Inciting Event: Daisy’s son Boolie hires Hoke to be his mother’s chauffeur—even though she adamantly doesn’t want one. This scene occurs (just as it should) halfway through the First Act at about the twelve-minute mark. But isn’t the opening scene in which Daisy crashes her car (thus creating the need for a chauffeur) the one that starts off the plot? Yep. It starts the plot. But it’s not the Inciting Event because it doesn’t start off the conflict. This isn’t a story about an old lady who can’t drive. This is a story about the relationship between a cranky old lady and her big-hearted chauffeur. That relationship (that conflict) doesn’t kick off until the Inciting Event when Hoke is introduced and hired.
First Plot Point: Daisy finally surrenders to Hoke’s persistence and allows him to drive her to the grocery store. Here, she physically steps into the car, which is, for all intents and purposes, the “adventure world” of the Second Act.
First Pinch Point: Daisy discovers Hoke has eaten one of her cans of tuna, and she demands that Boolie fires him on grounds of stealing—only to have Hoke arrive, unconcernedly apologize, and offer the new tuna can he brought to replace the old one (which he ate in desperation because the pork chops Daisy had given him were “a little stiff”).
This isn’t a story with a strong antagonistic force. Daisy’s own resistance and ingrained prejudice toward Hoke is the only antagonist—and it slowly evolves and dissipates over the course of the story. Here, we see it being emphasized in her determined suspicions and false accusations toward Hoke. But then it quickly dissolves, as Hoke proves himself to her and Boolie, thus turning the plot.
Midpoint: Daisy and Hoke go on a road trip to visit Daisy’s brother. The absolute subtlety in this Midpoint is interesting. Nothing happens here that is, in itself, a definitive plot point. Rather, we simply see the story turning into its new direction: Daisy and Hoke are now more friends than not. She now trusts him enough to allow him to drive her from Georgia to Alabama.
Second Pinch Point: Daisy’s long-time maid Idella dies. The pinch here is subtle (as are all the turning points in this movie), as it serves to emphasize the overall antagonist: Daisy’s and Hoke’s own hastening old age. It also effectively turns the plot by forcing Daisy to become more and more reliant on Hoke for assistance and companionship.
Third Plot Point: The Temple Daisy attends is bombed. I would argue that this is the weakest structural moment in the story. Although it does a fine job of emphasizing death and forcing Daisy to a moment of personal fear and grief, it doesn’t do much to turn the main plot. It leads directly into Daisy’s attendance of a dinner featuring Martin Luther King, Jr., but the connection is thin at best and doesn’t do much to alter her relationship with Hoke (whom she still refuses to bring in to the dinner with her).
Climax: Hoke discovers Daisy is growing confused—believing she is still a teacher who needs to get to class. Their time together is just about over, as Boolie decides to send her to a rest home.
Climactic Moment: Daisy breaks out of her mental fog long enough to look Hoke in the eye and tell him “you’re my best friend.” The conflict between them is over. She finally accepts him and acknowledges his place of importance in her life.
Resolution: Boolie sells Daisy’s house, and he and Hoke visit her in the rest home, where Hoke helps her eat her pumpkin pie.
3 GERONTOLOGY MOVIE ANALYSIS PAPER Gerontology Movie Analysis Paper
Gerontology is the study “of the effects of time on human development, specifically the study of older persons,” (Touhy & Jett, 2012).
Gerontology focuses on discovering the answers regarding the normal aging process.
Aging is an interactive course where the individual is affected by the environment they live in, their genetics, and other factors. There are several theories associated with the aging process that can be applied to a wide variety of aging men and women. The five main psychosocial theories of aging include the activity theory, the disengagement theory, the continuity theory, the age-stratification theory, and the modernization theory. Many of the concepts from these sociological theories correlate with the movie
Driving Miss Daisy
directed by Bruce Beresford. The two main characters portrayed within the film provide many good examples of some of the theories of aging. Health related quality of life theories are also evident within the film. Ageism is another concept of aging that is portrayed within the film. The
Driving Miss Daisy
film portrays many sociological theories of aging, health-related quality of life theory examples, and ageism examples.
Hoke Colburn Activity theory
The character Hoke Colburn in the film
Driving Miss Daisy
exhibits examples of the activity theory. The activity theory proposes that continuing activity late in life signifies a person who is aging successfully (Touhy & Jett, 2012). Many elderly people feel the need to sustain an active lifestyle for them to maintain their happiness and feeling of worth. Hoke provides good examples of maintaining an active lifestyle in later life. In the movie, Hoke stays acti
ve by finding himself small jobs around Miss Daisy’s home
while he is not performing his chauffeuring duties. Gardening, light housekeeping, and