Driving Miss Daisy (1989) Drama 1989...
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byWalter Chaw The heart-warmingstory of how a bitter old Jewess learns to not be such a bitch to apatientNegro driver in an idyllic pre-integration South, Bruce Beresford's DrivingMiss Daisy, released the same year as other such landmarkfilms about raceas Ferris Bueller's Black Civil War Regiment and Dothe Right Thing,discusses how forty-one years of forced companionship can overcome eventhedeepest-seated prejudices and resentments. Or, at least, dementia can.We meet Ms. Daisy (Jessica Tandy) as she crashes her car, and we meetHoke(Morgan Freeman) when he begs Miss Daisy's son Boolie (Dan Aykroyd) fora jobas her chauffeur--meaning they're both prisoners of circumstance,see Meaning this is an unlikely but no less racially naïve remake ofStanleyKramer's embarrassing melodrama The Defiant Ones,scored by Hans Zimmerwith outtakes from his synth-heavy, bullshit-rich Rain Man score,allteddy bears humping and building music boxes and shit. Meaning,essentially, that we are to believe there is no substantive differencebetweena wealthy white woman needing to hire a driver and a destitute blackman looking for work in 1948 Atlanta. My favourite scene is either theone where Hoke asks Miss Daisy's permission to make water, or the onewhereHoke says something and Miss Daisy tells him to \"be still.\"
Parents need to know that Driving Miss Daisy is an Oscar-winning 1989 drama set in Atlanta, from the post-World War II years to the civil rights era. It shows the close friendship between Daisy (Jessica Tandy), a White Jewish woman in her 70s, and Hoke (Morgan Freeman), the Black man employed as her driver. While on a road trip, a trooper refers to them using the \"N\" word and \"old Jew woman.\" Daisy's synagogue is bombed (not shown), which reminds Hoke of the aftermath of a lynching he witnessed as a young boy in rural Georgia, in which he found his friend's father hanging from a tree. The movie avoids overtly denouncing racism, preferring to hint at systemic injustice: For instance, while Daisy's son, a successful businessman, \"supports\" the message of Martin Luther King Jr., he's worried that public calls for civil rights would, as a Jewish White man in the South, cost him his business relationships. Daisy similarly doesn't consider herself racist, hotly reminding Hoke that she grew up poor. But she indulges in prejudiced behavior, such as not inviting Hoke to a speech she attends given by Dr. King until Hoke is driving her to the venue. She also falsely accuses Hoke of stealing from her pantry; as she tells her son, \"they all take things, you know.\" For his part, Hoke admirably threads the needle of using enough deference to keep his job, through frequent \"yes, sir\" and \"yes'm\"s, but also maintains key moments of agency wherein he calls Daisy out for unreasonable demands. The movie takes place among these themes, as well as themes of trying to maintain your independence while aging, but its focus on delivering a feel-good story of two unlikely friends -- paired with an overly simplistic and nostalgic take on systemic injustice -- blunts more meaningful messages.
Jordan Peele and J.J. Abrams teamed up with Misha Green to produce Lovecraft Country, a new drama horror series about a young Black man named Atticus who journeys across the United States in the 1950s in hopes of tracking down his missing father. However, in addition to facing endless racism, Atticus must also confront a group of terrifying monsters. 59ce067264
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