Clint Eastwood has a lot of guts. And I use the word “guts” euphemistically, because I write for a family newspaper. I think, however, my readers can imagine a more robust word. Here is a 78-year-old actor who has — the, uh, guts — to make a film from a screenplay written by a former truck driver (Nick Schenk) who has never written one before. Fortunately Clint Eastwood can do this because he is Clint Eastwood.

Walter Kowalski (our man Eastwood) is an Archie Bunker bigot. Walt would just as soon hurl racial epithets as spit out tobacco juice. A retired worker at the Ford plant in Detroit, Kowalski sees little around him of which he approves. His two sons are weasels. Walt’s grandchildren are pierced and self-absorbed brats. And his wife’s death has forced him back into his Catholic church (for the funeral) which has a baby-faced priest that practically stalks him for a confession — thanks to a promise the priest made to Kowalski’s wife just before she died.

Walt’s neighborhood is also a disappointment. His immaculate house stands out among the decaying homes and businesses around him. The Hmong are moving in and Walt is not the kind of guy who likes these Asiatic people. He is a veteran of the Korean War and memories of killing Asian soldiers have faded not one iota. Walt is a growler, the proverbial grumpy and bitter guy in the neighborhood. He flies his American flag, drinks Pabst Blue Ribbon on his front porch, and wants to be left alone. But fate decrees this not to be so. Walt has a 1972 Gran Torino, in mint condition; the envy of anyone with more than a cup of testosterone, including the local Hmong gang.

His new next door neighbors are a fatherless Hmong family, or extended family, I should write. There is the non-English speaking Granny who is just about as displeased with her neighbor as Walter is of his. Then there is Mom (who also speaks not a word of English) and then there are the two teenage kids, the boy, Thao (Bee Vang), and the girl, Sue (Ahney Her). Thao is studious and very shy. Unfortunately for him, his cousin, who is the leader of the aforementioned gang, is eager to recruit the young boy. Thao has no desire to join but is harassed into being “initiated.” And his initiation assignment is to steal the Gran Torino. Unfortunately for Thao, he is inept at thievery. Walt catches him and points a rifle in his face. The Hmong mom thinks the boy has disgraced the family and sentences him to work for Walt. Meanwhile Walt stops a bunch of thugs from bothering Sue on the street. And when Sue gives as much grief to Walt as he gives her, he begins to soften up.

Unfortunately, the Hmong gang steps up its campaign to recruit the boy and harass the family. Clearly, Walt does not approve. And one should not mess with Dirty Harry, even if he is 78 years old.

Clint Eastwood, the director and actor, is an American treasure. Everything he does in this film is golden. There are scenes in this film that are three dimensional and more — if that is possible. Look beyond the actors and there is a story to be seen in the sets and in the background buildings. Walt’s house is true to Walt. His character is three dimensional too. So real that I saw in this Walt more than a few old guys I have met at the American Legion as a child or, as an adult in the barbershop. Eastwood’s acting is flawless and his directing is…well, gutsy. Walt’s language may be salty and bigoted, but this character, at 78, has not yet stopped maturing. He still has the potential to change and to evolve. He can still make a “Walt” statement but in a fresh way. Dirty Harry redux is Dirty Harry improved. Walt is going to stay Walt, Dirty Harry is still Dirty Harry, but both are American-style heroes, still.

Gran Torino earns four and a half bow ties out of five.