User reviews

After his wife dies, Korean Water veteran Walt Kowalski busies his life with small household jobs and snarling at his family, until his young neighbour tries to steal his car.

It's a film you really do need to be in the mood for, as it is an intense watch, and could definitely be seen as heavy going. What I've always enjoyed about it, the touches of humour that pop up every now and then, I also think the film is very relatable.

What stands out, is the superb direction, the powerful storyline, and the performance of the leading man.

I think Clint Eastwood does a really fine job as Walt, he really is a tormented soul, you really do feel as though he's a man on the edge, totally disillusioned by life and everything around him, I'd seen it a great performance. I think Bee Vang is great as Thao too.

When I first saw it, and still to this day, his spitting really does gross me out, although it fits the character, designed to make us feel strongly about him perhaps.

8/10.

Clint Eastwood is simply great both in front of and behind the camera.

Eastwood is as great as Walt Kowalski, a man who, behind his rough exterior, deeply feels the world around him. Through humor and deep emotions, this film shows us that people are complicated and life is unpredictable.

Such films are rare, and nowadays they are almost non-existent. The development of the main character and the depiction of his emotions and internal conflict are interesting, which is exactly the basis of the film.

There is also a bit of humor in the film, located exactly where it should be and thus creates that necessary balance against the cruel reality.

The script is brilliant, and Clint Eastwood turned it into a great film, managing to evoke tension and feelings, as well as the inner struggle of the characters.

The film is superbly directed and easily guides the viewer through the story. The cinematography is excellent, as is the photography. The soundtrack fits perfectly into the atmosphere of the film.

This is an old-fashioned drama with interesting characters that are not one-dimensional but complicated and layered. Unfortunately, the actor who plays the character of Thao is simply not a good actor, but the rest of the cast played their parts excellently.

I was particularly impressed by Ahney Her in the role of Sue, and Clint Eastwood is equally excellent in the role of Walt Kowalski. Also, Christopher Carley excellently portrayed the character of Father Janovich, a young and somewhat naive priest, whose character is also interesting and develops throughout the film.

A great, powerful and inspiring film.

seeing the trailer for this film kinda made me expect id be watching Dirty Harry in the suburbs.

What I saw was a bittersweet superbly written, well acted story of humanity and friendship,this film is something that we can all relate to in some way, and isn't Hollywooded up in anyway, the film tells it story without any un needed hidden undertones that so many mainstream directors do to films.

Eastwood is excellent as the hard nosed war vet, and his direction is perfect as always, and supporting cast did there job just fine too

Clint Eastwood was perfect for the role and as director, as he has the knack of taking a story and making a film for the audience to get sucked into the story, and not for critics to pick apart....great film making,

A modern day masterpiece. There is really no movie that is so funny, however, so moving at the same time. A true cultural masterpiece that puts political correctness to shame. We are all equal and Gran Torino does a fine job of letting us know. One of Clint Eastwood's greatest. Acting and directing.

I feel like I should let everyone reading this know of my inherent bias in favor of this film. I have seen twenty eight films from Clint Eastwood as director and have liked the vast majority of them, and loved a good number of them (my average rating for the 28 films is 7.9). Still, something felt off about "Gran Torino" based on the trailer. I read it as Eastwood trying to be 'badass' again, trying to be Dirty Harry again. "Gran Torino" is not that. Walt Kowalski may have similarities with Dirty Harry, and could possibly be read as a significantly older version of Harry (it's a stretch), but he is a distinctive, memorable character on his own, and I'd go as far as saying that it's one of Eastwood's finest performances, and one which gives him a chance to show off his dramatic and comedic chops.

I'm not going to argue that "Gran Torino" has perfect acting from the younger supporting cast. It doesn't. In fact, some of them are downright bad at times, but the film works in spite of its flaws. This screenplay was probably written with Eastwood in mind (I am not sure of the behind-the-scenes details on this) and it shows. He captures Kowalski perfectly. The film is surprisingly humorous, something that isn't being captured well enough in advertising. It's absolutely hilarious at times (watch as Kowalski attempts to make a man out of Thao by teaching him how to talk like men do), and Eastwood handles the shifts in tone brilliantly. When the film takes a dark turn towards the end I sat on the edge of my seat in suspense, fully aware of where it was heading but still mesmerized by Eastwood's tour-de-force direction. This is an artist at his prime as an actor and as a director.

