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Visual:		7.0
Audio:		6.0
Acting:		5.0
Writing:		7.0
Score:		8.0

Director(s):	Clint Eastwood
Writer(s):	Nick Schenk, Dave Johannson (story)
Starring:	Clint Eastwood • Bee Vang
Genre:	Drama
Website:	http://www.thegrantorino.com/
Release Date:	December 12, 2008
Rated:

Unlike its title might suggest, Gran Torino isn’t a racing movie, nor is it in any way about cars. The title refers to the prized object that serves as the film’s plot device: a mint condition 1972 Ford Gran Torino owned by Clint Eastwood’s growling Korean War veteran character Walt Kowalski. Like its namesake, the film evokes a feel that is retro and timeless at the same time. It’s an old school—perhaps even old fashioned—take on gang issues and race relations in the ghetto.

Honestly, I expected this film to be all kinds of idiotic, with perhaps some unintentionally hilarious scenes to entertain. The premise certainly does nothing to deter that thought, but it ended up being an admirably brave look at America and its forgotten citizens (Kowalski himself is shunned by his mainstream upper-middle-class American family). When it comes to dealing with the marriage between racism and political correctness, the cultural stalemate in a modern melting pot society, and the violence that emerge from all that, Gran Torino is much more potent and sincere than Paul Haggis’ overhyped and overpraised Crash. And it has a better sense of humor with no air of self-importance, too.

Gran Torino has plenty of unintentionally funny scenes courtesy of the preachy dialogue and the supporting cast’s terribly weak acting during the dramatic scenes, but for every one of those, it has ten equally hilarious scenes that are very much intentional. Most come from the liberal use of racial slurs spouted by the bigoted Mr. Kowalski and how annoyed he is by the situation he finds himself in with his Hmong neighbors. After saving the neighbor’s kid, Thao, played by first timer Bee Vang, from a gang initiation, Thao’s family offers him as a helper to Kowalski in accordance to their Hmong tradition. Reluctant at first, Kowalski eventually finds a use for Thao (Kowalski calls him Toad) and they become good friends. This relationship stays innocent until the local gang run by Thao’s cousin wouldn’t leave the kid alone and Kowalski feels compelled to insert himself into the situation.

Played straight, this after school special set-up could potentially be disastrous. A bigoted old man learning the error of his ways through a teenaged minority? Think of the schmaltzy way that scenario would’ve come across in the name of promoting tolerance. What prevents Gran Torino from falling into that territory is its treatment of Kowalski’s bigotry as an endearing feature. Rather than portraying the ethnic slurs as a point of conflict, they are instead adopted into the film’s lingo. Thao and his sister Sue refuse to be offended and instead accept Kowalski and his quirky ways as a role model. Pretty soon Kowalski’s act ceases to be insulting. This isn’t a film about an ornery racist changing who he is for the better; it’s a film about that bridge that exists in America’s diverse community, even between an aging bigot and an ethnic kid separated by two generations. A bridge that can be crossed without compromising their identity.

Gran Torino also has a healthy view of political incorrectness, breaking down the pretense of language and stereotypes as sensitive borders. It’s a film that frees you, even encourages you, into laughing at words like “gook” and situations where a white man rolls up to a group of black guys and casually says “What are you spooks up to?” in a menacing tone. Is it not the true sign of a melting pot when insults are no longer insults, but merely expressions?

Eastwood’s direction is as minimal as ever, leaving the script to take over, which in this case provides much of the flaws when it comes to analyzing Kowalski's character. The strength of the film is in its heart, and Eastwood’s own performance that makes Walt Kowalski one of the most likable characters of the year. He’s a cranky bigot that has no problem winning hearts as easily as a cute Pixar character.

Between this and Changeling, you’d expect the latter to be the more impressive film, but Gran Torino isn’t just better than Eastwood’s other 2008 offering, it’s also one of the funniest dramas of the year.