Gran Torino
Gran Torino | |
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Directed by | Clint Eastwood |
Screenplay by | Nick Schenk |
Story by |
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Produced by |
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Starring | Clint Eastwood |
Cinematography | Tom Stern |
Edited by | |
Music by | |
Production companies |
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Distributed by | Warner Bros. Pictures |
Release date |
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Running time | 116 minutes[2] |
Country | United States |
Language | English |
Budget | $25–33 million[3][1] |
Box office | $270 million[1] |
Gran Torino is a 2008 American
Set in Highland Park, Michigan, the story follows Walt Kowalski, a recently widowed Korean War veteran alienated from his family and angry at the world, whose young neighbor, Thao Vang Lor, is pressured by his cousin into stealing Walt's prized Ford Torino for his initiation into a gang. Walt thwarts the theft and subsequently develops a relationship with the boy and his family.
Gran Torino opened with a
Plot
Recently widowed Walt Kowalski is a cantankerous and prejudiced Korean War
Fifteen-year-old Thao Vang Lor is coerced by a Hmong gang led by his cousin, "Spider", to steal Walt's 1972 Ford Torino as an initiation. Walt catches Thao and thwarts the theft; Thao escapes after Walt nearly shoots him. When the gang tries to forcefully abduct Thao, Walt scares them off with his M1 Garand rifle, earning the local Hmong community's respect. Thao's mother makes him work for Walt as penance, who has him do different tasks to improve the local neighborhood. The two soon form a grudging mutual respect; Walt mentors Thao, helping him obtain a construction job. Walt also rescues Thao's sister, Sue, from the unwanted advances of three African-American gangsters. Despite his initial prejudices, Walt bonds with the Vang Lor family. With his cough worsening, Walt consults a doctor who gives him a gloomy prognosis that he conceals.
After the gang assaults Thao on his way home from work, Walt physically assaults a member as a warning. In retaliation, the gang beats and rapes Sue and then injures Thao in a drive-by shooting. The family refuses to report the crimes out of fear. The following day, an enraged Thao seeks Walt's help to exact revenge; Walt convinces him to return later that day. Walt buys a suit, gets a haircut, and finally makes his confession to Father Janovich.
When Thao arrives, Walt takes him to his basement and gives him his Silver Star, telling him that he is haunted by the memory of killing an enemy child soldier that was trying to surrender to him and he wants to spare Thao from shedding blood. He locks Thao in the basement and departs to the gang's residence.
When Walt arrives, the gang draws their guns on him as he berates them for their crimes, drawing the attention of the neighbors. Walt puts a cigarette in his mouth, slowly reaches into his jacket pocket and pulls his hand out quickly. Thinking Walt is brandishing a pistol, the gang members shoot and kill him. Walt's hand opens to reveal his Zippo lighter with the 1st Cavalry insignia. Sue, following Walt's directions, frees Thao and they arrive at the scene. A police officer tells Thao and Sue that Walt was unarmed; the gang members have been arrested for murder and witnesses have come forward.
Father Janovich conducts Walt's funeral, which is attended by his family and the Hmong community. Afterward, Walt's
Cast
- Clint Eastwood as Walt Kowalski
- Bee Vang as Thao Vang Lor, a 15-year-old Hmong teenager
- Ahney Her as Sue Lor, Thao's older sister
- Christopher Carley as Father Janovich
- Doua Moua as Fong "Spider", Thao's cousin
- Sonny Vue as Smokie, Spider's right-hand man
- Elvis Thao as Hmong Gangbanger No. 1
- Brian Haley as Mitch Kowalski, Walt's older son
- Brian Howe as Steve Kowalski, Walt's younger son
- Geraldine Hughes as Karen Kowalski, Mitch's wife
- Dreama Walker as Ashley Kowalski, Mitch and Karen's daughter
- Michael E. Kurowski as Josh Kowalski, Mitch and Karen's son
- John Carroll Lynch as Martin, an Italian-American barber friend of Walt's
- Chee Thao as Grandma Vang Lor, the matriarch of Thao's family
- Choua Kue as Youa, Thao's eventual girlfriend
- Scott Eastwood as Trey, Sue's date
After holding casting calls in
Production
Gran Torino was written by Nick Schenk and directed by Clint Eastwood.[7] It was produced by Village Roadshow Pictures, Media Magik Entertainment and Malpaso Productions for film distributor Warner Bros. Eastwood co-produced with his Malpaso partners Robert Lorenz and Bill Gerber.[10] Eastwood has stated he enjoyed the idea "that it dealt with prejudice, that it was about never being too old to learn".[11]
Shooting began in July 2008.[12] Hmong crew, production assistants, consultants, and extras were used.[7][13] The film was shot over five weeks. Editors Joel Cox and Gary D. Roach cut the film so it was under two hours long.[14] The crew spent over $10 million while shooting the film in Detroit.[8]
In the early 1990s, Schenk had become acquainted with the history and culture of the Hmong while working in a factory in Minnesota.
