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Directed by | |||
| Clint Eastwood | |||
Writing credits(WGA) | ||
| Nick Schenk | (screenplay) | |
| Dave Johannson | (story) & | |
| Nick Schenk | (story) | |
Produced by | |||
| Bruce Berman | .... | executive producer | |
| Clint Eastwood | .... | producer | |
| Bill Gerber | .... | producer | |
| Jenette Kahn | .... | executive producer | |
| Robert Lorenz | .... | producer | |
| Tim Moore | .... | executive producer | |
| Adam Richman | .... | executive producer | |
Original Music by | |||
| Kyle Eastwood | |||
| Michael Stevens | |||
Cinematography by | |||
| Tom Stern | (director of photography) | ||
Film Editing by | |||
| Joel Cox | |||
| Gary Roach | (as Gary D. Roach) | ||
Casting by | |||
| Ellen Chenoweth | |||
Production Design by | |||
| James J. Murakami | |||
Art Direction by | |||
| John Warnke | |||
Set Decoration by | |||
| Gary Fettis | |||
Costume Design by | |||
| Deborah Hopper | |||
Makeup Department | |||
| Janice Alexander | .... | hair stylist (as Jan Alexander) | |
| Dawn Baker | .... | makeup artist | |
| Carol Branston | .... | hair stylist | |
| Clifton Chippewa | .... | hair stylist | |
| Lauri Cuppetilli | .... | assistant makeup artist | |
| Debbie Darakoljian | .... | makeup artist | |
| Kevin J Edwards | .... | hair stylist (as Kevin Edwards) | |
| Louise Holoday | .... | makeup artist | |
| Kimberly Jones | .... | makeup artist | |
| Kimberley Kirkpatrick | .... | makeup artist | |
| Tania McComas | .... | makeup department head | |
| Carol A. O'Connell | .... | hair department head | |
| Jay Wejebe | .... | makeup artist | |
Production Management | |||
| Tim Moore | .... | production manager | |
Second Unit Director or Assistant Director | |||
| Peter Dress | .... | second assistant director (as Pete Dress) | |
| Michael Judd | .... | second second assistant director | |
| Donald Murphy | .... | first assistant director | |
Art Department | |||
| Kai Blomberg | .... | set dresser | |
| James Fernandez | .... | on-set dresser | |
| Steven Ladish | .... | set dresser | |
| James R. Lord | .... | propmaker gang boss | |
| Jared A.J. Muscarella | .... | carpenter | |
| Michael Muscarella | .... | construction coordinator | |
| Loren Nickloff | .... | general foreman | |
| Missy Parker | .... | assistant set decorator | |
| Edward J. Protiva | .... | leadman | |
| Douglas S. Reilly | .... | graphic designer: props | |
| Scott Schutzki | .... | set dresser | |
| Michael Semon | .... | assistant propmaster | |
| Robert Silcock | .... | propmaker foreman | |
| Chris M. Young | .... | art department production assistant | |
Sound Department | |||
| David A. Arnold | .... | supervising dialogue editor (as David Arnold) | |
| Bub Asman | .... | co-supervising sound editor | |
| Gail Carroll-Coe | .... | utility sound/second boom operator | |
| William Cawley | .... | sound effects editor (as Bill Cawley) | |
| Lucy Coldsnow-Smith | .... | dialogue editor | |
| Flash Deros | .... | boom operator | |
| Michael Dressel | .... | supervising foley editor | |
| Juno J. Ellis | .... | adr supervisor | |
| Robert Fernandez | .... | score mixer | |
| Robin Harlan | .... | foley artist | |
| Jason King | .... | sound effects editor | |
| Jonathan Klein | .... | foley editor | |
| Lisa J. Levine | .... | adr editor | |
| Walt Martin | .... | supervising sound editor | |
| Sarah Monat | .... | foley artist | |
| Ryan Murphy | .... | sound mix technician | |
| Alan Robert Murray | .... | supervising sound editor | |
| Kevin Murray | .... | sound effects editor (as Kevin R.W. Murray) | |
| Rupert Nadeau | .... | assistant adr editor | |
| Andy Potvin | .... | dolby sound consultant | |
| John T. Reitz | .... | sound re-recording mixer (as John Reitz) | |
| Gregg Rudloff | .... | sound re-recording mixer | |
| Brian Seagrave | .... | audio post-conform | |
| Randy Singer | .... | foley mixer | |
| Beth Sterner | .... | dialogue editor | |
| Beth Sterner | .... | sound editor | |
| Shawn Sykora | .... | foley editor | |
| Katy Wood | .... | dialogue editor | |
Special Effects by | |||
| Hank Atterbury | .... | pyrotechnician | |
