‘Gran Torino,’ the 2008 American film directed, produced by and starring Clint Eastwood, explores the transition of old America into a multicultural society. Through establishing shots and dialogue of the film’s protagonist, Eastwood establishes this transition and its slow progress. The ideals against which multicultural America struggles, old-fashioned notions of racism and the like, are conveyed via contrast of dialogue and hyperbolic acts. A negative association to this transition, as experienced by the protagonist, is created via stereotypical and degrading portrayal of foreigners, a possible shortcoming in the film. Through symbolism, Eastwood depicts the friction resulting from this transition. Finally, the relationship between a foreigner …show more content…
and the protagonist serves to pull the viewer through this friction and depict a healthy assimilation into the new multicultural America. ‘Gran Torino’ navigates the American multicultural scope and raises critical issues regarding racial discrimination, assimilation, generational difference, violence, and multicultural understanding. The film’s protagonist, Walt Kowalski, describes “all the Americans have moved out of this neighbourhood,” and labels foreigners as “fish heads and chinks,” thus introducing the conflict. The neighbourhood is increasingly dominated by Asian migrants, who are rapidly replacing predominantly white residents. Contrast also achieves this, as an establishing shot of the neighbourhood juxtaposes the large, grand house of Kowalski, embellished with the American flag, with the smaller, nondescript home of the foreigners. In terms of this establishing camera shots composition, the placement of a pole in the foreground between the buildings symbolises the existing racial barrier. The concepts intrinsic to the ‘old America’ are also conveyed via contrast and dialogue, allowing for the juxtaposition of multiculturalism and more old-fashioned notions. The idea of the old America or ‘the American Dream’ is connected to becoming wealthy and the ability to achieve everything if one only works hard enough for it. This is the belief held by Kowalski’s son’s family, who are demonised throughout the film via hyperbolic actions of negative connotation: the children smoke and are reluctant to be in any area that is “a dead zone for my cell,” while the parents leave tasks to the elderly man with the hollow excuse, “I'd really like to help, Dad, but we have to get the kids home.” Walt’s perception of ‘the American dream’ is beyond materialism, and is simply the dream of living a simple, happy and fulfilling life. This is conveyed via his dialogue with Thao, stating that despite his flaws, “I got the best woman who was ever on this planet to marry me … It was the best thing ever happened to me.” Thus, the nature of the ideals inherent to ‘the old America’ are conveyed, as two sides of a coin: the materialistic, embodied by Kowalski’s son’s family, and the more family orientated, yearned by Kowalski. The latter is less directly opposed to multicultural ideals, and hence allows for the protagonist, once his racial intolerance has been overcome, to accept his neighbours and the new America. The Detroit neighborhood in the film is becoming a primarily Hmong enclave, and Eastwood establishes through the lens of a racist protagonist the negative aspect of this transition. The depictions of the Hmong characters in “Gran Torino” are closely situated with stereotypical representations of Asian Americans. Sue and Thao Lor, part of the family that live next door to Kowalski, and most of the members of the Hmong characters in the film, are depicted as people who are unable to care for and protect themselves and thus desperately need Kowalski’s intervention. There are no Hmong characters, male or female, who emerge to mobilize the community to fight back against the gang who terrorizes it. There are no Hmong characters, male or female, who attempt to take individual action to protect the community. The weakness inherent to this inaction is conveyed via high-angle mid shots, thus depicting diminutive, frightened characters. Importantly, the gang that threatens the neighborhood is also Hmong. As such, the Hmong are represented in ways that are consistent with stereotypical images–Asian Americans are either passive, docile, and acquiescent; or dangerous criminals who constitute a peril to the neighbourhood. Simply put, Eastwood portrays all Hmong characters in the film as either weak and in need of protection, or depraved criminals, negatively predisposing the viewer to multiculturalism through the lens of the protagonist in the film’s initial stages. Through symbolism, Eastwood then subverts this anti-foreigner sentiment, as Kowalski experiences a personal journey of overcoming his prejudice.
The ‘Gran Torino’ symbolizes Walt's belief that hard work and integrity earns you what you want in life. Ironically, Thao Hmong, a neighbour of Kowalski, attempts to steal this symbol, and in doing so puts in motion his eventual earning of its inheritance. As the the pair bond, each begin to understand each others’ values and beliefs. Aside from symbolising the unity of multiculturalism, this relationship allows Thao to learn that the car represents the integrity and respect that comes from those who earn it, not demand it. As Walt begins to see this change in Thao, he rewards him by slowly trusting him with the Gran Torino, washing it, driving it on a date, an obviously symbolic gesture of trust. Finally, Walt handing over his legacy, the Gran Torino, to Thao near the end of the film, is a symbolic gesture of his acceptance of multiculturalism. He became more open to a racially equal neighbourhood, and a racially equal America. Meanwhile, the film showcases the power of the individual by introducing new meanings to one’s salvation that can be realized through America’s multicultural promise.
