Some stereotypes appear early on in this film about modern survival in America but these are soon forgotten as the story develops. Clint Eastwood acts and directs in this film about immigrants, attracted to play the part of the newly widowed Walt Kowalski. A Korean war veteran, he is deeply resentful of his Hmong neighbours, angry at the fall in standards, the unkempt lawns and houses, and by being surrounded by people whose culture he does not understand.
America is changing, Walt is Polish and prejudiced but he goes to an Italian-American barber, is friendly with an Irish building foreman - his friends are all earlier immigrants or economic migrants from Europe. His new neighbours are Hmong, the teenage son, Thao, is meek, and Walt has no desire to understand them. However, they are forced together. The lad is persuaded to try and steal Walt's vintage car, a 1972 Gran Torino but Walt, being Clint, is no crime victim.
During an interview on Radio 4’s Front Row, Eastwood explains that the Gran Torino of the title stands for America’s manufacturing past, looking back to a time of pride in craftsmanship, production line team work, the American automobile dream. This needed to be made more obvious with perhaps some dialogue about what it was like working in the factory producing these cars. It is referred to but not enough to wallop the viewer with its significance.
The teenage daughter, Sue, acts as intermediary between vintage veteran Americanised Walt and her own family and culture. However, more than simply educating the die-hard Walt into an acceptance, understanding and respect for the Hmong way of life and their need to resettle as his forebears once had, the Hmong family learn something from him.
Walt is alienated from his sons and, partiaularly his grandchildren. The presentation of grand-daughter Ashley is overdone as she turns up at her grandmother's funeral inappropriately dressed and her attitude is disrespectful and slovenly. Where Walt is meant to look dated, she merely appears insensitive and brattish. The opening funeral scene has his two sons speaking about him in church, it's exposition which makes them seem callous when they surely would be grieving for their own mother. Shifting that dialogue after the service would have fitted better moodwise.
A young Priest frequently calls round trying to extract a confession from Walt but confessing's not in his range. Neat touches are the classic, snarling Eastwood - Josey Wales or Dirty Harry style - prepared to fight for his principles, and the barbershop scene. Walt is close shaved, cleaned up and even gets a new suit to be ready for his Day of Judgement. This is an enjoyable morality tale about growing up, taking responsibility and not complaining. When it comes to the climax, Walt uses the power of American law to solve the neighbourhood problem, and his own, yet with all guns blazing.
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