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LEVEL 2 VISUAL TEXT STUDY

Gran Torino (2008)

Directed by Clint Eastwood, who also plays the lead role of Walt Kowalski.

‘Get off my lawn.’

Warner Bros.

Written by Nick Schenk. Running time: 116

minutes.

Cast & Credits Walt Kowalski- Clint Eastwood

Thao - Bee Vang

Sue - Ahney Her

Father Janovich - Christopher Carley

Mitch Kowalski - Brian Haley

Karen Kowalski - Geraldine Hughes

Steve Kowalski - Brian Howe

Ashley Kowalski - Dreama Walker

Trey - Scott Eastwood

Plot Summary: Walt Kowalski is a widower who holds onto his prejudices despite the changes in his Michigan neighbourhood and the world around him. Kowalski is a grumpy, tough-minded, unhappy old man, who can't get along with either his kids or his neighbours; a Korean War veteran whose prize possession is a 1972 Gran Torino he keeps in mint condition. When his neighbour Thao, a young Hmong teenager under pressure from his gang member cousin, tries to steal his Gran Torino, Kowalski sets out to reform the youth. Drawn against his will into the life of Thao's family, Kowalski is soon taking steps to protect them from the gangs that infest their neighbourhood.

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Towards AS2.2 Analyse specified aspect(s) of studied visual or oral

text(s), supported by evidence. External exam. 4 credits.

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CONTENTS

A. Useful Internet and study resources

B. 40 Key Analysis Questions C. Specific scene analyses:

the opening and closing scenes.

D. Themes E. Aspect 1: dialogue F. Aspect 2: symbolism G. Aspect 3: characterisation H. Towards Excellence

strategies: a. quote and respond to the director

and / or key personnel b. quote and respond to a review c. link to a real life incident and/or wider social issues

I. Practice essay topics and planning grid.

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SECTION A: Useful Internet sites and study resources

(These links are posted on moodle in a single file)

o Film study lecture: Dr. Jay Seller, Horizon High School, USA:

http://www.uky.edu/WildcatStudentTV/pdf/GRAN%20TORINO.pdf o Internet Movie Database: http://www.imdb.com/title/tt1205489/

o Wikipedia: http://en.wikipedia.org/wiki/Gran_Torino

o Script: http://www.imsdb.com/scripts/Gran-Torino.html o Official web site – includes useful background and production notes; http://www.thegrantorino.com/

o Warner Bros. site: http://wwws.warnerbros.co.uk/grantorino/ o Trailer: http://matttrailer.com/gran_torino_2008 o New York Times film review: http://movies.nytimes.com/2008/12/12/movies/12tori.html o Cinema Autopsy review and blog: http://blog.cinemaautopsy.com/2009/01/20/film-review-gran-torino-

2008/ o Clint Eastwood interview: http://www.youtube.com/watch?v=jXriv3tzXpw o Next Door: 2 parts (Hmong Documentary on the film and their culture):

Part 1: http://www.youtube.com/watch?v=cy_yHyq-ZxU&feature=channel&list=UL 8m48 Part 2: http://www.youtube.com/watch?v=xC2zoxES45U&feature=related

(If you find any others please let me know.)

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SECTION B: 40 FILM ANALYSIS QUESTIONS

1. Comment on the film’s opening music, prior to its opening scene. What mood does it help set?

2. Describe the initial characterisation of Walt Kowalski, as established during the opening scene of the

film, which is his wife’s funeral. Ideally, note an example of a camera shot that establishes his isolation

and contempt for his family.

3. Select at least one example of the kind of behaviour from his grandchildren that Walt finds

objectionable, and express your response in terms of their differing attitudes and values.

4. Walt is profoundly racist. How does this affect your response to his character? Does his age mitigate

your response in any way? Explain your views.

5. At the same time that there is a wake being held at Walt’s home, what event is being held next door?

What point can be made if we consider the juxtaposition of these two events?

