'Gran Torino': Race and Religion in the Theater

I had never heard so many different racial slurs in one sitting, barring that one George Carlin routine about how bad language is bullshit. The first instance occurs when Clint Eastwood opens his door and finds a Chinese boy standing on his porch. "Zipperhead" is fired from Eastwood's mouth before he shuts the door.

I wasn't counting the slurs, but I remember the audience laughing the most when Eastwood directed his anger toward a group of three young black men.

But hell, I thought Eastwood was funny, too. But when Racism is involved, an important distinction is whether you are laughing at something fucked up or laughing because you are fucked up.

OK, sermon over. I have no right to make assumptions about white people in a Mississippi theater.

Speaking of sermons, I felt like I was leaving church when I made my way to the exit. I saw young adults, middle-aged folk, and senior citizens--and what seemed to be children standing around the very front row. And most people looked solemn and respectful. Eastwood got his guts blown out, which gave me a feeling similar to when I watched John Wayne die in "The Cowboys" (two death spoilers in one sentence, OUCH). But the other audience members. Looking at their faces, it would seem they had watched Christ die.

But who better to worship than Eastwood? "Gran Torino" was a straightforward story, even cliched. But the man with slits for eyes and the warmest scowl made it special.

Jesus, Eastwood, don't let it be your last one. You wrinkled old cracker.