Whether one elects to self transform towards full “Americanization” or to step out of the shadow of that dark cloud of traditional upbringing and familial imposition, it could be a long and weary struggle. Never mind your bone structure, Western education and accelerated social immersion (real or second life). There will always be that part of you that sticks out—good or bad, depending on how you play it.
To those just “off the boat”, this challenge is more clear-cut. To next generation Asian Americans, it could be more ambiguous. Such is the dilemma faced by the character of Thao in Clint Eastwood’s progressive movie, “Gran Torino”. Of course, it helps that Thao comes from a more obscure cultural background with more recent U.S. rooting and thus with fewer template paths and role models to go by growing up in a Detroit neighborhood.
At best, Thao bides time by swinging with the belying forces that conjure his day-to-day existence. One day, he unwittingly participates in a local gang initiation, an aborted crime. The next, he half-heartedly subjects himself to traditional family impositions, including indentured servitude. Otherwise, he prefers to keep to himself, far removed and detached as he could possibly be from these forces, and unfortunately, from the rest of the world. In his first coming out, it is, darkly, to seek revenge. As the main character Walt Kowalski (Client Eastwood) surmises, Thao will never find peace in this world if those forces subsist.
Ultimately Walt offers a sublime example that would significantly transform Thao. Interestingly, it comes from left field—that is, from neither of the two conflicting forces. Walt’s bold action emanates from confronting the serious conflicts that also haunted him in life. That perspective offers universal ground that transcends ethno-cultural differences.