6. Walt’s car – and his years of work in a Ford factory – seem very important to him. What does this

suggest about his values?

7. Aside from race, what sets Walt apart from his neighbours?

8. Thao is regarded with contempt by Walt and by members of his own family. What reasons are cited

in both cases?

9. Walt does not like his local priest, Father Janovich. What reasons does he cite for his dislike of the

man?

10. Gangs are represented as being havens for cowards and criminals, but some attempt is made to

explain why, sometimes, decent people join them. Support and develop this statement.

11. The gangs carry guns, and so does Walt. Why don’t we respond to their respective actions in exactly

the same way?

12. Why does Walt resist becoming a neighbourhood hero with such vehemence?

13. What does the nature of Walt’s friendship with his barber – and the coarse way they talk to each

other – suggest about the nature of friendship between men.

14. The short scene between Sue, an unnamed white “date” (later identified as Trey), three young black

men, and Walt, explores attitudes to gender, age, racial identity and violence. Make a comment about at

least one of these ideas.

15. Sue seems unfazed by Walt’s racism. Comment on their relationship, and what is suggested about

tolerance and friendship?

16. Walt seems to like Sue. Why does this seem to be?

17. What does Walt observe that begins to challenge his opinion of Thao’s character?

18. Walt receives several gifts from his son and daughter‐in‐law on his birthday. Why does Walt react

so negatively to them and their gifts? Also, how does a particular camera technique help convey the

extent of his anger?

19. Comment on the animosity between Walt and the old woman who lives next door.

20. Note the three Hmong cultural traits that Sue explains to Walt.

21. Walt just moments earlier dismissed his birthday horoscope as ‘horseshit’, but the reading of him by

the Hmong family Shaman seems to get under his skin. Why might this be?

22. The shift in setting (from upstairs to down‐stairs) in the Hmong household brings with it a change of

mood, and a sense that cultural attitudes and personal values have changed. Expand and support this

notion.

23. For all of his racism, Walt seems unwilling to refuse Sue and her mother’s request that Thao be

allowed to work off his dishonour. He seems unwilling to insult them, despite his almost constant

racism. He also describes them as being like “badgers”, in reference to their persistence, which might

actually be a compliment. Underneath all of his racism and hostility, what values do you think Walt

really possesses?

24. Walt delights in putting Thao to work to fix the neighbourhood. The camera repeatedly shows Walt

watching Thao work. What might we infer that he is thinking?

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25. Walt’s trip to the doctor – and his subsequent phone call to his son – suggest all is not well with his

health. Why does Walt call his son? Additionally, is Mitch rude to Walt when he calls, or does he

simply (and understandably) fail to grasp the meaning of the call, given the poor history of their

relationship?

26. Comment on how the need to move a freezer – and the subsequent selling of it – is used to develop

the relationship between Thao and Walt.

27. Sue suggests that even though Walt is ‐ like their father was – an “old school” figure, the difference

between the two is the fact that Walt is American. Sue doesn’t explain the point in detail, but what do

you think she means? Is the film suggesting American is best? Explain your views.

28. Walt doesn’t like it when Sue swears, and calls her “dragon lady.” He is sexist. What is the

difference between the kind of sexism Walt displays and the language the gang‐bangers (and the trio of

young black men) direct toward Sue?

29. Comment on the humour and dialogue in the scene between Walt, his barber (Martin), and Thao.

What is being said about how men speak to each other? Also, explain whether or not you believe this

scene’s construction is influenced by cross‐generational, class and/or cultural (American) elements, as

well as notions of gender.

30. When Thao is attacked, his cousin asks why he (Thao) needs to make him look bad. When his

cousin’s gang buddy stubs a cigarette out on Thao’s face, he makes a cruel pun about the need to “save

face”. What is being said about the nature of those in gangs, and how gangs operate?

31. Violence soon escalates between Thao and Walt and the gang. How are we supposed to respond to

Walt’s violent response to the attack on Thao? Explain your views.

