Driving Miss Daisy (1989)

Calificación de los usuarios:

7.5/10   

Director:

Bruce Beresford

Escritores (WGA):

Alfred Uhry (play)
Alfred Uhry (screenplay)

Fecha de Lanzamiento:

26 enero 1990 (USA)

Género:

Comedia | Drama

Frase comercial:

The comedy that won a Pulitzer Prize

Plot:

An old Jewish woman and her African-American chauffeur in the American South have a relationship that grows and improves over the years.

Plot Keywords:

Jewish | American South | 1950s | Chauffeur | Widow

Premios:

Won 4 Oscars. Another 16 wins & 11 nominations

Comentarios de los usuarios:

A gem

Reparto

Morgan Freeman	...	Hoke Colburn
Jessica Tandy	...	Daisy Werthan
Dan Aykroyd	...	Boolie Werthan
Patti LuPone	...	Florine Werthan
Esther Rolle	...	Idella
Joann Havrilla	...	Miss McClatchey
William Hall Jr.	...	Oscar
Alvin M. Sugarman	...	Dr. Weil
Clarice F. Geigerman	...	Nonie
Muriel Moore	...	Miriam
Sylvia Kaler	...	Beulah
Carolyn Gold	...	Neighbor Lady
Crystal R. Fox	...	Katie Bell
Bob Hannah	...	Red Mitchell
Ray McKinnon	...	Trooper #1
Ashley Josey	...	Trooper #2
Jack Rousso	...	Slick
Fred Faser	...	Insurance Agent
Indra A. Thomas	...	Soloist
listado alfabético del resto del reparto:
Dean DuBois	...	Commerce Club member (uncredited)
Martin Luther King	...	Himself (uncredited) (archive sound)
D. Taylor Loeb	...	Girl at Temple (uncredited)

Dirigida por
Bruce Beresford

Créditos del guión (WGA)
Alfred Uhry		(play)
Alfred Uhry		(screenplay)

Producida por
David Brown	....	executive producer
Robert Doudell	....	associate producer
Jake Eberts	....	co-executive producer
Alfred Uhry	....	associate producer
Lili Fini Zanuck	....	producer
Richard D. Zanuck	....	producer

Música original por
Hans Zimmer

Fotografía por
Peter James		(director of photography)

Montaje por
Mark Warner

Diseño de producción por
Bruno Rubeo

Dirección artística
Victor Kempster

Decorados
Crispian Sallis

Diseño de vestuario por
Elizabeth McBride

Departamento de maquillaje
Lynn Barber	....	assistant makeup artist
Kevin Haney	....	makeup consultant
Philip Ivey	....	hair stylist (as Phillip Ivey)
Philip Leto	....	hair stylist (as Phil Leto)
Manlio Rocchetti	....	makeup supervisor

Dirección de producción
Robert Doudell	....	unit production manager
Russell Paris	....	post-production supervisor

Ayudante de dirección
Martha M. Elcan	....	second assistant director (as Martha Elcan)
Katterli Frauenfelder	....	first assistant director

Departamento de Arte
Benjamin Beresford	....	property assistant
Wren Boney	....	head set dresser
Gary Buckles	....	set dresser (as Gary L. Buckles)
Don E. Cochran	....	scenic chargeman
Tom S. Gunter	....	scenic billboards
Jeanne M. Hall	....	greensperson
Paul Huggins	....	construction foreman
Tony Kupersmith	....	construction coordinator
Kristen McGary	....	lead person (as Kris McGary)
John Oliveira	....	set dresser
Vera Smith	....	property assistant
Philip Steuer	....	property master
Karen Young	....	set dresser
Bill Zullo	....	property assistant (as William Zullo)
Steven Blutstein	....	lead man (uncredited)
Steven Blutstein	....	set dresser (uncredited)
Jeff Cronin	....	draughtsman (uncredited)
Patrick Fuhrman	....	set dresser (uncredited)
Amy McGary	....	buyer (uncredited)

