Alfred Uhry's decision to adapt Driving Miss Daisy to the screen might have been the smartest of his career.

Uhry did not have much trouble with the piece, since he penned it himself. A more impressive feat is that the work attracted a fine core of performers and a suitable director.

Long time stage actress Jessica Tandy plays widow Daisy Werthan, a stubborn old spinster whose idiosyncrasies clash with her down-to-earth chauffeur. Morgan Freeman (Lean on Me) is driver Hoke Colburn in this enriching tale.

The story opens in 1948 with Miss Daisy plowing her auto into the neighbor's yard after she fails to put the car in the correct gear. Fearing for her safety --and realizing the surely hefty insurance rates -- Daisy's son Boolie (Dan Aykroyd) hires Hoke to chauffeur Miss Daisy.

The humor in the film is honest, which says a lot. There are no obvious sight gags or slapstick treats that wow; the jesting comes from perfect timing and witty dialogue. It is apparent why the stage version of Daisy won a Pulitzer Prize.

To add contextuality to the film, there are subtle references to historical events. The story begins with America reveling its war victory. By the film's end --which is sometime in the late '60s -- Daisy and Hoke have shared some monumental experiences.

These happenings are all the more relevant when the racial differences between Hoke and Daisy are explored. While Daisy is a German Jew, her money distances her from most anti-Semitism; Hoke is more prone to racism and must endure racial intolerance at every turn.

Two people from such divergent roads, who manage to form such a long-lasting bond, make the film intelligent. Director Bruce Bereford does not berate the viewer with this difference; instead, he uses it to send a message of equality. Their friendship should not in fact be out-or-the-ordinary; it is no more unusual than any other.

The crux of the film, however, is the personal relationship between Daisy and Hoke. Daisy's original apprehension is subdued after she comes to recognize Hoke as more than a mere workman. This acceptance -- which turns into an affluent friendship -- produces humor and emotion.

Tandy and Freeman both give fine performances. Each has the finesse to give just enough to their characters, never reaching beyond the limits of Uhry's script.

Usually humorous Aykroyd provides a dandy characterization, complete with southern drawl and charm. Aykroyd plays concerned son Boolie with a grain of salt, never taking the character too seriously but still giving something distinctive to the role.

The entire production sparkles with a feeling of understatement. Nothing is placed on a platter; there is a great deal of room for interpretation.

The film's visual style accentuates this subtlety. Bereford uses several tools to produce a flowing but muted picture; one which has more to it than a mere friendship.

One especially well handled scene shows Bereford's expertise. Daisy, visiting her husband's grave, realizes Hoke is illiterate. Although the desire might be to have some sappy mood music or a close-up of a teary-eyed performer, Bereford instead lets the surroundings and the performers make the scene emotional.

Touching on every aspect Driving Miss Daisy is utterly imperative, since the entire film glistens with unmitigated success.