32. At his barbecue, Walt asks Sue and Thao how they want their “dog” cooked. He is still using racist

language, but the tone has changed, as does the response of characters and audiences. What has

occurred? What comment is being made about racism and racist language here?

33. Why don’t you think Eastwood included any subtitles during the panicked scene after the drive‐by

shooting at Walt’s neighbours?

34. Comment on Walt’s reaction to the attack on Sue, including how the scene was shot, lit and sound‐tracked.

35. In their scene after the attack on Sue, Walt and Father Janovich finally establish a sense of

connection. What has changed in their relationship? In your response, note their exchange of views and

the attitudes to violence and retribution played out in this scene.

36. When do you think Walt figures out what action he intends to take? Why do you think he elects to

do what he does?

37. Consider the things Walt does in the lead‐up to his final confrontation with the gang. What does it

reveal about the journey (and growth) of his character?

38. Walt makes two important confessions: one to his priest, and one to his friend. Comment on how

Walt’s admission to Thao about his actions in Korea was shot to resemble a confession.

39. Comment on how Walt’s death was shot, and the meaning the use of particular techniques help to

convey.

40. Comment on Walt’s funeral, the reading of his will and how we are being positioned to the

conclusion of this story. (Be sure to note the fact that Sue and Thao wore traditional H’mong dress to

Walt’s funeral.)

Acknowledgement:

Newman College Film Study Booklet

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SECTION C: SPECIFIC SCENE ANALYSES

The beginning and ending scenes of a visual text are significant to the development of ideas in the text as whole.

SUMMARY OF KEY POINTS FOR THE OPENING SCENE:

Ideas Setting Mood Characterisation Audience response and the techniques that establish these elements.

INSIGHTS and UNDERSTANDINGS ABOUT THE DIRECTOR’S INTENTIONS:

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SUMMARY OF KEY POINTS FOR THE CLOSING SCENE:

Ideas Setting Mood Characterisation Audience response and the techniques that establish these elements.

INSIGHTS and UNDERSTANDINGS ABOUT THE DIRECTOR’S INTENTIONS:

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SECTION D: THEMES

4 Important Themes

TASK: Read the theme material first then select one theme you feel confident about discussing in your exam essay. Provide additional specific scene details and

supporting evidence for it.

THEME EVIDENCE

Redemption

redemption means

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Father Janovich asks many questions about the way Walt lives his life. Walt asks Father Janovich “What the hell do you know about life and death?” Janovich replies:

“I'd like to think I know a lot, I'm a priest.” Walt describes all of the awful things he has done in Korea like “hack a seventeen year old to death with a shovel.” He says he will remember these till the day he dies, but that he is prepared to live with that and Father Janovich replies “sounds like you know more about death than you do living.” In comparison, Father Janovich says at Walt's funeral “Walt taught me a heck of a lot

about life and death.” Father Janovich is like the audience: we learn from Walt's life, death, and the impressive sacrifice he makes at the end. “I've got blood on my hands.

I'm soiled. That's why I'm going it alone tonight.” Walt explains why his life is not as important as Thao's. He possibly regrets some of the things he has done in the past. He has killed before and so he is not clean like Thao. He doesn't want to taint Thao's life/soul. He wishes to sacrifice his life so that Thao can live the rest of his life without nightmares or regrets.

In Christian faith Jesus Christ sacrificed himself for humanity’s sins. Does Walt's sacrifice redeem all of the other sins he made in his life? The symbolism of him lying with his arms stretched like Christ on the cross when he is dead may be trying to suggest this.

Having a family is one of the most rewarding aspects of one’s life, but Walt never got close to his family. It was a part of his life that he did not live to the fullest and he appears to regret this as he confesses to not being close to his sons at confession “it has bothered me most of my life.”

The human ability to change

It is the relationships

between people that bring about the change.

Gran Torino celebrates that

people can change.

Many problems exist in society because people are closed minded and stuck in their ways. Sometimes we see this accentuated in old people, just like Walt and the Hmong grandma in Gran Torino. Examples?

