Clint Eastwood Idles With Caricature Over Character in ‘Gran Torino’

BrianTT — Fri, 19 Dec 2008 08:33:33 -0700

Rating: 2.0/5.0

CHICAGO – With his second film in just a few months, Clint Eastwood makes one of his biggest missteps of his illustrious career as one of the more esteemed American directors in the history of the medium. Eastwood has made some undeniable masterpieces - “Mystic River”, “Million Dollar Baby”, “Unforgiven” - but he has been far from perfect, misfiring wildly with films like “Space Cowboys”, “The Rookie”, and “Pink Cadillac”. “Gran Torino” falls much closer to the latter category on Clint’s spectrum than the former.

Eastwood stars in “Gran Torino” as Walt Kowalski, a bitter, cranky, snarling old man, who is mean to his priest, vicious to his family, and racist to everyone in his increasingly ethnic neighborhood. Walt could be Clint’s iconic ‘Dirty Harry’ character a few years down the road from when we last saw him and a bit more racist. (In fact, there were rumors at one point that “Gran Torino” would be “Dirty Harry 6”. If only.)

Walt is a Korean War vet who seems to have entered a contest for the most ignorant, racist comments in the span of the running time of a movie. Can the Hmong family next door melt the ice around this grumpy old man’s heart? Can the vet with backbone to spare give some to the weak kid who lives next door? Why should we care again?

In the opening scenes, Walt’s wife has passed away and he’s growing increasingly distant from the rest of his family. The predictable and skin-deep plot doesn’t really get underway until the kindly Hmong teenager next door named Thao (Bee Vang) tries and fails to steal the only thing he loves - his 1972 Gran Torino. Walt just wants to be left alone by a world he hates more every day, but he’s sucked into a horrible written gang war when he saves Thao from an altercation on his neighbor’s front lawn because the poor kid couldn’t steal the car he was ordered to snag. Let’s hope “Get off my lawn” doesn’t take off like “Make my day.”

What first feels like it could be a “Deathwish” rip-off becomes something far scarier when Thao is forced by his family to become an indentured servant to Walt. The old man finds himself getting closer and closer to the immigrants that he used to hate and realizes that he has one last sacrifice to make.

The script for “Gran Torino” by Nicholas Schenk is paper-thin. Eastwood adds some likability to a few scenes with his only friend, a barber played by a great actor named John Carroll Lynch, and there are a few moments between the angry vet and the awkward teen that work, but Schenk is constantly pounding his audience over the head with his obvious themes. In case you don’t get that Walt is growing closer to the people he continuously derides, Schenk is there to point it out to you.

Perhaps the TV-movie nature of the screenplay wore off on the production because “Gran Torino” is Eastwood’s least interesting film visually in years. There’s a grace and a style to the cinematography of Eastwood regular Tom Stern in films like “Million Dollar Baby” and “Mystic River” that’s simply missing here. “Gran Torino” looks like it was made in two weeks for a TV broadcast. There’s nothing wrong with simple production value for a simple story but “Gran Torino” crosses from simple to visually dull.

Everything about “Gran Torino” is a cliche. Walt’s racism, the immigrants next door, the hilariously stereotypical gang members, even the stupid jokes that Walt tells - none of it feels real. And at the center of it all is the cliche of Clint Eastwood’s angry, snarling persona. There’s a difference between using a popular reputation as a commentary, which some critics have mistakenly seen in “Gran Torino”, and the caricature that’s really at the center of this misguided film.

‘Gran Torino’ stars Clint Eastwood, Christopher Carley, Bee Vang, Ahney Her, Geraldine Hughes, Brian Haley, and John Carroll Lynch. ‘Gran Torino,’ which was written by Nick Schenk and directed by Clint Eastwood, opened in Chicago on December 19, 2008.

By BRIAN TALLERICO
Content Director
HollywoodChicago.com
brian@hollywoodchicago.com

In ‘Gone Baby Gone’ Directorial Debut, Ben Affleck Matures Into Polished Auteur

HollywoodChicago.com — Fri, 19 Oct 2007 13:01:23 -0600

CHICAGO – It wasn’t that long ago when Ben Affleck was an unknown. Fortune eventually smiled upon him and along came quality performances in independents and an Academy Award for screenwriting.

Ben Affleck (left) and brother Casey Affleck on Oct. 10, 2007 at the
Chicago International Film Festival premiere of “Gone Baby Gone”.
Photo by Adam Fendelman of HollywoodChicago.com
Then came “Armageddon,” “Pearl Harbor” and a series of nauseating tabloid stories involving something called “Bennifer”. Affleck’s public image as either a true filmmaker or a hack is riding heavily on his directorial debut of “Gone Baby Gone”.

Without fail, he falls easily into the category of true talent. Following the path that fellow actor-turned-director Clint Eastwood did with “Mystic River,” Affleck elevated a crime thriller by author Dennis Lehane to the big screen.

Unlike directors and actors like Eastwood, Spike Lee, Woody Allen and even close friend Kevin Smith, Affleck resided solely behind the camera and instead cast brother Casey Affleck in the film’s principal role.

Casey Affleck in “Gone Baby Gone”.
Photo courtesy of IMDb
Most people will watch “Gone Baby Gone” to see if Ben Affleck is capable in the director’s chair. Moreover, he declares his rightful place as an auteur with his own artistic vision and storytelling ability.

Simplifying the complex maze of corruption that is Lehane’s fourth novel in a series on Boston detectives, “Gone Baby Gone” follows Patrick Kenzie’s (Casey Affleck) private investigation into the disappearance of an adorable, 4-year-old girl from a white-trash addict (Amy Ryan).

She won’t be winning the mother-of-the-year award any time soon. Kenzie gets cooperation from the Boston Police Department and plays an outsider who only can rely on help from his partner and girlfriend (played remarkably by Michelle Monaghan).

As Lehane’s characters are adapted beautifully for the screen by Ben Affleck and co-writer Aaron Stockard, there are bottomless depths of emotional turmoil to every person in this picture.

Ben Affleck directing “Gone Baby Gone”.
The loss of an innocent girl and Ryan’s portrayal of the crackhead mom you both love and hate make you want to throw things at the screen for such despicable human behavior. Ed Harris plays a local detective and masterfully devours all of his scenes.

Morgan Freeman plays the chief of police just like you think Morgan Freeman would play a police chief.

More than just showing promise, Affleck’s directorial debut promises great things for his future as a filmmaker. More than just your typical detective mystery flick, the film leaves many unanswered ethical questions.

More than so “Mystic River,” “Gone Baby Gone” is a heart-wrenching thriller of people you love to watch but would never want to meet in real life.

By DUSTIN LEVELL
Senior Staff Writer
HollywoodChicago.com
dustin@hollywoodchicago.com