The car which is that inheritance we would seize by violence under the corrupting influence of the powers of this age, that inheritance finally given in grace in spite of our desert. Slowly unveiled from the garage through the film this car is a now and not yet glory, seen through a glass darkly, it is the final freeway for which we are set free. Oh that the Kingdom here is a car lays bare a deep held conviction of the audience this is fashioned for, they have received their inheritance in full.
Eastwood, by weight of his type, is cast perfectly into a role which subverts the redemptive violence of previous films through a plot of sacrificial atonement. Dabbling in a spread of Christian themes Gran Torino is sufficiently allusive to demand and profit enquiry of the Bri kind, although there is nothing like an overt reference to Catholicism to get L'Abri's reformed colours flying - “Did it all go wrong for Walt because of his Catholic doctrine?” was ventured.
The sacred use of profanities, that is, using obscenities as a bond of trust was another brief consideration. How should we then swear? Others: Is redemption not undoing damage done but rather learning to chose a different path? What is the difference between those things for which we might confess regret (absent fathering, an affair) those things which formed us (Korea)?