People don't miraculously change overnight, as Walt doesn't, but change slowly through the influence of people and events in their lives. So Walt changes because of his friendship with Thao and Sue. What scenes illustrate the change in Walt?

Walt's transformation isn't unbelievable; when he approaches the gangsters in the final scene he asks “how many swamp rats you got in there?” He is still racist, but so wants to protect the Asian family next door he sacrifices his life for their safety.

It's also important to consider that Walt has obviously found out that he is dying. Why might this be a factor in his willingness to change?

Even though the greatest change occurs in Walt, Thao also significantly changes. Examples?

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Conflict between groups

Gran Torino explores how it is difficult for

different types of people to get

along. A lack of understanding between people is

the root cause of conflict. What

different forms of conflict exist?

Generational – Walt doesn't understand his sons, you can imagine Walt questioning: why have they moved to the suburbs? They don't need all that space. Why do they buy and sell Japanese cars? The Japanese blew up Pearl harbour! Walt doesn't understand his grandchildren: who exposes their pierced belly button at

a funeral? Why are they all so lazy? What's with the cell phone being out all of the time?

And he doesn't understand the neighbourhood youths: why are all these kids hanging in gangs? But none of these people understand Walt either. His sons can't understand why he has stayed behind in central Detroit. His grandchildren think he is grumpy and can't understand why he doesn't share his car, and the neighbourhood gangsters think he is nuts to try and stand up to him: “What ya doing old man?”

Racial – racism is a force that has been particularly divisive in America. As the world globalises we have to expect that communities will become more diverse, but Walt doesn't want to accept this. Walt has an irrational, deep-rooted fear towards foreigners, he is xenophobic. This is made obvious by the constant derogatory names he calls any one different to him: “spooks” “Dragon lady” “swamp rats.” His

hatred towards Asian people could be explained by the fact that he has killed Korean soldiers at war – if he sees them as inferior he might be justifying their deaths to himself, although it does seem he carries the burden of these deaths on his

conscience. Walt learns a very important lesson: that you cannot define someone by their rac; every person is an individual. It is an unlikely lesson to learn as a 78 year old, and

even more unlikely as he learns this from his friendship with two teenagers: “God I've got more in common with these gooks than my own rotten, spoiled family.” Other forms of conflict: Gang conflict (Black versus Hispanic versus Asian) and old versus new (e.g. Japanese car making versus American)

The nature of Masculinity

Thao is criticised by other Hmong people for being bossed around by his sister, mother and grandmother and for doing girls 'duties'. Most other male Hmong teenagers are gang members, where being tough, marking your territory and intimidating weaker beings makes them feel like a man.

As far as traditional definitions of masculinity goes, Walt fits it. He went to war, he

worked in a car factory, he is a handyman, he likes beer and beef jerky, he swears, and enjoys banter with his mates. And apparently he's got something to teach Thao about being a man. Sue points out to Walt that he is like a father figure and good male role model for Thao, something he has never had.

Walt teaches Thao some basic handy man skills, he gets him a real man's job and teaches him how to talk 'man to man.' But the real lessons that Walt teaches Thao are to take responsibility for yourself, to treat the women in your life with respect, and that he can be a better man than any of the gangsters in the neighbourhood. Why is it significant that a Hmong Police Officer tells Thao how Walt died?

How is the car a symbol of masculinity?

Other possible themes?

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SECTION E: ASPECT 1 – DIALOGUE

Task: Select at least 5 important lines and for each explain who said it; to whom;

where; when; and why it is a significant line in the film.

SOME KEY QUOTATIONS:

a. “Dad’s still living in the ‘50’s” b. “Death is often a bittersweet

occasion.” c. “He does whatever his sister

orders him to do. How could he ever become the man of the house?”

d. “It sounds like you know more about death than about living.”

e. “Get off my lawn.” f. “Things go wrong, you gotta act

quickly.” g. “It would do you good to unload

some of that burden,” h. “But you’re wrong about something else…the thing that haunts a man the most is what he isn’t

ordered to do.”

i. “Ever notice how, once in a while, you come across someone you shouldn’t have f*cked with? That’s me.”

j. “The [H’mong] girls go to College, and the boys go to jail.” k. “This year you have to make a choice between two like paths. Second chances come your way.

