Gran Torino

Gran Torino


Director - Clint Eastwood


June 28, 2009

Racism is not an easy topic to tackle in a film of any kind. Some have succeeded (Spike Lee with Do The Right Thing, though I suppose that dealt with race relations) and some have failed miserably (Paul Haggis' miserable film Crash - one of the worst films I've ever seen). It seems to be difficult to find a balance between telling a story and dealing with an issue that too often gets reduced to cliche and stereotype, resulting in dramatic inertia.

Gran Torino, recently released to video, and directed/starring/produced by Clint Eastwood, has moments of success and failure when it comes to dealing with the subject.

Eastwood plays Walt Kowalski, a Korean war vet and recent widower. It would seem from his gruff exterior and short way with people that Walt loses a lot when his wife dies. He has no close friends save those he shares a Pabst with, and his two grown sons have little idea of how to interact with him. The only thing Walt seems to cherish is his 1972 Ford Gran Torino.

However, a new door opens in Walt's life when he saves the life of Thao, the Hmong boy from next door. Thao is being pressured into joining his cousin's gang, and Walt interrupts an alteraction which spills onto his lawn (in which Eastwood's utters the already classic 'get off my lawn'). As a result of his actions, the Hmong community regards him as a hero, and begins to bring gifts to his home. At first Walt refuses their invitations and gifts, but slowly he begins to spend time with Thao's family, including Thao's sister Sue.

What happens from there on in I will keep to myself but, if you've been paying attention, you shouldn't have any idea predicting where the film is going. Quite frankly, Gran Torino's weakest attribute is it's paint by numbers script and hooky dialogue. At times, it feels like the script has been written by an overly earnest drama student. Some of the writing, coupled with the occasionally painful amature acting, is absolutely cringe worthy.

However, Eastwood comes close to saving the film. His performance, his naturalistic directing (with the exception of a few ridiculous moments), and his no nonsense cinematography somehow manage to cover up the writing by creating convincing moments between characters, an easy going but fluid pace, and some really wonderful comedy. One of the things that pushes this film out of complete mediocrity is Eastwood's amazing racist tirades. He tackles these speeches with complete and utter conviction, upping the comedy and offensive quality to an almost unbearable degree. His performance is funny and painful, and a great look at the futility and ridiculousness of holding prejudice in the modern world. If Crash had a performance like Eastwood's, it could have been more than the dreck it is.

Lastly, credit must be given to Eastwood and his film for choosing to highlight a specific culture living within the USA: The Hmong culture. The film seems to have taken great pains to explore the cuisine, culture, and family life of this South East Asian people, and this manages to lift the film (somewhat) above the simple cliche of racism in America. We are given an insight into a culture we know nothing about, and it strengthens the film's goals, story, and complexity.

However, in the end, these strong points can't save the film. Gran Torino has so much going for it, but it's hamstrung by a script written for a community theatre production or propoganda play. If the script had been stronger, we would have an American classic on our hands. As it stands, it will rest as one of Eastwood's minor works.

2.5/5

-Liam Billingham