Customer Reviews

Driving Miss Daisy (Widescreen Special Edition)

5 star:		(34)
4 star:		(7)
3 star:		(4)
2 star:		(5)
1 star:		(2)

 

 

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.

A very sweet film, with towering performances from Morgan Freeman and
Jessica Tandy.

It's well meaning, and well done, but unlike 'Tender Mercies' director
Bruce Beresford can't quite overcome the sap and hokum mixed into with
solid writing. This film is almost the definition of 'Oscar bait'.
Liberal, but sure not to offend anyone, it deals with the issue of US
southern racism with the most ginger of touches, casts the world's WASPiest
looking actors (Jessica Tandy and Dan Akroyd) to play Jews, and has
Morgan Freeman spend the first half of the movie shukin' and jivin',
which might be historically accurate, but we never really see the pain
that living in that subservient way would cause this man of deep
dignity.

That said, I still enjoyed it very much while I watched it- all the
performances are wonderful, and the writing is clever. I smiled at the
sweet parts, and got teary at the sad. And the film does work much
better as a study of grudging friendship in the face of the indignities
of age, than as a social comment about racism.

But there's something about the burnished glow the film gives the
waning days of Jim Crow that, in retrospect, also gives me the willies.
I wonder how different the film would be if just once they drove by a
black kid getting beat up by a bunch of rednecks. Here, the worst evil
on screen are two mean cops who call Freeman 'boy'. I would hate to
think a generation could watch this film and think it represented the
realities of those terrible times.

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...."

Freeman and Tandy are quite a combo!!

This is a sensitive film that says a lot about humanity.
Compassionate humanism oozes from this movie.
It certainly deserved the Picture of the Year in 1989.

This is a truly wonderful movie.It is a sensitive portrayal of the interaction between an old Jewish woman (Jessica Tandy and a black man (Morgan Freeman)in the Southern United States during the sixties. The two characters learn to trust each other and form a bond that transcends the harsh realities of racial prejudices of their time.It is a testament to what human love is all about.

This DVD is fantastic! All movie lovers will love this one. A must buy, must see! Highly recommend this one!!!!

Not much can be added to the praise of others here, or to the film's enthusiastic reception by the public. I feel that this is one of those rare films that is simply perfect from beginning to end. Even if you don't develop an affection for the characters, and even if you don't care for the story line, it's a stretch to fault this movie in any way. The Special Edition DVD is preferred (not many extras, but those included are worth the effort). After watching my copy 7 times and trying to get really picky with it, I juist can't find anything amiss with Beresford's beautiful production. SO why didn't he win a Director Oscar? Must've been the competition that year, but he certainly deserved to win. Only other disappointment: Freeman nominated, but didn't win. And to think this film was made for less than $6 million, and racked in a fortune and a handful of Oscars!

A great film. I first found a copy at a friends home and after that I knew I had to get a copy of my own. This film is about an old Jewish woman Daisy Werthan, (Jessica Tandy) who becomes too old to drive herself anymore. The film begins with her wrecking her car. So her son Boolie (Dan Aykroyd) hires a chauferr Hoke Colburn (Morgan Freeman). Some parts were funny like when Miss Daisy thought Hoke had stolen a can of salmon. Some parts were sad like when Idella dropped dead, some were even scary like when the synagogue was bombed. But I really liked the part when Hoke followed Miss Daisy trying to drive her to the store.

"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.

First of all viewer from FL, Untied States, this movie has little to no cliches in it. It is a simple, original story based on a simple, original play, about two ordinary people, one stubborn, proud, and self-relying, and one patient, cheerful, and simpleminded, and how these two people who roiginally had a lot of friction, learn to open up to, and even love each other through one chaffeuring the other. Sir, I get the feeling you don't even know what "cliche" and "vapid" even mean. And Born on the fourth of July is a liberal hippie movie that supports, selfishness,, hate, and sorrow, this movie deserved all it's OScars.