Whether or not "Gran Torino" will hold up as one of Eastwood's great films remains to be seen, and the film feels like it would be good for multiple viewings. The characterization is strong and not simplistic at all, you could argue that Kowalski is just another grouchy war vet, but Eastwood's beautiful, nuanced performance as well as some neat little touches in the screenplay (particularly towards the end) which I won't discuss in detail to avoid spoiling anything (and it's really fun to watch this movie unfold, Eastwood keeps the film moving at a wonderfully involving pace) would prove you wrong. The film works on yet another level as a deconstruction of Eastwood's image. I don't mean that as a negative, it just adds to the film's strength as a character study.

It's a more intimate film than Eastwood's other film this year, "Changeling", and also on a smaller scale than many of his other films, but it's just as ambitious in many ways. This is not a politically correct film about a grouchy old racist suddenly turning into the most tolerant person around, it is a film about a man who, near the end of his life, is forced to confront his demons, and on the sunnier side about a man who finds true friendship where he least expected it. By the end of "Gran Torino" I had forgiven any flaws it might have, and was completely satisfied with the film, which far exceeded my expectations. I have a feeling that "Gran Torino", which has already been met with strongly positive reviews (but is still being described as a 'minor' Eastwood film by some), will eventually become an especially important part of Eastwood's filmography.

With his performance Eastwood shows you why people like himself, Jack Nicholson, or Paul Newman only come around once in a lifetime. Though Eastwood would rather focus on directing, he can still carry a movie with his on screen presence, and he's pure dynamite in "Gran Torino". Perhaps the poor box office results of "hollywoody" movies like Absolute Power, True Crime, Space Cowboys, and Blood Work, caused Eastwood to shy away from acting, but given cutting edge material to work with as "Million Dollar Baby" and "Gran Torino", he's as good as ever. His character as the racist and salty war vet makes you think of that old guy we've all had on our blocks with the garbage door open, the million tools hanging everywhere, and always fixing or building something. I found myself not wanting the movie to end because the scenes between himself and the various Hmong characters where priceless. There may be complaints over the racist remarks and scenes, but Eastwood pulls it off in a way a real person like that would talk or act to a point where it ends up being lighthearted. I'm not going to give the plot away, but if you like your Clint Eastwood as a hard-nosed tough guy with foul language alla Dirty Harry or Heartbreak Ridge, you'll love this movie!!

I saw the film and it was unbelievable. Clint Eastwood will have you laughing so hard you almost pee yourself while at the same time breaking your heart and making you want to cry. The movie takes you on a roller-coaster ride and the entire theater stood up in applause afterward. I highly recommend this film and if Eastwood doesn't get nominated for an Oscar something is truly wrong!!! The screening I saw was held at the Writer's Guild, so the room was filled with SAG, WGA, DGA, and other industry related people who I would wage know their movies. At points the entire room was laughing so loud I couldn't hear, and then minutes later all you could hear were the sniffles from people crying. The film has drama, comedy, and action and Clint Eastwood really creates a character that you care about and cheer for...again!

As Clint Eastwood reaches the end of his life, he presents us with yet another performance which is nothing short of legendary. Wishing to preserve the element of surprise, I will not reveal anything by trying to analyse this great work of art.

I will say this. There are similar qualities to his previous work, but I would say that both his directing and acting have reached a level of maturity comparable to that of an excellent wine. The story was compelling and, mixed with the drama was a refined touch of humour; the perfect combination for a pleasant evening.

I would like to finish by thanking Mr. Eastwood for sharing this touching moment with his audience at a time when most of the cinematic "art" produced in Hollywood consists of stunts and bad jokes.

