This post attempts to align Clint Eastwood's 2008 film, Gran Torino, with Hopson's (2023) model for overcoming (or beginning to overcome) racism / white supremacy in a modern-day post-pandemic society. I align Hopson's model with work that might be conducted in schools and with educators as a starting point to witnessing, acknowledging and understanding the power of racism / white supremacy. Gran Torino serves as an excellent example demonstrating a believable character coming to grips with his own stereotypes, prejudices and narcissism to see a community of Hmong refugees as individuals who he comes to care for and no longer view as a homogenized people.
This film is about breaking down stereotypes and acknowledging deep-seated prejudice, racism and white supremacy and finally about unexpected friendships. In the character of Walt Kawalski, played by Clint Eastwood, the audience can see an excellent example of white narcissism, as Matias (2016) explains "the narcissist will further socialize his identity by finding and validating histories, media, topics, and discourse patterns that hold him to high esteem. However, when he is confronted with language, images, and/or facts that contradict his self-assumed Elysian identity, he will either avoid, defend, or silence it" (p. 70). A narcissist needs control over others, and in the case of Walt Kawalski, a white male, he already has uneven power over his poor Hmong neighbours. Matias states that a narcissist will take "absolute control by any means necessary ...Hence, narcissism becomes a powerful controlling element of the emotionality of whiteness; when applied to education, the impacts can be deleterious" (p. 77). Finally, Matias (2016) very bluntly but honestly, states white fragility regularly gets in the way of real change, particularly in the education realm. She explains, "there lies a truth that must be exposed, deconstructed, and honestly re-examined if we are to proclaim ourselves as antiracist teachers, racially-just teachers, or even socially-just teachers" (p. 69). Matias argues white fragility and the “narcissism of White men sustains colonial racism…[and] the emotionality of whiteness in education” (p. 74). As a White Canadian scholar, McLaren explains he attempts at being “a traitor to whiteness… if all whites are racists at some level, then we must struggle to become anti-racist racists” (Williams, 1999, n.p). It is Hopson’s model that might help us get there.
In his powerful 2023 paper, "The Work of Overcoming Racism/White Supremacy", Hopson intentionally uses the terms racism / white supremacy (and I will too) as it sits uncomfortably for many and that part is important. Hopson states racism / white supremacy are at the core of his country (USA), they are the "basic assumption of our nation. I suggest it is the root basic assumption of [which] operates at all levels of our society. It infects our psychological theories, and our esteemed theorists...It is the starting point, the root, of our way of thinking, behaving, and being. Racism / white supremacy is “baked into the bodies—and the lizard brains—of many Americans” (Menakem, 2017, p. 119). Despite this, we manage somehow to deny its power, except in extreme circumstances” (p. 325-326). This is where Hopson's model begins, with the notion of Denial in the existence of racism / white supremacy in our everyday lives. He explains whilst white supremacy is generally viewed as the very gross acts we are familiar with historically, he argues racism / white supremacy also consists of smaller acts. He states:
When only the grotesque events are considered racism, then
racism/white supremacy can be seen as an aberration rather than
the norm. We selectively ignore the mundane occasions of something
“impolite” or literally off-color; the “microaggressions,” the stubborn
structural barriers and banal procedural impediments to equity that
contribute to the atmosphere that makes the major outrages possible.
We remain ignorant of, and innocent, regarding the more pedestrian
moments of racism/white supremacy (p. 326).
