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© DR -MISS DAISY & SON CHAUFFEUR (1990)
30/10/2012 06:48
Miss Daisy et son chauffeur (Driving Miss Daisy)
est une comédie dramatique australienne qui se déroule aux États-Unis,
réalisée par Bruce Beresford, sortie en 1989.
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Résumé
1948. Miss Daisy Werthan appartient à la bourgeoisie d'Atlanta (Georgie), dont elle est une des figures les plus excentriques. A soixante-douze ans, elle n'a rien perdu de sa remarquable vitalité, mais ses réflexes se sont émoussés.A la suite d'un accident mineur (qu'elle impute à un problème mécanique), son fils, Boolie, exige qu'elle renonce à conduire elle-même sa somptueuse Packard,et lui offre un chauffeur d'élite :Hoke Colburn. Agé d'une cinquantaine d'années, Hoke a longtemps servi auprès d'un juge et a toutes les qualités requises pour cet emploi. Mais Miss Daisy, furieuse de voir son indépendance remise en cause, décide de lui rendre la vie impossible...
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La critique des spectateurs ImDB
'Hoke" Provides A Great Role Model
Author: ccthemovieman-1 from United States
11 March 2006
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Man, did I change my mind about this film, maybe more than any film I've ever watched. The first time I saw it I did not like it and thought it was very overrated. Why I gave more looks, I don't really remember but it went to "fair" the next time and "excellent" by the third. I think the main reason is that I shifted my focus off the irritable old woman (Jessica Tandy) to the long-suffering servant (Morgan Freeman).
Once I looked at this story through "Hoke's" eyes, it became an inspiring story. Freeman's character, "Hoke Colburn," simply provides the best the example of a what true servant of God should act like, plain-and-simple. It's one of the best examples on film I've seen of of patience, kindness, dedication and dignity in a difficult situation. It's also always inspiring to see a nice, good person overturn and win over the opposite with sheer kindness.
Another factor that has raised my rating of this film is the latest "newly-restored widescreen edition," which finally presents this movie as it should be, with all its beautiful cinematography. The sets in here are great, a terrific look at the 1950s through storefronts, billboards, automobiles, etc.One thing this film taught me: "Hoke's" attitude isn't the only important aspect of this story. It's how we, as viewers, look at things, too, that makes a difference.
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© DR -MISS DAISY & SON CHAUFFEUR (1990) p2
30/10/2012 07:18
Résumé2
1948. Miss Daisy Werthan est, a 72 ans, l'une des figures les plus excentrique de la bourgeoisie juive d'Atlanta.Aussi refuse-t-elle qu'on l'affuble d'un chauffeur sous pretexte qu'elle a eu un petit accident. L'homme en question, Hoke, un noir d'une cinquantaine d'annees, lui est impose. Leurs rapports ne vont pas etre tres cordiaux au debut...
Cast
partiel (je l'ai sur K7 en v.f)
Morgan Freeman (VF : Robert Liensol) : Hoke Colburn
Jessica Tandy (VF: Suzanne Flon) j'adore Suzanne Flon: Daisy Werthan
Dan Aykroyd (VF: Hervé Pierre) : Boolie Werthan
Patti LuPone : Florine Werthan
Esther Rolle : Idella
Joann Havrilla : Miss McClatchey
William Hall Jr. : Oscar
Alvin M. Sugarman : Dr. Weil
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© DR -MISS DAISY & SON CHAUFFEUR (1990) p3
30/10/2012 07:23
Résumé Wiki
Miss Daisy, une vieille dame juive vivant à Atlanta (Géorgie), institutrice à la retraite, se retrouve dans l'incapacité de conduire sans endommager sa voiture. Son fils adulte, Boolie, décide d'embaucher un chauffeur pour sa mère.Hoke, un homme noir d'une cinquantaine d'année, doux et sympathique, chrétien, postule pour le poste et l'obtient. Néanmoins le fils de Miss Daisy le prévient que sa mère est une femme autoritaire et sèche.Le chauffeur parvient à apprivoiser sa patronne. C'est ainsi que se tisse une belle amitié qui dure 25 ans entre Miss Daisy et son chauffeur...
