This is probably the most pro-white movie I've seen in a long time.  Gran Torino was written by the Jew Nick Schenk. The film's programmatic depiction of Walt's transition from xenophobe to grudging member of a changing America is hardly subtle . It appears to be a pretty formulaic piece about how the old geezer becomes the unlikely protector of a family of foreigners that move in next door, and in particular a surrogate father-figure to the teen son and daughter. And theyre not merely foreigners, which would disturb him in any case; theyre Southeast Asian (Hmong, specifically), and so look very much like the gooks he killed during service in the Korean War.  Though this basic reform of the codger plot has been told many times, not only on the big screen but on the tube, what sets it apart in this case is both the degree of prejudice the old coot expressesEastwood's character Walt uses about every racial epithet you can imagineand the fact that its not really offensive because it is all what we secretly think on a daily basis. The affection for Eastwood that a viewer automatically brings with him, allows the mainstream to laugh at the characters misguided attitudes rather than become frightened by them. Eastwood's Walt Kowalski becomes a sort of spindly twenty-first century version of Archie Bunker, and you know that whatever he says, theres a heart beating within him that will eventually win out. The picture thus delivers the message that theres a PC multiculturalist inside every racist just straining to get out, no matter how set in his ways he might be.  While becoming embroiled in the Third World hell that urban Detroit has become, Walt Kowalski's racial sense of justice, morality and order wont allow him to ignore some of the more egregious behavior he witnesses. He attempts to civilize the Muds around him by example through service and empathy, yet the film's Jew writer makes it plain that theres no place left in the world for Walt and those like him. But while Walt and his ilk may be doomed, they are useful to a point.   The obligatory uplifting postscriptextremely corny, but strengthening Walts symbolic value as the last of his kindshrewdly reiterates the multicult agenda, albeit in a lopsided, hammy and overdetermined manner.  I am a Clint Eastwood fan, but I found this film to be below average tripe andwith Eastwood's claim that with this film, he retires from actinga disappointing farewell from a beloved film icon.