Extraordinary events culminate in what might seem to be an anti‐climax.” l. “He says that people do not respect you. They don’t even want to look at you. He says that the

way that you live; your food has no flavour. He says that you’re worried about your life. You made a mistake in your past life; like a mistake that you did that you’re not satisfied with. He says that you have no happiness in your life. It’s like, you’re not at peace.”

m. “I’ve got more in common with these gooks than my own spoilt, rotten family.” n. “This kid doesn’t have a chance.” o. “We’d…have to man you up a little bit.” p. “Thao and Sue are never going to find peace in this world, as long as that gang’s around; until

they go away. Forever.” q. “I’ll think of something. Whatever it is, they won’t have a chance.” r. “You want to know what it’s like to kill a man? Well, it’s God‐damn awful, that’s what it is. The

only thing worse is getting a medal of valour for killing some poor kid that wanted to just give up, that’s all; yeah, some scared little gook just like you; I shot him right in the face with that rifle you were holding in there a while ago. There’s not a day goes by that I don’t think about it, and you don’t want that on your soul. I’ve got blood on my hands. I’m soiled, and that’s why I’m going it alone tonight.”

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OTHER IMPORTANT LINES: (go to http://www.imsdb.com/scripts/Gran-Torino.html)

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SECTION F: ASPECT 2 – SYMBOLISM

The Gran Torino:

a. What seems to be significance of the car as a symbol of American and male identity?

b. Why is Gran Torino an appropriate title for the film?

c. View the two short documentaries in Special Features on the DVD and make notes that

help you explain the significance of the car in the film.

d. Are there any other important symbols or repeated motifs in the film? Explain.

INSIGHTS and UNDERSTANDINGS

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SECTION G: ASPECT 3 – CHARACTERISATION

Walt’s journey: using a SWOT analysis.

a. Copy and complete each SWOT diagram, giving details AND scene examples for aspects of Walt’s character at the different parts of the film. b. Draw some conclusions about the changes in Walt and the impact of his journey upon the viewer.

FIRST PART OF THE FILM – UP UNTIL WALT SCARES OFF THE GANG MEMBERS

WHO ARE THREATENING SUE and her ‘date’.

FINAL PART OF THE FILM – FROM WHEN HE IS DIAGNOSED WITH LUNG CANCER.

STRENGTHS WEAKNESSES

OBSTACLES THREATS

STRENGTHS WEAKNESSES

OBSTACLES THREATS

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SECTION H: TOWARDS EXCELLENCE STRATEGIES

a. quote and respond to the director/ key personnel b. quote and respond to a review c. link to a real life incident and/or wider social issues

A. VIEWS FROM KEY PERSONNEL

TASK: Choose a comment and explain, with supporting evidence from the film, how it helps you understand a key aspect of the film.

Clint Eastwood, Actor and Director:

“The script is kind of interesting. I flipped it open and read it, and I said: ‘This is kind of a bizarre story and a little different.’ I hadn’t done anything in four years as an actor and hadn’t planned on doing any more really. I was kind of enjoying it behind the camera... Well, when I read it I thought somebody sort of tailored this for me. But I hadn’t talked to any writers or anything, so if it wasn’t me, I don’t know who they’d gone to. There are not too many actors my age around. He’s a guy who is very, very disturbed about the way culture has gone. He’s had a loss in the family, he’s estranged from his grown children and he doesn’t like the way the neighbourhoods have changed. That is the way people talked in Walt’s generation. Actually, that’s the generation I grew up in. But Walt, has everybody categorized and that’s just the way he is. He doesn’t want anything to do with anybody, and especially people who are different than he is.”

