crow Laws" were still in effect, hence the reasons for this particular event taking place because it was historically-based on over racism taking place in the deep south; especially, during the 50's and 60's. but I digress.
  
  Eventually, Miss Daisy begins to treat her chauffeur (Morgan Freeman) with more respect. Secretly she likes him as a friend, but for some reason, she doesn't want him to know that she cares for him as a friend. It's most likely because she's extremely conservative and probably not one to wear her heart on her sleeve. However, be that as it may, Miss Daisy likes her driver, but throughout the film she is somewhat stern and hateful to him, which grates on your nerves because you think to yourself, "Is she ever going to be nice to him?" In her own way, she allows herself to become more emotionally-attached to her driver in a platonic, inoocent, friendly sense, which makes this film a gem.
  
  Ultimately, I highly recommend this film to anyone over 13 due to the racial slurs involved in this film (in that one particular scene with the police officer), who wishes to see a heart-warming story about an elderly woman, set in her ways, but willing to overcome her own biases and realizes that one of her best-friends she could ever have is her driver.
  
  
  
  
  
  
• One long product placement
  By on 1999-12-25
  It has always amazed me that this movie won awards. Not only is it the typical Hollywood treacle approach to human relations, but it is truly offensive in its commercialism. Practically every scene outside the house is shot against a prominent billboard for some product or other, and every time we hear the radio, it's a commercial. In one scene, Dan Ackroyd lights up a cigarette and gratuitously peers out his office window at a billboard advertising cigarettes. One of the characters dies in a slow-motion scene -- another cheap Hollywood trick designed to focus attention on the radio commercial played in real time. About the only product in this movie that is not obviously being plugged is Miss Daisy's Hudson!
  
  
• The development of a beautiful friendship
  By A2CW9IQAPFEYLM on 2005-12-10
  A wonderful comedy/drama about a black chauffeur (Morgan Freeman) and the crotchety, stubborn Miss Daisy (Jessica Tandy), a Jewish widow living in Atlanta. The story spans the period 1948-1960s, and shows the development of the friendship between the two. Freeman is a little bit too perfect in his role, but he's excellent nonetheless, as is Tandy. Racial prejudice and change are at the core of the movie, but they're handled so subtly that they take second place to the relationship of Freeman and Tandy. The movie is very humane and heartwarming - and most enjoyable. Definitely worth a watch.
  
  
• This DVD Edition Finally Gives This Beauty It's Due
  By A39CX0EE4BZCZC on 2006-04-30
  Finally.......this latest "newly-restored widescreen edition" presents this movie as it should be, with all its beautiful cinematography and 1.85 widescreen. The sets in here are great, a terrific look at the 1950s through storefronts, billboards, automobiles, etc. Previously, all they had was soft formatted-to-TV disc.
  
  It took me awhile to appreciate this film, too. When I shifted my focus off the irritable old woman (Jessica Tandy) to the long-suffering servant (Morgan Freeman) the whole picture changed. Once I looked at this story through "Hoke's" eyes, it became an inspiring story. Freeman's character, "Hoke Colburn," simply provides the best the example of a what true servant of God should act like, plain-and-simple. It's one of the best examples on film I've seen of of patience, kindness, dedication and dignity in a difficult situation. It's also always inspiring to see a nice, good person overturn and win over the opposite with sheer kindness.
  
  That's taking nothing away from Tandy's performance as "Miss Daisy." She is awesome. What else can you say? I may not care for the character she plays in here but acting is superb. What a talented actress.
  
  Great story, great acting, great transfer, great DVD.
  
  
• One more 'Great American Film' - directed by an Australian
  By A26UW8DNN74AGK on 2000-05-30
  Driving Miss Daisy is one of those happy accidents of film production (for its makers purely intentional) wherein every element contributes to sheer perfection. Whomever on earth picked Bruce Bereford to direct should be given a Nobel prize. Jessica Tandy, Morgan Freeman, even Dan Ackroyd give the performances of a lifetime. With special recognition to Freeman, who took some heat for his virtual archaeological work on his performance as Hoke - a sort of black man who perhaps no longer exists. But the real hero of this film is surely Beresford, who caught the place and the time with uncanny accuracy (to which I proudly attest - having grown up in Georgia and South Carolina). How on earth the Oscars failed to overlook this masterpiece, as they customarily do, is one of life's great mysteries. Splendid.
  
