T
he protagonist of
Gran Torino is an utterly dislikeable guy. War veteran Walt Kowalski (Eastwood) is a foul-mouthed, ill-tempered, racist old man who cares for his Ford more than the human beings around him. The film charts his journey into tolerance—from hating his Southeast Asian neighbours with as much vicious-ness as the Koreans he once fought against, he goes on to become their guardian and defender. The strength of the film lies in the growing bond between Kowalski and the teenagers Tao (Vang) and his sister Sue (Her), the thespian act of Eastwood balanced nicely with the refreshing spontaneity of Her and Vang.
Gran Torino presents an informed view of a multi-ethnic culture and the violence that defines it. The end does get a bit too maudlin for comfort but the narrative has dignity, grace and also a peculiarly dry sense of humour (specially in Kowalski’s relationship with the barber and the priest) that makes the film a heart-warming experience.