Clint Eastwood was born in 1930 (78 years old in 2008 when the film was made). He has acted in 60 movies, directed 28 movies, was the producer of 22 movies, and has composed 9 movie scores. Clint Eastwood’s character’s name, Walt Kowalski, is the real name of legendary wrestler, Walter “Killer”

Kowalski. (View an interview with Eastwood at: http://www.youtube.com/watch?v=jXriv3tzXpw )

Nick Schenk, Screenwriter: “Clint and Rob said, ‘Did you write that for Clint?’ And I said no, and I think they were a bit surprised. I think a lot of people would be scared to play that part. And he took it and not only ran with it but filled it out even more than what was on the page. The character of Walt is like a lot of men I knew growing up. I worked constructions, and I worked in the trades and I met a lot of those types of guys. Joel Cox, Film Editor: “Most people somewhere in their families have had a relative, a father, an uncle, that has been off the wall like this.” When he says this line here, audience members’ cringe, and when they make these really politically incorrect and racist statements inside the storyline. The Hmong people, “They have really fascinating story. They are very, very warm and friendly people and they are a very tight knit community. Christopher Carley, actor who plays Father Janovich: “I think he’s definitely a racist. And that’s what kind of struck me when I first read it, is that he is kind of an unapologetic racist and has no sort of qualms about being completely open about it.” Underlining theme, “If we just get to know each other, we have the ability to change and get along.” Ahney (Whitney) Her, actor who plays Sue: “People can change, especially Walt. He can be really mean at first, but you know, once you actually get to know the person people can change.” Robert Lorenz, Producer: “I guess because you start in a fairly dark place with this Archie Bunker character, to watch the movie kind of get lighter and lighter and see him loosen up and all that, I mean that’s when it becomes this irresistible journey that you never want to end. The fact that neighbourhoods change and different groups of people come in and displace the groups that are there, I mean that’s something that goes on every day in cities throughout the United States. So it is a whole another reason why this story is so easy for people to relate to.” Paula Yang, Hmong Consultant: “I have a lot of hope, and it just takes one voice. And I am hopeful that people will, you know, take a moment just to get to know their neighbours, and learn why the Hmong people are in America, and who really are, and what is it we want to get out there.” Source: adapted and abridged from Dr Jay Seller film study lecture. (The full lecture is posted on moodle.)

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B. TWO FILM REVIEWS

TASK: a.Choose a comment from a reviewer that helps you explain a key aspect of the film. You can agree or disagree with the comment, but make sure you give convincing reasons and film details to support your opinions. b. Explain how a review can help an audience understand Eastwood’s intentions and skills in Gran Torino.