According to Schenk, aside from changing Minneapolis references to Detroit references, the production headed by Eastwood "didn't change a single syllable" in the script.[17] Schenk added that the concept of the producers not making any substantial revisions to a submitted script "never happens."[18] Eastwood said that he stopped making significant revisions after attempting to change the script of Unforgiven and later deciding to return to the original revision, believing that his changes were "emasculating" the product.[18]
Selection of Detroit for production and setting
The original script was inspired by the
Producer Robert Lorenz said that while the script was originally set in Minnesota, he chose Michigan as the actual setting because Kowalski is a retired car plant worker.[21] Metro Detroit was the point of origin of the Ford Motor Company.[18] Schenk said that sometimes the lines in the movie feel out of place with the Detroit setting; for instance a line about one of Walt's sons asks if Walt still knows a person who has season tickets for Minnesota Vikings games was changed to being about a person with Detroit Lions tickets. Schenk said: "They don't sell out in Detroit. And so that bothered me. It seemed really untrue to me."[17]
Shooting locations
Locations, all within Metro Detroit, included Highland Park, Center Line,[22] Warren, Royal Oak, and Grosse Pointe Park.[23] The house depicting Walt Kowalski's house is on Rhode Island Street in Highland Park. The Hmong gang house is located on Pilgrim Street in Highland Park. The house depicting the residence of one of Walt's sons is on Ballantyne Road in Grosse Pointe Shores. The church used in the film, Saint Ambrose Roman Catholic Church, is in Grosse Pointe Park. The hardware store, Pointe Hardware, is also in Grosse Pointe Park. VFW Post 6756, used as the location where Walt meets friends to drink alcohol, is in Center Line.[8]
The barber shop, Widgren's Barber Shop, is along 11 Mile Road,[8] near Center Street, in Royal Oak. The shop, founded in 1938, in a space now occupied by another business, moved to its current location, west of its original location, in 1970. The film producers selected that shop out of sixty candidates in Metro Detroit. According to Frank Mills, the son-in-law of owner Ted Widgren, the producers selected it because they liked "the antique look inside."[24] Eastwood asked Widgren to act as an extra in the barber shop scene. In the area around the barbershop, vehicle traffic had to be stopped for three to five minutes at a time, so traffic in the area slowed down.[24]
Shooting and acting
Of the entire cast, only a few were established actors; the Hmong actors had relatively little experience,[25] and some were not proficient in English.[18] Jeff Baenen said that Eastwood used a "low-key approach to directing."[25] Eastwood said that "I'd give them little pointers along the way, Acting 101. And I move along at a rate that doesn't give them too much of a chance to think."[18] Bee Vang said that he originally felt frightened but was able to ease into the acting.[25] Baenen said that Eastwood was a "patient teacher" of the first-time actors.[25] According to Vang, Eastwood did not say "action" whenever filming a particular shoot began.[25]
Vang said that he had studied the script as if it were a textbook. According to Vang, after the first film cut ended, Vang did not hear a response from Eastwood. When Vang asked if something was wrong, other people told Vang that if Eastwood did not make a comment, then his performance was satisfactory.
