Hola all. Massawyrm here.
There are a few definitive men in cinematic history that we point to and use as the prime examples of what we think a MAN is. If I were to ask all of you to take a moment to step away from your computer, jot down the names of the five manliest actors to ever grace the screen and then come back to this article, you would no doubt find a lot of the same names over and over again on everyone else’s lists. Some of the younger among you might throw out some more recent names – teens might tap Gerard Butler while 20-somethings might mention Clive Owen. Older Audiences might nod to Frank Sinatra or Michael Caine. But the bulk of cinema fans would knowingly tap the same four guys, time and again. Bronson, Heston, Wayne. EASTWOOD.
For the past five decades, Eastwood has been considered one of cinemas toughest leading men. Not just a man, but a MAN’S MAN. From westerns to cop movies to blue collar action and comedy films, we’ve seen Clint emulate the very essence of manhood. BUT, he did so in a manner that often was soaked in blood and festooned in violence. Some of Eastwood’s best films have been revenge films – certainly his very best both as an actor and a director, Unforgiven, is entirely about revenge. In fact it’s hard to think of a man that we’d put on these lists that I mentioned that didn’t star in films where he had to wash the blood off of his hands once the credits began to roll. Honestly, how many of you thought of kindly, fatherly actors who stood for what it meant to take care of your family?
The reason I mention all this is because I can’t help but think that Eastwood’s new film (again both as an actor and a director) Gran Torino is a commentary on that. Whether an apology for what he had to say in those films for all those years or as a golden years reflection upon the nature of life and death, Eastwood has shown up, as he says in the film, ‘with both pistols loaded’ ready to take on what it REALLY means to be a man. Because that, at its heart, is what this film is entirely about.
Eastwood plays Walter Kowalski, an elderly Polish American asshole of the highest degree. The guy’s a prick, a total bastard who raised two spineless, shitheel sons and has just lost the only person he really gave a shit about – his wife. He’s a passive racist – he believes in the inferiority of every other race but never does anything about it. He wouldn’t hit a black guy because he was black. But he certainly wouldn’t give him the time of day either. But the most important thing you need to know about Walt is that he is entirely unafraid to say exactly what he’s thinking, no matter how derogatory, ill advised or offensive. Oh yeah, one more thing. Walt’s mouth never writes a check that his ass can’t cash. If he gets in your face, you will end up the one backing down. Because he never will.
What’s important to know about Gran Tornio going in is that much like The Wrestler this is a film that is completely unexpected and looks very different in its advertising than what it is. To watch the trailer, this looks like a BADASS movie. It’s not. Is it one of the best films of the year? You bet your ass it is. But it’s not an unrepentantly violent film. It’s not a revenge film like the trailer sets it up to be. It’s about a man that time forgot, who unwittingly becomes a neighborhood hero and the surrogate patriarch of the family next door. When he accidently becomes the role model for the ball-less sissy boy neighbor, he takes it upon himself to man this kid up, and in doing so gives the audience a firm lesson on what Eastwood thinks a man really is.
And that’s where the film lives and breathes. Is there ass beating? Sure there is. Is it filled with Clint Eastwood tough talk and quotable dialog? Absolutely. But that’s not what this film is about. It’s a slow, touching film about what it really means to be a father and how violence only begets more violence. It is a stunning and startling continuation of his Unforgiven message.
The film is incredible. It’s a warm hug from a bitter old grandpa – it’s finding out that the teacher that rode you so hard in class really liked you after all. As despicable as Walt is, you can’t help but fall in with the old son of a bitch. What at first is jarring offensive language slowly becomes comedy as you become desensitized to Walt’s endless racist screed. What he has to say ceases to be uncomfortable and eventually becomes funny, until you’re laughing at the sheer unrepentant excess of it all. It never becomes acceptable. You simply acknowledge that this is who Walt is and forgive it because as you get to know him, you discover just how good a man he can really be.
This is a film that sticks with you, that embeds itself in your DNA for a couple of days as you process it and take in the lessons that Eastwood has for you. Because that’s the type of film it is. It has a lot to say. About life. About death. About community and family. About the difference between someone who THINKS he’s tough and someone who actually IS tough. About violence. And about salvation.
And it is one of the very best films of the year, easily top 5 material. Personally, it finds itself second only to Frost/Nixon in terms of the year’s best on my list. Unlike Frost/Nixon, as good as it is, it has a few flaws – chiefly the occasional spotty acting. Eastwood’s strive for authenticity seems to have left him with decidedly few Hmong people (the ethnicity of Walt’s neighbors) to choose from as actors, you may notice a few of the Hmong seeming a bit stiff. This works since most of their dialog is subtitled, but a few folks stick out. And sadly Christopher Carley, who plays the priest Father Janovich, is decidedly uneven. While he perfectly nails every line of any import, imparting just the right emotion to punctuate the profound or funny moments, he often flubs throw away lines and occasionally gives that “cold read” kind of feel – something that sticks out like a sore thumb as his every scene puts him opposite Clint Eastwood. But none of this occurs during the really powerful scenes, when even the smallest actor is fantastic.
Powerful, profound and deeply moving, this is a film I’ve already watched twice and will no doubt revisit at least a few more times. Absolutely one of the year’s must see films, catch this at your earliest opportunity.
Until next time friends, smoke ‘em if ya got ‘em.
Massawyrm
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