Miss Daisy et son chauffeur

  • États-Unis Driving Miss Daisy
États-Unis, 1989, 99 min (alternative 95 min)


L'amitié d'abord houleuse d'une vieille dame issue de la bourgeoisie juive d'Atlanta et de son chauffeur, Hoke. D'abord catégoriquement boude car Daisy préfère conduire elle-même sa magnifique Packard, Hoke saura la séduire et ils vont pendant vingt-cinq ans entretenir une amitié sans nuages. Oscar 1990 meilleur film, meilleure actrice. (texte officiel du distributeur)


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Critiques (4)


Toutes les critiques de l’utilisateur·trice

anglais A film that is simply about how old age isn't always pleasant, but it's just a part of life. It's enough to have someone with whom you can experience old age. It doesn't matter who it is, as long as we get along with them. This pairing is beautifully mismatched, but most importantly, it's delightfully acted. Morgan Freeman was in incredible form here. ()


Toutes les critiques de l’utilisateur·trice

anglais A positive, heartfelt feel-good movie about a millionaire prude grandmother and her eternally positive personal driver who find their way to each other across personality, opinion and gender differences. A predecessor of The Green Book, which, unlike its successor, is only lightly, marginally focused on the race issue, the creators rather focus on the relationship between two typologically completely different people living completely different lives and their inevitable confrontation in a number of different model situations. The result is good enough. Fortunately the runtime is not excessive, so the ending arrives when it's just right. It is definitely worth mentioning the strong central duo and the very good make-up effects for the time. ()



Toutes les critiques de l’utilisateur·trice

anglais This movie acts just like the cars it features, driven by an overly sympathetic chauffeur played by Morgan Freeman. In the beginning, it starts and goes, goes and goes. It is not particularly quick, and the main thing is that it is moving forward, to everyone's satisfaction, and that the crew, after a slight initial mistrust, is not grumbling too much, because it doesn't really have to. Just like Miss Daisy, the audience can be glad to be along for the ride, they can look around the landscape, listen to Zimmer and Dvořák and enjoy a lovely, academy-awarded ride, which, although it does not surprise with anything, as it follows the familiar map exactly, it is also not emotionally abusive, and it caresses the soul, captivates and warms. ()


Toutes les critiques de l’utilisateur·trice

anglais I’m not gonna lie; even an out-and-out cynic like myself will occasionally indulge in a cultural experience. I do peek out of my protective shell once in a while to enjoy a film that isn't entirely flawless, feels somewhat naïve, but definitely has something going for it. I have, of course, seen many a utopian variation on the interracial friendship trope, but this particular film sits well with me. Sure, the premise is a cliché, only it’s not about romantic love but segregation. But even though I’m fully aware of that, I can't help but enjoy it. I like the performances, but the best thing is that it has an incredibly human touch. I'm also intrigued by how there is an underlying theme without having to make it blatantly obvious. There are hints here and there which get the message across to at least a moderately bright viewer. That's not the way it's done anymore. And that's why I love this film. It’s a wonderfully human story without declamations of constantly heard phrases. / Lesson learned: I don't like Americans, but they sure made awesome cars. ()

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