| Hank Atterbury | .... | special effects technician | |
| Michael DePietro | .... | special effects pyrotechnician | |
| Michael DePietro | .... | special effects technician (as Michael V. De Pietro) | |
| David A. Poole | .... | pyrotechnician | |
| David A. Poole | .... | special effects technician | |
| Ryan A. Riley | .... | special effects technician (as Ryan Riley) | |
| Shari Ann Riley | .... | special effects assistant | |
| Steve Riley | .... | special effects supervisor (as Steven Riley) | |
| Dominic V. Ruiz | .... | special effects foreman | |
| Dominic V. Ruiz | .... | special effects technician | |
Visual Effects by | |||
| Bron Barry | .... | visual effects coordinator | |
| John Campuzano | .... | visual effects coordinator | |
| Andrea Caretta | .... | digital artist | |
| Greg Cheng | .... | digital artist | |
| Chad E. Collier | .... | render i/o administrator: Digital Domain | |
| Janice Barlow Collier | .... | dustbuster: Digital Domain | |
| Michael Degtjarewsky | .... | lead compositor | |
| Yoshi DeHerrera | .... | visual effects artist: 3D scanning & modeling | |
| Gregory Duncan | .... | dustbuster: Digital Domain | |
| Joe Farrell | .... | senior digital compositor | |
| Mark Freund | .... | visual effects supervisor: Pacific Title | |
| Navjit Singh Gill | .... | technical assistant | |
| Brian Hanable | .... | digital effects compositor: Pacific Title | |
| Brian Holligan | .... | digital coordinator: Digital Domain | |
| Julian Levi | .... | visual effects producer | |
| Darin McCormick-Millett | .... | visual effects producer (as Darin Millett) | |
| Kyle Mulqueen | .... | digital artist: scan data cleanup | |
| Erin L. Nelson | .... | digital restoration | |
| Lee Nelson | .... | 3D artist | |
| Jessica Noll | .... | compositor | |
| James P. Noon | .... | tracking | |
| Darren Poe | .... | digital effects supervisor | |
| Kelly Port | .... | visual effects supervisor | |
| Francisco Ramirez | .... | assistant visual effects editor: Digital Domain | |
| Prateep Siamwalla | .... | tracking | |
| Wilson Tang | .... | digital restoration | |
| Justin van der Lek | .... | 3D integration: Digital Domain | |
| Bob Wiatr | .... | digital compositor: Pacific Title | |
| Xye | .... | tracking | |
| Lisa de la Garza | .... | visual effects senior staff: Digital Domain (uncredited) | |
| Amanda Hampton | .... | software engineer (uncredited) | |
| Ian A. Harris | .... | digital artist: Digital Domain (uncredited) | |
| Michael Owens | .... | visual effects supervisor (uncredited) | |
| Michelle Winze | .... | digital producer (uncredited) | |
Stunts | |||
| Buddy Van Horn | .... | stunt coordinator (uncredited) | |
Camera and Electrical Department | |||
| Greg Brooks | .... | dolly grip | |
| Buzzy Burwell | .... | lighting technician | |
| Stephen S. Campanelli | .... | camera operator | |
| Trevor Carroll-Coe | .... | film loader | |
| Jesse Cecchini | .... | additional set lighting technician | |
| Bill Coe | .... | camera: "a" camera | |
| Bill Coe | .... | first assistant camera | |
| Michael J. Conner | .... | additional lamp operator | |
| Ross Dunkerley | .... | gaffer | |
| Bill Hong | .... | camera car operator | |
| John Lacy | .... | assistant chief lighting technician | |
| William MacLeod | .... | grip (as Bill MacLeod) | |
| Bobby McMahan | .... | second assistant camera | |
| Brian Minzlaff | .... | set lighting | |
| Liz Radley | .... | camera operator: high definition camera | |
| Tony Rivetti Jr. | .... | still photographer | |
| Charles Saldana | .... | key grip | |
| T. Daniel Scaringi | .... | key rigging grip | |
| Dean M. Simmon | .... | first assistant camera: "b"camera | |
| Scott Zuckerberg | .... | electrician (uncredited) | |
Costume and Wardrobe Department | |||
| Melanie August | .... | costume staff assistant | |
| Diana Edgmon | .... | costumer | |
| Cheryl Scarano | .... | costume supervisor | |
Editorial Department | |||
| Jill Bogdanowicz | .... | digital film colorist | |
| Tony Dustin | .... | digital film colorist | |
| Blu Murray | .... | first assistant editor | |
| Hailey Murray | .... | post-production assistant | |
