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Being an African-American is not always a comfortable experience, and sometimes, in this case was Chris’s from Get Out movie, it might be horrific. The movie is the first one ever scripted and directed by African-American and financed by a major Hollywood studio.
Get Out movie brazenly inhabits the anxieties that surround miscegenation in our still racially stratified country. Sharp scares, gallows humor, and insidious intelligence are informed by the sensibility, and insistent paranoia throughout the movie.
Get Out movie’s director and writer, Jordan Peele spent many years trying to get financing for the movie, after conceiving of the picture during the 2008 Democratic Presidential primaries, a campaign that seemingly put racial progress and feminism at odds. “It was almost like this who’s-suffered-long-enough kind of thing” Peele quipped, in conversation with the reporter Logan Hill when being asked to explain finding inspiration in the race between Clinton and Obama. “It was a very weird time, but it made me think…we have different civil rights, which ones are more deserving?”.
The movie critiques the insidious racism that lurks just beneath a mask of white liberty by telling the story of a young black photographer named Chris (Daniel Kaluuya), who anxiously visits the suburban family home of his white girlfriend, Rose (Allison Williams). Her parents, a doctor (Bradley Whitford) who confides he “would have voted for Obama a third time if [he] could” and a hypnotist (Catherine Keener) show a friendliness that seems to cover something very dark behind.
It isn’t long after Rose’s brother, an M.M.A. enthusiast (Caleb Landry Jones), returns home during Chris’s visit that Get Out which opens with a black man (Lakeith Stanfield) being choked unconscious and stuffed into a car on a suburban street by a masked assailant, makes plain its terrifying premise: the Armitage family serially kidnaps and brainwashes African-Americans into servility, ostensibly for their own good.
Get Out movie opening with a scene of a black man (Lakeith Stanfield) being choked unconscious and stuffed into a car on a suburban street by a masked assailant, it makes plain for its terrifying premise: the Armitage family serially kidnaps and brainwashes African-Americans into servility, ostensibly for their own good.
“The real thing at hand here is slavery” Peel has marked before getting question from audiences, “It’s some dark shit”. Indeed, not just slavery but sex slavery and the fear of it are the very present spectre in the movie.
We see Stanfield’s character again in the Armitages’ party is dressed in suit as a guest and speaks in a tone and syntax far different from what we glimpsed him at the beginning. When Chris spots him, he can’t wait to get to know him. However, Chris is quite confused when discovering that black solidarity, all hints of the cultural traits that he assumes the man must be familiar with, have been ground out of him. All of it triggers Chris’s suspicion.
It is also a meditation on a specific subgenre of American movies, the so-called social thriller, a subject that Peele talks about with wide-ranging thoughtfulness “In a social thriller, the monster at hand is society”. The beauty is that many horror movies and many thrillers do deal with society in some way, but in the social thriller, it is society that is the villain. Talking about the topic of social thriller, Peele has mentioned 4 movies including Night of the Living Dead, Rosemary’s Baby, Candyman, Misery as his standard to make the movie Get Out. It seems to be an echoes and subvert of the horror movie The People under the Stairs, and the miscegenation drama Guess Who’s Coming to Dinner.
Peels also shared his anxious when he came to see his white girlfriend’s parent knowing that she hadn’t told them that he is black. His personal experience is a based theme for him to get to his approach to racist topic about Get Out movie “That fear is a very real thing, and I haven’t seen it expressed in this genre, in modern times”