Movie Review: 'Gran Torino' nice addition to Eastwood filmography

You'd be hard pressed to find a more iconic figure in the movie business or movie culture than Clint Eastwood. Despite his decidedly inauspicious beginning - in 1955's "Revenge of the Creature," an uncredited performance as the character "lab technician" - Eastwood went on to garner notice on TV and for his groundbreaking work in Sergio Leone's spaghetti Westerns.

In some circles, he'll forever be remembered as the epitome of macho cops for his character Dirty Harry. In other circles, it will be pointed out that he was an early feminist director with work such as "Play Misty For Me," "The Beguiled" and "Breezy." He's done comedy - a personal favorite of mine is "Bronco Billy" - and romance ("The Bridges of Madison County"). Not content with merely acting and directing, Eastwood eventually got into producing and composing as well.

With his latest film "Gran Torino," in which he stars and directs, Eastwood brings a classic, new Eastwood character to the screen.

Walt Kowalski is a recently widowed, retired autoworker. He could well be "Dirty" Harry Callahan's brother. Walt is irascible, racist and bullheaded. Nearly any other actor would have trouble making this character likable, but Eastwood manages it and not in the typical way. There are no epiphanic incidents, no magic moments, and Walt remains true to himself throughout the story. It's a fine line Eastwood walks to make the character work, and a lesser actor most likely would have botched the job.

Walt lives in a working class neighborhood in Detroit. To his dismay, an extended Asian family moves in right next door to him. Walt is not a full-fledged misanthrope but darned close to it, and he doesn't warm easily to many folks, especially the ones who are, you know, "different." He clearly wishes these people no harm but neither does he want to engage them in friendship or even conversation.

Things get worse when Walt catches young Thao, the kid from next door, trying to steal his most prized possession, a 1972 Ford Gran Torino.

The theft is part of an initiation. Thao has been recruited by a local gang and, while he is reluctant, the gang-bangers use a lot of pressure. After failing his first test, the boys in the 'hood try to get the kid to make another attempt. This time the scene ends with Walt and his shotgun telling the thugs to leave the kid alone. This act makes Walt the reluctant hero, and he soon finds himself being showered with gifts and food and is visited by Thao's older sister, the whip-smart and confident Ann.

As punishment for his actions, Thao is forced by his family to be at Walt's beck and call. At first this doesn't exactly please the old coot, but soon some male bonding occurs. There's an overtly funny scene wherein Walt takes the boy to a barbershop owned by an Italian, to teach him how "real men" talk to each other.

Walt and Thao's family have made formidable enemies in the gang and things escalate, finally coming to a head in a finale that I didn't see coming.

"Gran Torino" works as a parable about racism in a society that has just elected its first black president. It's not Eastwood's best film, but then again he's never directed a bad movie. And Walt Kowalski is a fine addition to Eastwood's cast of now legendary cinematic characters.

Jim Wunderle owns Wunderle Sound Services and is a Springfield freelance writer and musician. He can be reached at info@wunderlesound.com.[[In-content Ad]]