Introduction
Cultural diversity consists of certain elements: resistance, tolerance, and understanding. The Gran Torino film’s treatment of these concepts exposes their importance to the complexities of cultural understanding (Eastwood, 2008). While flawed in its portrayal, it discusses the role of understanding in overcoming prejudice. The theory of social penetration can be applied to the plotline of the film’s protagonist, Walt Kowalski, to understand the process of coming to terms with cultural diversity.
Resistance, Tolerance, and Understanding in Walt’s Journey
The film’s exhibition of cultural diversity, resistance, tolerance, and understanding has flaws and merits. The film’s representation of the Hmong population is decidedly lacking in terms of cultural diversity. Although the film strived to shed light on this particular ethnic group’s difficulties and experiences and employed Hmong actors, it nevertheless failed to offer a nuanced portrayal (Mohseni, 2023). The Hmong characters often serve as mere vehicles for the protagonist’s personal growth rather than as fully developed individuals with agency (Mohseni, 2023). This limited representation undermines the film’s ability to depict cultural diversity authentically.
Nevertheless, the film skillfully conveys Walt Kowalski’s strong resistance to cultural diversity. His overt prejudice and steadfast adherence to stereotypes stymie genuine contact with people from other backgrounds (Eastwood, 2008). One of the film’s strengths is its uncompromising portrayal of this resistance. It confronts the audience with the unsettling reality that prejudice and bigotry can persist even among people regarded as heroes, such as veterans. The visceral way Walt’s resistance is presented compels viewers to confront their biases and consider the implications of unrestrained prejudice.
Strengths and Weaknesses of the Film
The film portrays a mixed picture in terms of tolerance. Walt’s tolerance is conditional, motivated by his need to defend his title, Gran Torino, and maintain control (Eastwood, 2008). As the story progresses, his tolerance becomes increasingly real, inspired by an acknowledgment of shared humanity.
This is a strength of the film’s tolerance examination: the moral is that tolerance is a process that can be improved upon. The film’s depiction of tolerance is still imperfect because Walt’s tolerance is reserved solely for those who comply with his expectations (Mohseni, 2023). Because of its narrow scope, the film cannot properly examine the complexity of tolerance in the face of cultural diversity.
Understanding is a major theme of the film, although its depiction has both strengths and drawbacks. Walt first exhibits a lack of comprehension rooted in ignorance and stereotypes as he needs to explain who the Hmong are (Eastwood, 2008). As the film progresses, Walt grows closer to the Hmong community and begins understanding its history and challenges.
Knowledge is seen as a necessary component of eliminating prejudice and creating authentic connections. Walt’s comprehension remains restricted and prone to relapsing into preconceptions. This constraint ultimately hinders the film from diving entirely into the nuances of cultural understanding.
Cultural Comparison
Differences
Walt portrays the traditional American culture of a working-class Caucasian male from the Midwest. The Hmong are originally a Southeast Asian ethnic group with distinct customs and traditions who have migrated to the United States. Walt epitomizes an individuality that is firmly ingrained in American culture. He prioritizes personal autonomy and self-reliance, as evidenced by his unwillingness to seek help or rely on others and his alienation from his family; it can be inferred that he was an absent parent (Eastwood, 2008). The Hmong people, who form a diaspora, are, as a result of their shared history, heavily affected by their collective tradition and community.
Another notable difference is their religious beliefs. Begrudgingly, Walt believes in Christianity, the predominant faith in American society. His Catholic upbringing shapes his outlook and moral compass, which is seen when Walt seeks a Catholic priest to confess (Eastwood, 2008). As shown in the film, the Hmong embrace shamanism, including animism and ancestor worship (Eastwood, 2008). Their spiritual beliefs revolve around a close relationship with spirits and the supernatural. This disparity in religious practices illustrates the disparity in spiritual attitudes between Walt’s Christian upbringing and the indigenous belief system of the Hmong people.
Furthermore, language and communication highlight cultural differences. Walt speaks English, reflecting his cultural and linguistic background. His usage of English demonstrates the dominant language in his environment and strengthens his ties to American society. On the other hand, the Hmong people primarily communicate in their native Hmong language, which is unsubtitled and often incomprehensible to the viewer as well as to Walt himself. The Hmong people retain a linguistic relationship to their ancestral roots.