Vang said in a 2011 program that Eastwood did not allow the Hmong actors to change their lines, despite what he said in the earlier interviews.[28]
Hmong people and culture during the production
Nick Schenk said that he became friends with many Hmong coworkers while employed at a VHS factory in Bloomington, Minnesota. In regard to Schenk's stories of his interactions with the Hmong people, Laura Yuen of Minnesota Public Radio said: "That sense of humor and curiosity permeate the script, even though the Gran Torino trailers make the movie look like, by all measures, a drama."[17]
Eastwood wanted Hmong as cast members, so casting director Ellen Chenoweth enlisted Hmong organizations and set up calls in Detroit, Fresno, and Saint Paul; Fresno and Saint Paul have the two largest Hmong communities in the United States, while Detroit also has an appreciable population of Hmong.[21] Chenoweth recruited Bee Vang in St. Paul and Ahney Her in Detroit.[15]
The screenplay was written entirely in English. Therefore, the actors of Gran Torino improvised the Hmong used in the film. Louisa Schein, author of Hmong Actors Making History Part 2: Meet the Gran Torino Family, said before the end of production that "some of the lines actors ad-libbed in Hmong on camera will be tricky to translate back for subtitles."[27] Schenk had input from Hmong people when writing the script.[29] Dyane Hang Garvey served as a cultural consultant, giving advice on names, traditions, and translations.[4]
Vang later argued that the use of the Hmong people did not seem relevant to the overall plot. He said "there is no real reason for us to be Hmong in the script" and that even though Walt Kowalski had fought in Korea, he had still confused the Hmong with Koreans and other Asian ethnic groups.[30] In a 2011 program Vang said that Hmong actors were treated unfairly on the set, and that Eastwood did not give tips on how to build the characters.[28] Vang also claimed other white cast members made Hmong actors feel excluded by assuming the Hmong speakers did not understand English.[28] Vang said that some important lines that the Hmong characters said in the Hmong language were not subtitled, so audiences developed a skewed perception of the Hmong people.[28][26]
Cultural accuracies and inaccuracies
Bee Vang, as paraphrased by Jeff Baenen of the Associated Press, said in 2009 that the film's portrayal of the Hmong is "generally accurate."[25] Regarding the result, Vang said "[t]his film is not a documentary. We can't expect 101 percent correctness."[25]
During the filming, Hmong cast members addressed what they believed to be cultural inaccuracies that were being introduced. Cedric Lee,[26] a half-Hmong[31] who worked as a production assistant and a cultural consultant, said that "Some things were over-exaggerated for dramatic purposes. Whether it was our job or not, I still felt some responsibility to speak our mind and say something, but at the same time, the script was what it was. We didn't make the final decision."[26]
In 2011, Vang said while many Hmong had objected to some elements, the producers selected the viewpoints of the Hmong cultural consultants which "had the most amenable take on the matter and would lend credence to whatever
Louisa Schein and Va-Megn Thoj, authors of "Gran Torino's Boys and Men with Guns: Hmong Perspectives", said "Perhaps the most commonly voiced Hmong objections to the film concern its myriad cultural inaccuracies, exaggerations and distortion."
Thao and
Release
Theatrical
In the film's opening weekend of wide release in the US, it grossed $29.5 million. As of 2021, it has taken in $269,958,228 worldwide.[6][37]
Home media
The film was released on June 9, 2009, in the United States in both standard DVD format and Blu-ray.[38] The disc includes bonus materials and extra features.[38] A featurette is included and a documentary about the correlation of manhood and the automobile.[39] The Blu-ray version presents the film in 2.40:1 ratio format, a digital copy, and the audio in multiple languages.[39][40]
About four million DVD units have been sold as of 2012, generating $67.4 million in revenue. Another 332,000 Blu-rays were sold, for $4.9 million, bringing the total to $72.3 million in home video sales.[1]
Reception
Critical response
After seeing the film, The New York Times described the requiem tone captured by the film, calling it as "a sleek, muscle car of a movie made in the USA, in that industrial graveyard called Detroit". Manohla Dargis compared Eastwood's presence on film to Dirty Harry and the Man with No Name, stating: "Dirty Harry is back, in a way, in Gran Torino, not as a character, but as a ghostly presence. He hovers in the film, in its themes and high-caliber imagery, and of course, most obviously, in Mr. Eastwood's face. It is a monumental face now, so puckered and pleated that it no longer looks merely weathered, as it has for decades, but seems closer to petrified wood."[44]