Fiche technique
Titre : Miss Daisy et son chauffeur
Titre original : Driving Miss Daisy
Réalisation : Bruce Beresford
Scénario : Alfred Uhry
Production : Guy East, Lili Fini Zanuck,
Jake Eberts, Alfred Uhry, Richard D. Zanuck,
David Brown et Robert Doudell
Musique : Hans Zimmer
Photographie : Peter James
Montage : Mark Warner
Société de distribution : Warner Bros. Entert
Budget : 7 500 000 $
Pays d'origine : Australie
Langue : anglais
Genre : Comédie dramatique
Durée : 100 minutes
Date de sortie : 13 décembre 1989 (USA),
13 juin 1990 (France)
Distribution France : A.M.L.F.
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A gem
Author: Brandt Sponseller from New York City
31 May 2005
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.
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At the beginning of the film, we see Miss Daisy, who is already around 60 years old or so,(je pense qu'on peut y ajouter 10 ans) 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.
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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.
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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.
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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.
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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.
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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.
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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.
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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.
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Morgan Freeman and Jessica Tandy in a heart-warming, human story
Author: Keith F. Hatcher from La Rioja, Spain
11 April 2004
Maybe 'the Shawshank Redemption' (1994) (qv)is a bigger,better,more brazen film, with far more pretensions, and is, of course, an excellent film: but I cannot avoid thinking that it is in 'Driving Miss Daisy' that Morgan Freeman develops his best rôle, playing so well opposite the unrepeatable Jessica Tandy. I have not seen all of Freeman's films, nor do I wish to. Of those I have seen he is more or less 'O.K.' as you might say; What makes 'Driving Miss Daisy' work is the human and humane compassion and sympathy flowing between the two lead actors, with Dan Ackroyd, surprisingly, and Esther Rolle both lending a good hand.
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Maybe (1994) (qv)is a bigger,better,more brazen film, with far more pretensions, and is, of course, an excellent film: but I cannot avoid thinking that it is in 'Driving Miss Daisy' that Morgan Freeman develops his best rôle, playing so well opposite the unrepeatable Jessica Tandy. I have not seen all of Freeman's films, nor do I wish to. Of those I have seen he is more or less 'O.K.' as you might say; What makes 'Driving Miss Daisy' work is the human and humane compassion and sympathy flowing between the two lead actors, with Dan Ackroyd, surprisingly, and Esther Rolle both lending a good hand.
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One might argue that it is 'only' an oversweetened sentimental story; be that as it may, the film endeavours to portray the aging relationship between the white Jewish rich woman and her poor black chauffeur throughout 25 years. And Jessica LandryTandy was over eighty years old when she made this film. In this aspect, evidently the film succeeds, as the story itself is really of secondary importance: it is the beautifully filmed scenes and the dialogues which build up to something greater than the story per se. In an age dominated by cinema stuffed with violence, sex, special effects and so on, here is an example without such measures, relying on pure acting and interpretative skills so as to tell a clean simple story.
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You might well like to compare this film with Lindsay Anderson's 'The Whales of August' (1987) (qv), with an absolutely unrepeatable cast with Lillian Gish, Bette Davis, Vincent Price and Ann Sothern: a delicious retrospective piece. 'Driving Miss Daisy' was meticulously made, with all those cars of the 50's and 60's and the careful scene settings, brought out by excellent photography, and all backed up by what must be Hans Zimmer's most appropriate and touching score. His score was also good in that tremendous film 'Thelma and Louise' as well as in 'The House of the Spirits' and 'Beyond Rangoon' (1995) (qv). 'Driving Miss Daisy' is one of those videos in my collection which I am pleased to blow the dust off and watch yet again: it is still as charming as ever.
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Four seasons, several years...
Author: Ingar Einar Fuglseth (fuglseth@hotmail.com) from Norway, west-coast, Aalesund
20 September 1999
Why spend millions of dollars on special effects and scenes, when the actors still are most important? This movie proves all that. This movie gives a strong feeling of being back in a time I`ve never experienced myself. It is somewhere in my consciousness. This is a cozy comedy for the whole family. This film is much about how our daily life meets new inputs, and how we deal with it. Time doesn`t change, it is our daily lifes inputs. This serious comedy is as deep as it is easy, because it is more about ourselves than we sometimes think. Enjoy the art, the music, the lovely seasons.. 10 out of 10.
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A touching film that is a story of ultimate friendship and loyalty.
Author: Steve Richmond from Brea, California USA
31 October 1998
Driving Miss Daisy is the story of a frienship between a hard to live with Jewish lady and her chauffeur. Morgan Freeman and Jessica Tandy give great performances along with Dan Aykroyd as a loving son to Miss Daisy. Great score and cinamatography add to this films enjoyment. If you're an old car buff like me, note that beautiful 1948 Hudson that is used in the first half of the movie.
