Gran Torino Analysis- A Reflection on Cultural Conflict and Redemption

Introduction

            The 2008 movie “Gran Torino” starring Clint Eastwood is filled with an abundance of cultural diversity, which is met with much resistance, stereotype, and prejudice by the movies’ main character, Walt Kowalski. Walt’s world is changing; his wife dies, his Detroit neighborhood is decaying, his relationship with his sons is distant, and his Korean War memories continue to destroy his ability to fully enjoy life. Through an unlikely bond with the Hmong children next door, Walt finally receives redemption by coming face-to-face with the same destructive prejudices consuming neighborhood teenage gang members that have consumed him. By analyzing this complex and stirring portrayal of intercultural conflict, one can apply the movie’s message to better reflect on and redeem their own lives

Identity Crisis

            After the funeral service for Walt’s wife Dorothy, young Father Janovich informs Walt of some promises he made to Dorothy—that he would look after Walt, and make sure he goes to confession.  In the scene, “I confess,” Walt and the Father do not see eye-to-eye on these promises the Father intends to keep.  Not only does Walt mock the priest with his on-the-spot confession that he “never really cared much for church…and I only went because of her” (Eastwood, 2008), but Walt further insults him by saying he wouldn’t confess to a boy just out of seminary.

            The obvious cultural differences of identity, specifically age and religion, cloud both Walt’s and the Father’s perception of each other.  Their cultures are stark in contrast, which makes for difficult conversation. “(And) our communication is probably most successful when the person we are talking with confirms the identity we think is most important at the moment” (Martin & Nakayama, 2011, p. 92)  Clearly, Walt does not think Father Janovich is credible due to his age and his religious culture of Catholicism, therefore, his dedication to his deceased wife carries no weight. Though the Father’s religious culture/beliefs makes him more tolerant and less critical of Walt’s insulting behavior, he is unable to understand how a supposedly grieving husband could deny his wife her last wish.

Language Barriers

            Language is cultural, but it is not always defined entirely by ethnicity or race. The impact of one’s own generation, family histories, society, and values impacts the culture of language. “Even when people speak the same language, there can be differences in communication style and language use” (Martin & Nakayama, 2011, p. 150). One can assume that Walt’s racial, prejudiced, and stereotyped view of the world reflects his generation, his military career and involvement in the Korean War, and his factory environment at the Ford plant.  His culture of language, albeit offensive, creates a cultural divide within his own family. Though he and his family speak the same language, their inability to communicate inter-culturally creates dysfunction, as shown in the scene “Unhappy Birthday.”

            Walt’s oldest son and his wife bring birthday gifts for Walt they think are thoughtful and will make Walt’s life “easier.” Entirely out of touch with Walt and his goals and values, the gifts and retirement home suggestions are rejected, as is their presence. “No one can say we didn’t try” (Eastwood, 2008), but the audience knows better.  Had they been more perceptive years ago about Walt’s communication/language culture, their presence would have been the best gift of all.  “Our perspective, our “lens”—that is, how we view life and others, is unique. Taking all that into consideration when interpersonal conflict occurs, we need to “make more accurate attributions and meaning of others’ behavior, we need to translate, interpret, and become fluent in several different “conflict dialects”” (Wilmot & Hocker, 2011, p. 68).

            A similar cultural conflict within family resulting from “language barriers” takes place in “Chill with Us,” when Tao Vang Lor is confronted by a Mexican gang while walking on the streets near his home.  Tao’s cousin and his fellow Hmong gang members come to his rescue, insisting Tao ride with them as repayment.  Tao understands his cousin—in both English and Chinese, but their cultures are extremely different.  Tao does not “understand” his cousin’s gang culture, and therefore, does not understand the value in his words, “Chill with us, man” (Eastwood, 2008). “Value conflict, a more serious type, occurs when people have differing ideologies” (Martin & Nakayama, 2011, p. 228).  In addition, “values are deeply felt beliefs that are shared by a cultural group” (Martin & Nakayama, 2011, p. 41), and Tao did not see the value in his cousin’s words, or his gang culture. 

Cars, Music and Beer

            Most popular culture is thought to be media-based, such as the “media outlets of television, music, videos, and magazines that most of us know and share” (Martin & Nakayama, 2011, p. 201).  While this is true, there are many other forms of popular culture.  Cars are an important pop culture symbol, in that they symbolize “how we understand the world, helping us reinforce our sense of who we are and confirming our worldviews” (Martin & Nakayama, 2011, 200).  In the movie, “Gran Torino,” the actual Gran Torino in the film serves two popular cultures—representing Walt’s 1972 culture, and the current Hmong gang culture.  To Walt, the Ford beauty represents what was, what was great, and the culture of both his and the car’s heyday.  “Ain’t she sweet” (Eastwood, 2008) comments Walt about his prized possession.  Seen as a possession they would like to have, the gang members agree, “Yo, it’s in mint condition, man” (Eastwood, 2008). 