Hopson's model continues with three more stages. The second relates to moving away from impaired empathy which he describes as a “stubborn refusal by many to recognize the implications of the racialized inequities in plain view” (p. 328). On developing empathy, Hopson says one can move towards living with the shame of racism / white supremacy (phase three) as this experience “can prompt a shift from allegiance to one’s group identity, to solidarity with the human family” (p. 330). The model concludes with the acknowledgement of death (phase four), but more specifically is an individual's “mourning the loss of power, privilege, and position, confronting the death of our old familiar, well-ordered but unjust ways of being” (p. 330). Hopson explains this death requires real and tangible change from the individual:
Change may involve no longer being silent at the dinner
table, or no longer overlooking the slip of the tongue. Change
involves the willingness to loosen old ties and idealizations of significant
others based on denial/selective inattention. The work in rooting
out America’s root basic assumption will involve mourning the loss of
power, privilege, and position, confronting the death of our old
familiar, well-ordered but unjust ways of being (p. 330).
Gran Torino brings each of Hopson’s stages to light in Techni-colour and I work through these below. I hope the reader might take away as I have the valuable lessons the researchers cited here have laboured over to work on their own racism / white supremacy. The next step would be to take those lessons bravely into the classroom.
Gran Torino is a 2008 film directed and produced by Clint Eastwood. Reviews have claimed this to be Eastwood's most powerful film (Arvedon, 2024) as it graphically explores racism, gang violence and White Supremacy in working-class Rustbelt of Detroit, USA. It tells the story of Walt Kawlaski, a recently widowed Korean War veteran. The audience quickly learn how racist Kawlaski is, and in general, he is portrayed as an incredibly stubborn and almost too stereotypically grumpy old white man. He resents how his neighbourhood has been overtaken by Hmong refugees and it appears he is the 'last man standing'. Even the elderly Hmong neighbour - who equally enjoys her porch time - questions (in her own tongue) why he is still living in a neighbourhood exclusively made up of Hmong.
There is potential gang attack on the neighbour's son, Thao Vang Lor, where Kawalski steps in with his gun. What follows is the entire neighbourhood bringing him food and flowers to express their gratitude. Kawlaski initially rejects their gifts, and it is only after he reluctantly attends a party at the Vang Lor home that he begins to warm to the family, most specifically the two young adult children Thao and Sue.
Kawalski's character stays firm - racist and rigid - throughout the film, even after the many challenges he faces on entering the Hmong community and on his increased understanding and appreciation of their shared culture, a culture they share with him.
Kawalski reluctantly befriends the boy next door, Thao. He eventually takes him under his wing and offers to help him get a job. Kawlaski sees it is his job first, however, to show him how to be a man. Kawalski's definition of a man is grouchy, racist and profranity ridden individual. There is a scene where Kawalski takes Thao to the barber to teach him to talk to other men. There he learns how to insult other men based on their ethnicity, culture and inadequencies. The scene is cringeworthy, but that's the point. Kawalski has observed that the only way Thao will survive in his world is to become more like him.
Kawalski insensitively resists learning the Hmong names of the characters and instead calls Thao "Toad" and his girlriend. Youa, "Yum Yum". His laziness suggests in incredible disinterest in learning about the Hmong culture. He sees the Vang Lor family through the lens of a deficit ideology (Gorski, 2011), and yet later comments that the family's relationships are stronger than his own with his children.
Whilst it is a surface level appreciation of the Vang Lor's culture, his access to understanding and appreciating their culture is through their food and social actities (on his 80th birthday when he is abandoned by his own children, he spends the day with the neighbours).
Kawlaski seems to have given himself unlimited access to insulting his friends and neighbours, and mostly through racial slurs. It seems this "permission" is granted through having spent time fighting in Korea. Yet, whilst his racism is never overt or violent it is very much offensive and likely eats away at the characters (as an audience member his constant name calling felt very graphic). Hopson (2023) reminds there is a "tendency to see racism only in its stark extremes" (p. 326). Hopson states instead we "ignore the mundane occasions of something
“impolite” or literally off-color; the “microaggressions,” the stubborn
structural barriers and banal procedural impediments to equity that contribute to the atmosphere that makes the major outrages possible" (p. 327).
It is in acknowledging these small acts and calling them out that denial can be resisted. Unfortunately, the Hmong never corrected Kawlaski for his racial slurs, although Sue several times attempted to correct Kawalski on his laziness on calling Thao "Toad".
