Ray Stantz
They all said, we do too. Sergio Leone, decades ago, said that Eastwood had two expressions: with and without hat. Very true, at the time. Meanwhile, the then young (not even so then, Hollywood's standards - especially those of today) Clint has become an icon in its own right, her presence fills ("pit", he says) certainly have to add the screen, its no longer one - or two - but expressive acting minimal, basic communication level (animal, in that it is next to the most instinctual, irrational, and true of every human being) in a / private world, made up of glances sideways gestures and sharp cut, mutilated words. What is most surprising is how the actor, the star, has become a filmmaker sublime. A film-maker, maker of cinematographic works, with the composure, elegance, mastery of the classics. Yet able to touch, handle, deal with fundamental issues head-on and very modern. His last directorial tests are consistent and incontrovertible evidence. This time, the new maximum levels of touch and is a joy to witness to it.
Telling "the story" seems almost a snub to the author and readers. What are warned: if they lose this film will not only harm themselves. But the plot, after all, minor thing. History of violence, a lot. Past and present, shows off stage or in a dry (but not free). History of people, human beings - different yet similar tremendously. What part of the American melting pot and you (and us) transports all of us in this dizzying effectively and inevitably moving. Story of one man, at the end of his life. Filled with anger and especially of pain, mistrust and prejudice - all clear, slammed in your face. But also "a good man," addressed him as a girl, a neighbor of China (an ethnic Hmong, to be exact), one of the people who - by sheer accident of the case - is to establish a relationship with him . A report that nobody wanted, which mainly seemed impossible for the will of the parties. And even though born and raised, so real and alive. It serves to show a little 'sick man at a time, tired and angry (angry, indeed, the world whole) yet full of life, power and lessons to offer. And with him to show the world that surrounds him, so strangely and suddenly people nearby though seemingly doomed forever to be apart.
A young man comes by chance, and in the worst way, in the life of a man impossible to approach. Who becomes the mentor, father figure (and thanks, a thousand times thanks to those who say it openly, in dialogue, instead of becoming complacent and pathetic felt deeply ridiculous innuendo and subtle). It helps the path of growth, of becoming an adult ("You must learn how to speak a true man"), and fight to protect it from destructive and senseless violence that contaminates life - in the form of a street gang that wants to recruit him for the struggle between "races" in the streets of the neighborhood. The impossible happens, and in a simple and practical. The boy wants to redeem (for what we ultimately just, the attempted theft - also imposed by the gang as an initiation test - Clint the valuable cars, the Ford Gran Torino of the title) and takes the opportunity to do much much more: becoming an adult, beyond their limits, to grow and live. The old man discovers he has much yet, so much to give to others and to be able to rejoice. And finally, you can also redeem himself by endless violence and forever burning in his soul, even if remote in time (the war in Korea). In between, permanently damage the relationship with their children and the second chance represented by a "gook" without a father. The horrible, bloody stupidity of the struggles of the district which is based on racism, ignorance, lack of values. A priest who does (acute observation of Egon) counterpoint to the old thoughts and feelings, almost like a greek chorus, appearing only and only when appropriate. The pride and fortitude of those who have struggled for life for this but did not want to stop doing that - and those who fight for the chance he never had, but if you have the opportunity to try to earn a better life, does not hold back.
Eastwood office at its 110% character classic, it's the gunslinger with no name spaghetti western or Dirty Harry Callahan - and does so with strength and self-irony, cynicism with only the surface but with great and profound humanity. Dominates the scene, but almost in the abstract is to be so stylized. He has the courage, style and control to address new issues without falling into banality. Talk to (and sometimes) hate and violence, but fills the screen with streams of hope. Osa staging sacrifice and redemption without risking ridicule. Give a warning, a lesson, a message of love that we can be if we give in to our dark side - especially when we feel morally justified to do so (and this is hardly surprising, and here ends in size a fresco already powerful).
Here, if the film were all so it would not help this blog. There we would be blessed a couple of hours a day to see art that blends the life and encourages us and inspires in a movie theater. Unfortunately it is not. The reviews, and the distinctions are. And how. Therefore, we recommend: do not miss this film. Even if it were the last of Clint (and pray that this is not!) Shows that a will can sometimes be beautiful, precious, bright like a lifetime.