  
• Southern Comfort
  By A2ZSC81MXLBELX on 2002-11-05
  Jessica Tandy and Morgan Freeman will light up your heart in this sweet and charming tale. It was nominated for nine Oscars in 1989 and deservedly so. Four were bestowed including Best Picture and Best actress for Tandy. Freeman was also nominated.
  The story,based on Alfred Uhry's award winning play, begins in early 1950's Georgia. Miss Daisy is getting on in years,her dutiful but tiring son(Dan Aykroyd, also nominated) feels she needs a chauffeur,as her driving isnt exactly up to par. Being a very proud and stubborn woman, she resists the idea,would rather walk than be seen being driven around. Even after Hoke Colburn(Freeman) is hired,she refuses to give in.
  Hoke is also proud and stubborn, he is hired to do a job and by george he's gonna do it! So eventually he brings her around and little by little she gets comfortable with him.They form a unique and lasting bond.Over 25 years we watch their relationship grow. Daisy teaches Hoke to read. Hoke Brings out the best in Daisy.He is ALWAYS there for her. Daisy is Jewish, and for the first time in her life is witness to hate crimes. Hoke is no stranger to that and can empathize with her.She gains some understanding of him.
  The cast also includes fine performances from Esther Rolle and Patti Lupone. The musical score by Hans Zimmer is delightful.
  So the film by itself is 5 stars. But I went with 4 stars because the DVD "Has been formatted to fit your screen"(In other words..no widescreen) That takes away from the original theatrical version. Other than that the DVD(WB) is very good. The picture was sharp and clear with nice color. The sound in the Dolby Surround(2.0) was good.Dialouge was crisp. There's a few extras, theatrical trailer, awards and cast. There's also subtitles. So even without the widescreen I'm glad I got this edition, it's just too good of a film not to be watched.
  Kick back and enjoy....Laurie
  
  
• A Great Tale of an Unlikely Friendship
  By A1YQ6QB2127AJ4 on 2004-05-03
  "Driving Miss Daisy" is one of the best films released in 1989, rightfully winning four Oscars: Best Picture, Best Actress, Best Adapted Screenplay, and Best Makeup. This adaptation of the play version is brilliant. It tells the story, set between 1940's-1960's, of a fiesty elderly woman who's unhappy of growing old. As she meets a man who becomes her driver, the story develops into something special. The combination of stories become increasingly interesting as the two develop a close friendship. Their relationship beats the racist society and the painful past that the man has endured. Through everything, their lives change forever. Her son's frequent visits to her house offer the added entertainment value as it adds to the emotional value. Despite the twenty-five year plot span, the storyline flows smoothly. The warm, loving story offers an unforgettable viewing experience.

  Jessica Tandy performs her role as the unhappy elderly woman splendidly. Her every expressed emotion is felt upon audiences. She became the oldest person to win an Oscar, at age 80. Morgan Freeman and Dan Ackroyd's Oscar nominated roles (Best Actor/ Best Supporting Actor) offer the added unique theme to this great film. All other actors also performed wonderfully.

  The quality of "Driving Miss Daisy" proves that it's destined to become a classic in the following years. It's sure to continue pleasing audiences for many years to come. Most viewers will have to watch it multiple times to fully understand the movie because of its deep storyline. Afterwards, those who do will be glad they did.
  
  

• Subtle performances, great storytelling
  By A2OAKU94D6V2XT on 2005-03-14
  This is a quiet movie that unfolds over many years and chronicles the relationship between an elderly, well-to-do widow, Miss Daisy Werthen (Jessica Tandy), and Hoke (Morgan Freeman), who is hired to be her driver after she's deemed no longer capable of driving herself.
  
  Freeman's character is instantly likeable and Tandy's character is, well... she's not likeable. As Hoke represents, in part, her lost freedom, much of her hostility is directed at him, however, she is not shy about verbally terrorizing anyone. Being that he needs a job (and the job is probably very good for that place and time), Hoke silently suffers the many indignities she hurls his way. In time, we come to see that, whether or not she knows it, Miss Daisy is also a victim of prejudice, albeit of another kind.
  
  As the decades pass (and new cars come and go), their shared experiences and growing dependence on each other result in subtle, but significant changes -- in Miss Daisy's view of the world and her treatment of Hoke; and Hoke's constant, gentle care of Miss Daisy and his refusal to be considered or treated any less than the man he is. Both undergo tremendous personal growth as the years roll on.
  
  One unexpected surprise in this movie is Dan Akroyd. Normally I avoid any movie in which his name appears. His role in this movie is perfectly performed and he brings a warmth to the movie I would not have expected from him. In this role, he proved himself to be a very capable actor. It's a shame he hasn't picked better roles for himself over the years.
  