The film more realistically demonstrates Kawalski's ability to change and to think beyond his own experiences to be truly empathetic. Hopson (2023) explains we restore our capacity for empathy by "learning to "think". Thinking involves recognition and acceptance of reality; it involves “tolerating emotional engagement,” tolerating the emotional reality of an-other....to think, in regard to racism/ white supremacy, is to bear the emotional awareness, the lived reality of the racialized other" (p. 328).
Hopson's ideas here are incredibly powerful and this journey is experienced by Kawalski when he stops his car to collect Sue from a potentially dangerous situation on the street with several young men antogonizing her. He drives her home so she is safe; Kawalski begins to see how both Thao and Sue will never get ahead in that neighbourhood due to the gangs that reside there.
A powerful scene in the film is when the Hmong Shaman becomes fascinated in Kawalski and asks to "read him" at the Vang Lor party. Kawalski agrees as Sue explains it would be an insult to decline. Already Kawalski is beginning to acknowledge the importance of hierarchy and respect in the Hmong community. The Shaman states Walt's "food has no flavor, he made a mistake in his past life he is not satisfied with, he has no happiness in his life and is not at peace". This scene was powerful for me as I expected the rigid Walt to reject these comments, but instead he takes them to heart and whilst nothing is said, it appears he acknowledges the truth to the message. From the audience perspective, there is a feeling of shame that Kawalski is burdened with on being 'seen' by the Shaman.
Hopson (2023) explains "shame is the signal of awakened empathy; it prompts examination of the self. If we can tolerate it, shame can prompt us to be vigilant against participation in furthering racism/white supremacy" (p. 330). I believe this moment in the film is an acknowledgement in the shift Walt Kawalski is making through his own thinking and increased empathy.
Hopson states, "changing our racist/white supremacist system involves relinquishing ways of interacting with others which “let pass” the incidental appearance of racist/white supremacist sentiment" (p. 330). Whilst the term death is meant as a metaphor for the death and loss of power and control, Gran Torino finishes with the death of Walt Kawalski who intentionally goes to the home of the gang members who had brutally attacked the Vang Lors and raped Sue to confront them. His plan, although not clear to the audience until the very end, was to sacrifice himself so the gang members would be arrested and no longer bother Thao and Sue and their family.
The film continues with the reading of Kawalski's Will and it is a surprise (to his family anyway) that he gifted most of his prized poessions, including his beloved Gran Torino to Thao "his friend". A fitting ending, whilst possibly cliched, to a film that explores breaking down barriers and changing perceptions.
Arvedon, J. (2024, May 26). Retro Review: Gran Torino Is Clint Eastwood's Most Powerful Film [Review of the film Gran Torinio, by C. Eastwood]. CBR. https://www.cbr.com/gran-torino-review/
Eastwood, C. (Director). (2008). Gran Torino [Film]. Warner Bros.
Gorski, P. (2011). Unlearning deficit ideology and the scornful gaze: Thoughts on authenticating the class discourse in education. In R. Ahlquist, P. Gorski, & T. Montaño (Eds.), Assault on Kids: How Hyper-Accountability, Corporatization, Deficit Ideology, and Ruby Payne Are Destroying Our Schools. New York, NY: Peter Lang.
Hopson, R. E. (2023). The Work of Overcoming Racism/White Supremacy. International Journal of Group Psychotherapy, 73(4), 321-335.
Matias, C. E. (2016). Not I: The Narcissism of Whiteness. In Feeling White (pp. 69-81). Brill.
McLaren, P. (2003). Life in schools: An introduction to critical pedagogy. Pearson.
McLaren, P. (1999). Schooling as a ritual performance: Toward a political economy of educational symbols and gestures. Rowman & Littlefield.
Williams, L. (1999) Rage and hope: Peter McLaren. http://www.perfectfit.org/CT/mclaren1.html
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