The film shows how dangerous the setting is around the town, with multiple gangbangers and mobs running the neighborhood, Thao does not have a good role model. Walt acts as the "white savior" and plays that role as he takes Thao under his wing and helps him find a job and learn how to take care of himself. Thao is an emasculated character throughout the film, as "Juxtaposing Asian American stereotypes with heroic white masculinity enables the plot's redemptive work for Hmong American youth..." (Vang, pp. 164). Walt exemplifies his savior trope yet again when he forces gangbangers to flee from his yard and protects the Hmong neighbors, who gifts him with food and gifts. Walt also rescues an Asian teen, Sue, from black gang members. She is portrayed as helpless and innocent, a common hyper-sexualized female trope seen in other Asian American films. Later in the film, Walt ignores Thao's wishes of leaving his harassment from gang members alone, but Walt still beats up one at Spider's house, showing his ignorant savior complex once again. In the end of the movie, he spares Thao from participating in murder/revenge by locking him in the basement. Walt is then shot down by the gang and killed, having Hmong community as witnesses. Walt ultimately sacrificed himself to save Sue and Thao; he is the ultimate savior.
The white savior complex in this film can be seen with paternalism, Dominant vs Other, and white guilt. Walt is painted as the "father" to protect Hmong children as they don't have a parental figure themselves. It portrays dominance and the other with the symbolization of a rite of passage. "The Gran Torino symbolizes a rite of passage-toward either proper white masculinity through inheritance or a deviant racialized masculinity of inner-city gang life....(Vang pp 163). Walt has white guilt from his actions in war of killing already surrendered soldiers, and his guilt powers his drive to protect the Hmong in this film.