| Bob Peishel | .... | digital intermediate producer | |
| Mark Sahagun | .... | digital intermediate editor | |
| Kurt Smith | .... | film color timer | |
| Larry D. Webster | .... | post-production | |
| Jeff Pantaleo | .... | dailies colorist (uncredited) | |
Music Department | |||
| Kevin Bassinson | .... | music editor: uncredited | |
| Robert Fernandez | .... | score mixer (as Bobby Fernandez) | |
| Daniel J. Johnson | .... | music editor | |
| Jenny Leite | .... | assistant music editor | |
| David Low | .... | orchestra contractor | |
| Renzo Mantovani | .... | composer: additional music | |
| Chris McGeary | .... | music editor | |
| Lennie Niehaus | .... | conductor | |
| Lennie Niehaus | .... | orchestrator | |
Transportation Department | |||
| Nicholas Acquaviva | .... | picture car wrangler | |
| Tony Barattini | .... | driver: production van | |
| Mike Bilkovic | .... | transportation | |
| Michael Bjerke | .... | driver | |
| Demond Dickerson | .... | transportation | |
| Sue Grasso | .... | driver | |
| David B. Jackson | .... | unit driver | |
| Ken Kupchick | .... | transportation | |
| Reno S. Mifsud | .... | driver | |
| Billy Neckrock | .... | driver | |
| Kirk Roberts | .... | driver: Clint Eastwood | |
| Domiciano Rodriquez | .... | transportation co-captain | |
| Alana Stelling | .... | transportation captain | |
| Larry Stelling | .... | transportation coordinator | |
| John 'Detroit' White | .... | transportation | |
| David Schmidt | .... | driver (uncredited) | |
Other crew | |||
| Tarrance Alfred | .... | assistant location manager | |
| Susan Bliss | .... | post script services | |
| Jennifer Burdick-Baklarov | .... | additional production assistant | |
| Sue Chipperton | .... | animal wrangler | |
| Tony X. Deale | .... | production associate | |
| Joe Elrom | .... | location assistant | |
| David Fencl | .... | key armorer | |
| Alex Fields | .... | assistant location manager | |
| Dyane Garvey | .... | cultural advisor: Hmong | |
| Carrie Gillogly | .... | assistant: Mr. Gerber | |
| Jason Gondek | .... | production accountant | |
| Matthew Goodwin | .... | additional set production assistant | |
| Holly Hagy | .... | production coordinator | |
| Cindy Ichikawa | .... | assistant production coordinator | |
| Cedric Lee | .... | cultural advisor: Hmong | |
| Cedric N. Lee | .... | cultural consultant | |
| Mark D. Lee | .... | staff assistant | |
| Deana Lou | .... | assistant: Mr. Eastwood | |
| Jessica Meier | .... | assistant: Mr. Lorenz | |
| Eddie Merino | .... | key assistant location manager | |
| Patrick Mignano | .... | location manager | |
| Matt Miller | .... | key set staff assistant | |
| Tizzie Onderko | .... | stand-in | |
| Gui Sauder Pinto | .... | location assistant | |
| Jason Roby | .... | additional set production assistant | |
| Michael Roccuzzo | .... | post accounting | |
| Dimitrios Rongakis | .... | production assistant | |
| Cary Scaringi | .... | staff assistant | |
| Karen Shaw | .... | production coordinator | |
| Mindy Silberman | .... | production secretary | |
| Peter Skorupskas | .... | production assistant | |
| Cathy Thomas | .... | location scout | |
| Joel Tokarsky | .... | first assistant accountant | |
| Landon Trawny | .... | second assistant accountant | |
| Renee Trawny | .... | accounting clerk | |
| Stephanie Tull | .... | set staff assistant | |
| Karen Turner | .... | payroll accountant | |
| Karen Turner | .... | payroll accountant | |
| Stephanie Whallon | .... | travel accountant | |
| Gowhnou Yang | .... | stand-in | |
| Trina Naz | .... | production assistant (uncredited) | |
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| Full cast and crew | Company credits | External reviews |
| News articles | IMDb top 250 movies | IMDb Drama section |
| IMDb USA section |