  
• A great film
  By A3BIFXBEOT5AEV on 2006-06-22
  Beginning in Atlanta Georgia in 1948, Southern Jewish-matron Daisy Werthan looses control of her brand new '48 Packard while backing out of the garage. After panicking Miss Daisy slams on the gas (instead of the break) and backs her car into a ditch causing some concern for both her safety and her eligibility for motor vehicle insurance. In reference to these concerns, Boolie a local businessman and Miss Daisy's son, hires his mother a driver and purchases her a new 48 Hudson for his mother to ride in. When confronted with antagonism, Miss Daisies new driver Hoke meets confrontation with charming submission and an equally stubborn disposition as the decades pass by on there friendship.
  Glasses
  The opening dialoged in this movie is a conversation between Boolie and his mother Daisy would has just crashed her car. Boolie suggests that Miss Daisy needs glasses. He is somewhat comedic but overall forceful and logical. He is much less concerned with his mother's problem and much more concerned with fixing things. When he tells his mother she might need glasses Miss Daisy responds with, "the cumbers are nice this time of year". When Boolie tells his mother that she is lucky to be alive (and we'll come back to this later) Daisy tells her son "it was the cars fault".
  Religion and Race
  Religion too is a major point of discussion within this movie. At one point Daisy is upset with her son because he is "socializing with Episcopalians". The way the Boolie handles these comments is with sarcasm or to ignore her comments all together. As the movie progresses on however, Miss Daisy seems to gain some respect for Christianity claiming that Hoke is probably the only real Christian at a party. She also allows the death of her housekeeper and cook Idella to impact her view as she (who is normally very concerned about how she is be see) attends a primarily if not all black church for Idella's funeral. Later Daisy openly attends a dinner where Dr. Martin Luther Kings Jr. is speaking.
  At one point in the film the audience comes to learn that Miss Daisy's Temple has been bombed. At first she is complacent, but soon she becomes augmentative as she denies even the possibility that Hoke and his informative police officer are telling the truth. While Hokes age and experience has helped him to reflect and remember back on a similar incident of racism in his own past and where he seeks to share and remember Miss Daisy approaches this incident very similarly to the way she handles most problems in her aging life: she ignores the problem or she attempts to argue it away.
  Independence
  One of the most pivotal moments in the film comes when Hoke first begins to drive Miss Daisy. As Hoke says, "it took six days, the same time it took the Lord to make the world". As Daisy stubbornly walks to the local grocery store known as the Pigly Wiggly, Hoke begins to drive along beside her (we'll come back to this as well). Eventually overcome with embarrassment Miss Daisy gives in and gets into the car amidst the prying eyes of her neighbors.
  Soon the issue becomes more obvious. Daisy states a number of times that she doesn't need a driver, and that her late husband had taught her how to drive and take care of a car. Clearly daisy feels that she is loosing control over her own life. She no longer cooks for herself, and she no longer drives herself and so she feels she must attempt to control everything she can. She tries to control her son and his marriage she tries to control how people view her in her community and interestingly though she cannot control the steering wheel she does control who has the keys and where the car is parked.
  Space in the house
  
  Another interesting piece of information the viewer is given comes from a conversation between Boolie and Daisy just after Hoke is hired. In there talk on the phone Daisy admits to her son that she doesn't want anyone in her house eating her food and taking up space. She deals with a common problem among retired people and wants her things to remain just as she has always had them. Although the care taker Idella has grown on her over the many years she remarks that Hoke makes her feel like she has "no privacy". Her response is to openly criticize everything Hoke does and to attempt to get rid of him. Hoke on the other hand is aging as well. However he deals with these issues in a very different way. For the most part Hoke approaches things with simple reason. He is not concerned about the neighbors; he parks the car in the best possible space. He is not going to be told when he can "make water" or have control over the keys, and even purchases the old Hudson commanding it for himself on his own terms. Although he too is feeling uncomfortable of being in Miss Daisy's space he feels the need to be useful.
  Usefulness
  