Manohla Dargis writes in the New York Times: "Dirty Harry is back, in a way, in "Gran Torino," not as a character but as a ghostly presence. He hovers in the film, in its themes and high-caliber imagery, and of course most obviously in Mr. Eastwood's face. It is a monumental face now, so puckered and pleated that it no longer looks merely weathered, as it has for decades, but seems closer to petrified wood. Words like flinty and steely come to mind, adjectives that Mr. Eastwood ... expressively embodies with his usual lack of fuss and a number of growls." More praise for Eastwood comes from Joe Morgenstern in the Wall Street Journal, who comments: "No one makes movies like Gran Torino any more, and more's the pity. This one, with Clint Eastwood as director and star, is concerned with honor and atonement, with rough justice and the family of man. It raises irascibility to the level of folk art, takes unapologetic time-outs for unfashionable moral debates, revives acting conventions that haven't been in fashion for half a century and keeps you watching every frame as Mr. Eastwood snarls, glowers, mutters, growls and grins his way through the performance of a lifetime." Elizabeth Weitzman in the New York Daily News remarks that "it's clearly a career-capping work." Kenneth Turan in The Los Angeles Times writes that the movie "is impossible to imagine without the actor in the title role. The notion of a 78-year-old action hero may sound like a contradiction in terms, but Eastwood brings it off, even if his toughness is as much verbal as physical. Even at 78, Eastwood can make 'Get off my lawn' sound as menacing as 'Make my day,' and when he says 'I blow a hole in your face and sleep like a baby,' he sounds as if he means it."

There are at least four reason why I like this film: 1. Clint Eastwood shows that the character he is playing is willing to serve in a war-- and die if necessary--to preserve freedom (and he has a medal to prove it), 2. he has grown old and the whole world has changed (and everyone around him seems to indicate--in one way or another--that he is no appreciated or needed), 3. even with a transformation, he demonstrates that people tend to be reactive--rather than responsive--and are slow to change (this is particularly true with bias, discrimination, and prejudice), and 4. that tolerance can lead to understanding (he tries to give tough love, but he becomes softer in his response--instead of his reaction--after giving and receiving genuine love). It seems that everyone around him wants his Gran Torino and everything else he owns, before he even has died, instead of being interested in him. He lives in a community that is transformation, and he knows absolutely nothing about culture, diversity, ethnicity, race, or sexual orientation. He does know about aging, however (if nowhere else, he learns about it from people's adverse and negative reactions, everywhere around him). He isn't exactly treated with dignity and respect, so why should he treat anyone else with dignity and respect? And, trust must be earned.

If this is Clint Eastwood's last film, I can only say that that his performance, in this stunning film, is what legends are made of. There are some wonderful performances in "Milk" (Sean Penn), "Australia" (Hugh Jackman and Nicole Kidman), "Changeling" (Angelina Jolie and director Clint Eastwood), and "The Dark Knight" (a riveting performance by "Brokeback Mountain's" Heath Ledger). In viewing all of these films, there are performances that are not only superb, but they evoke every one of the emotions and carry the intellect and intelligence of human cognitions to the highest pinnacle of excellence. As a gay person, I must say that I am moved by Sean Penn's portrayal of Harvey Milk, I am moved by the romantic chemistry between Hugh Jackman and Nicole Kidman, and I would be remiss if I did not mention Angelina Jolie's flawless and moving performance. But, I give the top honor to Clint Eastwood for giving us films that educate and entertain. And, "Gran Torino" (2008) is no exception. One cannot walk away from a Clint Eastwood film, without saying that they haven't learned something, or without saying (just like the legendary Ethel Merman used to sing) 'there's no business (quite) like show business'. I rank "Gran Torino" (2008) a 10 out of 10. Clint Eastwood's performance is more than another version of 'Dirty Harry'. In fact, his portrayal is reminiscent of the Paul Newman character in "Nobody's Perfect".

If Clint Eastwood had retired after Gran Torino, it might have been one of the most perfect endings to an iconic actor's career. Walt Kowalski is like Harry Callahan or number of Eastwood characters from his past only, like the vessel they're protrayed through, older. He's the crusty, cynical tough-guy who deep inside is a bit softer and has a warmer than you'd expect heart. Which is the truth we see revealed in Kowalski over the course of this movie as he befriends and helps the Hmong kid next door. There might be enough of these movies to constitute an entire subgenre of friendship films: one involving an older guy who learns a little about life while teaching a boy to be a man. It's a friendship story and even what you'd call a feel-good one despite the violence and negativity surrounding it. The film aims for authenticity though I think bits of it will be seen by posterity as dated, false hollywood depictions.

