Gran Torino eloquently tells the tale of Walt Kowalski, a bigoted, unhappy and retired Ford autoworker. After the death of his wife, Walt struggles to seek purpose in his life. His days are filled with beer drinking, enjoying time with his dog, and using his prying eyes to view changes in his ethnically-changing neighborhood. Walt has trouble connecting with others, including his own children, grandchildren, and neighbors. When a group of teenagers, belonging to the local Hmong (Korean) gang, attempt to steal his prized 1972 Gran Torino car, Walt begins a neighborhood conflict he will soon regret.

Clint Eastwood has stated in interviews that Gran Torino may be his last acting performance. In recent times, Eastwood has juggled the roles of actor and director. His performance in Gran Torino is masterpiece material. Behind his character’s prejudices, Eastwood paints the picture of a Korean War veteran with a kind heart. Although he mutters racial epithets at most every turn, Walt Kowalski takes it upon himself to try and reconnect with his Catholic faith, the local neighborhood youth, and lastly his family. His failure to communicate with his local pastor, family, and neighbors indicates a deep mistrust of those who are different.

At the heart of Gran Torino, Kowalski becomes a mentor to his neighbor’s children, Thao and Sue. Both Thao and Sue seek to distance themselves from their cousin’s involvement in the local Hmong gang. The struggle paints a picture of the difficulties and temptations of inner city youth life. Thao and Sue seek to hold to traditional Hmong culture against the pressures of living in big city America. They both want to respect their elders, including Walt Kowalski. The film’s outstanding dialogue provides a rare glimpse into serious exchanges between a unique senior citizen and teenagers. Gran Torino does a noble effort in this regard.