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Truly impressive film
Author: kyle-cruse from California
12 September 2008
"Driving Miss Daisy" proves to be a beautifully-written and acted little film, based on the Pulitzer-winning play. It tells of how a chauffeur (Morgan Freeman, in another great role) starts driving for Miss Daisy (Jessica Tandy, Oscar-winner for this film) who will not drive anymore after an accident in her driveway. Though Miss Daisy does not take an immediate liking to Freeman and does not want to have to be driven around, the two begin to grow closer together and become more friendly over the years.
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"Driving Miss Daisy" proves to be a beautifully-written and acted little film, based on the Pulitzer-winning play. It tells of how a chauffeur (Morgan Freeman, in another great role) starts driving for Miss Daisy (Jessica Tandy, Oscar-winner for this film) who will not drive anymore after an accident in her driveway. Though Miss Daisy does not take an immediate liking to Freeman and does not want to have to be driven around, the two begin to grow closer together and become more friendly over the years.
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There are just so many great little scenes that really make this film what it is. My personal favorite scene involves Miss Daisy teaching Freeman to spell so he can find a grave site she is looking for. The interactions between the two of them are brilliant here and the scene is made entirely believable by their great acting. The scene in which Miss Daisy, as she is getting older, starts to lose her memory and thinks she is still a teacher, as she was in her younger years, truly tugs at the heartstrings, but is perfectly done and is another one of the film's best scenes. Perhaps not the Best Picture of 1989 for me, and it does tend to be a little slow at times, but it is truly a worthwhile film, and a must-see for just about any movie lover. A new classic.*** out of ****
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© DR -MISS DAISY & SON CHAUFFEUR (1990) fin
30/10/2012 07:28
Récompenses
Oscar
Meilleur film
Meilleure actrice : Jessica Tandy
Nomination Meilleur acteur : Morgan Freeman
Nomination Meilleur acteur dans un second rôle : Dan Aykroyd
Golden Globe
Meilleur film musical ou comédie
Meilleur acteur dans un film musical ou une comédie : Morgan Freeman
Meilleure actrice dans un film musical ou une comédie : Jessica Tandy
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The Growth of Affection
Author: lcbabybleue from Reno, NV
27 February 2003
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After watching this film for the second time I realized just how important the affection that occurs between Hoke and Daisy really is. What grows between these two is something most people only wish to have in their lives. What is so special about it, though?From the beginning of their relationship, the two are forced to be together. Daisy is forced to have a driver and Hoke is hired on for that position. For both, the relationship is one out of need. Hoke needs a paying job and Daisy needs a driver in her old age (although, she would never admit it to anyone especially herself).As time goes by, though, Daisy's need of Hoke becomes clearer to herself.
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She begins to depend on him.This is definitely made clear at the end when Hoke is feeding Daisy her pumpkin pie, and she enjoys each bite fully.Another aspect of the movie which got to me was the great array of choices the director made with the filming. Hoke is a character of very few words but teaches Daisy so much. Morgan Freeman's acting in this character is amazing. The knowledge he shows within his eyes is one reason I almost felt closer to him than Daisy did throughout the first half of the movie. In a way, he teaches her a new way of life. He does so by showing himself truly and honestly.
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Another choice the director made was in the symbolic way the film was made. The beauty of the many seasons is shown through the changes of the landscape. The trees transform from winter to spring and the streets go from sheets of ice to warm asphalt. And the cars get larger and more high tech. Time is so important in Daisy's and Hoke's affection/friendship that this is a great way to show that.There are so many aspects of this film which I could go on and on about. It is a wonderful film of which any person can get a fulfilling movie watching experience out of. They can also learn a lot from it, too! Watch it.
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Unlikely best friends enter old age together
Author: mdm-11 from United States
23 May 2005
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.
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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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Driving Miss Daisy" is a masterpiece.
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Author: john in missouri from United States
19 May 2000
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Looking for a great, in-yer-face fast-moving action THRILLER? Driving Miss Daisy ain't it.Looking for a great MOVIE? You're in the right place."Driving Miss Daisy" charts the subtly-shifting relationship between "Miss Daisy," a very reluctantly aging Jewish lady who's no longer able to drive for herself, and her new (and, as you can expect, rather unwelcome!) driver -- a not-terribly-young-himself Black guy (or African-American guy, whichever you prefer) named Hoke.
