Eastwood Only Thing That Drives ‘Gran Torino’

_By Michelle Solomon

“Gran Torino” (R) Two 1/2 popcorn rating

Maybe it’s because I lived in the outskirts of Detroit for many years that I couldn’t buy into Clint Eastwood’s latest directorial-acting debut. There are so many events in “Gran Torino” that don’t make sense it’s difficult to care about any of the characters much less believe a storyline which finds Eastwood as a crotchety old man who suddenly finds favor with his Asian neighbors, and learns lessons about himself along the way.

Eastwood plays Walt Kowalski, a retired Detroit auto worker who lives in a working class neighborhood that has seen better days. The complexion of the ‘hood is changing and Kowalski finds himself surrounded by a melting pot of races. “I have more in common with these gooks than with my own spoiled, rotten family,” says Walt at a gathering after his wife’s death.

There’s a lot of anger in Walt, most of it leftover from the Korean War; some of it aimed at modern day society who seems to care little about their fellow man. The title of the film also offers some high hopes about Walt’s love affair with his 1972 beauty Gran Torino, but sadly, a brief bonding at the end of the film is all that comes of it. Like much else in the movie, the car is another ploy to show how mean the streets of this little, once nice part of town have become.

Try as he may, Eastwood tries to shake off the weak screenplay by Nick Schenk and create a meaty character with Walt. At times, he succeeds, but other times the predictability is just so overwhelming he doesn’t have a chance. Are we supposed to laugh off Walt’s grumpiness or be sympathetic? And how can a man who has had decades to build intolerance see those walls come tumbling down in such a short amount of time. Other irregularities fray the nerves: A trio of thugs on a tough street corner is frightened away by this geriatric Dirty Harry as he saves a young Hmong girl from their harassment. And Walt’s cronies are so accepting of his newfound mentorship of a shy, young Asian boy that they give him a construction job and teach him “man talk.”

Of course, there’s the requisite drive-by shooting and the “you saw that one coming” rape of the girl Walt saved from the three thugs. Predictable? Yes. Dramatic? No.

The story throws in the stereotypical red-headed Irish catholic naïve priest (Christopher Carley) who tries to save Walt from himself despite the curmudgeon’s constant insults. One of the choicest is his description of the clergyman as “a 27-year-old virgin who likes to hold the hands of little old ladies who are superstitious and promise them eternity.”

The movie finally comes into its own near the end of the film when Walt decides he has to take a stand not only for his neighborhood but for the newcomers who are trying to make a go of it.

But it’s too late for “Gran Torino,” which has too many sputters to make worthwhile. You can almost hear Eastwood saying in his gravely voice, “Hollywood just don’t make ’em like they used to.”