Departamento de sonido
Sandina Bailo-Lape	....	foley editor
Tom Bellfort	....	adr editor
Gloria S. Borders	....	supervising sound editor
Gloria Cooper	....	cableperson
Gloria Cooper	....	second boom operator
Melissa Dietz	....	dialogue editor
Clare C. Freeman	....	assistant sound editor (as Clare Freeman)
Hank Garfield	....	production sound mixer
Karen Harding	....	assistant sound editor
Robin Harlan	....	foley artist
Tim Holland	....	sound effects editor
Matthew Iadarola	....	sound re-recording mixer
Ronald Jacobs	....	dialogue editor
Michael Minkler	....	sound re-recording mixer
Matt Patterson	....	sound recordist (as Matthew Patterson)
Andy Rovins	....	boom operator
David Slusser	....	foley recordist
Kim Cascone	....	assistant foley recordist (uncredited)

Efectos especiales
B.J. Shelley	....	special effects assistant
Bob Shelley	....	special effects coordinator

Visual Effects
Tim Donahue	....	visual effects art director: Introvision (uncredited)
Richard Kilroy	....	matte painter: Introvision (uncredited)
Richard Kilroy	....	model builder (uncredited)
John P. Mesa	....	visual effects cameraman (uncredited)
William Mesa	....	visual effects supervisor (uncredited)
Rick Rische	....	matte painter: Introvision (uncredited)

Especialistas
Dan Mabry	....	stunt double (as Danny Mabry)
Mags Kavanaugh	....	stunt double (uncredited)
Gene Witham	....	stunt driver (uncredited)

Cámara y Departamento Eléctrico
Jeff Becker	....	best boy electric
Sam Emerson	....	still photographer (as Sam Young Emerson)
Michael Fedack	....	dolly grip (as Michael John Fedack)
David J. Frederick	....	first assistant camera (as David John Frederick)
Robert Kempf	....	key grip
David Meistrich	....	second assistant camera
Greg Morse	....	playback operator
Erich Roland	....	camera operator
Keith Sherer	....	gaffer
David Sinrich	....	best boy grip

Departamento de reparto
Elyn Wright	....	casting: Atlanta (as Elyn S. Wright)
Diane Alexander	....	casting assistant (uncredited)

Departamento de vestuario
Kris Kearney	....	costumer (as Kristine Kearney)
Susan Mickey	....	costumer (as Susan E. Mickey)
Marsha Perloff	....	wardrobe supervisor

Departamento de Edición
Donald Likovich	....	assistant film editor
Jeremiah O'Driscoll	....	apprentice film editor
Bob Putynkowski	....	color timer
Steven Ramirez	....	first assistant film editor
Tom Shaffer	....	color timer

Departamento de Música
Barry Levine	....	music supervisor
Laura Perlman	....	music editor
Jay Rifkin	....	music scoring mixer

Departamento de Transporte
Cindy Parker	....	transportation captain
J.L. Parker	....	transportation coordinator
Ronald F. Debranski II	....	driver (uncredited)

Otros miembros del equipo
Royce D. Applegate	....	additional voice (as Royce Applegate)
Bowen Astrop	....	production assistant
Robert Ballentine	....	assistant location manager
Ronni Chasen	....	public relations
June Christopher	....	additional voice
Andrew M. Comins	....	location manager
Leigh French	....	additional voice
Nanette Guidebeck	....	assistant production coordinator
Archie Hahn	....	additional voice
Annette Haywood-Carter	....	script supervisor
Colleen Hess	....	stand-in
Bob Hoffman	....	unit publicist (as Robert Hoffman)
B.J. Hughes	....	stand-in
Jim LaClair	....	production assistant (as James LaClair)
Eugene Lee	....	additional voice
Robert E. Lee	....	production accountant
Lois Middlebrooks	....	stand-in
Charlene Murray	....	production secretary (as Charlene Murray/Rose)
Stoke T. Renigade Patterson	....	production assistant (as Stroke T. Renigade)
Letha Perkins	....	stand-in
Felton Perry	....	additional voice
Wendy Price	....	production accountant (as Wendy M. Price)
Patricia Sammons	....	craft service (as Tricia Sammons)
Judith Schefke	....	assistant to producers
Katherine Shaw	....	researcher
Ruth Silveira	....	additional voice
Mike Smith	....	police coordinator
Gregory Snegoff	....	additional voice
Eric P. Steckler	....	production accountant
Lynne Marie Stewart	....	additional voice (as Lynne Stewart)
Sean Swint	....	production assistant
Arnold F. Turner	....	additional voice (as Arnold Turner)
Leon Watkins	....	stand-in
Jonathan Watson	....	production assistant
Teresa M. Yarbrough	....	production coordinator
Frans J. Afman	....	financial services (uncredited)

