Posts tagged with: Clint Eastwood

Clint Eastwood’s 2008 project Gran Torino has recently been released on DVD, and what a delight it is. Eastwood plays Walt Kowalski, a Korean War vet and retired auto worker whose wife has just passed away.

I was unable to catch the film in theaters, despite my desire to do so. Based in Michigan, Gran Torino was filmed places like Royal Oak, Warren, Grosse Pointe, and Highland Park. As the production notes state, “Though the screenplay was initially set in Minneapolis, Eastwood felt Walt’s past as a 50-year auto worker would resonate most as a resident of ‘Motor City’—Detroit, Michigan.”

It was a wise decision. Everything about Gran Torino rings true, from Walt’s disdain for his priest, whom he calls “an overeducated 27-year-old virgin,” to his way of speaking (he “slings racial slurs like most people use nouns and verbs”), to the local ambiance (including a “ghetto clothesline” in the basement of Walt’s Hmong neighbors). The film’s action revolves around the title character, a 1972 Gran Torino, Walt’s prized possession, a car that he had a hand in building himself. Walt’s bigotry extends most virulently to his neighbors, the Lor family, Hmong immigrants from southeast Asia. One of the boys in the family, Thao, is eventually pressured into joining a neighborhood gang. His first assignment is to steal Walt’s car.

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We welcome guest blogger Bruce Edward Walker, Communications Manager for the Property Rights Network at the Mackinac Center for Public Policy. This week’s PBR question is: “How should conservatives engage Hollywood?”

It is true that liberal depictions of dissolute and immoral behavior are rampant in modern cinema and justified as the desired end of hedonistic tendencies, but conservative critics too often come across as cultural scolds, vilifying films and filmmakers for not portraying reality as conservatives would like to see it. For many conservative critics, the only worthwhile contemporary movies made are adaptations of C.S. Lewis’ Narnia series or those that feature Kirk Cameron in a starring role. The verisimilitude inherent in all compelling storytelling is neglected in favor of presenting idealized worlds in which a clearly defined good always overcomes easily identified evil.

Such an approach is simplistic and insults those of us that can recognize the presence of moral themes in the works of Graham Greene, Flannery O’Connor and Tom Wolfe, and don’t automatically blanch at cursing, violence, sex and nudity when it serves a real dramatic purpose. Humanity, of course, is fallen and it’s foolish to expect conservative audiences to respond only to films that depict all marriages as salvageable, all protagonists as heroic metaphors for Christ and all heroines as virgins until the wedding night. Reality teaches us that these scenarios are the exceptions rather than the rule.

Felix culpa – the fortunate fall from whence one can experience God’s grace – is the phrase St. Thomas Aquinas used to explain how God allows evil to exist in order to allow for the greater good of His redemption. For all the decadence he depicted, for example, French poet Charles Baudelaire was perceived by none other than T.S. Eliot as still entering the Church albeit through the back door. (more…)