Gran Torino- A Picture of a People

Gun toting, teeth grinding, epithet spewing, septuagenarian. This is the main character, Walter Kowalski, in Clint Eastwood's Gran Torino.

The film, one of this years Oscar contenders, finds Eastwood's Kowalski- a taciturn World War II veteran- living in a neighborhood now populated with those he once only saw as war-time enemies.

The power of this film comes partly from Eastwood's now typical performance, that of the grizzled, growling 'man with a problem' who's going to 'fix it.' In 2004 his 'problem' was Maggie Fitzgerald, the paralyzed boxer of Million Dollar Baby. This year, its a violent Hmong gang that has terrorized his neigbors Thao and Sue, whom he befriends during the course of the film.

The other part of Torino's power owes itself to the ever present racial slurs Kowalski and others let loose. Some might make you squirm while others could cause you to snicker or laugh out loud. Whether you're squirming or squeeling, you must take the time to stop and think about the material that is presented. I was able to find quite a few lessons in this story. A story which, in truth, sounds impossible at first.

Walter Kowalski hates foreigners (Koreans especially) but they're his neighbors and he ends up becoming friends with them?

That extreme oversimplification of the plot gives it an almost Disney-like 'cheese' factor. But I assure you, this is no Disney picture. And while at first the premise seems unbelievable, the films pacing makes sure no major character developments occur too quicky or, quite possibly, at all.

Torino does a good job of informing viewers about its supporting cast, the Hmong- people from different parts of Laos, Thailand and China who came to America after being targeted and killed for fighting alongside the U.S. in Vietnam. This is a culture and a history I knew nothing about, despite going to school and working with Hmong people. I was happy to be enlightened.

Throughout Torino, we find Kowalski grumbling something or other. One scene shows him chiding Thao about the neighbors lack of curb appeal. Kowalski, the 'American,' is a man concerned about appearances. His grass always cut, his car washed and waxed, and his flag-our flag- always waving. Meanwhile, he has virtually no relationship with his sons, failing health, and guilt so burdensome he can find only one relief. His neighbors, on the other hand, may have shabby facades, but inside those houses are close knit families with strong ties to their heritage.

The trailer for the film calls it "prime, vintage Eastwood." That's an easy critique considering some of the scenes look like they were filmed with 'Dirty Harry 6" in mind. Instead, I say that this is prime, vintage America. The America that, despite its sublime curb appeal, put its racism in the front yard (right beside the Gardenias) and held so many problems inside.

Kowalski is a man out of place and out of touch with the larger world around him. Perhaps like last years Academy Award winner for Best Picture, this film would be called No Country for Old Men, that is, if it did not display some hope that there is a place in the present for those who suffered through the history many of us only read about. The history that made them bitter and hateful. The history that made them 'American.'