Maybe the later movies kept him busy but this is where Eastwood's career as an actor should have (and in a sense did) end.

If movies like Indiana Jones, Iron Man and The Dark Knight were the thoroughbred hits of 2008, then Clint Eastwood's Gran Torino is the dark horse. This rousing crowd-pleaser is sure to surprise many, through its copious sour humour and pure badassery, while managing to still be an affecting and sombre dramatic entry in Eastwood's long-enduring and wildly successful career in front of and behind the camera.

You know that a movie has something going for it when it can a) pack in so many one-liners you can't bring yourself to remember them after the show from oversaturation of the brain, b) be unboundedly racist yet still never seen exploitative or condescending and c) make a pure, grit- and-nails, grimacing anti-hero, one man army out of a seventy-eight year old man. What is likely to surprise the most number of viewers is how funny this movie really is. Eastwood's direction and line delivery as a diamond-hard antisocial veteran is bang-on, but never makes the film into a farce or embarrassment. This is due in part to the handling of the more touching dramatic moments which anchors the film in reality and reminds us of what is at play, so to speak.

Following the death of his wife, Walt Kowalski (Eastwood) has nothing left but his dog to truly be with. His two sons and their families drift in and out, but Walt's less then cheerful demeanour and their impartiality keeps them in different worlds and in different times. Walt is peppered by visits from Father Janovich (Christopher Carley) of the local church at the request of his late wife to 'keep an eye on him', but has little place for religion on his heavy conscience; about as much time as he has for his new Hmong neighbours that move in next door. That is until the family's youngest son Thao (Bee Vang) begins to be harassed by a local gang who persuade him to steal Walt's prized Gran Torino as initiation. Saving Thao in an ensuing altercation, Walt sweeps the fatherless teen away from the pressures of the criminal life and puts him to work at the request of his mother. Thao and his sister Sue (Ahney Her) befriend Walt in a way, and for a reason none can truly explain.

All of the Hmong actors in Gran Torino are pure novices who have never acted before and this is readily apparent. While a weak link, the film as a whole is so satisfying it is really a moot point as it serves as no thorough determent. The arc of Walt is simple and easy to predict, but then anything but would not work. Many scenes with the cultural clashes are funny and touching as with an unspoken dynamic with the elderly grandmother of the Lor family next door. A number of exchanges between the few remaining people in Walt's life who he still respects such as his barber and a construction worker who gets Thao a job, are nothing short of comic genius and piece the Walt character into a true three- dimensional individual.

With a great song by Jamie Cullum to conclude the film (which stands as a horrendous Oscar snub, equalled only by the additional snub of the Bruce Springsteen Song from The Wrestler), Gran Torino is a pure gem; a film that both draws unexpected laughs, soft smiles and tears from an audience that is happy to oblige, as well as salute a screen legend in another iconic role that proves even at an old age a dark horse can still kick you in the face.

Clint Eastwood returns for another outstanding performance. Is this even his magnum opus?

This year I began to watch Clint Eastwood movies. I started with Leone's dollar trilogy. Watched Leone's magnum opus, the best western ever made, The Good, the Bad and the Ugly. Then followed him creating his own productions, "High Plains Drifter", "Hang em high", the brilliant "Escape from alcatraz". Then I reached his first peek, the anti-western "Unforgiven", witnessed the end of the genre I love. But Eastwood did not stop there... In 2004 he released the great, emotional sport-drama "Million Dollar Baby" delivering not only as an actor but with directing qualities, the Spielberg's and Scorsese's cannot top. It was then, when I was saying: That's it, this was his last big title...

Then I saw Gran Torino

From the first seconds on he had me. I knew that I was watching something huge.