Within Gran Torino, Eastwood has employed the change of a stubborn man’s opinion about the new multicultural America to convey his own messages on the concept. The fall of the old America is depicted via voice-over, a negative association with this achieved via stereotypical characters. The friction between new and old America is shown through symbolism, and finally the relationship between two major characters provides a symbolic example of the overcoming of this. Thus, Eastwood has crafted an insightful film on the falling away of the old American way, and the inception of the new multicultural
America.
In the article “Twoness in the style of Oscar Micheaux” by J. Ronald Green critiques the common theme of twoness which was a common debilitating dilemma for black film in America concerning American Social Codes. African Americans face the possibility of two identities at the same time but somehow resolve individually for her or himself. The point is made that African Americans are American citizens, but are hindered by the color line which sets them up to be positioned to understand two sides to the American hegemony. Hegemony consists of leadership or domination, either by one country or social group over others. American black cinema acquiesced in segregation, placed white cupidity off limits as theme, rehashed white Hollywood stereotypes
In the article “The Thematic Paradigm” exerted from his book, A Certain Tendency of the Hollywood Cinema, Robert Ray provides a description of the two types of heroes depicted in American film: the outlaw hero and the official hero. Although the outlaw hero is more risky and lonely, he cherishes liberty and sovereignty. The official hero on the other hand, generally poses the role of an average ordinary person, claiming an image of a “civilized person.” While the outlaw hero creates an image of a rough-cut person likely to commit a crime, the official hero has a legend perception. In this essay, I will reflect on Ray’s work, along with demonstrating where I observe ideologies and themes.
The film observes and analyzes the origins and consequences of more than one-hundred years of bigotry upon the ex-slaved society in the U.S. Even though so many years have passed since the end of slavery, emancipation, reconstruction and the civil rights movement, some of the choice terms prejudiced still engraved in the U.S society. When I see such images on the movie screen, it is still hard, even f...
American History X is an invigorating movie that takes its viewers on a journey in a well thought and unsuspecting plot. The main character is consumed with hatred for every race excluding white Protestants. When he encounters desocialization/resocialization in a prison, he changes his thoughts and beliefs, and they follow him even after he leaves the prison. Groupthink and deviance are both displayed in this movie thoroughly. While groupthink is accepted in society and portrayed as the norm, deviance is unlawful and disrespectful among the social groups. Race and sexuality play important roles by shaping what’s socially accepted throughout the movie.
The White Savior Complex is a damaging subconscious underlay of the Hollywood system, and more broadly all of western society. It is used to further separate the notions of “us” and “other” by creating a firm separation fueled by self-righteousness, and a sense of entitlement. Hollywood attempts to address race relations, but fails because of this trope. Kingsle, from the article “Does My Hero Look White In This?” described that both racism and colonialism are acknowledged, but not without reassuring that not only were white people against the system of racist power dynamics, but also were actively fighting against it in leadership roles (2013). In the remainder of my essay I will be commenting on many modern films and their use on this trope, and why subscribing to this filmmaking strategy is problematic.
As a fan of cinema, I was excited to do this project on what I had remembered as a touching portrait of racism in our modern society. Writer/Director Paul Haggis deliberately depicts his characters in Crash within the context of many typical ethnic stereotypes that exist in our world today -- a "gangbanger" Latino with a shaved head and tattoos, an upper-class white woman who is discomforted by the sight of two young Black kids, and so on -- and causes them to rethink their own prejudices during their "crash moment" when they realize the racism that exists within themselves. This movie does provoke a dialogue on race that, according to author and journalist Jeff Chang, "has been anathema to Hollywood after 9/11. " During the first viewing of this movie, the emotionally charged themes of prejudice and racism are easy to get caught up in. (125) Privilege is inclined to white males through every facet of our everyday lives that inconspicuously creates racism through classism.
