Is it racist when people have simplistic, fond thoughts on people of a certain skin colour based on stereotypes? Heck yes, it is. In Get Out, writer and director Jordan Peele highlights what may seem like a different kind of racism, a more kind racism, but really it is just as ignorant as its meaner sibling. It is a fascinating concept to look at, and Peele delivers a film that is primed for starting discussions.
The story is based around the relationship between Rose Armitage (Allison Williams) and her black boyfriend, Chris (Daniel Kaluuya) as they head off to her whiter than white parent's house for the weekend. This is the first time Chris will meet the parents, and he is curious about what their reaction will be to his skin colour. The parents Missy (Catherine Keener), and Dean (Bradley Whitford... hey, isn't this the second time this week we're talking about him?) are charming, and Dean seems to do anything possible to show Chris that he's not racist. The interesting aspect about this is the basic fact that, even without mean or alienating intentions, Dean is treating Chris differently because of his skin. The racism that is looked at in Get Out is much different than what we normally see.
It is clear that Chris is used to being treated differently. On their way to Rose's parent's house, she hits a deer. This incident will actually lead to some interesting points about Chris' life and his survival. Anywho, a police officer is called. After talking to Rose, he nonchalantly asks Chris to see his identification. Rose immediately gets upset, but Kaluuya's expression is that this is just a daily occurrence for him. It is quite sad to see that at this point in the film, he is resigned to this sort of experience.
As the Armitage's throw a big party, Chris begins to really encounter some very odd white folk. It seems as though everyone wants to comment on the fact that he's black. This, to me, feels like it is looking at white privilege. Caucasians feeling that because they aren't talking negatively that they can give insight to the minority, before being able to turn away and carry on conversations with others while Chris would be left with what was said. Jordan Peele takes white privilege to absurd heights in this film, but I'm afraid I cannot tell you how that happens.
The concept and the conversation that Peele brings with Get Out is indeed quite fascinating. After numerous viewings, I always seem to walk away from the movie believing that the point of the film was something other than what I had previously thought. This is the true power of the film. Because there can be many different ways to interpret it, there are a great number of conversations that could be started after the movie is over.
Daniel Kaluuya is strong as Chris. This is a character who is inserted into so many different awkward situations and conversations, and Kaluuya sells it all brilliantly. There is a determination in him that says he will not allow race to be an issue in his relationship with Rose, but it is tested often. As the film travels on, there are many more different sides of Chris that we see. Overall, the acting in Get Out is top notch, and the different characters are developed and coloured in with complexities. The most joyous character in the film is Chris' friend Rod (Lil Rel Howery), a caring person that is committed to the friendship. Rod brings the comedy to the film. There isn't too much of it, and there isn't too little of it. Coming from a comedy background, it is very evident that Jordan Peele knows how to use it in moderation to add flavour to a film.
Of course, because this is a horror, there needs to be some scares. This is a movie that works at a simmering slow build instead of trying to constantly dive-bomb the audience like many horrors. There are small scary occurrences in the first two acts of the film, but it is in the third that it really gets crazy. I think Peele offers enough enticing moments that it doesn't feel like the audience is waiting forever to get to the horror part of the film.
Throw into the equation some otherworldly pacing and editing, and this film flies by. Four times viewed for me, and there still isn't a scene where I look at the time and maybe run to grab a soda from the fridge. There is a really good reason why this movie got Oscar nominations. It is smooth in its flow, with scenes just melding into each other, bridged by smart dialogue and fantastic acting.
I really hope that the Academy never includes a 'popular film' award. Yes, that sort of thing will give much more mainstream films recognition, but the negative effect that it will have is much worse. People who make genre movies that are usually considered children's table material will never be considered for the 'legit' best picture award. If the popular category was around a few years ago, Mad Max: Furry Road wouldn't have gotten the best picture nom, and the same would have happened with Get Out. What I'm getting at here is that because horror is a pushed aside genre, truly great material needs its chance to get recognized as on par with the typical dramatic Oscar bait. We already had films like The Witch and The Babadook get nary a closer look, and the fact that Get Out earned four nominations with one win changes the way that the market looks at this product. Smarter horrors have now proved to be currently financially viable. The more acclaim for these films, the more interesting ideas will get green-lit.
Rating - 3.5 out of 4 stars
I'm surprised you didn't bump this one up to four stars based on what you wrote here. This is an immensely rewatchable movies that I get something new every time. There is so much foreshadowing and hinting in the early scenes, and it is very impressive how everything comes together. A true classic.
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