Gran Torino Composed by Kyle Eastwood &
Michael Stevens
Promo (2008)
Rating:
4/10
“I'm quite certain GRAN TORINO will be remembered fondly by
audiences. Many will find a nostalgic connection to Jamie Callum's
original song; however, without the almost subconscious build-up of the EASTWOOD
and STEVEN's score, that song would be considerably less effective.”
Whispers through Gran Torino
Review by Christopher Coleman
Seeing the name of GRAN TORINO brings back childhood memories for me. No - not
so much of one of the hottest TV cars of all-time in Starsky & Hutch, but of one
my folks owned. I have some pretty fond memories of going to drive-in theaters
with my family in that Ford staple as little kid. The instant I saw the title,
something was hooked in me and as it turns out both the themes of memories and
family are two of the main themes of Clint Eastwood's latest project. Seeing the grizzled and hardened stare of Clint Eastwood down the
sites of a large firearm also brings back memories of 70s movie icon, Dirty Harry. It’s not much of a stretch to
envision Eastwood’s character in GRAN TORINO, as what Dirty Harry would have
been like after he retired. Certainly not the biggest stretch for the actor,
GRAN TORINO displays Eastwood the way we like to see him most. Even moreso than
his last starring (and directing) role in MILLION DOLLAR BABY, Eastwood offers
up hard core, no holds barred, intensity, but again finds a way to give his
character enough heart to make him embraceable. Now, when it comes to the film's
music, as many of you might have come to expect. this Eastwood score reflects
much more of the “heart” than it does it’s edgier side. With the director’s chair and
starring role on his plate again, Eastwood left the musical duties in
the hands of long-time, collaborator, MICHAEL STEVENS and son, KYLE EASTWOOD.
GRAN TORINO is much more than its teaser trailer made it out to be. It’s not
just Dirty Harry versus the local gangs of a Michigan. As a cynical,
ex-military, widower, Walt Kowalski (Eastwood) comes to realize that he has more
in common with his new, Hmong, next-door neighbors than he does his own family.
His reluctant, and sometimes hostile, dealings with his neighbors causes him to
not only have to deal the Michigan town’s gang element but also his own inner
demons. So how does his classic GRAN TORINO factor into all this? As
an assembly-line worker for Ford, Walt actually help to assemble his GRAN TORINO which has
since remained one of his prized possessions…as well as an object of envy of several
other important people within the hood. In the end, his 70s-classic car comes to
symbolize his legacy and affections. GRAN TORINO, displays Eastwood doing what
he does best as an actor, even overcoming some of the weaker supporting acting
performances. Beneath his racially charged tirades and expletives, his
character goes on a very touching journey of human connection and healing
through sacrifice.
While a surprisingly entertaining film, GRAN TORINO, sadly does not depart from
the Eastwood's musical formula. Looking at his body of work thus far, the shrewd director will
certainly not be known for relying
on music as an emotional crutch. As they did for LETTERS FROM IWO GIMA, composers KYLE EASTWOOD
and MICHAEL STEVENS collaborate and continue Clint Eastwood's distinctive brand of musical
score. GRAN TORINO essentially revolves around two musical ideas. Firstly,
there is the central theme which is heard most often on guitar and backed by
light strings and occasional bass guitar (see tracks 1 and 3). In track 6,
“Father/Son Phone Call” we hear this title theme given it's most evocative
orchestral treatment; played tenderly on strings. This short-lived
piece is just the sort of musical tease that leaves me begging for a bit more,
but "a bit more" rarely ever comes in an Eastwood film. Now, this theme
does not truly receive full expression until the film's conclusion and end credits
where it is transformed into a memorable title song performed by
JAMIE CALLUM. In truth, it is the most engaging bit of the soundtrack and stayed
with me long after watching the credits roll. During
the final moments of the film, there is a rather uncomfortable vocal version
sung by Eastwood himself, which is followed by Callum’s smooth rendition. The
song has already been nominated for a Golden Globe Award and will likely
garner further attention during award season. (As much as I loved the
song, it was not included on the promo release and as such is not reflected in
the final rating here.) The second musical idea
represents the central character of Walt Kowalski (Eastwood). Throughout
the film, he is represented by a militaristic flavor comprised of snare drum,
timpani and the occasional bass drum. This idea most frequently appears when
Walt is in confrontation with one of the story’s gang elements (see tracks 2, 4,
5, 7). While this idea is accurate to a part of Walt Kowalki's character,
it plays too one-dimensionally and doesn't add as much the film's emotional
vibrancy or complexity. In the end, I'm quite certain GRAN TORINO will be
remembered fondly by audiences. Many will find a nostalgic connection to Jamie Callum's
original song; however, without the almost subconscious build-up of the EASTWOOD
and STEVENS' score, that song would be considerably less effective.
Most familiar with scores from Eastwood’s more recent projects will immediately
identify his style of score. Simple melodies plucked out on piano, or in this
case guitar, with the subtlest of small orchestral accompaniment were the
foundations of MILLION DOLLAR BABY, FLAGS OF OUR FATHERS, LETTERS FROM IWO GIMA, and most
recently CHANGELING. GRAN TORINO is hardly different. With director and starring
role duties, Clint Eastwood left the musical reigns in the hands of his son,
KYLE EASTWOOD and MICHAEL STEVENS and they have surely kept the
Eastwood-score-brand alive in this film. While the score outside of the
film is flat and void, due credit must be given to both EASTWOOD and STEVENS for
contributing the title theme which has been arranged into one of better original
songs for 2008.
