Film Review: Gran Torino (2008)

The disconnect between modern American celebrities and the realities of everyday life is starkly illustrated by Lizzo's recent comments while campaigning for Kamala Harris. She suggested that a victory for her preferred candidate would make “entire America look like Detroit.” This statement, struck many as ironic, given that Detroit, once a beacon of American progress and industrial strength, now serves as a symbol of decline and decay. Hollywood has often perpetuated this perception through films that either depict the harsh realities of Motor City or are set against its backdrop. One such film is Gran Torino, directed by Clint Eastwood in 2008, which is frequently hailed as one of the standout works in the latter part of his illustrious career.

In Gran Torino, Eastwood stars as Walt Kowalski, an elderly Polish-American living in Detroit who feels that he, much like his city, has seen better days. The film opens with Walt attending the funeral of his wife of fifty years, setting the stage for his character's profound sense of loss and isolation. A Korean War veteran and retired Ford Motor Company worker, Walt embodies bitterness and discontent, feeling estranged from his family and resentful towards the influx of Asian immigrants in his neighbourhood. His next-door neighbours are a Hmong family, whose teenage son Thao Vang Lor (played by Bee Vang) finds himself coerced into joining a local gang led by his cousin “Spider” (played by Doua Moua). As part of his initiation, Thao attempts to steal Walt’s prized 1972 Ford Gran Torino. However, Walt intervenes, and when gang members later threaten Thao, he brandishes his M1 Garand rifle to protect him. In a twist of fate, Thao’s mother sends him to work for Walt as a form of penance. Initially reluctant, Walt gradually sheds his anti-Asian prejudices and forms a bond with Thao, almost adopting him as a surrogate son. This newfound friendship faces severe challenges when Thao’s sister Sue (played by Ahney Her) is assaulted by Spider’s gang, forcing Walt to confront the consequences of violence and revenge.

Gran Torino serves as a poignant marker of transition—both for Eastwood and American cinema. It was intended to be Eastwood's final acting role; although he would later appear in other films, this performance encapsulated the archetype of the traditional macho hero in American film. At seventy-eight years old, Eastwood confronted the realities of aging while portraying a character who struggles to accept the rapid changes in his environment. The narrative suggests an uplifting tale of redemption through action; however, it unfolds as a more melancholic story about a man unable or unwilling to embrace the shifting landscape around him.

The film's release coincided with Barack Obama's election as President, heralding a new multi-racial era in American history. Initially, Walt embodies resistance to these changes; he expresses overtly racist sentiments and openly laments the transformation of Detroit from its white working-class roots into a diverse community populated by immigrants and ethnic minorities. Yet, just as America began to evolve under Obama’s leadership, Walt too experiences gradual change. He learns to acknowledge his biases and ultimately becomes a friend and protector to his neighbours.

Eastwood's minimalist directorial style complements this gradual transformation effectively. Although Gran Torino runs for nearly two hours, its pacing allows ample time for character development—not just for Walt but also for those around him, particularly Thao. The film captures the nuances of their evolving relationship against the backdrop of urban decay and social tension prevalent in contemporary America.

The screenplay by Nick Schenk draws inspiration from his personal experiences with the Hmong community in Minneapolis; however, it was set in Detroit to better illustrate themes of demographic change and urban decline. The decision to feature Hmong characters presented production challenges due to the scarcity of professional Hmong actors. Consequently, many roles were filled by non-professional actors who did not achieve significant careers thereafter. While their performances are commendable, criticisms arose regarding the authenticity of the portrayal of Hmong culture and customs, alongside concerns about Eastwood's character exemplifying the "White Saviour" trope.

Despite garnering critical acclaim and achieving strong box office results, Gran Torino did not receive any Academy Award nominations or prestigious accolades. This absence may stem from Eastwood's established legacy within Hollywood; having already won two Oscars, voters may have felt no need to honour him again so soon after his previous successes.

While Gran Torino is indeed a strong film within Eastwood's oeuvre, it falls short of being considered a classic. As the plot progresses toward its climax, Schenk's script begins to rely on clichés and offers predictable hints about how events will unfold. This reliance on formulaic storytelling detracts from the overall impact of what could have been a more nuanced exploration of its themes.

Nevertheless, Gran Torino stands out as one of Eastwood's finest films and remains highly recommendable even for those who typically prefer his action-oriented roles over more sentimental dramas. The film resonates with audiences through its exploration of redemption and personal growth amidst societal change—an enduring message that continues to hold relevance today.

RATING: 7/10 (+++)

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