Classic Clint Eastwood. Sharp Memorable Dialogue, Attitude And Edginess.
Written: Jan 01 '09 (Updated Jan 01 '09)
|
Product Rating:
|
|
| Bang For The Buck |
 |
|
|
Pros: Strong writing, interesting characters, Detroit is the backdrop, exceptional acting.
Cons: None.
The Bottom Line: Gran Torino delivered on the hype promised in it's trailers. A well constructed drama that was equally well acted and produced.
|
|
|
| coldsteel7's Full Review: Gran Torino |
Clint Eastwood directed and stars in a film that felt like his farewell to acting. After seeing the trailers for Gran Torino, I have waited anxiously for the release. While visiting my brother in Detroit, we found the film at the Birmingham 8 (which had a five dollar matinee). It was certainly not the closest theater to us, but the only one that was showing this film. Gran Torino was worth the drive.
Clint Eastwood's character is Walt Kowalski. A Korean War veteran with baggage from the war that he still hasn't dealt with. Following the death of Kowalski's wife, a Hmong family moves in next door. The entire neighborhood appears to have experienced a cultural shift, with Kowalski the lone holdout. Kowalski finds himself drawn into a family dispute between a promising young Laotian and his gang member cousin. The young man (Thao Vang Lor played by Bee Vang) begins a close relationship with Kowalski following a failed attempt to steal his car. Kowalski finds meaning in mentoring the young man, filling a void in his life that seems to lack flavor. Kowalski is dogged by his wife's priest, Father Janovich (Christopher Carley) who promised Kowalski's wife that he would get him into confession. The young priest appears to be no match for a grizzled old war veteran who says more with a grunt than one might be believe possible. Kowalski also finds friendship with Lor's sister Sue (Ahney Her), a bright young girl who explains Hmong culture to the politically incorrect Kowalski. The friendship puts Kowalski into a position of intervention and possibly redemption in a riveting, tear jerking climax.
This film contained more racial slurs than I think I have ever seen in a film. The slurs are contextual, showing the grim bitter closed-mind of an aging war veteran. The insensitive nature of Eastwood's character allows Kowalski to exhibit a softening gradual change in his outlook. Although Kowalski shows an inability to speak without saying something offensive, his character has a smooth quality that demonstrates a familiarity and consciousness of his words that belies the rough exterior created by the slurs. This apparent dichotomy reveals a complex character capable of endearing himself to the audience in spite of his social short-comings.
Nick Schenk adapted the screenplay from the novel he wrote with Dave Johansen. I am unfamiliar with Schenk's background, but believe he may very well be a Detroit native. If not, he sure could have convinced me. The film does not state exactly where in Detroit this film takes place, listing Kowalski's address as a Detroit address on some medical documents. However, the Hmong gang members live at a Highland Park address as evidenced by the patrol cars in scenes at that location. Considering Kowalski claims his Polish ancestry and the proximity of Highland Park to Hamtramck along with the location of a Ford Plant in that area (where Kowalski worked for thirty years) I figured that Kowalski may very well have lived in Hamtramck (a Polish section of Detroit). This knowledge shows a very strong Detroit background in the writing. The Detroit references are strewn throughout the script lending believability as well as a sense of familiarity with the area. Having been able to screen this film in nearby Birmingham (and having grown up just a few miles from Hamtramck and Highland Park) I felt a strong connection to this film.
What Schenk accomplished in this screenplay was amazing. He brought back the gritty Clint Eastwood of the Dirty Harry films and placed him in a role where that inner fortitude and propensity towards memorable one-liners provided Eastwood's character the ability to shine. The plot required an actor that could sell the grittiness in spite of his age (in order to have served in the Korean War, the character had to be in his seventies). The character was not only believable, but complex, likable and carefully constructed. Kowalski's background plays heavily into his actions. The gradual introduction of pieces of that history were well placed rather than force fed. Schenk allowed the story to tell itself, unfolding at a natural pace rather than trying to cram background in through a more rigid story telling technique. The characters were interesting and engaging providing the audience with a fresh perspective on cultural issues as well as internalized issues. The dialogue was classic Clint Eastwood, with great lines like "every once in a while you meet a guy you realize you shouldn't have messed with....that guy is me."