In the last days, weeks and months I have been watching a lot of so-called "classics", best picture winners and IMdB Top 250 movies. Let me tell you something: Most of them and I am speaking of about 80 percent of them are GARBAGE. You heard right, most of the movies that are critically acclaimed could not keep up to their hype. I could list countless of examples, man I could fill my own 250 list with those!!

But let me tell you, that those other 20 percent are extraordinary, some of them could even change your life and the way you are seeing things. Gran Torino is one of these masterpieces.

Starting with Clint Eastwood in his double role as leading actor and director. Never, NEVER have I seen acting as extraordinary as that of Clint Eastwood in Gran Torino. He is funny, he is dangerous, he's the old war veteran, he's the grumpy grandpa, he's the nice old gentleman, etc., etc. You name it, he can play it.

This combined with a picture perfect directing, I mean there are literally no flaws to identify, whether you speak of camera work or the choice of setting. EVERYTHING fits.

And the story is written in the most extraordinary way. This movie is emotional, funny, serious and most important, it will change your view of life, at least it has changed mine. I do not want to spoiler anything, so I will not expand on that, but trust me this movie is special.

So closing this review, I give you the ultimate recommendation, the green light. This is more than worth watching, it is, until today, Eastwood's last big title, and for me his MAGNUM OPUS.

Despite all the rave reviews, which I don't understand, I didn't think this movie was made very well. It was mainly the acting and the writing. CLint Eastwoods performance was great, but everybody else was bad. From the Young preacher to the main Hmong characters the acting was forced and you could tell that all these people had never done a movie before, which according to IMDb is mostly true.

Right off the bat you saw the actor who played the preacher was of considerably less caliber than anyone else in the scenes. The Hmong actor during a climatic scene with Clint Eastwood seemed fake, forced and just not very good. Again if everybody was that bad maybe no one would have noticed but they were up against a veteran actor, so it was quite noticeable.

The writing was a little empty and it didn't take a guru to see right through the plot.

I know Clint Eastwoods movies are plain movies, usually low budget, with fresh new actors, and simple plot lines, with the exception of his latest WWII movies and Mystic River. Although the revenue must be very high for this movie cause I'm sure it was dirt cheap to make considering all the aspects, but this certainly isn't a must see even if it is his last acting movie.

Gran Torino - They don't make them like they used to....

Mr. Eastwood has a knack for storytelling. Instead of being preachy or having an all to obvious agenda, he lets his viewers make up their own minds. His characters don't have a message, they have a life and make no excuses for who they are. In so many subtle and intelligent ways we are allowed to make our own choices. Like with Kowalski in the movie, you are not confronted with a role model hammering home all those "life's important messages", but rather with a movie saying "Look! This is the way it worked out for me. And I think I know a few tricks that might help you, but in the end it's your own life. However, you have to trust me when I say that there are a some things you don't want to see or experience!". Some people will leave this movie entirely untouched, others will certainly be crying their guts out. Not because some people "get it" and others "don't", but because it is a brilliant piece of entertainment reaching out to every viewer in its own specific way.

Eastwood's acting is top notch again, although the years have not been very kind to his voice. The rest of the cast are fine, but one can certainly spot their more amateurish backgrounds here and there which is the main reason why I could not give this one a 10/10.

Apart from that there is little to criticize. It's not an action movie, not a drama movie and certainly not a comedy (even though you get a few laughs out of this one). It's simply a good story about life.....and death.

I saw Gran Torino mainly as an admirer of Clint Eastwood, both as an actor and as director. And I was very impressed, there were parts that amused me and others that had me moved. Gran Torino was a very well made and beautifully directed movie, complete with a fitting soundtrack, a strong script with smooth enough tone shifts and a powerful message that is well conveyed and one that I think many, myself included, would identify with. The story is mostly engaging with an interesting protagonist, but there are a few moments where it is hackneyed and predictable, which is my only criticism of this movie. In regard to the acting, Clint Eastwood gives a very commanding performance and the kids are also very good mostly. Overall, very well done. 9/10 Bethany Cox

Once rumoured to be another film in the DIRTY HARRY saga, GRAN TORINO is actually much, much more than a crime film. It's not even an action film, or a thriller, despite containing elements from those genres: in actual fact, it's a solid human drama about human relationships, along with ruminations on plenty of issues affecting today's world: immigration, integration into society, crime, violence, friendship, life and death, regret. I can't imagine anyone but Clint Eastwood starring in this film. Eastwood plays his usual character, except older, more frail than more; perhaps the word I'm thinking of is 'more human'. Whatever, he's absolutely astounding in this film, giving a brilliant performance as Walt Kowalski, a foul-mouthed, irritable old racist who gradually uncovers his humanity as the story progresses.

