Review Directed by and Starring Clint Eastward Co-starring Bee Van 2008 A mint condition vintage 1972 Ford Grand Torsion Is the symbol of Walt Kowalski (Clint Eastward), an old man past his prime, frozen In time, bitter at everything that has changed around him. Walt Is a Korean War Vet left alone In a rundown Detroit neighborhood full of Hong (South East Asian) Immigrants after his adult children stop vaulting him, and his wife passes away.
Despite Nominal resentment and race mandarins, a certain relationship Is built between Walt and his Hong neighbors after they find themselves battling a common enemy, a local gang that plague the streets. In particular, Walt finds himself helping out That (Bee Van a shy teenager with nothing going for him. Making friends across age, culture, and religion gaps sees Walt warm, and learn a lot about himself and the world around him. Clint Eastward animates the character of Walt to an amazing degree, studying the unrehearsed emotions of anger, regret, sorrow and shame.Although the role of “angry old man” sounds unassuming, Eastward presents us with an organic, multi-layered character that is never predictable. Walt is always ranting about his immigrant neighbors, “kids these days”, his priest’s persistence, and the modern world in general, but we never dislike him for it. We can tell that there is an historic storm going on inside Wall’s head, and we pity his loneliness.
Eastward does a superb Job in slowly unraveling the cold layers of hatred in Walt, in a way that we still view him as a human being.The way his character is always changing immerses us in the movie. Statehood’s character alone generates enough interest to watch the entire film, but it’s the way that Walt interacts with the other characters that is the main curiosity in the film, as he is drawn into the lives of those around him.
Without Walt, there Is an Insufficient amount of substance to the film, so it makes sense that he Is the main character, but sadly there are times when even Wall’s connection with other’s Is broken by bad acting. Bee Van (who plays That) punctures the tire of the GrandTorsion, letting the air out of the raw atmosphere created by Clint Statehood’s “no-fuss” style of unfiltered directing. The film’s style Is void of pretentiously cinematic filming and outrageously strategic plot points, creating an easy to watch, real film.
Without an overabundance of Hollywood blind, all that Is left Is a real Immersion In the characters. If done right (full marks to Eastward), this can have a great effect In passing on an easy to swallow and relatable message to the audience, especially within this genre of drama. However, It Is risky, If certain actors cannot hold onto the audience through their art.
In particular, Bee Van lacks the acting capability to be so tightly interwoven into veteran actor Clint Statehood’s character. Unfortunately, this is where most of the interactions happen, and the immersion of a scene is sometimes broken by Bee Van, and every time it happens, we lose faith in the message that prejudice. If more effort was given by Bee Van to play a multi layered character, Grand Torsion would be a brilliant and spectacular film, but sadly we are left with a old delivery of predictable shy awkwardness and angst, with grotesque attempts at being on Clint Statehood’s playing field.Whoever cast Bee Van for That shot Eastward in the foot simultaneously. His name is an extremely optimistic grade of his performance in Grand Torsion. Because of the lackluster characters, we rely even more heavily on Clint Statehood’s character.
Thankfully, Statehood’s stunning acting ability is enough to carry the film all the way to the end, and by then we grasp the idea of the film. Although it was not as memorable as it could have been.