Similarities
The major similarity is that Walt and the Hmong people showed extraordinary endurance in hardship. Walt, a Korean War veteran, maintains a stern demeanor and an unyielding commitment to his principles. Similarly, the Hmong people, who have faced exile from their home country of Laos, display tenacity in the face of adversity.
Furthermore, both Kowalski and the Hmong people’s traditions value family. Despite his harsh attitude and an estranged relationship with his actual family, Walt forms unexpected ties with his Hmong neighbors, particularly Thao, whom he mentors. This sense of intergenerational responsibility and readiness to help others can also be found in Hmong culture.
The Social Penetration Theory
Theory Background
A possible explanation of the events in the film and its portrayal of cultural diversity can be found in social penetration theory. The theory was developed in the early 1970s by psychologists Irwin Altman and Dalmas Taylor to explain how connections deepen over time (Mayfield et al., 2020).
Relationships evolve through self-disclosure, which involves exposing personal information to others. As people connect with others, they gradually reveal increasingly intimate and vulnerable aspects of their personalities, leading to increased relationship closeness. Trust is built on reciprocal self-disclosure, resulting in a stronger individual connection.
Three critical aspects are involved in the social penetration process: the breadth, depth, and frequency of self-disclosure. The range of issues mentioned is called breadth, while the level of personal significance linked to the given material is called depth (Mollejon, 2019). The rate at which self-disclosure occurs is referred to as frequency (Mollejon, 2019). Furthermore, the theory notes the tension between the need for disclosure and the demand for privacy (Li, 2020). Individuals straddle the fine line between exposing and protecting personal information during social penetration.
Application
The social penetration theory explains the progressive dismantling of Walt’s social boundaries through interpersonal interactions. Walt initially harbors harsh perceptions and prejudices toward the Hmong. Walt’s contacts with the Vang Lor family, notably Thao and Sue, extend the breadth of topics they converse on. They progressively move beyond surface-level contacts, examining deeper parts of their lives and cultural backgrounds through dialogue and shared experiences. As the plot progresses, the viewer can appreciate the value of self-disclosure.
Walt begins to speak up about his own experiences in the Korean War as he mentors Thao and assists him in navigating his obstacles. In a crucial scene, Walt tells the story of murdering an enemy soldier who was about to surrender, showing the moral quandaries he faced (Eastwood, 2008). This increases self-disclosure since Walt discloses his vulnerabilities, allowing Thao to understand him better. Walt’s goals and internal problems become evident to Thao as he shares this highly personal story, bringing the two closer.
Another notable feature of the theory is the frequency of self-disclosure. Walt and Thao have regular chats and encounters throughout the film, gradually developing a bond. They can bridge cultural differences by regularly exchanging personal stories and points of view.
Finally, the film depicts the tension between the demand for exposure and the need for seclusion. This tension may be seen in Walt’s decision to lock Thao in the basement (Eastwood, 2008). Walt’s wish to keep Thao safe from violence, even if it means risking his own life, becomes evident and signals the final stage of their relationship. Through a progressive process of self-disclosure, Walt achieves a balance between exposing and protecting personal information.
Conclusion
As shown by the successful application of the social penetration theory, Gran Torino offers a complex analysis of cultural diversity and its components: resistance, tolerance, and comprehension. However, the film’s inability to provide a comprehensive study is hampered by its limited portrayal of the Hmong population and insufficient discussion of these themes. Nonetheless, the social penetration theory can grant a deeper awareness of the complexity required to manage cultural diversity and foster genuine intercultural bonds.
References
Eastwood, C. (2008). Gran Torino [Film]. Warner Bros.
Li, X. (2020). The more the better? A comparative study of the relationships among multimodal connectedness, online communication, and relational outcomes in China and the United States. Chinese Journal of Communication 14(3), 239–258. Web.
Mayfield, M., Mayfield, J., & Walker, R. (2020). New perspectives in organizational communication. Springer. Web.
Mohseni, H. (2023). Mutual concessions from conventional values for the sake of a better pluralistic future: Living on of American Hero and His Other in Gran Torino. Quarterly Review of Film and Video, 1–20. Web.
Mollejon, H. (2019). Exploring cross-cultural self-disclosure of women Facebook users. Langkit: Journal of Social Sciences and Humanities, 8, 17–56. Web.