Eastwood surrounds himself with a cast of unknowns, and these actors are also triumphant. Bee Vang, as Thao, Eastwood's initial enemy and then friend, has to be singled out as giving one of the best turns, and he's matched by Ahney Her who plays his sister, Sue. I loved the performances of these two actors, who successfully manage to hold their own against Clint.

GRAN TORINO is a film firmly rooted in reality, which is why there are no gung-ho heroics here, no scenes of grandeur. The ending is particularly true to life, a neat twist that defies audience expectations. The script is sparkling and witty, never losing focus of the main themes, and also particularly moving without being sentimental. It's a difficult line to walk, but this film manages it. In all, a delight and one of the best Eastwood movies I've watched. This one's a keeper.

Wit a little fantasy the oeuvre of Clint Eastwood as an actor is reflected in the oeuvre of Clint Eastwood as a director. Looking at his oeuvre in this was the Spaghetti Westerns of Sergio Leone (1964 - 1966) are reflected in "Unforgiven" (1992) while "Dirty Harry" (1971, Don Siegel) is (partly) reflected in "Gran Torino" (2008).

Using our fantasy a little longer it is also possible to see "Million dollar baby" (2004, Clint Eastwood) and "Gran Torino" (2008, Clint Eastwood) as twin films.

In both films Eastwood plays a man that has weak familie ties. His son and daughter in law have little time for him and would prefer him moving into a nursing home. To compensate for this Walt Kowalski (the lead character played by Eastwood) develops pseudo familie ties with the boy next door. He becomes a sort of grandchild for him, just as his pupil in "Million dollar baby" becomes a sort of daughter for boxing trainer Frank Dunn.

There are also differences between the two films. In "Million dollar baby" the feelings of Frank Dunn grow from neutral (he just don't want to be a boxing trainer anymore) to sympathy. In "Gran Torino" the feelings of Walt Kowalski grow from hatred (the boy has tried to steal his car) to sympathy.

In "Million dollar baby" Frank Dunn tries to help his pupil to fulfill her ambitions. In "Gran Torino" Walt Kowalski tries to prevent that his boy next door is recruited by a criminal gang.

At the beginning of the film Walt Kowalski does not only hate his boy next door because he has tried to steal his car, but also because he is a foreigner. When he came to his neighbourhood it was predominantly white. Over the years this has changed, and Walt doesn't like it.

One can condemn Walt for his undeniable racist tendencies (from the beginning of the movie) but one could also look at him as a victim of globalization.

Walt Kowalksi had a job in the American car industry and did build the Ford Torino, a model that was produced between 1968 and 1976. In the film he still drives his Torino 72 that is perfectly maintained and is his love and pride.

The fact that his son does not make American cars but sells Japanese ones is very painfull for Walt and influences both his relationship with his son and with his Asian neighbors.

For a long time globalization was seen as a good thing, enhancing productivity and welfare. Only after the financial crisis of 2008 was discovered that it didn't enhance welfare for everybody and that there were also victims of globalization. Bringing back industrial jobs became a major item in the 2016 American presidential elections. "Gran Torino" was quick to identify Walt as one of the losers of globalization.

This movie made me laugh and cry at the same time. It deals with both grimy old bastards as well as with more serious matters as racism. Good acting from Clind as well as all his supporting actors and once again Clint has shown that he is capable of making movies that involves both emotions and stereotypes! The "olidish" bitterness of Clint's character and the mix between comedy and drama is just genius. The only criticism of the movie would be that the gang-bangers were pretty and does not correspond very well to all of the reports of gang violence all around the world. But overall I thought this was a great movie with lots of potential for being one of those films that you will actually remember when you visit the video rental store in five years from now.

