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GRAN TORINO Clint Eastwood Starring Clint Eastwood Bee Vang Ahney Her Christopher Carley I love this film; I mean I really adore everything about it. I will probably receive a lot of flak for placing it so highly in my top fifty films but it really is that good - but possibly not for the reasons you would expect. The film focuses on a grisly, racist, ill-mannered, foul-tempered, old git called Walt Kowalski [Eastwood] and his slow and steady redemption for a life of guarded rage and the memories of war that continue to haunt him. Following the death of his wife, Walt distances himself from his family and other 'friends' - his only real companions seem to be his dog, Daisy and a patient, good-humoured barber. The neighbourhood is becoming more-and-more Asian and gang-related trouble is on the rise. It's always been thought that Detroit is one of the most dangerous cities in America (it's not, actually, most of the crime is in St. Louis) and for struggling young families, it may just be. For the young North Vietnamese Thao Vang Lor [Vang], the choice appears to be fairly black and white: either continue to suffer the constant bullying from other races/gangs or join up with his cousin's crew. Reluctantly, Thao agrees to join and for his initiation is required to steal his neighbour's pristine condition '72 Gran Torino. Failing to boost the car, Thao returns to the group empty handed, when the subsequent scrap spills over onto Walt's lawn, he emerges with a loaded rifle and patented grimace. For saving Thao, the entire neighbourhood see Walt as a hero and over time he reluctantly starts to befriend his neighbours and likewise they warm to him - despite his constant swearing, opinionated views and racist abuse. As stated before, I genuinely love this film. The dialogue is realistic and completely unhinged, the editing and direction are both superb and the flow is one that mixes a calming ease with building tension beautifully well. More importantly, though, we have the sale of the characters. Audiences watch this grumpy, racist old man as he insults his own family, friends and parish priest and yet we still like him because despite his menacing ways, he is a good man who has simply witnessed terrible things. The acting is all noteworthy and I have nothing but praise for everybody involved but not necessarily because it was good. Obviously, Eastwood is a talent to be reckoned with and over the years he has surrounded himself with amazingly gifted thespians but in this feature, all the Hmong actors and actresses used had never acted before and with that came a sort of believable truth that most actors lack; it was as if nobody needed to act, embellish or over-emphasise because they were simply being themselves. It's a little difficult to describe but it was very refreshing. Sure, a lot of it is predictable and it would probably be fair to say the acting wasn't brilliant but the reason this film worked so well, in my eyes at least, is that the focal drive is not on the oppressed Lor family but a world seen through the eyes of a self-ostracised veteran. He sees what America has become (or is becoming) and it displeases him. Throughout the course of the plot he learns to accept certain changes - demonstrated namely by a scene in which Walt is the only white male in a hospital of mixed colours and creeds - whilst completely despising others - in this case how the young have no respect for their elders and the popular notion of mass (usually gun-fuelled) intimidation. But beneath everything beats a loud, throbbing heart and a message that demonstrates the potential in all to atone and become better men. Release Date: 27th February 2009 The Scene To Look Out For: Out on a poor excuse for a date, Su is accosted by three gang-bangers (that's what Americans call individuals in a gang; as opposed to bad boys or villains). After her escort fails in every way to protect her, she back talks them and stands up for herself. Walt happens to be driving by in his truck and begrudgingly intervenes. As he rolls up to the three black youths, he openly asks, "What are you spooks up to?" What follows is then a spectacle of feather ruffling and muscle flexing before Walt pulls a gun and tells Su off for being in that neighbourhood, the thugs off for being cowards and the white date for being 'a pussy.' I know it shouldn't but it really struck a chord with me. I get so bloody agitated by how intimidation-driven crime has become in this country, indeed in many countries. Nobody respects anybody anymore and the prime concern of youth appears to be posturing and staring people down because nobody will act. It's just nice to know there are people like Walt - who may have humungous flaws but at least their heart is in the right place. Notable Characters: Eastwood not only directs a fantastic piece but also manages to deliver a performance that completely enthralled me. From his first snarl to his final growl, Eastwood portrays a man who has so much energy but focuses it solely on containing his internal rage and tension. I don't know many men who can single-handedly inspire me to want to be a better person while something inside me quietly confirms what I already suspect; this guy may be 78 but he could still kick my arse - bar the racism, he reminds me of my dad. Secondly we have little Ahney Her. I have nominated her for Best Supporting Actress in my yearly SAFA because although this is her first acting role, I relished every moment she was on screen and everything her character brought out in Walt. Highlighted Quote: "Christ, I have more in common with these gooks than my own Goddamn family" In A Few Words: "It's a story about a miserable old bastard who overcomes his own inhibitions and teaches a few bullies a lesson; how could I not love this film!?" Total Score: 
10/10Matthew Stogdon |
