UNION PRESBYTERIAN SEMINARY AT CHARLOTTE FAITH REVIEW #3 (revised) INT 110 By. Tom LaBonte March 30, 2010

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1 UNION PRESBYTERIAN SEMINARY AT CHARLOTTE FAITH REVIEW #3 (revised) INT 110 By Tom LaBonte March 30, 2010 FILM TITLE: Gran Torino. YEAR: DIRECTOR: Clint Eastwood. Clint Eastwood directed his first film, Play Misty for Me in 1971, followed by: Breezy in 1973, The Eiger Sanction in 1975, The Outlaw Josey Wales in 1976, The Gaunlet in 1977, Bronco Billy in 1980, Firefox in 1982, Sudden Impact in 1983, Pale Rider in 1985, Heartbreak Ridge in 1986, Bird in 1987, The Rookie and White Hunter, Black Heart in 1990, Unforgiven in 1992, A Perfect World in 1993, The Bridges of Madison County, 1995, Absolute Power and Midnight in the Garden of Good and Evil in 1997, True Crime in 1999, Space Cowboys in 2000, Mystic River in 2003, Million Dollar Baby in 2004, Letters from Iwo Jima and Flags of Our Fathers in 2006, and Gran Torino in A common theme in many of Eastwood s films is a celebration of life, honor and rugged individualism. Eastwood s awards include the Chevalier des Lettres, France in 1985; Academy Awards, Best Director and Best Picture for Unforgiven in 1992; Fellowship of the British Film Institute, 1993; American Film Life Achievement Award in ORIGINAL RELEASE FORM/VENUE: This film was released in theaters. CURRENT AVAILABILITY AND FORMATS: Gran Torino is available in DVD at retail stores for rental and in DIVX, ipod, PDA and PSP formats. GENRE: This film is an action drama. Gran Torino Faith Review #3. Tom LaBonte 1

2 STORY ELEMENTS: Gran Torino is the story of a man who sees his life and the world around him changing in ways that are troubling. His wife has died and the film opens with her funeral service at their Church, his relationship with his sons and extended family is dysfunctional, and he carries with him a heavy burden of guilt over his wartime experiences in Korea. Walt s neighborhood is turning over as ethnic groups replace the established neighbors he has known for a good part of his life. The auto industry in Detroit is in a downward spiral since the years when he worked and retired from the assembly line. Change is not something that Walt Kowalski enjoys. He mourns the loss of the America of his youth, of the America of years past. Walt s perspective on society in Gran Torino is a metaphor for a changing America that he neither understands nor values. Walt is brusque, direct and often uses profanity and racist language in his dealings with those around him. This includes his young parish priest, his Hmong neighbors, and his friends at the Barbershop and in the construction business. The priest, though rebuffed and insulted by Walt at every encounter early in the film, perseveres in his quest to get Walt to confession based on a promise he made to Walt s dying wife. Through his persistent and genuine interest, love and caring for Walt, he gradually wins Walt s grudging respect and Walt finally goes to confession. A turning point in Walt s relationship with his Hmong neighbors is when a Hmong gang is roughing up Thao, the young man living next door, and Walt comes out of his house with a M-1 rifle and forces the gang to leave. His neighbors show their gratitude by bringing him flowers and food, and Thao s sister, Sue invites him to a family gathering with plenty of good food and beer. Thao s mother forces him to give Walt a weeks worth of work for attempting to steal his car as part of a gang initiation. A relationship builds between Walt and Thao and Sue where Walt becomes a father figure, teacher, protector and mentor. There is joy and sadness in Walt s gradual transformation through the movie. His relationship with his biological family lacks love, warmth and caring. They seem to be more interested in Walt s possessions than in him. Conversely, his new family, Thao and Sue, genuinely care about him and his welfare. Walt s love for them leads him to Gran Torino Faith Review #3. Tom LaBonte 2