REVIEW 1: amateur reviewer Film Insight. net: Gran Torino – Film Analysis Posted on July 4, 2009 by Josh Lipovetsky “I once fixed a door that wasn’t even broken yet.” -Walt Kowalski, Gran Torino Gran Torino is an excellent movie, and it focuses on the importance of reaching out to help others. It shows the story of an old, depressed and cranky man named Walt Kowalski, and how he literally and figuratively saved the life of a young man named Thao. The movie presented 2 main lessons; the first being the importance of reaching out to help someone in need; the other being the necessity to learn to step outside of your comfort zone in order to progress in life. It is of no surprise to the viewers, that Thao is a teenager who needs to be helped. It is the basis of the movie. He is constantly being harassed by a gang which his cousin belongs to, and he desperately does not want any part in it. Unfortunately, no one steps in to intervene, so Thao ends up being pressured to steal Kowalski’s 1972 Gran Torino, an extremely beautiful car in mint condition. Thao is caught by Kowalski, and is unsuccessful in carrying out the gang’s bad deed. Kowalski sees Thao for who he truly is, and lends his helping hand. This was a huge step for Kowalski, stepping out of his narrow comfort zone to help a young man in desperate need. If Kowalski never decided to help Thao, then Thao may have suffered a completely different or unfortunate fate. Walt Kowalski was not a nice man, but he had a natural need to help a young man get his life back on track. That took great courage on Walt’s part, and a huge step out of his comfort zone. As humans, we all develop a certain comfort zone as we grow up, and get situated into our environments. Everyone’s comfort zone is different, made up of many aspects. Social, Emotional, Psychological, Physical, and Mental boundaries are all set inside of our heads. This can explain why some people find it easy to interact or get along with others, while some people prefer to be isolated, or keep to themselves. It is a combination of genetics and environmental factors that shape us. Our comfort zones are always changing, and when we don’t do something to step out and expand them we will not progress as a people. Walt Kowalski had a pretty small comfort zone. He was mean and rude to everyone he met, including his own family! An act of self-defence (against Thao, who tried to steal his Gran Torino) opened up his comfort zone, and gave him the power to go to a party, hosted by Thao’s relatives. That further made Kowalski more comfortable around Thao, and soon he taught Thao about work, the tools in his garage, and they became good friends. There were unfortunate circumstances present in the environment, which prevented Thao and Kowalski from being friends for a long time, but it was the help that Kowalski gave that mattered most in the long run. There are movies like Gran Torino, but it seems like they are getting pretty hard to come by. I have yet to see a movie that mixes such serious aspects of life with such hilarious lines and character situations. Helping others who need it will result in an expansion of your own comfort zone. Gran Torino shows that this statement is completely true. This movie is gold, and receives the highest recommendation that I can possibly lend to a movie. You will not regret watching this powerful, inspirational movie. Source: http://filminsight.net/2009/07/04/gran-torino-help-your-comfort-zone/

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REVIEW 2: professional film critic

Gran Torino Get off my lawn

Ebert Rating: ***½ (/5) Dec 17, 2008 Review by Roger Ebert

I would like to grow up to be like Clint Eastwood. Eastwood the director, Eastwood the actor, Eastwood the invincible, Eastwood the old man. What other figure in the history of the cinema has been an actor for 53 years, a director for 37, won two Oscars for direction, two more for best picture, plus the Thalberg Award, and at 78 can direct himself in his own film and look meaner than hell? None, that's how many.

"Gran Torino" stars Eastwood as an American icon once again -- this time as a cantankerous, racist, beer-chugging retired Detroit autoworker who keeps his shotgun ready to lock and load. Dirty Harry on a pension, we're thinking, until we realize that only the autoworker retired; Dirty Harry is still on the job. Eastwood plays the character as a man bursting with energy, most of which he uses to hold himself in. Each word, each scowl, seems to have broken loose from a deep place. Walt Kowalski calls the Asian family next door "gooks" and "chinks" and so many other names he must have made it a study. How does he think this sounds? When he gets to know Thao, the teenage Hmong who lives next door, he takes him down to his barber for a lesson in how Americans talk. He and the barber call each other a Polack and a dago and so on, and Thao is supposed to get the spirit. I found this scene far from realistic and wondered what Walt was trying to teach Thao. Then it occurred to me Walt didn't know it wasn't realistic. Walt is not so much a racist as a security guard, protecting his own security. He sits on his porch defending the theory that your right to walk through this world ends when your toe touches his lawn. Walt's wife has just died (I would have loved to meet her,) and his sons have learned once again that the old bastard wants them to stay the hell out of his business. In his eyes, they're overweight meddlers working at meaningless jobs, and his granddaughter is a self-centred greed machine. Walt sits on his porch all day long, when he's not doing house repairs or working on his prized 1972 Gran Torino, a car he helped assemble on the Ford assembly line. He sees a lot. He sees a carload of Hmong gangstas trying to enlist the quiet, studious Thao into their thuggery. When they threaten Thao to make him try to steal the Gran Torino, Walt catches him red-handed and would just as soon shoot him as not. Then Thao's sister Sue (Ahney Her, likable and sensible) comes over to apologise for her family and offer Thao's services for odd jobs, Walt accepts only reluctantly. When Sue is threatened by some black bullies, Walt's eyes narrow and he growls and gets involved because it is his nature. What with one thing and another, his life becomes strangely linked with these people, although Sue has to explain that the Hmong are mountain people from Laos who were U.S. allies and found it advisable to leave their homeland. When she drags him over to join a family gathering, Walt casually calls them all "gooks" and Sue a "dragon lady"; they seem like awfully good sports about it, although a lot of them may not speak English. Walt seems unaware that his role is to embrace their common humanity, although he likes it when they stuff him with great-tasting Hmong food and flatter him. Among actors of Eastwood's generation, James Garner might have been able to play this role, but my guess is, he'd be too nice in it. Eastwood doesn't play nice. Walt makes no apologies for who he is, and that's why, when he begins to decide he likes his neighbours better than his own family, it means something. "Gran Torino" isn't a liberal parable. It's more like, out of the frying pan and into the melting pot. Along the way, he fends off the sincere but very young parish priest (a persuasive Christopher Carley), who is only carrying out the deathbed wishes of the late Mrs. Kowalski. Walt is a nominal Catholic. Hardly even nominal. "Gran Torino" is about two things, I believe. It's 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. This doesn't involve some kind of grand transformation. It involves starting to see the "gooks" next door as people you love. And it helps if you live in the kind of neighbourhood where they are next door. If the climax seems too generic and pre-programmed, with too much happening fairly quickly, I like that better than if it just dribbled off into sweetness. So would Walt.

