Driving Miss Daisy
Characters, Setting, and Plot
Driving Miss Daisy is
At the beginning of the play, Hoke is hired by Miss Daisy's son, Boolie, who has become concerned about his aging mother's driving abilities. The proud Miss Daisy resents Hoke's presence, as she believes that he will do nothing but sit around, take up space, eat her food, and run up her phone bill. Concerned about appearances, Miss Daisy is also terrified that her neighbors will consider her a snob because
Both the theatrical and film versions of Driving Miss Daisy were written by Uhry and are similar, but some differences are evident. The play includes only three characters, Miss Daisy, Hoke, and Boolie, and the set is very simple, utilizing two stools to represent the car in which much of the dramatic action takes place. The play consists of a series of vignettes, with the passage of time revealed in the actors' mannerisms and by topical references, as well as by set and costume changes. The movie, by contrast, was filmed in and around Atlanta and features such locations as Druid Hills, Lullwater Road, Agnes Scott College, and The Temple. Characters who are only mentioned in the play, including Boolie's wife and Miss Daisy's cook, were given roles in the film, and all of the characters were enhanced and expanded to allow for more insight into their lives and environment.
Themes and Critical Reception
The personal and social conflicts of its characters are at the heart of Driving Miss Daisy.
Miss Daisy also experiences conflicts with Boolie that further illustrate the theme of change within the South. As a representative of the "Old South" and its traditions, Miss Daisy is highly resistant to change. Boolie, by contrast, is a shrewd businessman who, along with his wife, exemplifies the transformation of the South from an agrarian to an industrial culture. He owns all of the latest technology, including
The critical reception of Driving Miss Daisy has been mixed. While some reviewers found the work a "touching tribute to friendship and human dignity" and praised its subtle and subversive portrayal of the civil rights movement and racial prejudice, others criticized its romanticized and overly simplistic portrayal of a relationship between a rich white woman and her black employee. Nonetheless, the play and the film have both been popular with audiences, and the story is prominently identified with the South and its culture.
Beverly Branch, "Southern Society in Driving Miss Daisy," in Motion Pictures and Society, ed. Douglas Radcliff-Umstead (Kent, Ohio: Department of Romance Languages, Kent State University, 1990).
Angela J. Mason and Timothy J. Viator, " Driving Miss Daisy: A Sociosemiotic Analysis," Southern Quarterly 33, no. 1 (1994).
Don Shewey, "Ballyhoo and Daisy, Too," American Theatre 14, no. 4 (1997).
Helene Vann and Jane Caputi, " Driving Miss Daisy: A New 'Song of the South,'" Journal of Popular Film and Television 18, no. 2 (1990): 80-82.
Miriam Terry, Macon
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