  Usefulness is certainly a large part of this story about ageing. Both characters in fact deal with this issue in different ways. For Hoke, he cannot handle making money without doing any work. Rather than getting paid and being lazy he sees opportunities to work all around the house (though Daisy won't allow it). Coming back to what I said earlier Hoke ultimately finds his usefulness in driving Miss Daisy as best he can. The pinnacle of this is the encounter where he drives beside her while she walks down to the Piggy Wiggly until she agrees to ride in the car.
  For Daisy the issue is fairly similar. Daisy is often found talking about the good ol' days, when she was growing up; when there was little to eat and when things were hard. But she doesn't look back on those times as being a stain on her life as Hoke believes he might. Instead she looks back fondly on those times because she felt useful. This can most clearly be seen in the grave yard scene where Hoke reveals that he is functionally illiterate. Daisy reaches what is clearly her kindest moment in the film and things turn towards friendship when she tries to teach him how to read and when she smilingly hands him a reading workbook from her old days as a teacher.
  The Death of a Friend
  Certainly one of the most impacting movements of this film comes when Miss Idella passes away. Earlier in the film, just after crashing the car into the ditch Daisy's son Boolie had told his mother that she was lucky to be alive. Daisy's response was to ignore him and to blame the whole things on the car saying, "it was the cars fault". Here though we are confronted with an entirely new kind of Daisy. While she had been rejecting the idea that things were changing, while she had rejected to notion that she was getting older, needed glasses, or could possible die, now Daisy looks at things in a whole new light. The death of Idella forces her to look at her own life and in response to her death Daisy sadly tells Hoke that Idella was the Lucky one.
  Aging
  By the end of the movie each character has aged considerably. Boolie faces ageing with a smile and a joke telling his business friends that he has "less up here (hair) more down here (fat)" and that this has made him work harder. Hoke tells Daisy that the old Hudson is "in the Junk Yard now some 15 years" and leads the viewer into the next faze of Daisy's life where she has become confused at times and can no longer live at home. At this point we see Hoke in a very similar situation to the Daisy we were introduced to. Hokes eyes are bad and he is now driven around by granddaughter no longer able to do his life's work. Rather than the gradual acceptance of aging like Miss Daisy did, Hoke represents a kind of acceptance. He faces old age with a smile and with his old friend Miss Daisy by his side.
  
  
  
  
  
• A truly enjoyable show - good, clean fun. Very quotable!!
  By on 1998-12-29
  I've seen this movie at least 30 times and it's still a lot of fun. If you haven't seen it yet, allow me to recommend it to you as one of those *few* movies: it's clean, funny, won't put you to sleep, has no surprise sexual scenes - your entire family will enjoy it!
  
  
• One of my favorite films ever.
  By A3OSR92LFD75EG on 1999-12-22
  Wonderful acting and a very engaging storyline. Of course, the acting was great and there are a lot of nice scenes. I was very impressed with how they recreated the different time frames in which the movie took place.

  But most of all, this movie crosses over social barriers to show you that despite our differences, friendship, loyalty and character will win out in the end.
  
  

• Driving Miss Daisy
  By A1OGI1UOM7Z929 on 1999-12-18
  To us, this is the best movie of all time. We watch it at least once per month if not more. We love the fact that the movie is set in what I call "Old Atlanta". All the cast were just GREAT. I usally like action movies but this is certianly the oppisite of that. The music during the movie was also wonderful in fact so wonderful we even bought the sound track. Its got allot of funny moments all during the movie as well as serious moments. Bottom line, if you like movies depecting the old south, buy it.
  
  
• why no widescreen?
  By on 2001-01-15
  I just have to say that such a beautiful film deserves better treatment on DVD. It simply does not make sense to put out this DVD title in only full-screen format. If WB comes to its senses and creates a better quality widescreen Miss Daisy, I would not hesitate to buy it and give a five-star review. Until then, save your money and buy the VHS version.
  
  
• Why no widescreen???
  By on 2001-03-25
  I give this movie 5 stars (It won best picture, after all) But I give the DVD 1 star...Why isn't this movie in widescreen (letterbox) format? ALL best picture winners deserve widescreen special editions with all the extras!
  
  
• This is one of my top 10 favorite movies of all time...
  By A2E7E9EWADK4S6 on 2001-04-17
  This movie really explores an interesting relationship between a gentle, wise old black man and a white wealthy Jewish woman. I've seen this movie again and again, but I love it a little more each time I see it.

  The timeline - chronicling several decades from the late 1940s - 1980s - makes for an interesting story alone. The dynamics of their relationship - the interdependent friendship - the rules of Jim Crow South - it all makes for a fascinating tapestry of an ever changing relationship.

  Great, great movie.
  
  

• Repulsive harnaguing
  By A16EJ2ZX9QERZ9 on 2001-04-20
  Jessica Tandy harangues like an orangoutang and if you ever wanted to feel the spirit of Lucifer inside you, then watch this movie. If your body flow is not quite the eternal throbbing of love, learn what Miss Daisy did, and get nasty!
  
  
• A True Portrayal of Southern Life
  By on 2002-01-31
  I grew up in the South and spent most of my life there, and of all the movies I have ever seen about the South, "Driving Miss Daisy" provides the most accurate portrait. A lot of people outside the South don't realize how intimate the relationships between black people and white people have been over the years. And as this movie points out, much racism among white Southerners has been somewhat latent. It's not like you usually see it in the movies with Ku Klux Klansmen everywhere! The cultural benchmarks of everyday Southern life are so true, the accents appropriate, and the wonderful sets and props absolutely accurate. Beyond its accuracy, "Driving Miss Daisy" also sensitively tells a wonderful story of reconciliation that anyone, anywhere can relate to.
  
