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Driving Miss Daisy Movie Review (1. By the end of the film, we have traveled a long way with the two most important people in it - Miss Daisy Werthan, a proud old Southern lady, and Hoke Colburn, her chauffeur - and we have developed a real stake in their feelings. Advertisement. The movie spans a quarter century in the lives of its two characters, from 1. Miss Daisy's son decides it is time she stop driving herself and employ a chauffeur, to 1. It is an immensely subtle film, in which hardly any of the most important information is carried in the dialogue and in which body language, tone of voice or the look in an eye can be the most important thing in a scene. After so many movies in which shallow and violent people deny their humanity and ours, what a lesson to see a film that looks into the heart. The movie contains two performances sure to be nominated for Academy Awards, by Morgan Freeman, as Hoke, and by Jessica Tandy, who at the age of 8.
Miss Daisy. As the movie opens, Miss Daisy still lives in proud self- sufficiency, with only her cook to help out, and she drives herself around in a big, new 1. Packard. One day she drives the Packard over the wall and into the neighbor's yard, and her son (Dan Aykroyd) lays down the law: It is time that she have a chauffeur.
She refuses. She needs no such thing. It is a nuisance to have servants in the house, anyway - they're like children, always underfoot. But her son hires a chauffeur anyway, and in their first interview he tells Hoke that it is up to him to convince Miss Daisy to let herself be driven. Thus commences a war of wills that continues, in one way or another, for 2.
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Hoke's method is the employment of infinite patience, and Freeman's performance is a revelation, based on close observation and quiet nuance. Hoke is not obsequious. He is not ingratiating. His strategy is to express verbal agreement in such a way that actual agreement is withheld. If Miss Daisy does not want to be driven to the Piggy Wiggly, very well, then, Hoke will not drive her.
He will simply follow her in the car. The car by this time is a shiny new 1. Hudson, and Hoke somehow defuses the situation by making the car itself the subject, rather than himself. It is a shame, he observes, that a fine new car like that is left sitting in the driveway, not being used. It's good for a car to be driven. Eventually Miss Daisy agrees to be driven, and eventually, over the years, she and Hoke begin to learn about one another.
Neither one is quick to reveal emotion. And although Miss Daisy prides herself on being a Southern Jewish liberal, she is not always very quick to see the connections between such things as an attack on her local synagogue and the Klan's attacks on black churches. Indeed, much of Hoke's relationship with her consists of helping her to see certain connections.
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When she goes to listen to a speech by Martin Luther King, for example, she has Hoke drive her; but although she has an extra ticket, it never occurs to her to invite him to come inside. It is when you compare that performance with his one in . The three performances have almost nothing in common; all three are works of the imagination in which Freeman creates three- dimensional characters that are completely convincing.
His credits include the superb . He never steps wrong on his way to a luminous final scene in which we are invited to regard one of the most privileged mysteries of life, the moment when two people allow each other to see inside.