Winner of two Oscars for best director, for The Unforgivables (1992) and Million Dollar Baby (2004), Clint Eastwood does not cease to surprise, to mess with the identity of the USA. In 2006, he revisited the Second World War with great lucidity and critical sense, in this case the American campaign in the Pacific, with The Conquest of Honor and Letters from Iwo Jima, shot in sequence. He also released The Case of Richard Jewell, about the Atlanta bombing during the Olympic Games.

Gran Torino follows the life of Walt Kowalski (Clint Eastwood), a retired worker and Korean War veteran who spends his days doing small home repairs and drinking beer. Widower, moody and with a totally troubled relationship with his children, Kowalski ends up approaching the young Asian Thao (Bee Vang) after he gets involved with a local gang and is forced to steal the grumpy old man's car. Despite his contempt for Asians, blacks and Latinos, Kowalski slowly develops an appreciation for the young man and his sister Sue (Ahney Her), realizing he has much more in common with their family than his own.

Walt Kowalski, his character in Gran Torino, is certainly one of the most backward and obnoxious Eastwood has ever played. A staunch republican, conservative to the very last hair, we meet him for the first time during his wife's wake, probably his last contact with the civilized world. It's all up to him now, a being obviously unfits for social contact. He doesn't make a point of pleasing anyone, and he always has a complaint on the tip of his tongue - the granddaughter who doesn't dress properly, the children who are self-serving, the self-serving mother-in-law, the novice and inexperienced priest. Now, even worse for him is what has become his neighborhood. Once a suburban neighborhood typical of American families in the 1950s, with margarine commercials, today it has become a haven for illegal aliens and a haven for violence and abuse. But he's a survivor, and he's standing there. Where will he stay until he's knocked down?

The plot begins when the boy next door, a teenager of Hmong origin (Southeast Asia, region between Laos and Vietnam), tries to break into the precious Gran Torino - a Ford model, full of style and more American impossible - as a test in a race test. Initiation into a gang. As the boy is caught, Kowalski kicks him out of his garage. But failure will have consequences, and when the other mobsters show up to take Thao (Bee Vang) to another challenge, it's the old neighbor who ends up saving his ass. Gradually, they develop a relationship of protégé and teacher, as does the boy's older sister, Sue (Ahney Her). But they don't live in a capsule, and the social tensions that surround them will soon send them into shock again. And it will be at this point that Kowalski will have to decide if he will follow the same path of a lifetime of ghosts and delusions or show that he is capable of change and sacrifices in the name of the greater good.

Gran Torino is a film that delivers much more than it promises. From the trailer, at the time of its release, it can only be read as the story of the old-fashioned and prejudiced old man who, by his brute and rude ways, ends up coming into conflict with bandits very different from those he met in the war more than 50 years ago, while at the same time it becomes the guardian of an entire community. But, on the other hand, those who dedicate themselves will find an emblematic tale of power and surrender, of solidarity and multi-layered justice. There's a lot more to be discussed here than trying to guess who will be the protagonist's heir. The Gran Torino is more than a car, but a symbol of an era that, if it doesn't come back, needs to know how to adapt to a controversial and problematic world that takes shape every day.

The director's intention is clear: to show that what we think we know is not always what it seems (the old maxim of not judging a book by its cover). Something even better, however, comes from Eastwood's honesty in not "selling" Kowalski or his worldview as better than others. It does just the opposite when the character slowly realizes that she has much more in common with the Asian family she so despised (due, for example, to the respect for traditions and elders perpetuated among them) than with her own family, making closer and closer to Thao, Sue and their families than he could ever have imagined. As if he also proposed to reflect on his convictions.

Despite this interesting and efficient way of approaching different visions of the world in a totally honest way, not everything is rosy. Bee Vang and Ahney Her's performances are incredibly weak, even more so when placed next to someone like Clint Eastwood, who has been working in art for at least five decades. To be aware, even the actress' walk at certain times seems totally forced and artificial, as well as Vang's outbursts of rage when he was locked in the basement against her will (this scene even embarrasses others).

