**Grand Torino** opens with a funeral. The widower Walt Kowalski (Eastwood) stoically accepts this situation while observing his children and grand children. A Korean War veteran who lived the American Middle class dream as a Ford factory worker, Walt has a hard time accepting a world where young girls wear belly button rings. While hosting the wake, Walt observes his Korean neighbors, with whom he dislikes. Walt's enmity grows when the teenaged Thao (Bee Vang) attempts to steal Walt's prized procession, a 1972 Gran Torino.
Having dishonored the family, Thoa is sent to Walt's house to do chores. While the old racist does not want the boy around, Walt finds Thoa to be better companionship than his own materialistic family. Walt and his Korean neighbors find unity in diversity and learn to accept one another during dangerous times.
**Gran Torino** grows as a narrative and Director Clint Eastwood is in no rush to tell the story. Like his previous Best picture Oscar winning movies, **Unforgiven** and **Million Dollar Baby,** **Gran Torino** is filled with little moments that are character gems; such as Walt reading his birthday horoscope to his dog or when Walt visits his neighborhood barbershop to torment his barber.
**Gran Torino** is also a meditation about life, death and taking responsibility for one's soul. Walt is often challenged by his parish priest; Father Janovich (Chris Carley) who seeks a formal confession from his grumpy parishioner. The debates are simple, spirited and form a core assertion for morality that is truly lacking in most mainstream motion pictures.
Given the recent 29 millon dollar box office gross of **Gran Torino**, the American consumer seems to appreciate a moral debate told in an entertaining way.