The Clint Eastwood angry old man persona is dusted down again for what seems to be Eastwood’s final curtain call in front of the camera. Eastwood’s Walt Kowalski a bigoted veteran of the Korean War who never really gets beyond the stage of caricature is emblematic of the conservative values of a generation of Americans who find themselves in the throes of displacement in the age of the multi-cultural melting pot. By the end of the film Kowalski has, somewhat unrealistically, undergone a surprising liberalisation and become an unlikely martyr for a small community of Cambodian immigrants. Kowalski is far more entertaining when he growls insults from atop his right wing throne of ignorance and dismisses the feckless church with the contempt it deserves. But Kowalski does as much sermonising as the wet behind-the-ears priest, and his character trajectory ultimately seems unfeasible and somewhat populist in the age of Obama. However Eastwood continues to explore, with some measure of emotional success, the process of getting old. A thematic current that flows through all of his films from Unforgiven (1992) onwards. Kowalski’s absorption into a liberal framework at the films conclusion is a final acknowledgement by Eastwood that his days as a subversive icon of machismo are well and truly over. There is simply nowhere for the Eastwood persona to go on screen anymore.