Ted Kramer's wife leaves her husband, allowing for a lost bond to be rediscovered between Ted and his son, Billy. But a heated custody battle ensues over the divorced couple's son, deepening the wounds left by the separation.
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 <firstname.lastname@example.org>
In the scene where Ms. Daisy and Hoke stop to eat while riding to Mobile AL, Ms Daisy talks about the first time she went to Alabama in 1888 and she was 12 yrs old. The movie ends in 1973, when she is 97 years old. See more »
When Hoke gets back into the car after being questioned by the police, there is foliage from two different trees grouped together, visible in the reflection of the window; probably so the audience can see Hoke through the glass. Then in the long shot of the car pulling away, there are no trees or plants close enough to the car to have caused those reflections. See more »
[on the phone, trying to get a ride to her hair appointment]
Well, I need you now, I have to be at the beauty parlor in half an hour... no, I most certainly did NOT know you have to call a minimum of three hours ahead! I don't know why you call yourselves a taxicab company if you can't provide taxicabs!
[in the other room, polishing a table]
Why don't you call your son down at the mill? He'll send somebody for you.
That won't be necessary... I'll just cancel the appointment and fix my own hair!
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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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