Gracias
Irving Vendig	....	our gratitude to: creator-writer, "The Edge of Night"

Compañías Productores

• Majestic Films International
• Zanuck Company, The

Distribuidores

• Majestic Films International (1989) (worldwide) (all media) (rights)
• Warner Bros. Pictures (1989) (USA) (theatrical)
• Highlight Film (1990) (Germany) (theatrical)
• Warner Bros. (1990) (UK) (theatrical)
• Warner Home Video (1990) (USA) (video) (laserdisc)
• Warner Home Video (1992) (USA) (VHS)
• Warner Home Video (1997) (USA) (DVD)
• Warner Home Video (2003) (USA) (DVD)
• Kinowelt Home Entertainment (2005) (Germany) (DVD)
• Warner Home Video (2005) (USA) (DVD)
• American Broadcasting Company (ABC) (1993) (USA) (TV) (broadcast premiere)
• Aquarius TV (????) (Greece) (TV)
• Finnkino (1990) (Finland) (theatrical)
• Future Film (2009) (Finland) (DVD)
• Highlight Film (????) (Germany) (DVD)
• Indies Home Entertainment (2001) (Netherlands) (DVD) (VHS)
• Mainostelevisio (MTV3) (2002) (Finland) (TV)
• Monopole-Pathé (????) (Switzerland) (theatrical)
• Oy Europa Vision AB (1990) (Finland) (VHS)
• Paris Vídeo (????) (Brazil) (VHS)
• Scanbox Entertainment (2000) (Finland) (video)
• Transmundo Films (????) (Argentina) (theatrical)
• Transmundo Home Video (THV) (????) (Argentina) (VHS)
• Warner Home Video (2006) (USA) (DVD)

Efectos especiales

• Introvision International (special visual effects)

Otras Compañías

• Completion Bond Company  completion bond
• Czech Philharmonic Orchestra  orchestra: "Song to the Moon" (as Czech Philharmonic)
• D. Bassett & Associates  negative cutting
• Daisy Company  "Driving Miss Daisy" was subsequently produced Off-Broadway in 1987 by (in association with Playwrights Horizons)
• Darlin's Restaurant  our gratitude to
• Dolby Laboratories  sound post-production
• Fulton Supply Company  our gratitude to: factory location
• JDH Sound  sound re-recording
• Location Catering of the South  catering
• Outdoor Today  our gratitude to
• Pacific Title  titles and opticals
• Playhouse Horisons  "Driving Miss Daisy" was first produced off-Broadway by
• Sprocket Systems  sound services
• Varèse Sarabande  soundtrack

También conocida como:

Conduciendo a Miss Daisy (Argentina) [es]
Paseando a Miss Daisy (Spain) [es]

Duración:

99 min

País:

USA

Idioma:

Inglés | Hebreo

Color:

Color (Technicolor)

Relación de Aspecto:

1.85 : 1

Sonido:

Dolby | Dolby Digital (DVD version)

Clasificación:

Germany:6 | Iceland:L | South Korea:12 (DVD rating) | Canada:PG (Canadian Home Video rating) | Brazil:Livre | South Korea:Todo | Argentina:13 | Chile:14 | Finland:S | Sweden:Btl | UK:U | USA:PG (#29912) | West Germany:6 | Singapore:PG | Canada:G (Manitoba/Nova Scotia/Quebec) | Canada:F (Ontario)

Locaciones de Filmación:

822 Lullwater Road, Druid Hills, Atlanta, Georgia, USA

Compañía:

Majestic Films International

Trivialidades:

Three black men are seen crossing railroad tracks in Atlanta. All three of these men are descendants of the real Hoke.

Errores:

Anacronismos: When Hoke is eating while sitting at the kitchen table, there is a bottle of hot sauce on the table. The bottle cap can be seen to have a tamper-proof seal in place. Those weren't used at that time.

Citas:

Boolie Werthan: How're you, Idella?
Idella: Livin'.
Boolie Werthan: Where's that vacuum cleaner I brought over here?
Idella: In the closet.
Boolie Werthan: [turning to Hoke] She won't touch it.
Idella: I would if it didn't give me a shock every time I come near it!
Boolie Werthan: It works for me!
Idella: Fine... you clean and I'll go down and run your office!