            The white Honda driven by the Hmong gang is also a form of popular culture.  Modified, spoiler on the back, complete with a boom box, the gang’s identity and power is exemplified in everything the car provides them.  “To be made into popular culture, a commodity must also bear the interests of the people” (Martin & Nakayama, 2011, p. 202).  The car’s boom box could be considered a separate popular culture, as well as the hip-hop/rap music the gang plays.  Hip-hop or rap music stereotypically contains obscene language, promoting violence and crime.  “Gran Torino” does not stray from this stereotype and the music heard booming from the gang’s car portrays what is popular with gangs and therefore, is considered part of this Hmong gang’s popular culture.

            Consumables are a form of popular culture, reflecting status, personal taste, and culture.  The brand of beer a person drinks is considered a popular culture symbol of their social and economic class.  Walt’s preference for Pabst Blue Ribbon beer tells us that he favors the regional flavor of Milwaukee, Wisconsin, and the beer displays his preference for the 1970’s culture once again, as Pabst’s popularity seen its peek during that era.  Later in the movie, Walt’s “popular” preference for Pabst must be replaced with Heineken while at his Hmong neighbor’s house.  But he is fine with their preferred brand, for it is after all, beer. 

The Only True Way

            In real life, “the number of Hmong gangs and the level of their criminal activity is increasing in severity” (Straka, 2003, p. 1).  As was depicted in “Gran Torino,” Hmong gang members in real life use rape to be vindictive toward “their kind” who shuns them (Straka, 2003, p. 1).  The victims rarely come forward, for the gang members are usually family, have guns, and threaten to kill them and/or their families if they go to the police.  There are also cultural reasons why Hmong gangs use this kind of violence; “After the victims were raped, they feared being shunned by members of their families who now would consider them "damaged" or having "shamed" them. This reaction stems from the Hmong culture, which values virginity before marriage. If a girl is raped, others in the Hmong community may look down on her” (Straka, 2003, p. 1).  Reflecting on these real-life statistics is important when considering the alternatives to resolving the violent conflict in “Gran Torino.” 

            To engage in effective intercultural communication, one needs to “fully understand intercultural conflict…we need to look beyond individuals who may be in conflict” (Martin & Nakayama, 2011, p. 238).  The social, political, economic and cultural forces that are “beyond” those individuals are powerful and resistant to change, and Walt knew that. He had lived a life resistant to change. He also knew he spoke the gang members’ language—violence, and could “communicate” on their level.  Exploring other, less violent communication alternatives to create a constructive rather than destructive end to the conflict could have been carried out had Walt and his Hmong neighbors joined forces to confront the gang. (He was, after all, considered a “hero.”)

            Perhaps strength in numbers would have been the answer—the gang confronted, caught, and contained by a different kind of gang—a peaceful gang, their neighbors “ganging” up on them. For any kind of social change to occur, there needs to be a social movement. “…social movements need confrontation to highlight whatever perceived injustice is being done and to open the way for social change to halt the continuation of this injustice” (Martin & Nakayama, 2011, p. 240).  Walt was successful in his non-violent communication with the gang in the end, the gang was caught, and Tao and Sue were safe. But did real, lasting social change occur because of Walt’s one-man efforts?

Final Analysis and Conclusion

            “In the Chinese language the character for conflict is made up of two different symbols: one indicates danger whereas the other indicates opportunity” (Wilmot & Hocker, 2011, p. 9).  How fitting that is, given the Chinese/Hmong cultural theme of “Gran Torino” and that the movie represented both!  Violence and offensive language are rarely contents I look for in a good movie, but this movie proved to be an exception.  I was able to look past the guns, the violence, the vulgar language (and the bad acting) and view the movie with a different perspective—which is what we are called to do when in an interpersonal, intercultural conflict.  The characters well-developed portrayal of real-life Hmong gangs specific to the northern lake states such as Michigan, Wisconsin and Minnesota helped give more meaning to the film’s message.  

            A peacemaker by nature, wanting everyone to “get along,” I identified with Sue’s character the most.  She was the unassuming, brave, and a kind spirit who helped Walt on his journey back to knowing more about life, rather than knowing more about death. She was the bridge for many cultural and communication gaps. Walt’s character needing redemption—from violence, from killing Koreans, from stereotype, from hatred, from bad choices—from his “sin,” was brought about in the most unlikely, yet perfect way.  Though I don’t believe violence is ever the answer, the non-violent, violent ending, symbolic of the ultimate sacrifice for “sin,” was the most appropriate ending. As I watched the ending credits roll down my laptop’s screen, tears also rolled down my cheeks.  

References

Eastwood, C. (Director) (2008). Gran torino [DVD].

Martin, J., & Nakayama, T. (2011). Experiencing intercultural communication: An

            introduction. (4 ed.). New York, NY: The McGraw-Hill Companies.

Straka, R. (2003, February). The violence of hmong gangs and the crime of rape. FBI Law Enforcement Bulletin. Retrieved from http://findarticles.com/p/articles/mi_m2194/is_2_72/ai_98253655/?tag=content;col1

Wilmot, W., & Hocker, J. (2011). Interpersonal conflict. (8 ed.). New York, NY: The

            McGraw-Hill Companies, In