One of the biggest issues depicted in the film is the struggle of minority groups and their experience concerning racial prejudice and stereotyping in America. Examples of racism and prejudice are present from the very beginning of the movie when Officer Ryan pulls over black couple, Cameron and Christine for no apparent reason other than the color of their skin. Officer Ryan forces the couple to get out of the car
Meneghetti, Michael. “Review: Ellis Cashmore (2009) Martin Scorsese’s America.” Film Philosophy 14.2 (2010). 161-168. Web. 6 Apr. 2014
While watching movies, have you ever noticed that the villains in almost every single Hollywood film are of Middle Eastern or European descent? In a reoccurring theme of Hollywood, the villains in these films are almost always foreigners or people of color. This is a stereotype. On the other side of the spectrum, we often see that the heroes of these films are most often than not white males. This is another stereotype. Within the last few years, we’ve seen actors such as Will Smith, Morgan Freeman, and Zoe Saldana take the lead roles, so it can’t be said that there are no non-white heroes, but there certainly isn’t many. Hollywood action movies, moreover than other genres, are typically loaded with an abundance of stereotypes. The way these movies are composed and structured can tell us a great deal about the views held within the American psyche and who holds the social power. The harsh reality is that the media ultimately sets the tone for societal standards, moralities, and images of our culture. Many consumers of media have never encountered some of the minorities or people of color shown on screen, so they subsequently depend on the media and wholeheartedly believe that the degrading stereotypes represented on the big screen are based on fact and not fiction. Mary Beltran said it best when she stated in her “Fast and Bilingual: Fast & Furious and the Latinization of Racelessness” article, “ultimately, Fast & Furious mobilizes notions of race in contradictory ways. It reinforces Hollywood traditions of white centrism, reinforcing notions of white male master while also dramatizing the figurative borders crossed daily by culturally competent global youth – both Latino and non-Latino” (77). This paper will specifically look...
It is no doubt that Martin Scorsese has heavily influenced the emulating of American film making from European influences. He is a prime example of a ‘New Hollywood Cinema’ director, not only from his ethnicity and background, but from his sheer interest in this form
The film Gran Torino directed by Client Eastwood challenges The issues of stereotypes through the attributes of contemporary assumptions of status, gender and ethnicity. Exploring the themes of absence of a male dominate figure, enabling protagonist Theo to be a feminine figure exploits the idea of gender portrays the Hmong men to be stereotyped.Ethnicity and status also express multiple meanings through the cinematography and the Hollywood narrative style illustrates many representation of the western and eastern cultures These key terms gender, ethnicity and status all intertwine with each other during the entire film. The Hmong culture have been stereotyped by the western culture concerning that the American way is the only way which evidently challenges the ideas and ideologies of the Hmong society. the film illustrates the idea of realism but underlines the factor that cultures outside of America should obtain the manners and ideas of an American to survive in society. there is clear indication that classical Hollywood narrative, mis en scene and cinematography style can support stereotypes about gender, ethnicity and status.
Gran Torino is a suspense film directed by Clint Eastwood, which portrays the relationship between a 78-year-old Koran war veteran and his neighbors who are from Laos. The main character, Walt is a racist who still has memories from the horrors of war and has a dislike for anyone, including his own family. After his young neighbor Thao is coerced by his cousin’s gang into stealing Walt’s prized Gran Torino, a unusual relationship forms between the pair. Walt starts to respect Thao and his culture while fulfilling a fatherly role that Thao is lacking. Eventually, Walt has to confront the gang knowing that the confrontation will end in his death. Apart from the stereotypical, get off my lawn quote, this film depicts the relationship of family concerning the care for older adults, the struggle with despair and meaning later in life, and the morality of a good death. This paper will address each of these themes.
Clint Eastwood’s film “Gran Torino” traces the end of the life of Walt Kowalski. He has recently gone through a lot – the death of his beloved wife, his distant relationship with his son, his emotional scars from the Korean War and his bad health. All these things stop him from living a proper life. He doesn’t care about himself much – he smokes even though he is sick, he doesn’t eat a lot, he refuses to confess even though that was his wife’s last wish. However, all this changes when he meets the Hmong Family that lives next door. At the beginning he detests them because of their similarity to the Koreans, but later, as he gets to know them, they become the family that he was never able to have. The story traces the psychological changes in Walt’s character due to his unusual bond with the Hmong family, which changes are one of the main strengths of the film.
Jalao, Ly. "Looking Gran Torino in the Eye: A Review." Journal of Southeast Asian American. 5. (2010): 1-6. Web. 23 Feb. 2012.
Gran Torino focuses on the life of Thao as he tries to live a normal life despite being pressured to join a neighborhood gang. Thao’s family moved to America to live a better life and Thao wants to be successful, but the gang in his neighborhood prevents him from doing so. Not only does it represent Walt’s American Dream, but it is a symbolic and actual vehicle for Thao’s Dream as well. Kramp highlights the significance of the Gran Torino in the movie saying “Kowalski’s masculinity, class, and status—entirely invested in the Gran Torino”.