  
• Life is a long evolution
  By A3UDYY6L2NH3JS on 2002-01-30
  This film about Georgia in the 1950s and 1960s is surprising in the formula used and in the ambition demonstrated all along. Georgia is starting to finally find its new dynamism in industry, and no longer only in cultivating cotton. This new industrial age of the South is very carefully depicted through the Jewish Miss Daisy and her son, and the Black driver Miss daisy finally needs and accepts in her old age. The complicity of the two characters confronted to the genteel southern society that is evolving into something more modern, confronted to the emancipation of the Blacks through the Civil Right Movement and the impact of Martin Luther King's fight is touching and immensely heartwarming. We are little by little convinced that humanity, in spite of all its evil acts and behaviours, is respectable and even encouraging. The march towards more equality, towards the emancipation of Blacks, women, men and all those who are in a way or another submitted to some limitations, cannot ever be stopped by any bigotry or antagonism. Humanity can free itself of all its evil deeds and thoughts by mere historical evolution and deep human feelings. Love is the key to many evil situations and respect of others is the skeleton key to all difficult situations. Jessica Tandy is outstanding in her performance, but so is Morgan Freeman and the film is giving to the car a role to play that is amazing for a simple object, though it is the very acme of American freedom and civilization.

  Dr Jacques COULARDEAU
  
  

• DRIVING HOME A REAL AMERICAN CLASSIC
  By A1M9DQDGE07Q0U on 2003-03-10
  When Warner Home Video released their full frame DVD copy of this movie back in 1997 I was really steamed. The image was cropped, softly focused and absent of fine details and proper color balancing. Now, Warner has gone back to the drawing board and released "Driving Miss Daisy" in its original 1:85:1 aspect ratio. But this still may not be the version for you to run out and buy.
  True, the original theatrical release was rather softly focused, but this edition is perhaps too much so in spots to say that it is the result of the director's original intent. Colors are smeared and contrast levels continue to be extremely low in spots. There are also blemishes in the original camera negative that are quite evident, particularly in the scenes that take place in the kitchen. Also, there is quite a bit of digital grit, evident in scenes with a lot of sky and a ton of pixelization that breaks up fine background details. The soft quality of the image is what really hurts the over all visual impact of this transfer. The audio has been remixed to 5.1 but it's a weak mix, sounding very much like a 2.0 surround instead. There are a could of documentaries but nothing definitive that will set the world on fire. BOTTOM LINE: Disappointing transfer for a film that has entered the public consciousness as one of the best movies of all time.
  
  
• Driving Miss Daisy
  By A2W1W04CEZKSUN on 2003-07-24
  Driving Miss Daisy was released in 1989 with a running time of 99 minutes. Bruce Beresford of Warner Studio was the director. The cast included Jessica Tandy ( Daisy Werthan), Morgan Freeman (Hoke Colburn) and Dan Aykroyd (Boolie Werthan).

  Driving Miss Daisy takes place during the 1940's in Atlanta, Georgia. As the movie begins, Miss Daisy is getting into her car and attempts to drive. This quickly ends with her wrecking the car. After this particular incident Boolie realizes that his 70 year old mother should not drive anymore. Boolie decides to hire a chauffer, which Miss Daisy is completely against. She is a Souther, Jewish woman who is very independent, stubborn and wealthy. Even though she is wealthy, her concern about what her friends would think of her made the acceptance of a chauffer more difficult. When Miss Daisy meets Hoke Colburn a black, quiet, and caring chauffer, she is determined not to allow him to drive her. Hoke is also a very patient and persisten man who finally persuades Miss Daisy to accept a ride. As time goes on, a special relationship is built despite what others during this time frame may have thought possible. It is a demonstration that two people with little in common can build a lasting relationship of friendship and trust that spans over the course of 20 years.

  In rating this movie, I gave it 5 stars. Mainly, because it shows that even thought society was not ready to accept any social changes, this did not interfere with the relationship of a 70 year old Jewish woman and a black man hired as a chauffer. This is a movie that I would recommend everyone to watch to get a better understanding that being different does not have to be a barrier or obstacle for building lasting relationships.
  
  

• Fried Green Tomatoes (Widescreen Collector's Edition)
• Steel Magnolias (Special Edition)
• On Golden Pond (Special Edition)
• Out of Africa
• Forrest Gump (Two-Disc Special Collector's Edition)