Manohla Dargis writes in the New York Times: "Dirty Harry is back, in a way, in "Gran Torino," not as a character but as a ghostly presence. He hovers in the film, in its themes and high-caliber imagery, and of course most obviously in Mr. Eastwood's face. It is a monumental face now, so puckered and pleated that it no longer looks merely weathered, as it has for decades, but seems closer to petrified wood. Words like flinty and steely come to mind, adjectives that Mr. Eastwood ... expressively embodies with his usual lack of fuss and a number of growls." More praise for Eastwood comes from Joe Morgenstern in the Wall Street Journal, who comments: "No one makes movies like Gran Torino any more, and more's the pity. This one, with Clint Eastwood as director and star, is concerned with honor and atonement, with rough justice and the family of man. It raises irascibility to the level of folk art, takes unapologetic time-outs for unfashionable moral debates, revives acting conventions that haven't been in fashion for half a century and keeps you watching every frame as Mr. Eastwood snarls, glowers, mutters, growls and grins his way through the performance of a lifetime." Elizabeth Weitzman in the New York Daily News remarks that "it's clearly a career-capping work." Kenneth Turan in The Los Angeles Times writes that the movie "is impossible to imagine without the actor in the title role. The notion of a 78-year-old action hero may sound like a contradiction in terms, but Eastwood brings it off, even if his toughness is as much verbal as physical. Even at 78, Eastwood can make 'Get off my lawn' sound as menacing as 'Make my day,' and when he says 'I blow a hole in your face and sleep like a baby,' he sounds as if he means it."
There are at least four reason why I like this film: 1. Clint Eastwood shows that the character he is playing is willing to serve in a war-- and die if necessary--to preserve freedom (and he has a medal to prove it), 2. he has grown old and the whole world has changed (and everyone around him seems to indicate--in one way or another--that he is no appreciated or needed), 3. even with a transformation, he demonstrates that people tend to be reactive--rather than responsive--and are slow to change (this is particularly true with bias, discrimination, and prejudice), and 4. that tolerance can lead to understanding (he tries to give tough love, but he becomes softer in his response--instead of his reaction--after giving and receiving genuine love). It seems that everyone around him wants his Gran Torino and everything else he owns, before he even has died, instead of being interested in him. He lives in a community that is transformation, and he knows absolutely nothing about culture, diversity, ethnicity, race, or sexual orientation. He does know about aging, however (if nowhere else, he learns about it from people's adverse and negative reactions, everywhere around him). He isn't exactly treated with dignity and respect, so why should he treat anyone else with dignity and respect? And, trust must be earned.
If this is Clint Eastwood's last film, I can only say that that his performance, in this stunning film, is what legends are made of. There are some wonderful performances in "Milk" (Sean Penn), "Australia" (Hugh Jackman and Nicole Kidman), "Changeling" (Angelina Jolie and director Clint Eastwood), and "The Dark Knight" (a riveting performance by "Brokeback Mountain's" Heath Ledger). In viewing all of these films, there are performances that are not only superb, but they evoke every one of the emotions and carry the intellect and intelligence of human cognitions to the highest pinnacle of excellence. As a gay person, I must say that I am moved by Sean Penn's portrayal of Harvey Milk, I am moved by the romantic chemistry between Hugh Jackman and Nicole Kidman, and I would be remiss if I did not mention Angelina Jolie's flawless and moving performance. But, I give the top honor to Clint Eastwood for giving us films that educate and entertain. And, "Gran Torino" (2008) is no exception. One cannot walk away from a Clint Eastwood film, without saying that they haven't learned something, or without saying (just like the legendary Ethel Merman used to sing) 'there's no business (quite) like show business'. I rank "Gran Torino" (2008) a 10 out of 10. Clint Eastwood's performance is more than another version of 'Dirty Harry'. In fact, his portrayal is reminiscent of the Paul Newman character in "Nobody's Perfect".