Introduction
It is estimated that by the time a person is 70 years old, the functional capacity of their cardiorespiratory organs reduces by 50% (Tomás et al., 2). The changes in body abilities should be perceived positively as the expected developmental stage for late adulthood. Otherwise, holding on to unverified beliefs about aging can make people have weird expectations and approach toward geriatric citizens. The award-winning classic film, Driving Miss Daisy, directed by Bruce Beresford and written by Alfred Uhry, offers a dramatic and clear illustration of the aging process. The protagonist and other actors are advanced in an age such that their interactions with family, friends, and society portrays the theme of ageism. Director Beresford’s film, released in 1989, remains an iconic cinematic achievement that presents the theme of ageism through characterization, cultural representation, and setting.
Driving Miss Daisy
The social-cultural setting of a film helps to understand why aging was such a significant issue at the time. The movie was released in 1989 when the Southern states had a peace and justice movement (Novotny 154). The objective of the movement was to alleviate the issues of substandard housing, deteriorating social conditions, and racial inequalities. In the film, Hoke goes to negotiate a salary raise after being approached by a potential employer who offers more money than his current wages (Beresford). Moreover, his granddaughter becomes a teacher and drives him to Miss Daisy’s home, which is now on sale, and then to the nursing home (Beresford). It is apparent that the socioeconomic conditions of black people continue to improve such that despite aging, Hoke becomes a relatively wealthy man in the final scene. Hoke’s granddaughter is a typical representation of what was referred to as a “yuppie” (young urban professional) during the 1980s (Lowy 448). As Hoke ages, he speaks of his granddaughter with pride as she has achieved what most of their predecessors never managed.
The characters of Miss Daisy and the Chauffeur are both relevant in advancing the theme of ageism in the film. The movie starts when Miss Daisy is in her early seventies, and her driver is in middle adulthood. Miss Daisy is a strong-willed woman of Jewish descent who believes in being in control. After the slight accident, her son tells her she was lucky she did not succumb to any injuries and offers to help drive her if she needs to go somewhere (Beresford). However, Daisy dismisses his son by faulting the car rather than admitting her mistake, only to get in a second accident later. Notably, as people get older, their driving capacity diminishes but they are afraid of accepting the fact because it reduces their independence and interaction with the local community (Hatcher 8). In the case of Miss Daisy, when his son hires a driver for her, she feels that she is no longer in control of her privacy. The other interesting character that enhances the theme of ageism is Hoke, an African American man who is humble, intelligent, and knows his place while interacting with the whites despite not knowing to read (Foote). Miss Daisy soon realizes that Hoke is one of the best men that he has ever known, although she soon starts developing signs of dementia. By the time the movie ends, the two become great friends, although Daisy is taken to the nursing home while Hoke nears retirement.
The setting of the movie is in the suburb’s areas, as evidenced by the bushy plantation and the lifestyle of old women joining each other for an evening tea as they talk and knit. Particularly, the movie is set in Atlanta, which during the Civil Rights era was a Southerner’s state. During the Civil Rights era, the Southerners were primarily comprised of Caucasians who did not support liberty for Africans. It is understandable that despite her old age Daisy is reluctant about the idea of having a black Chauffer driving her around. Another interesting aspect of the setting that enhances the message of senior adulthood is serenity, as evidenced by the many trees surrounding Miss Daisy’s house and paths (Beresford). In the next scene, Hoke manages to convince Miss Daisy to get in the car so he can take him to the grocery stores. It appears that Miss Daisy starts to accept her reducing functionality, although she bosses Hoke around, trying to prove that she is still in control.
There are many lessons that viewers can learn about ageism, reduced functionality in old age, and some of the stereotypes to avoid making when relating with senior citizens. In a scene where Miss Daisy is with Hoke in a graveyard, the latter confesses that he cannot read, and she teaches him sounds (Beresford). The audience is challenged to view older adults as people of dignity who have the desire to remain relevant in society. Aged people can also be stubborn, just like Miss Daisy, but they still deserve to be respected at all times (Noire). Unfortunately, two young police officers in their twenties approach Hoke and call him “boy” (Beresford). The police continue to talk ill of them, saying that Miss Daisy and Hoke (whom they call nigger) are a sorry sight. However, Boogie is always respectful of his mother and Hoke. Moreover, viewers learn that when a person is getting old, they must recognize some physical and mental challenges they are likely to experience. For example, in one scene, after driving in the suburbs for a long time, Hoke feels pressed and asks Miss Daisy for permission to go for a short call, but she declines. Hoke politely disobeys her for the first time and explains that he is a seventy-year-old man and understands his bladder cannot hold urine for a long time (Beresford). It is only then that she realizes she has been maltreating Hoke and gets scared because she is left all alone in the car. Hoke continues to be more aggressive in advocating for her rights and even negotiates for a salary raise. Thus, elderly people are wise and not the best approach to solving a problem.
Conclusion
In summary, Driving Miss Daisy remains one of the best movies, with relevant lessons on old age and the aging process. The social-cultural setting is during the post-Second World War and the midst of the Civil rights movement. With increased emphasis on independence and freedom, old age was a difficult developmental stage to embrace. The setting in Atlanta suburbs of the southerners makes the people mostly conservative such that invading privacy is scary as it was for Miss Daisy. The protagonist character and the lead role, Hoke, help expose the developmental stages as they continue reducing functionality but still learn new things. The lessons learned are that older people deserve to be dignified and allowed to continue doing work they can manage to maintain their sense of worth.
Works Cited
Driving Miss Daisy. Directed by Beresford Bruce, The Zanuck Company, 1989.
Foote, John. “Revisiting Driving Miss Daisy (1989).”Foote and Friends on Film, 2020.
Hatcher, Deborah, et al. “Exploring the Perspectives of Older People on the Concept of Home.” Journal of Aging Research, vol. 2019, pp. 1-10.
Lowy, Richard. “Yuppie Racism: Race Relations in the 1980s.” Journal of Black Studies, vol. 21, no. 4, 1991, pp. 445-464.
Noire Histoir. Review of Driving Miss Daisy, directed by Beresford Bruce. Noire Histoir 2021.
Novotny, Patrick. “The Peace and Justice Movement in the South in the 1980s.” Peace and Change, vol. 22, no. 2, 1997, pp. 154-174.
Russell, Calum. “The Controversy Surrounding ‘Driving Miss Daisy’.”Far Out Magazine, 2021.
Tomás, Maria T., et al. “Functional Capacity and Levels of Physical Activity in Aging: A 3-Year Follow-up.” Frontiers in Medicine, vol. 4, no. 1, 2018, pp. 1-8.