‘Torino’ a great ride (4/5 stars)

Gran Torino

Starring: Clint Eastwood, Bee Vang, Christopher Carley
Directed By: Clint Eastwood
Rating: R for language throughout and some violence.
Running Time: 1 hour, 56 minutes

I went into “Gran Torino” with the expectation of it being a good movie (often an enormous mistake), and I wasn’t disappointed.

Clint Eastwood’s superb acting makes caring for an old, cantankerous, racist war vet seem only natural in the drama “Gran Torino.” As he should. After all, he also produced and directed the film. And, if rumors prove true and “Torino” is Eastwood’s last acting appearance, it’s a heck of a swan song. Unsurprisingly, Eastwood steals whatever scene he is in (which is about 99 percent of them).

At the funeral and wake of his wife, Korean War veteran Walt Kowalski (Eastwood) sneers at the young Father Janovich (Christopher Carley) and laments over the uselessness and self-absorption of his two sons, Mitch (Brian Haley) and Steve (Brian Howe), and their families.

While Kowalski only wants to be left alone with his Labrador, Daisy, the changing of his neighborhood from All-American to poor Asian (Hmong) immigrants, gangs included, makes his seclusion attempt downright impossible. Kowalski’s prized 1972 Ford Gran Torino becomes the target of a gang initiation for Kowalski’s neighbor, Thao Vang Lor (Bee Vang), under the guidance of Thao’s cousin “Spider” (Doua Moua) and lackeys.

When shy, kind Thao attempts to disengage himself from his cousin’s ways, he ends up in a wrestling match with Spider which lands them on Kowalski’s property, and on the wrong side of a gun.
Thao’s family and the rest of the neighborhood consider the curmudgeon Kowalski a hero for chasing Spider away, and he is pulled even deeper into their lives and culture.

Through Kowalski’s developing friendship with and understanding of his neighbors, “Torino” explores modern-day struggles and violence in a realistic and introspective way. Though the film is seen mostly through Kowalski’s eyes, the movie attacks stereotypes mounted on Caucasians and Asians alike to prove once again that, deep down, we’re all just human.

Eastwood is the hands-down king of “dirty looks,” absolutely piercing through the screen at times to send a chill through the viewer’s marrow. His routine use of racist and vulgar language may be off-putting to some; however, this solid characterization is necessary for the audience to understand Kowalski by the final turn of events.

For all of its cinematic genius, “Torino” does have a few minor hangups. Notable, the casting of Ahney Her as Thao’s sister Sue. While Sue’s character was spunky and admirable, Her’s acting seemed flat and out-of-place. Sue’s dialogue included some of the most fun and insightful of the movie, and thanks to the good writing of Nick Schenk and Dave Johannson, the character was not lost amidst Her’s grasping attempts. 18-year-old Bee Vang’s portrayal of Thao was believable but not exemplary. Though they are both young (Her is 17 and Vang is 18) and have the liberty of time, I don’t expect to see them in many large roles anytime soon.

Also, I would have liked to see more characterization of Father Janovich. Carley does an amazing job as the young, eager pastor, yet the immense time between his scenes make one almost forget of his presence (this could be a writer’s indication of the lack of faith in Kowalski’s life, or it could just be a writer’s focus on Kowalski’s relationship with his neighbors).

“Torino” is an appreciated quality movie when the standard of other films seems to be dropping lower and lower (“Land of the Lost,” anyone?). A definite must-see for those who are willing to see the extensive vulgarity/racism as characterization and not offensive material. Eastwood at his best.

4 of 5 stars