Director Clint Eastwood has created a subtle narrative whose trajectory isn’t blasted from a Korean era M1 rifle; instead, he focuses upon a lonely dying man who realizes that it’s never too late to change, his final metamorphosis is an emotional salvation that sublimates a corrosive disease that is a by-product of his violent past. Kowalski himself is obviously a descendant of immigrants, not much different than those he chooses to condemn and deride. Eastwood portrays Walt with a grimace of deep angst and a wounded growl of pain, but imbues him with humanity and humor while (mostly) overcoming caricature. But the film’s flaws relegate most of the supporting cast to hackneyed characterizations and the familial relationship between his two sons is poorly acted and rather monotonous. The plot is boilerplate and predictable and it’s only Eastwood’s high-octane persona that fuels the engine. The boyish Catholic Priest is pretentious and unreasonable, offering only hollow words to heal Walt’s wounds; this young seminarian knows nothing of either life or death and his inclusion in the drama is annoying and obtuse. Father Janovich is a figurehead for the writer to say something profound but only fills the screenplay with needless and inane prattle.
Though ripe with stereotypes, GRAN TORINO doesn’t delve into DEATH WISH theatrics: after all, Walt only fires one shot…and it’s accidental! Walt’s final messianic pose nearly crucifies the story’s sudden impact thus relegating the final resolution to a far-fetched but heartfelt climax.
Final Grade: (C)