Driving Miss Daisy
An elderly Jewish widow living in Atlanta can no longer drive. Her son insists she allow him to hire a driver, which in the 1950s meant a black man. She resists any change in her life but, Hoke, the driver is hired by her son. She refuses to allow him to drive her anywhere at first, but Hoke slowly wins her over with his native good graces. The movie is directly taken from a stage play and does show it. It covers over twenty years of the pair's life together as they slowly build a relationship that transcends their differences.
Despite its modest budget of $7.5M, Driving Miss Daisy became a runaway success, earning $145.8M worldwide—a remarkable 1844% return. The film's unique voice resonated with audiences, proving that strong storytelling can transcend budget limitations.
4 Oscars. 22 wins & 24 nominations
Plot Structure
Story beats plotted across runtime
Narrative Arc
Emotional journey through the story's key moments
Story Circle
Blueprint 15-beat structure
Arcplot Score Breakdown
Weighted: Precision (70%) + Arc (15%) + Theme (15%)
Driving Miss Daisy (1989) exhibits meticulously timed story structure, characteristic of Bruce Beresford's storytelling approach. This structural analysis examines how the film's 15-point plot structure maps to proven narrative frameworks across 1 hour and 39 minutes. With an Arcplot score of 7.3, the film balances conventional beats with creative variation.
Structural Analysis
The Status Quo at 1 minutes (1% through the runtime) establishes Daisy Werthan, a wealthy 72-year-old Jewish widow in 1948 Atlanta, crashes her new Packard into her neighbor's yard, establishing her as a proud, independent woman who refuses to acknowledge her declining abilities.. The analysis reveals that this early placement immediately immerses viewers in the story world.
The inciting incident occurs at 12 minutes when Boolie hires Hoke despite Daisy's vehement objections. Daisy declares she will not be driven by anyone, setting up the central conflict of resistance versus acceptance.. At 12% through the film, this Disruption aligns precisely with traditional story structure. This beat shifts the emotional landscape, launching the protagonist into the central conflict.
The First Threshold at 26 minutes marks the transition into Act II, occurring at 26% of the runtime. This demonstrates the protagonist's commitment to Daisy finally gets in the car with Hoke for the first time, relenting after a week of his patient presence. She gives him directions to Piggly Wiggly, beginning their journey together., moving from reaction to action.
At 51 minutes, the Midpoint arrives at 52% of the runtime—precisely centered, creating perfect narrative symmetry. Of particular interest, this crucial beat The trip to Mobile for Uncle Walter's birthday (1956). Daisy invites Hoke to urinate in the woods with her, a moment of equality and vulnerability. She acknowledges: "You're my best friend," marking a false victory of achieved intimacy., fundamentally raising what's at risk. The emotional intensity shifts, dividing the narrative into clear before-and-after phases.
The Collapse moment at 73 minutes (74% through) represents the emotional nadir. Here, Daisy, now showing signs of dementia, has a confused episode in her home, not recognizing her surroundings and panicking about teaching school. Hoke calms her, but her mental decline represents the death of her independence and their familiar dynamic., illustrates the protagonist at their lowest point. This beat's placement in the final quarter sets up the climactic reversal.
The Second Threshold at 81 minutes initiates the final act resolution at 81% of the runtime. Boolie drives Hoke to visit Daisy at the nursing home on Thanksgiving. Hoke chooses to make this visit, understanding what truly matters: their connection transcends employment, race, and even her mental capacity., demonstrating the transformation achieved throughout the journey.
Emotional Journey
Driving Miss Daisy's emotional architecture traces a deliberate progression across 15 carefully calibrated beats.
Narrative Framework
This structural analysis employs a 15-point narrative structure framework that maps key story moments. By mapping Driving Miss Daisy against these established plot points, we can identify how Bruce Beresford utilizes or subverts traditional narrative conventions. The plot point approach reveals not only adherence to structural principles but also creative choices that distinguish Driving Miss Daisy within the comedy genre.
Bruce Beresford's Structural Approach
Among the 6 Bruce Beresford films analyzed on Arcplot, the average structural score is 7.3, reflecting strong command of classical structure. Driving Miss Daisy takes a more unconventional approach compared to the director's typical style. For comparative analysis, explore the complete Bruce Beresford filmography.
Comparative Analysis
Additional comedy films include The Ministry of Ungentlemanly Warfare, The Bad Guys and Lake Placid. For more Bruce Beresford analyses, see Mao’s Last Dancer, The Contract and Tender Mercies.
Plot Points by Act
Act I
SetupStatus Quo
Daisy Werthan, a wealthy 72-year-old Jewish widow in 1948 Atlanta, crashes her new Packard into her neighbor's yard, establishing her as a proud, independent woman who refuses to acknowledge her declining abilities.
Theme
Hoke Colburn, during his interview, says to Boolie: "I'm a good driver... I ain't no trouble to nobody." This introduces the theme of dignity, worth, and seeing beyond surface prejudices.
Worldbuilding
Introduction to Daisy's world: her relationship with her son Boolie, her resistance to having a driver, the social dynamics of 1940s segregated Atlanta, and Hoke's patient demeanor despite Daisy's rejection.
Disruption
Boolie hires Hoke despite Daisy's vehement objections. Daisy declares she will not be driven by anyone, setting up the central conflict of resistance versus acceptance.
Resistance
Hoke begins working despite Daisy's refusal to ride with him. He patiently sits in the car, tends the garden, and slowly wears down her resistance. Daisy stubbornly takes the trolley while Hoke follows in the car.
Act II
ConfrontationFirst Threshold
Daisy finally gets in the car with Hoke for the first time, relenting after a week of his patient presence. She gives him directions to Piggly Wiggly, beginning their journey together.
Mirror World
First genuine interaction: Daisy accuses Hoke of stealing a can of salmon. When proven wrong, the confrontation reveals both characters' vulnerabilities and begins their authentic relationship beyond employer-employee roles.
Premise
The promise of the premise: watching Daisy and Hoke's relationship evolve through daily drives. They navigate multiple years together, slowly building trust, sharing moments, and breaking down barriers despite societal prejudices.
Midpoint
The trip to Mobile for Uncle Walter's birthday (1956). Daisy invites Hoke to urinate in the woods with her, a moment of equality and vulnerability. She acknowledges: "You're my best friend," marking a false victory of achieved intimacy.
Opposition
External pressures intensify: the temple bombing (1958) reminds them of hatred in society; Boolie refuses to attend a dinner honoring Martin Luther King Jr. out of business concerns; the limitations of their friendship within segregated society become apparent.
Collapse
Daisy, now showing signs of dementia, has a confused episode in her home, not recognizing her surroundings and panicking about teaching school. Hoke calms her, but her mental decline represents the death of her independence and their familiar dynamic.
Crisis
Time passes. Daisy is now in a nursing home. Hoke, now 85 and too infirm to drive, processes the loss of purpose and the woman he's served for 25 years. Boolie encourages him to visit her.
Act III
ResolutionSecond Threshold
Boolie drives Hoke to visit Daisy at the nursing home on Thanksgiving. Hoke chooses to make this visit, understanding what truly matters: their connection transcends employment, race, and even her mental capacity.
Synthesis
The final visit. Daisy, in a wheelchair with limited speech, still recognizes Hoke. They sit together in gentle companionship. Hoke feeds her pie, a tender act of care that reverses their original roles.
Transformation
Daisy holds Hoke's hand and says: "You're my best friend." Hoke replies: "Yes'm." A mirror of the midpoint, but now unequivocal truth. Two people who transcended race and class barriers through 25 years of dignity, patience, and human connection.