Conexiones de Película:

Referenced in A Cinderella Story (2004)

Banda de Sonido:

SANTA BABY

A gem

Driving Miss Daisy is an unusual film. Although it's really more of an extended pair of entwined character portraits--spanning a quarter of a century--it has all of the narrative focus and tightness of a more traditionally structured mystery plot.

The character portraits are of Daisy Werthan (Jessica Tandy) and Hoke Colburn (Morgan Freeman). The film is set in suburbs of Atlanta and begins in the late 1940s or early 1950s. Daisy is wealthy, but she wasn't born that way. Her son, Boolie (Dan Aykroyd) runs the successful family business--a large textile factory. At the beginning of the film, we see Miss Daisy, who is already around 60 years old or so, have a driving mishap--she has the car in the wrong gear and runs off of her driveway, almost completely backing over a 10 foot drop to the neighbor's driveway, at about 20 miles an hour. This naturally concerns Boolie, and when Daisy has a problem finding a company that is willing to insure her after the accident, Boolie hires Hoke--also rapidly approaching "elderly"--as her driver, against her protests. She doesn't want a driver. She doesn't want someone else in her house. She doesn't want to be treated as if she's incapable. Driving Miss Daisy is an exploration of Hoke and Daisy's relationship, all the way into the early 1970s.

Alfred Uhry adapted the script from a play he wrote by the same name that was first produced Off-Broadway. Although the play began in a small theater, it had good reviews and good word of mouth, necessitating a move to a larger theater. Uhry eventually won a Pulitzer Prize for his work. He has said that that Driving Miss Daisy was semi-biographical about his grandmother and her driver.

That fact probably helped create the remarkable depth of character shown in the film, although certainly director Bruce Beresford, Freeman, who also starred in the play, and Tandy do more than their share to build a charming, frequently funny and poignant portrayal of two very different humans learning to see eye to eye.

It's significant that Driving Miss Daisy is set in the South and spans the period prior to and slightly after the civil rights movement in the US. And it's significant that Hoke is an African-American while Miss Daisy is Jewish.

Miss Daisy is humorously fussy, prim and proper. Well, to the audience at least--I don't suppose it would be so humorous to have to deal with it. This helps create an initial "formal antagonism" between Daisy and Hoke. Only infinite calm and patience from Hoke earns a gradual softening of Daisy's public displeasure and curmudgeonliness. The unusual structure means that Driving Miss Daisy is more a series of vignettes, each significant to the gradual coming together of Hoke and Daisy, although most incidents are relatively minor in isolation. Uhry makes the film a collection of those small but memorable, important and frequently amusing (at least in retrospect) moments that make up a lifetime of telling memories in any familial relationship--and Hoke does become family. Eventually, Hoke and Daisy form a bond that is perhaps stronger than Daisy's bond with her own son.

As for the significance of Hoke and Daisy's ethnic orientations, Miss Daisy makes a vocal point of not being racist or otherwise discriminatory. She also likes to focus on her humble beginnings--a few incidents near the beginning of her relationship with Hoke hinge on her being embarrassed at her wealth. And of course, as a Jew in the South, she is well aware of discrimination and disadvantage, having experienced it first hand.

One of the more touching scenes of the film features Hoke and Daisy driving to Alabama to attend her brother's 90th birthday party. It's Hoke's first time outside of Georgia. They've parked temporarily on the side of the road. Two white Alabama policemen see Hoke and pull over. They want to know what Hoke is doing with a nice, new Cadillac. When they discover that Daisy is Jewish, they are disparaging through implicature, and they make a literally discriminatory remark to each other when Hoke and Daisy drive off. Although these kinds of events are much more major than say, apparently stealing a can of salmon, Uhry and Beresford tie them together wonderfully so that they all have about the same significance.

Related to these themes, the film is also charming and moving for juxtaposing a kind of personal consistency throughout time with a rapidly changing society. That's why the profound social changes happening "just next door", so to speak, are largely kept in the background.

Technically, Driving Miss Daisy is a gem. It's full of subtly complex and aesthetically pleasing cinematography, well blocked scenes and a fabulous and deservedly famous score from Hans Zimmer. But the story and performances are so good that it's almost difficult to notice the technical stuff.

Unless you are completely averse to anything even slightly in the realm of realist drama/light comedy, Driving Miss Daisy is a must-see. It's sentimental but not syrupy and touching but not overly serious--you'll laugh just as often as anything else. Don't miss this one if you haven't yet seen it.