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Bear in mind this is the Deep South of the 1950's and 60's we're talking about here, and the racial attitudes and prejudices of that time make for fascinating background -as does the whole general culture, which I believe was well portrayed.The directors frankly took on some delicate racial subject matter here-and certainly the racial divide in those days was very deep indeed) but they handled it with remarkable skill. I think they succeeded so well because they brought you into the lives of people as people, not just as cardboard stereotypes.Long before the movie is over,you find yourself really caring about the two main characters:Daisy and Hoke
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This is a movie about life, relationships, and people. You see some good things- and also some very human weaknesses, not the least of which is sheer stubborn pride.I personally was a child of the deep South, and I appreciate movies such as this one and Jessica Tandy's other wonderful movie Fried Green Tomatoes which is in some ways very similar) which give us a glimpse into the culture of those days. There are definitely things we can learn from the past, and there are also things we can learn from watching how people change over the course of their lives.
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Several moments from this movie stand out, some of which are funny, some sobering, and some of which are particularly moving:The scene involving Dr. Martin Luther King.The unashamedly bigoted comments of a 50's or 60's police officer.A great scene involving Hoke and Miss Daisy's businessman son.An incredible scene in which Jessica Tandy portrays the aging Miss Daisy.And, perhaps most of all, what Miss Daisy says to Hoke towards the end of the movie.Now personally, I love action movies so well that I was initially reluctant even to watch this one. This is not a movie of action, but it IS a movie of substance and beauty, mixed with some funny moments.The acting is great, the script and directing are beautifully done, and the substance, humor and beauty are such that overall, I consider "Driving Miss Daisy," one of the best movies I've ever seen.
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© DR -COCOON -de Ron Howard (1985)
30/10/2012 11:04
Cocoon
est un film de science-fiction américain réalisé par Ron Howard,
sorti en 1985, sur le scénario de Tom Benedek d'après l'histoire de David Saperstein,
mettant en scène Don Ameche, Wilford Brimley, Hume Cronyn, Brian Dennehy,
Jack Gilford et Steve Guttenberg.
Ce film a reçu en 1986 un Oscar du meilleur acteur dans un second rôle pour Don Ameche et
un autre Oscar des meilleurs effets visuels pour Industrial Light & Magic
ainsi qu'un Saturn Award du meilleur réalisateur pour Ron Howard.
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Résumé
Au large de la Floride, dans les ruines d'un temple sous-marin, vingt sarcophages reposent, cocons de pierre où sommeillent, depuis dix mille ans, d'étranges créatures venues d'ailleurs. A quelques kilomètres de là, se dresse une confortable et paisible maison de retraite.La vie, ici, n'est plus qu'un souvenir brumeux, la mort une abstraction, un vain remous, un ballet confus de médecins et d'infirmières. Les pensionnaires de cette maison, Art, Ben et Joe restent d'incroyables gamins malgré leur troisième âge et ils veulent ignorer la vieillesse et son cortège de hontes et de misères
Fiche technique
Titre original : Cocoon
Réalisation : Ron Howard
Scénario : Tom Benedek et
David Saperstein (histoire)
Production : David Brown,
Lili Fini Zanuck et Richard D. Zanuck
Société de production : Twentieth Century Fox
Musique : James Horner
Photographie : Donald Peterman
Montage : Daniel P. Hanley et Mike Hill
Décors : Jack T. Collis
Costumes : Aggie Guerard Rodgers
Pays d'origine : États-Unis
Langue : anglais
Lieux de tournage : Floride, Bahamas
Format : Couleurs - 1,85:1 - Dolby - 35 mm
Genre : Science-fiction
Durée : 117 minutes
Dates de sortie :
États-Unis : 21 juin 1985
France : 27 novembre 1985
Lieux de tournage
-Clearwater, Floride
-Nassau, New Providence Island, Bahamas
-South Ocean, New Providence Island, Bahamas pour les scènes sous la mer
-St. Petersburg, Floride
Box-office
Ce fut à la sixième place des plus gros succès de l'année aux États-Unis qu'il a terminé sa carrière avec quatre-vingt six millions de dollars de recettes. La suite Cocoon, le retour de Daniel Petrie n'a pas pu réussir à atteindre la hauteur du film précédent.
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