Gran Torino DVD: Review By Psycho

Clint Eastwood is no doubt an American icon, and will remain one many years after his death. The man has had quite a career in films, beginning with television followed by classic spaghetti westerns, the Dirty Harry series and celebrated turns behind the camera as a director. Eastwood's films have been hit or miss for me. For every 'Unforgiven' or 'Outlaw Josey Wales' there's been a 'Space Cowboys' or 'True Crime'. Even though he has established an impressive slate of films, you still have to remember that this is the man that let Sonia Braga practically rape him in that Charlie Sheen vehicle 'The Rookie'. I know a few Latinos who still can't figure out why the man cast Braga and Raul Julia as German villains.

Though the films Eastwood has helmed in recent years have met much acclaim, his abilities as an actor have not been placed on the same pedestal. With every year he's aged and every new crack and wrinkle on his face Eastwood as developed greater character and the classic sensibilities of a dramatic actor. Audiences no longer look at him and think of bloody soaked westerns or Dirty Harry; he's stepped into the realm of high drama leaving his action hero days behind. In 'Gran Torino', Eastwood is a man of action but not like you might expect. He's a man haunted by the actions of his youth as Walt Kowalski, a Korean war vet who is in the process of burying his wife. Walt's not just a grumpy old man, but a bit of a bigot, who isn't afraid of letting racial slurs fly or showing a disapproving eye towards his incompetent sons and their families.

Walt's not too happy with the transition his Michigan neighborhood is making with the arrival Southeast Asians, including the family that has just moved next door and he isn't afraid to make his feelings known. He's still bitter over the closing of the auto plant where he worked years earlier due to Japanese car companies and now Asians are moving next door. Walt doesn't hesitate to grab his old Army rifle when an young punk attempts to steal his classic '72 Gran Torino and in the process nearly kills the boy before he runs off. When he takes the same actions to scare off members of a gang harassing that family next door, he inadvertently becomes a hero of the neighborhood when all he wanted was to get the punks off his front lawn.

It turns out that gang was harassing the young studious boy next door and as fate would have it part of his initiation was stealing Walt's prized vehicle. To make amends, the family insists that Tao (Bee Vang) help Walt around his home in any manner he sees fit and he reluctantly agrees and manages to find a little fun in torturing the boy with various chores for a week. Though the two are forced into a relationship, Walt doesn't hesitate from calling the boy "zipperhead" or constantly mispronouncing his name. Tao may be quiet and a bit introverted, but his sister Sue (Ahney Her) is quite the opposite and her sassy yet respectful attitude towards Walt puts her in his cool book.

What the boy lacks is guidance and an authority figure from American culture to identify with and what begins with Walt showing Tao the various tools he keeps in his garage, evolves into a relationship where he soon lands the young man a part time gig in construction. Tao also lacks social skills and in one memorable scene Walt takes him to the barber he shares a unique racial rapport with (John Carroll Lynch) to practice the art of conversation.

All of this may sound like the typical movie where a grumpy old man learns to love again by bonding with a youth, but with Nick Schenk and Dave Johannson's screenplay, Eastwood doesn't make things that simple. Walt is the type who is never going to change and knows he's set in his ways for reasons stemming from his time in the war. Young Father Janovich (Christopher Carly). who promised Walt's wife he'd keep an eye on him after her passing, makes consistent attempts to figure the old man out despite his insistence on not being bothered. In time they both grow to respect each other and it is one of the many interesting relationships in the film. The most powerful belongs to both Walt and Tao because the bond they slowly develop is one that neither realizes until it's too late. The plot device of the threat of the gang hovers for a while before it's put back into play with Walt coming to the realization that they are never going to leave Tao, Sue and their family alone. Some moviegoers may be under the assumption that Eastwood eventually takes action in the shoot 'em up fashion he's famous for. He does retaliate after the gang goes too far, but in a more heroic and intelligent manner that you wouldn't expect.

'Gran Torino' isn't a perfect film because the story is predictable and its conclusion can be spotted many miles off. What does work are the performances, most notable Eastwood's and the simple fashion in which he presents events. This is the first time in may a moon that I did not feel Eastwood trying to emotionally manipulate me as he recently did with the Angelina Jolie 'Changeling' and the acclaimed 'Million Dollar Baby.' Eastwood travels familiar territory with his story, but the steps he takes and the path he chooses are amazing to behold in what may be his swan song as an actor.