Walt Kowalski, Clint Eastwood's character in "Gran Torino" is, in many ways, an aged version of the Dirty Harry character that Eastwood rode to fame in the 1970's and 80's. Like Harry, he is a tough, self-assured, single-minded, force of nature. However, unlike Harry, Kowalski clearly bears scars from living such an emotionally-stunted life. He has become a bitter misanthrope who has alienated his children and, with the death of his wife, appears to be on the verge of becoming a complete hermit, living alone in the "old neighborhood", refusing to leave in spite of the fact that it is rapidly becoming a slum controlled by gangs and full of minorities against whom he is universally, and unapologetically, prejudiced.
When one of these gangs attacks the young son of his Hmong neighbors for failing to steal Kowalski's treasured 1972 Gran Torino, Kowalski intercedes, but only to keep the fight from spilling onto his property. As a result of this he is not only thrust into the role of neighborhood hero but also begrudgingly accepts the services of the boy, Thao, to help him around the house as an act of gratitude. During their time spent together, Walt takes the boy under his wing, teaching him the Kowalski version of what it means to be a man. At the same time, Thao's older sister, Sue, makes it her mission to open the old man's eyes to her culture and to drag him out of his self-imposed exile.
The first half of "Gran Torino" borders on satire, as we see Eastwood grump and (literally) growl his way through life. In a manner reminiscent of Archie Bunker, his racism is so extreme as to be comical. In spite of this, though, Eastwood allows just enough humanity to sneak through that you can't help but to develop an affection for the character. The advice that he gives to Thao, while occasionally off-the-mark, is always well-intentioned and the way that he reacts to the prodding of Sue makes you realize that in spite of his best efforts, he really does crave human interaction.
As the tension between Thao and the local gang leader escalates into open violence, Kowalski, a Korean War veteran who maintains a sizable collection of firearms, takes it upon himself to respond in the only way that he understands – with equal violence.
As is typical of Eastwood's recent films, "Gran Torino" thrives on subtlety, both in the story and the production. Far from his days of Dirty Harry and Rawhide, Eastwood presents characters trying to find their way in the gray area between right and wrong. There are no simple answers and the attempt to do 'the right thing' can have unforeseen and often disastrous consequences. The direction of Nick Schenk's screenplay is also typical Eastwood, not leading the story, but rather standing back and letting events unfold. What is most impressive, though, is the beautiful blending of acting, direction, and story. No single aspect insists upon itself, making it is very easy to fall into the lives and struggles of the characters – and that, above all, is what makes "Gran Torino" a success.
