[Originally published in the Forge Press 20.02.09]
Eastwood’s poignant powerhouse
Review: Gran Torino
Not long after the critically acclaimed Changeling, Clint Eastwood has made another film that will add to his shining legacy as a director, producer, and actor in what could well be his last acting role.
If this turns out to be the case, then this is a more than adequate send off.
Gran Torino is a drama about one man’s reluctance to let go of his past and his stale prejudices that separate him from the community.
Walt Kowalski (Eastwood) is a racist, bigoted, beer-drinking Korean War veteran, working as an automobile assembly line worker in a Michigan neighbourhood with a high immigrant population.
He has no patience for his family, who he frequently refers to as self-absorbed, especially his two distant sons and his greedy granddaughter.
But he has far less time to accept the rising Hmong population in what he calls his neighbourhood.
That is until some Hmong people move in next door. At first, Walt despises them, continuing to spew his racist generalisations over the whole family.
His hate grows when the boy, Thao (Bee Vang), is pressured by a gang into stealing Walt’s prized possession – his Gran Torino.
This failed attempt angers the gang. And so, the customary house visit beckons in which Thao and his feisty sister Sue (Ahney Her) get into a scuffle with the gang.
This would normally go unnoticed. But not on Walt’s lawn, as he comes out brandishing a gun to scare the felons away.
It is from here on in that Walt vows to protect his neighbours from the gang, despite continually ignored pleas from the local priest Father Janovich (Christopher Carley) to call the police.
The fact that Walt eventually comes to realise that violence isn’t always the best policy might come across as typical Hollywood cheese to some; however, Eastwood’s subtly powerful performance more than adequately banishes such fears.
Gradually Walt warms to the community, building a strong relationship with Thao, who also wants to help in taking out the gang.
To see Eastwood still dealing the damage at his age is incredible. He is still a maverick, with every scowl and rude remark dredging up from a deep, dark place. When he talks, you listen.
He looks hard. He is hard. Cut the racism and you have a pretty cool Granddad.
Praise must be given to the unknown Hmong cast. Ahney Her and Bee Vang are particularly refreshing young talent that will surely go onto further roles.
It must also be pointed out that Gran Torino is not the story of Dirty Harry with a pension.
The spirit of Harry Callahan still rests within Eastwood because it is inseparably iconic, in the same way that Harrison Ford will always be Indiana Jones at heart, or Sean Connery will be James Bond.
Luckily, Walt is not a simple reincarnation. He is a far more complex individual. He is apparently horrible but is really just an inherently troubled soul – the perfect anti-hero.
The ending is succinct and definite. While this may have attracted criticism, it is arguably a good thing.
I’d more rather see a certain end than a clichéd, reformed main character who looks as if he or she has just experienced some form of epiphany. Fortunately, Eastwood’s latest work is above such predictability and benefits enormously as a result.
The Gran Torino was a powerhouse of a car. And, fittingly, this is most definitely a powerhouse of a film.
Ashley Scrace
If this turns out to be the case, then this is a more than adequate send off.
Gran Torino is a drama about one man’s reluctance to let go of his past and his stale prejudices that separate him from the community.
Walt Kowalski (Eastwood) is a racist, bigoted, beer-drinking Korean War veteran, working as an automobile assembly line worker in a Michigan neighbourhood with a high immigrant population.
He has no patience for his family, who he frequently refers to as self-absorbed, especially his two distant sons and his greedy granddaughter.
But he has far less time to accept the rising Hmong population in what he calls his neighbourhood.
That is until some Hmong people move in next door. At first, Walt despises them, continuing to spew his racist generalisations over the whole family.
His hate grows when the boy, Thao (Bee Vang), is pressured by a gang into stealing Walt’s prized possession – his Gran Torino.
This failed attempt angers the gang. And so, the customary house visit beckons in which Thao and his feisty sister Sue (Ahney Her) get into a scuffle with the gang.
This would normally go unnoticed. But not on Walt’s lawn, as he comes out brandishing a gun to scare the felons away.
It is from here on in that Walt vows to protect his neighbours from the gang, despite continually ignored pleas from the local priest Father Janovich (Christopher Carley) to call the police.
The fact that Walt eventually comes to realise that violence isn’t always the best policy might come across as typical Hollywood cheese to some; however, Eastwood’s subtly powerful performance more than adequately banishes such fears.
Gradually Walt warms to the community, building a strong relationship with Thao, who also wants to help in taking out the gang.
To see Eastwood still dealing the damage at his age is incredible. He is still a maverick, with every scowl and rude remark dredging up from a deep, dark place. When he talks, you listen.
He looks hard. He is hard. Cut the racism and you have a pretty cool Granddad.
Praise must be given to the unknown Hmong cast. Ahney Her and Bee Vang are particularly refreshing young talent that will surely go onto further roles.
It must also be pointed out that Gran Torino is not the story of Dirty Harry with a pension.
The spirit of Harry Callahan still rests within Eastwood because it is inseparably iconic, in the same way that Harrison Ford will always be Indiana Jones at heart, or Sean Connery will be James Bond.
Luckily, Walt is not a simple reincarnation. He is a far more complex individual. He is apparently horrible but is really just an inherently troubled soul – the perfect anti-hero.
The ending is succinct and definite. While this may have attracted criticism, it is arguably a good thing.
I’d more rather see a certain end than a clichéd, reformed main character who looks as if he or she has just experienced some form of epiphany. Fortunately, Eastwood’s latest work is above such predictability and benefits enormously as a result.
The Gran Torino was a powerhouse of a car. And, fittingly, this is most definitely a powerhouse of a film.
Ashley Scrace
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