I've watched two movies in the last couple of weeks that have a lot in common: the death of a mother, the alienation of a father from his children, a re-engagement with life, and an eventual reconciliation. There are also many differences between the two. One mother has been a good and faithful wife; the other has not. One takes place in a declining working-class neighborhood; the other is set in luxurious locations in Hawaii. One leaves the viewer with a sense of hope; the other leaves him thinking, "Well, that's nice, but what happens next?
The Descendants' Matt King has been so busy with his law practice and the handling of his family's hereditary estate on Kauai that he hasn't had much time for his family. Now his wife, Alexandra, is in a coma in the hospital after a boating accident and he hopes that when she recovers, he can begin to make up for past mistakes. Before very long we learn two things: she's been having an affair with someone whom she wants to marry, and she is going to die. Throughout the rest of the movie, Matt and his 16 and 10 year old daughters try to come to terms with Alexandra's life and death, and to rebuild their relationship with one another. In the end they succeed, and the final scene shows the three of them snuggling together on the couch, eating popcorn and watching TV.
It's a beautiful (scenically), well-made movie and the actors play their parts well, but there is an emptiness throughout the movie. After Alexandra dies, there is a scene in which Matt and his daughters take her ashes out in a canoe and dump them into the ocean. There's an "is that all there is?" feel to the scene. She was alive and now she's gone, and that seems to be it. There's no promise of anything beyond this life, and one wonders what can possibly hold the family together now.
The Descendants' Matt King has been so busy with his law practice and the handling of his family's hereditary estate on Kauai that he hasn't had much time for his family. Now his wife, Alexandra, is in a coma in the hospital after a boating accident and he hopes that when she recovers, he can begin to make up for past mistakes. Before very long we learn two things: she's been having an affair with someone whom she wants to marry, and she is going to die. Throughout the rest of the movie, Matt and his 16 and 10 year old daughters try to come to terms with Alexandra's life and death, and to rebuild their relationship with one another. In the end they succeed, and the final scene shows the three of them snuggling together on the couch, eating popcorn and watching TV.
It's a beautiful (scenically), well-made movie and the actors play their parts well, but there is an emptiness throughout the movie. After Alexandra dies, there is a scene in which Matt and his daughters take her ashes out in a canoe and dump them into the ocean. There's an "is that all there is?" feel to the scene. She was alive and now she's gone, and that seems to be it. There's no promise of anything beyond this life, and one wonders what can possibly hold the family together now.
When my friend Amy told me that I should watch Gran Torino, I thought, "A car movie?" Then when she said that was a Clint Eastwood movie, I thought, "Really? Wasn't his last movie about euthanasia?" However, she then said the magic words which will get me to watch most anything, "It's really Catholic."
The movie opens with the funeral of Walt Kowalski's wife. Kowalski (Clint Eastwood) stands stern and unmovable as guests file by the casket. During the funeral, the young priest, Fr. Janovich, gives a rather pat homily that might do for a family whose faith is important to them, but is powerless to touch or console Dorothy Kowalski's family. It becomes quickly obvious that there is only the most tenuous of relationships between Walt and his two sons and their families, and that this is unlikely to change.
Walt is a Korean War veteran and he is angry. The world around him is changing and he doesn't like the changes. His neighborhood is now filled with Hmong refugees. He has nothing to say to his neighbors and they have nothing to say to him. So, he sits on his porch, drinking beer and scowling at the world.
Not only is Walt unhappy with his neighbors, but Fr. Janovich is making his life difficult. Father made a promise to Dorothy that he would get Walt to go to Confession, and he is determined to keep his promise. I like this character. He is naive and sometimes gauche, but he is also brave and faithful
Events conspire to involve Walt in the lives of his next door neighbors, a young woman named Sue and her brother Thao. It's his growing affection for these two young people and the wider Hmong community that brings Walt back into the land of the living. It's his efforts to help Thao find his way in the world and escape the clutches of the gang that is trying to recruit him that bring him to the point where he must face the demons of his years in Korea, and risk everything to save his friends.
Unlike The Descendants, Gran Torino is filled with hope. In fact, the characters in one way or other display all the virtues, both theological and cardinal. It's a bit rougher around the edges (Oh, who could imagine Clint Eastwood rough around the edges?), but it tells a story of true reconciliation.
One warning, is that Gran Torino is filled with language that will manage to offend almost everyone. It's not only crude, it's decidedly not PC. I don't find this as offensive, though, as the language of the daughters in The Descendants. It's very irritating, but it's pretty much what we have come expect from children in movies nowadays.
