Word: freeman
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Dates: during 1980-1989
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...Arthur Hochstein (Deputy Art Director); Linda Louise Freeman (Covers); Steve Conley, Jennifer Napoli, Billy Powers, Irene Ramp, Ina Saltz, John F. White, Barbara Wilhelm (Assistant Directors); Angel Ackemyer, Stefano Arata, James Elsis, Kenneth B. Smith (Designers) Production: Paul Dovell (Manager); Carri Marks Layout: John P. Dowd (Traffic); Joseph Aslaender, David Drapkin, Victoria Nightingale, Leah M. Purcell, Lisa Sampson, Nomi Silverman, Eugene Tick, Lisa C. Tremaine, Dennis Wheeler Maps and Charts: Paul J. Pugliese (Chief); Cynthia Davis, Joe Lertola, E. Noel McCoy, Nino Telak, Deborah L. Wells Administration: Carrie A. Zimmerman...
Such a metaphor is available in Driving Miss Daisy. If you look hard, you can find in this account of the 25-year relationship between Daisy Werthan (Jessica Tandy), a genteel Southern, Jewish matriarch, and her black chauffeur, Hoke Colburn (Morgan Freeman), a microcosmic study of changing racial attitudes in a crucial time and place (Atlanta, circa 1948-73). What you will not find in this marvelously understated movie is overtly inspirational comments on that subject, broad sentimentality or the slightest pomposity about its own mission. In other words, Alfred Uhry's adaptation of his Pulitzer-prizewinning play aspires more...
...cannot speak too highly of the subtlety that two great actors, Freeman and Tandy, bring to their roles. Or of the faith that Beresford places in their ability to convey large emotions through an exchange of glances in a rearview mirror. Or of his trust in a script that speaks most eloquently through silences and indirection. All, finally, have placed their faith in the audience's ability to read their delicately stated work with the responsiveness it deserves. It would be a shame to fail them...
Kevin Jarre's script makes no direct comment on these matters, and a squad of fine actors ground the film in felt reality: Denzel Washington is a proud and badly misused troublemaker; Driving Miss Daisy's Morgan Freeman a steadying influence; Andre Braugher a Harvard student who finds Emersonian idealism of small help in mastering the bayonet. It is the movie's often awesome imagery and a bravely soaring choral score by James Horner that transfigure the reality, granting it the status of necessary myth. Broad, bold, blunt, Glory is everything that a film like Miss Daisy, all nuance...
...Arthur Hochstein (Deputy Art Director); Linda Louise Freeman (Covers); Steve Conley, Jennifer Napoli, Billy Powers, Irene Ramp, Ina Saltz, John F. White, Barbara Wilhelm (Assistant Directors); Angel Ackemyer, Stefano Arata, James Elsis, Kenneth B. Smith (Designers) Production: Paul Dovell (Manager); Carri Marks Layout: John P. Dowd (Traffic); Joseph Aslaender, David Drapkin, Victoria Nightingale, Leah M. Purcell, Lisa Sampson, Nomi Silverman, Eugene Tick, Lisa C. Tremaine, Dennis Wheeler Maps and Charts: Paul J. Pugliese (Chief); Cynthia Davis, Joe Lertola, E. Noel McCoy, Nino Telak, Deborah L. Wells Administration: Carrie A. Zimmerman...