The acting was up to the same standard as the writing. It appeared that this script was written for Clint Eastwood. His delivery carries an internal strength that doesn't require a bunch of unnecesary dialogue. The one liners and grunts say far more than verbosity could ever have accompished. It strangely felt like this might be Eastwood's farewell movie for one reason which would be a major spoiler. But Eastwood also sang the song during the closing credits which felt unusual (even if it is not the first time Eastwood sang...like, Paint Your Wagon). Bee Vang is a newcomer to Hollywood. Vang was solid as the tortured young man that Kowalski mentored. His performance was believable but at times a little uneasy. I couldn't quite put my finger on it, but he seemed a tad bit off once or twice. It was still a strong debut performance, overshadowed by Eastwood and Ahney Her who played his sister. This was also Her's debut performance...and it was spotless. Her should have plenty of offers in the future.
Christopher Carley turned in a strong performance as Father Janovich. A young persistent priest who continually pesters Kowalski about life and death. It required a careful combination of wet-behind-the-ears naivete and strength of conviction that Carley adequately accomplished. Carley was a solid addition to the cast. John Carroll Lynch also provided a great supporting role as Kowalski's barber, Martin. Lynch provided some comic relief in a very limited role. The Hmong characters were comprised primarily of Hmong actors, most of them in first-time performances. The Hmong actors provided the framework for the story to unfold creating (in totality) an enjoyable experience. The casting was exceptional, making great use of unknown talent alongside some seasoned veterans.
Gran Torino was filmed on location in various parts of Detroit. The closing credits appeared to be shot in Belle Isle or Gross Pointe, which are more affluent areas of Detroit. The seedy neighborhood that Kowalski made his home felt like it might be Hamtramck but may have been filmed in Warren or Highland Park which are both listed as shooting locations in the city. Detroit has favorable incentives for the movie industry and it was nice to see my hometown featured in this film. Other great Detroit films include Four Brothers and Precinct Thirteen. The location shooting gave this film authenticity.
Gran Torino is in limited release until next week. The Motion Picture Association of America has labeled this film with an R Rating based on the violence and pervasive language. The racial slurs come in droves, with plenty of targets. I heard every slang term for Asian that I can ever recall hearing as well as Irish, Polish, Jewish and Italian slurs. The racial undertones assist in telling the story and are therefore integral to the script. I did not take offense to any of the racial slurs due to the context. The violence included the aftermath of an apparent assault/rape (which was not depicted in the film) as well as a cigarette extinguished on a character's face. There was also several incidents of gun play. As a whole, the film probably deserved an R rating, but I took my ten year old to see this film and did not regret it. There was nothing in the film that I felt he could not handle or understand.
Gran Torino was an exceptional film that hearkened back to the Clint Eastwood I grew up with in the seventies. Placed within the context of Detroit, the location I spent the seventies, this film waxed nostalgic for me. I have always been a big fan of Clint Eastwood. I am now also a fan of Nick Schenk who created a compelling script that made this film an instant classic for me. The complexity of his characters, the interesting dialogue, the interaction of his characters, the natural flow of the script and the ability to create strong man-drama appealed to me. Although it was not enough to draw tears, this film definitely provoked that choking reflex...the precursor to tears that many men heed as a warning to "man up." A drama that carefully balances comic moments with strong dramatic elements can be hard to find...yet Schenk appeared to make it seem effortless in this film. The Hmong cast provided great supporting roles to the timeless Clint Eastwood, making this film everything I hoped it would be. Hence, Gran Torino garners five stars out of a possible five stars.
Recommended:
Yes
Movie Mood: Serious Movie
Viewing Method: Studio Screening/Premiere
Film Completeness: Looked complete to me.
|
|
|
|
|
- Add to My Yahoo!: 
- Add to Google Homepage: 
© 1999-2009 Shopping.com, Inc.