The first half hour of the film makes it very clear that Walt is an ignorant. Slowly, there is a construction of a relationship between the surly neighbor with his Asian neighbors, and little by little, he comes to see that he has much in common with the "Chinese" than his own family. The feature not only allows seriousness and a vision of hate, but softens certain scenes, to relieve the viewer, with funny dialogues. The film doesn't want to be stuck only with the open prejudice of a character, who regrets and sees that not everything is as it seems.

Directing, Eastwood skillfully manages to reflect in the film the toughness of its protagonist. In this sense, it does not resort to appealing drama scenes. Indeed, at the funeral that opens the story, Walt seems angrier than sad about his wife's death. And the funeral that closes the film, and Walt's terminal cycle, does not come as a surprise, as Clint anticipates this outcome in preceding scenes, such as the purchase of a tailored suit.

Even the film's editing seems influenced by the main character's characteristics. In fact, dry cuts predominate, even when linking scenes that take place with a long time gap between them. That is, there are no frills, the direction remains hidden. Still, it builds the perceptions that its history claims. For example, notice how Father Janovich looks older when he talks to Walt right after Sue's assault, compared to their meeting at Walt's wife's funeral.

However, we can point out moments in the film in which Clint chose to please the audience. One of them results from Walt's sacrifice in the last scenes of the film. At the end, his body is on the ground with his arms outstretched in a cross, in a clear allusion to the sacrifice of Christ. The other of these moments is the reading of the will, which brings that opportunity for the viewer to wash his soul against the protagonist's horrible family. Finally, it is still worth comparing Walt with the vigilante police officer Harry Callahan, who Clint embodied in the Dirty Harry franchise. However, it would be a mature version of him, regretful for past atrocities, just as Walt feels about what he did in the Korean War.

Although it is not a complete work of one of the most competent filmmakers in Hollywood for sinning in nonsense, "Gran Torino" devastates the viewer and questions him about loyalty to family, the importance of beliefs and the changes that life can bring. The feature is, above all, about the (lack of) hope for a less prejudiced and aggressive world. What and how do we value life and all that is given to us? Are we ready to change? Do we really live in the 21st century? A film to reflect on.

"Gran Torino," directed by Clint Eastwood, is a poignant and powerful exploration of redemption, cultural clash, and the complexities of human relationships. Eastwood not only directs but also stars in this gripping drama as Walt Kowalski, a cantankerous Korean War veteran grappling with the changing world around him.

At its core, "Gran Torino" is a character study of Walt, a man hardened by his past traumas and prejudices, but whose humanity is gradually revealed through his interactions with his Hmong immigrant neighbors. Eastwood's performance is nothing short of mesmerizing as he navigates Walt's transformation from a bitter loner to a reluctant mentor and protector.

Thematically, "Gran Torino" delves into issues of racism, xenophobia, and the search for redemption. Through Walt's reluctant friendship with his Hmong neighbors, the film confronts the stereotypes and misconceptions that divide communities and explores the possibility of reconciliation and understanding across cultural divides.

The supporting cast, comprised largely of first-time actors from the Hmong community, deliver authentic and moving performances that add depth and authenticity to the film. In particular, Bee Vang and Ahney Her shine as Thao and Sue, Walt's young neighbors who challenge his prejudices and ultimately become his surrogate family.

"Gran Torino" is also notable for its gritty and realistic portrayal of urban decay and social alienation. Eastwood's direction captures the bleakness of Walt's surroundings, painting a stark portrait of a world in decline while also finding moments of beauty and humanity amidst the despair.

In conclusion, "Gran Torino" is a masterful piece of cinema that resonates with emotional depth and authenticity. Through its powerful performances, thought-provoking themes, and unflinching portrayal of societal issues, it transcends its genre trappings to become a timeless exploration of the human condition. A film that lingers in the mind long after the credits roll, "Gran Torino" is a testament to the enduring power of storytelling to provoke thought, evoke emotion, and inspire change.

A very touching film that brings out a different but still great side of Clint Eastwood.