3 sacrifice himself for their protection and for their future well-being as a contemporary Christ figure. In retaliation for Walt beating up one of the gang members that assaulted Thao, the gang abducts, batters, and rapes Sue. Walt s usual reaction would be to use his guns to get justice. He reflects on the situation and comes to a decision. He calls his oldest son, gives his dog to his next door neighbor, and gets his affairs in order. Thao wants to help him kill the gang members. Walt lures him into his basement and locks him in to keep him safe and out of harms way. Walt goes to the gang members house and sacrifices himself so that Thao and Sue will be safe and will have an opportunity for a fulfilling life without fear. FILM LANGUAGE ELEMENTS: This film is set in contemporary Detroit, in a neighborhood that is in transition. The film intentionally occurs in the everyday locations of normal life. Most of the scenes are between Walt s home and garage, his neighbor s home, and in the local neighborhood at Church, in a bar, and at a barbershop. Darkness is used to reinforce pain and the dark places the characters find themselves in life. We see this at Walt s wife s funeral in Church, at night in his garage seeking out a burglar, and in the final scene when he confronts the gang for the last time. Scenes involving Walt at home, on his porch, at his neighbors, in his garage working on things, and meeting with friends are bathed in light. Camera shots and angles tend to be close up emphasizing the actions of individuals in a very character driven film. Overhead shots are used sparingly and at the beginning of the film in the funeral shot. The close-up shots of Walt coughing up blood and of the medical reports diagnosing his terminal condition are especially poignant. During the last scenes the camera is initially positioned on Walt looking up at the porch and doorway of the gang s house. As they come out onto the porch and balcony they look down on Walt, who is alone, with people in their homes behind him looking down at him through their windows. We feel his isolation, his courage, and his vulnerability through the impact and perspective of these camera shots. Gran Torino Faith Review #3. Tom LaBonte 3

4 Walt s Gran Torino, his beautiful, well maintained, classic car from 1972 is a symbol of the things that he values in his life. This is a car he helped to build on the assembly line and represents a time in America that he cherishes. At the end of the film he passes his most cherished possession, his Gran Torino, to Thao, rather than to his sons or other relatives. He is passing onto Thao a part of himself, and a passing of the torch culturally, as a gift of love. AUDIENCE/CULTURAL CONTEXT ELEMENTS: Gran Torino is rated R because of foul and racist language, gang violence, brutality and rape. This is a film with themes of societal change, issues of ethnicity and discrimination, violence, redemption and sacrifice. This film could be viewed by senior high school age youth with parental permission because it reflects many of the issues faced by young people in school and in society. This film is certainly appropriate for an adult audience. THEOLOGY IS FOUND: Throughout this film there are direct scenes and dialogue that reference religion. The film opens and closes with funeral scenes in a Roman Catholic Church. There are scenes between the young priest making pastoral calls on Walt, discussing confession and taking confession. Walt confesses to Thao that he is soiled for he carries a heavy burden of guilt. Although in his confession with the priest this is not one of the sins he confesses. Indirectly, Christian theology is found in Walt s transformation and redemption in helping the strangers next door, in loving and caring for Thao and Sue, and in sacrificing himself for their future. Walt is a Christ-like figure, the servant to those who suffer and are in need, and the one who gives his life to save others. THEOLOGICAL THEMES FOR CONVERSATION: Gran Torino engages the audience around theological themes of how we accept, love, care for, and serve others who are different from ourselves. Through Walt s struggle with his new neighbors of a different race, with different customs, language and values, Gran Torino Faith Review #3. Tom LaBonte 4

5 we encounter God s expectation as proclaimed in Scripture to love our neighbors and strangers among us. Walt also is bearing the burden of guilt and remorse for actions in time of war that have haunted him for over fifty years. The question of confession and redemption are theological themes integral to this film. Finally, Walt as the Christ-like figure who sacrifices his life so that others may live is a powerful theological message for conversation. SUGGESTED USE OF THE FILM: This film brings into sharp focus the challenges faced by many in our society concerning change and how we respond as Christians in living by our faith. It forces us to deal with our perspective and actions with people of different ethnic, racial and cultural background. Gran Torino challenges us to reflect on when and how we extend the hand of friendship and support to those others around us. It is interesting to note in this film that the others extend their hands first toward Walt. RECOMMEND AMOUNT/PARTS TO VIEW AND HOW TO VIEW IT: Gran Torino can be viewed as a whole but in segments with each set of scenes reviewed and discussed using a set of questions in small groups. Then the small groups reassemble to discuss and share key points with the entire group. After the various segments are viewed and discussed, there is the opportunity for a teacher-led discussion for participants to apply theological insights to our lives. CONCLUDING REMARKS: This is a powerful story with themes of change, redemption and sacrifice that are part of our society and the human condition. Gran Torino is a gritty, realistic and moving film with a message that needs to be heard by Christians today. Gran Torino Faith Review #3. Tom LaBonte 5