The Los Angeles Times also praised Eastwood's performance and credibility as an action hero at the age of 78. Kenneth Turan said of Eastwood's performance, "It is a film that is impossible to imagine without the actor in the title role. The notion of a 78-year-old action hero may sound like a contradiction in terms, but Eastwood brings it off, even if his toughness is as much verbal as physical. Even at 78, Eastwood can make 'Get off my lawn' sound as menacing as 'Make my day', and when he says 'I blow a hole in your face and sleep like a baby', he sounds as if he means it".[45]
Roger Ebert wrote that the film is "about the belated flowering of a man's better nature. And it's about Americans of different races growing more open to one another in the new century."[46] Sang Chi and Emily Moberg Robinson, editors of Voices of the Asian-American and Pacific Islander Experience: Volume 1, said that within the mainstream media, the film received "critical acclaim" "for its nuanced portrayal of Asian Americans."[47] Louisa Schein and Va-Megn Thoj, authors of "Gran Torino's Boys and Men with Guns: Hmong Perspective," said that the mainstream critical response was "centered on Eastwood's character and viewed the film mainly as a vision of multicultural inclusion and understanding."[48]
Nicole Sperling, columnist for Entertainment Weekly, called it a drama with "the commercial hook of a genre film" and described it further as "a meditation on tolerance wrapped in the disguise of a movie with a gun-toting Clint Eastwood and a cool car".[49] Chi and Robinson said that within the Asian-American community, some criticized "depictions of Hmong men" and "the archetypical white savior trope that permeated the film".[47]
Reception in relation to the Hmong
Louisa Schein, a
Schein further added that the film seemed to give little prominence to the history of the Hmong, and that only two male Hmong, Thao and a gang member, were given depth in the story. Schein said: "I feel a lot of the plot about the Eastwood character is driven by the fact that he is a veteran. Yet there is no possibility for representing the fact that the Hmong were veterans too."[50] An individual established a blog, eastwoodmovie-hmong.com, documenting what the author believed to be cultural inaccuracies of the film's depiction of the Hmong.[7]
David Brauer of
Philip W. Chung of AsianWeek said that Eastwood, portraying a white man, was the "main weapon" of the film even though screenwriter Nick Schenk "does his best to portray Hmong culture and the main Hmong characters with both depth and cultural sensitivity".[53] Chung argued that "Gran Torino might have been another "'white man saves the day' story" but that "What Eastwood has really created is not a story about the white man saving the minority (though it can be read on that level and I'm sure some will) but a critical examination of an iconic brand of white macho maleness that he played a significant part in creating."[53]
Awards and nominations
Gran Torino was recognized by the
The film, however, was ignored by the Academy of Motion Picture Arts and Sciences at the 81st Academy Awards when it was not nominated for a single Oscar, which led to heated criticism from many who felt that the Academy had also deliberately snubbed Revolutionary Road and Changeling (which Eastwood also directed) from the five major categories.[60][61]
In 2010, the film was named Best Foreign Film at the César Awards in France.[62]
Derivative works
Mark D. Lee and Cedric N. Lee, two
Impact
From 2019 onwards, Gran Torino has been part of the focus topic "The Ambiguity of Belonging" in the German Abitur in Baden-Württemberg in the subject English.[66]
See also
- Clint Eastwood filmography
- History of the Hmong in Minneapolis–Saint Paul
- History of the Hmong Americans in Metro Detroit
- Stereotypes of East Asians in the United States
- White savior narrative in film
- List of hood films
Notes
- "Gran Torino's Hmong Lead Bee Vang on Film, Race and Masculinity Conversations with Louisa Schein, Spring, 2010." (Archive) Hmong Studies Journal. (northern hemisphere) Spring 2010. Volume 11.
- Schein, Louisa and Va-Megn Thoj. "Gran Torino's Boys and Men with Guns: Hmong Perspectives." (Archive) Hmong Studies Journal. Volume 10. pp. 1–52. Available on ProQuest.
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External links
- Official website at the Wayback Machine (archive index)
- Gran Torino at IMDb
- Gran Torino at Box Office Mojo
- Gran Torino at Rotten Tomatoes
- Gran Torino at Metacritic
- "Thao Does Walt: Lost Scenes from Gran Torino" on YouTube – Starring Bee Vang
- Gran Torino: Next Door at IMDb