AMDG
The movie opens with the funeral of Walt Kowalski's wife. Kowalski (Clint Eastwood) stands stern and unmovable as guests file by the casket. During the funeral, the young priest, Fr. Janovich, gives a rather pat homily that might do for a family whose faith is important to them, but is powerless to touch or console Dorothy Kowalski's family. It becomes quickly obvious that there is only the most tenuous of relationships between Walt and his two sons and their families, and that this is unlikely to change.
Walt is a Korean War veteran and he is angry. The world around him is changing and he doesn't like the changes. His neighborhood is now filled with Hmong refugees. He has nothing to say to his neighbors and they have nothing to say to him. So, he sits on his porch, drinking beer and scowling at the world.
Not only is Walt unhappy with his neighbors, but Fr. Janovich is making his life difficult. Father made a promise to Dorothy that he would get Walt to go to Confession, and he is determined to keep his promise. I like this character. He is naive and sometimes gauche, but he is also brave and faithful
Events conspire to involve Walt in the lives of his next door neighbors, a young woman named Sue and her brother Thao. It's his growing affection for these two young people and the wider Hmong community that brings Walt back into the land of the living. It's his efforts to help Thao find his way in the world and escape the clutches of the gang that is trying to recruit him that bring him to the point where he must face the demons of his years in Korea, and risk everything to save his friends.
Unlike The Descendants, Gran Torino is filled with hope. In fact, the characters in one way or other display all the virtues, both theological and cardinal. It's a bit rougher around the edges (Oh, who could imagine Clint Eastwood rough around the edges?), but it tells a story of true reconciliation.
One warning, is that Gran Torino is filled with language that will manage to offend almost everyone. It's not only crude, it's decidedly not PC. I don't find this as offensive, though, as the language of the daughters in The Descendants. It's very irritating, but it's pretty much what we have come expect from children in movies nowadays.
AMDG
This is not the first favorable review of GT I've heard from a reliable source. I'll have to put it on my ever-expanding list.
ReplyDeleteI have seen it several times. I showed it to my 'Film and Theology' class - some of them were shocked by its unPC elements. I was shocked by their purience.
ReplyDeleteI know--and you could have shown them any sort of sexual degradation and they wouldn't have batted an eye.
ReplyDeleteAMDG
Well actually, this lot are quite weird about sex, at least from my experience of students. Some of them were worried by the nonmarital love relationship in The Lives of Others. I told them that the unconditional love exhibited by the playwright toward his girlfriend was surely a good thing and that the Stasi guy was converted by witnessing their 'vigorous sex' (as he describes it in his report to his superiors). It is not shown in any kind of detail.
ReplyDeleteFor me, the odd thing about objecting to Clint E's unPC language is that the movie in now way condones it - it makes fun of it. But it also makes light of it, and that's the rub.
Right about not condoning it. One of the things that happens in the movie is that he comes to see the people that he calls "gooks" (that's what he says, right?) as real people.
ReplyDeleteAMDG
Some Catholic college students would be exceptions to the general rule of unshockable-by-prurience. In general I think what we would term unPC-ness is the form prudishness takes in our society.
ReplyDeleteHave I ever linked to this before? It provides some derogatory terms used of Koreans and Chinese about 30 seconds in. It's worth listening to for much better reasons than that, though.
ReplyDeleteThere's never any shortage of derogatory terms for an enemy. Grim picture.
ReplyDeletePaul--I've never seen this before. I think the character in this movie would pretty much agree with the lyrics of the song.
ReplyDeleteMy Dad, being an Italian Catholic in the Navy during WWII, and you can see how they are portrayed in movies, was really good at turning whatever names people called him into an asset. Of course, he was the kind of person that could make anyone like him and he had a pretty thick skin. Most people don't have that ability. Still I think if we can learn to laugh at stuff like that, it robs us of the power to harm us.
AMDG
One thing about GT: I basically appreciated the effort, but was saddened to see that he included some scenes in which it's pretty apparent that 1) he told the actors to wing it, 2) they did a tepid job, and 3) the offending sequences were *NOT* left on the cutting room floor. It's never nice to see a cool guy like Eastwood let something like that slide.
ReplyDeleteThat said, it also has to be admitted that GT has some mythic resonance.
It's been a while since I watched the movie now, but I'm sure you are right. There were several scenes that were weak or unbelievable or predictable, but overall I really liked the movie.
ReplyDeleteAMDG