The initial perception that may be conjured of Gran Torino, at least from the movie's trailer,
is one of the standard good versus evil where fireworks and the gratuitous offing of the "bad
guys" dominate the screen. However, based Clint Eastwood's recent work, especially that
behind the camera (ie.: Mystic River, Letters From Iwo Jima, and Million Dollar Baby to name
a few), one could trust that the film's true virtue should be taken in from the viewing and not
the advertisement.
Eastwood (who directed and produced Torino, as well) stars as Walt Kowalski, a recently
widowed Korean War vet and retired auto worker whose world seems hell-bent on spiraling
outside of where he thinks it should be. His sons, whom Walt admittedly has never been close
to, are perceptively self-absorbed with their own families; even his priest, Father Janovich
(Christopher Carley), is a pain-in-the-ass who insists that Walt attend a confessional.
Walt's life is further complicated by his Hmong neighbors who are part of the growing number
of immigrant families populating his once all-American streets. Walt seems content to sit on
his porch drinking Pabst Blue Ribbon and smoking cigarettes when he discovers his teenage
neighbor, Thao (Bee Vang), attempting to steal his beloved '72 Gran Torino as part of a gang
initiation. Walt thwarts the robbery, and in the aftermath befriends Thao (whom he refers
to as "Toad") and his feisty sister, Sue (Ahney Her).
From this point, Eastwood - the director - takes over, providing us with a study of a man who
comes to terms with life as it has, for good or ill, been handed to him.
is one of the standard good versus evil where fireworks and the gratuitous offing of the "bad
guys" dominate the screen. However, based Clint Eastwood's recent work, especially that
behind the camera (ie.: Mystic River, Letters From Iwo Jima, and Million Dollar Baby to name
a few), one could trust that the film's true virtue should be taken in from the viewing and not
the advertisement.
Eastwood (who directed and produced Torino, as well) stars as Walt Kowalski, a recently
widowed Korean War vet and retired auto worker whose world seems hell-bent on spiraling
outside of where he thinks it should be. His sons, whom Walt admittedly has never been close
to, are perceptively self-absorbed with their own families; even his priest, Father Janovich
(Christopher Carley), is a pain-in-the-ass who insists that Walt attend a confessional.
Walt's life is further complicated by his Hmong neighbors who are part of the growing number
of immigrant families populating his once all-American streets. Walt seems content to sit on
his porch drinking Pabst Blue Ribbon and smoking cigarettes when he discovers his teenage
neighbor, Thao (Bee Vang), attempting to steal his beloved '72 Gran Torino as part of a gang
initiation. Walt thwarts the robbery, and in the aftermath befriends Thao (whom he refers
to as "Toad") and his feisty sister, Sue (Ahney Her).
From this point, Eastwood - the director - takes over, providing us with a study of a man who
comes to terms with life as it has, for good or ill, been handed to him.
Eastwood provides poignancy over punch with Gran Torino
By Thom Copher
By Thom Copher
We could predict that Eastwood's Kowalski would strap on the firearms
and meticulously hunt down the hoodlums who are persistent in their
terrorism. Instead, he takes Thao under his wing, showing the young boy
right from wrong and even helping him find a construction job. It is
apparent, whether or not to Walt, that Thao is the ever-present son
that he never had time for in his once safe, American suburban life.
Eventually, Walt must deal not only with the gang threat which looms over
young Thao but also his own terminal cancer. Again, director Eastwood
takes us along events, initially not apparent, where Walt paves the way
for deeds which perhaps give his life true meaning long after he thought
that life was over.
Gran Torino looked, at least on the surface, as if it may spiral into an
unimaginable action movie - a kind of over-the-hill "Dirty Harry" which
would have been uncomfortable (at best) to endure for two hours.
and meticulously hunt down the hoodlums who are persistent in their
terrorism. Instead, he takes Thao under his wing, showing the young boy
right from wrong and even helping him find a construction job. It is
apparent, whether or not to Walt, that Thao is the ever-present son
that he never had time for in his once safe, American suburban life.
Eventually, Walt must deal not only with the gang threat which looms over
young Thao but also his own terminal cancer. Again, director Eastwood
takes us along events, initially not apparent, where Walt paves the way
for deeds which perhaps give his life true meaning long after he thought
that life was over.
Gran Torino looked, at least on the surface, as if it may spiral into an
unimaginable action movie - a kind of over-the-hill "Dirty Harry" which
would have been uncomfortable (at best) to endure for two hours.
Walt Kowalski (Eastwood) teaches life lessons to his teen neighbor Thao
(Bee Vang) in Gran Torino (Warner Bros.) - Photo by Anthony Michael
Rivetti/Warner Bros. Pictures
(Bee Vang) in Gran Torino (Warner Bros.) - Photo by Anthony Michael
Rivetti/Warner Bros. Pictures
However, Clint Eastwood has proven time and again that he is one of the modern era's most meticulous directors because he understands
his characters' emotions. In true Eastwood fashion, good does triumph over evil. This time, however, the supreme quest tugs on our
hearts rather than our pistol triggers.
his characters' emotions. In true Eastwood fashion, good does triumph over evil. This time, however, the supreme quest tugs on our
hearts rather than our pistol triggers.
Clint Eastwood, growing old gracefully with a
kick-ass car in Gran Torino.
kick-ass car in Gran Torino.