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>
While Daisy and Hoke are driving to Boolie and Florine's house for a Christmas party, Daisy says of Florine, "I hope she doesn't take in into her head to sing tonight." Patti LuPone, who played Florine, is a multiple Tony- and Grammy- Award-winning Broadway musical star. See more »
When Daisy visits the Piggly Wiggly near her house in the Druid Hills neighborhood of Atlanta, a small movie theater named the Rialto is next to it. In the real Atlanta of that time, there was a major downtown movie theater named the Rialto (now the Rialto Center for the Arts). A small neighborhood movie house would not have taken the same name as a downtown first-run theater. See more »
[Hoke and Daisy are driving to Boolie and Florene's for a Christmas party. Daisy, a Jew, is annoyed at the extraneous Christmas light displays]
Everybody's wishing the Georgia Power Company a Merry Christmas.
I bet Miss Florene got 'em all beat with the new house.
If I had a nose like Florene's, I wouldn't go around wishing anybody a Merry Christmas!
Yes'm... but, I tell ya, I do enjoy a Christmas at their house.
Of course, you're the only Christian in the place!
Well, they got that new ...
[...] See more »
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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