copyright 2005, rogerebert.com

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C. WIDER REAL LIFE SOCIAL/ CULTURAL CONTEXTS

1. Questions for discussion.

What obligations, if any, do nations have towards

refugees?

What obligations does the United States have to people,

such as the Hmong, who fight alongside the U.S. in its

foreign wars?

What challenges do immigrants face in starting new

lives for themselves?

How do Hollywood films generally portray people of

different races and ethnicities?

2. View part 1 of the Hmong documentary: ‘Next

Door’. You can find both parts on You Tube: Part 1: http://www.youtube.com/watch?v=cy_yHyq-ZxU&feature=channel&list=UL Part 2: http://www.youtube.com/watch?v=xC2zoxES45U&feature=related

Why is Gran Torino a significant film for racial

minorities in America?

The film has been criticised for some cultural

inaccuracies. Find out two different viewpoints on the cultural context of the film.

Make a clear link between a comment in the documentary or from a Hmong source and a scene

or aspect of the film.

***************************************************************************************

SECTION I: PRACTICE ESSAY TOPICS AND PLANNING

SHEET

SAMPLE TOPICS

1. Analyse how verbal AND visual features of a text (or texts)

you have studied are used to give audiences a strong idea.

2. Analyse how the beginning AND ending of a text show an

important change in a character or individual in a text (or

texts) you have studied.

The Hmong are an Asian ethnic group from

the mountainous regions of China, Vietnam,

Laos, and Thailand. Hmong groups began a

gradual southward migration in the 18th

century due to political unrest and to find

more arable land.

A number of Hmong people fought against

the communists during the Laotian Civil War.

Hmong people were singled out for

retribution when the Pathet Lao took over the

Laotian government in 1975, and tens of

thousands fled to Thailand seeking political

asylum. Thousands of these refugees have

resettled in Western countries since the late

1970s, mostly the United States but also in

Australia, France, French Guiana, Canada,

and South America. Others have been

returned to Laos under United Nations-

sponsored repatriation programs. Around

8,000 Hmong refugees remain in Thailand.

Source: http://en.wikipedia.org/wiki/Hmong_people

16

FORMATIVE ESSAY TOPIC: Analyse how the beginning AND ending of a text show an important change in a character or

individual in a text (or texts) you have studied.

IDEA about character

and change

HOW DEVELOPED EVIDENCE ANALYSIS

Aspect 1

Aspect 2

Aspect 3

BEYOND

THE

TEXT