Directed by Jordan Peele
104 minutes
Floor 3 Pink Zone 791.4372 GET
October means two things Black History Month and Halloween – Get Out combines the two. The film fully deserved its award for Best Original Screenplay at this year’s Oscars as Jordan Peele became the first black winner of the award; certainly, the word ‘original’ is one that embodies the film.
The film follows the relationship between Chris Washington (Daniel Kaluuya) and Rose Armitage (Allison Williams) as they visit her parents for the first time. Although Rose insists that her parents are liberal, Chris is nervous as to the response he will get in the white household. With reason, the house has a creepy ambiance, not least expressed by two black servants whom appear vacant and subservient. The films is carried by Chris’ unease and his relationship with Rose with fine natural performances by Kaluuya and Williams.
The Armitage house personifies years of America’s racial past; the house’s architecture harks to the plantation image of slavery, the servants point to black domestication of the 1950s and 60s, and the house’s décor suggests and imperialistic attitude to culture also reflecting European racial history. Police profiling is presented, and everyday micro-aggressions are also explored – from relatively benign discussions on Tiger Woods to more pointed statements about blackness being ‘in fashion’. These illusions to America’s past and present racial issues do not distract from the horror narrative, rather they help build the tension of the film. This is a very clever merger of social themes without distracting from the narrative.
The film shifts from the natural to the supernatural, presenting interesting imagery, as with the ‘sunken place’, a hypnotic trick that separates Chris from the world around him. Though the shift between the natural and supernatural is sudden, it only serves to grip the audience further. It should be noted there is comic relief in the form of Chris’ best friend, Rod (Lil Rel Howery), a proud TSA agent. At times Rod arguably fulfils the stereotypes that Get Out challenges, but the humour balances the plot well. I do, however, find quam with the use of the term ‘bitches’ to describe some women in Get Out – it seems out of place in a film that highlights issues in division and inequality. Get Out remains an intriguing and entertaining film – make sure to also watch the alternate ending for further thought-provoking footage.
Why It’s Significant?
Get Out simultaneously combines a unique horror narrative whilst critiquing the issues of racism in contemporary society. Equally entertaining and thought provoking, with Jordan Peele being the first black winner of the Best Original Screenplay Oscar.
More Films For Black History Month:
Sweet Sweetback’s Baad Asssss Song, dir. by Melvin Van Peebles (Cinemation Industries, 1971), and Baadasssss!, dir. by Mario Van Peebles (Sony Pictures Classics, 2003) – Melvin Van Peebles film had a significant influence in the creation of the Blaxploitation genre of the 1970s; though a relatively dated watch now, his son’s film, a fictional biopic about the making of his film is very entertaining. (791.4372 SWE and 791.4372 BAA)
The Stuart Hall Project, dir. by John Akomfrah (,2013) – Using archival footage and a score by Miles Davis, the film follows the story of Stuart Hall, the Jamaican born pioneer of British cultural studies who addresses questions of identity in immigrants from the Caribbean. (First Floor Orange Zone 306.092 HAL/STU)
Bamboozled, dir. by Spike Lee (New Line Cinema, 2000) – Like Get Out, this Spike Lee film offers a critique of African-American treatment in society. It is not without its faults, and Spike Lee has made better films (see Do the Right Thing), but is provocative nonetheless. (791.4372 BAM)
More Films For Halloween:
The Exorcist, dir. by William Friedkin (Warner Bros., 1973) – One of the only horror films to genuinely scare me, the film stands the test of time. Watch for the small touches as with the cooker-hood and shadows behind the door. (791.4372 EXO)
Freaks, dir. by Tod Browning (MGM, 1932) – ‘One of us! One of us! Gooble Gobble! Gooble Gobble!’ is Brownings exploitative or empowering? Casting real sideshow artists such as Prince Randian (also known as The Human Torso), this film offers a narrative of romance and horror and compares interestingly if you have seen The Greatest Showman (2017). (791.4372 FRE)
Død Snø (Trans: Dead Snow), dir. by Tommy Wirkola (Euforia Film, 2009) – For a bit more of a tongue-in-check option, check-out Dead Snow. The Norwegian Splatter film sees zombie Nazis attacking students on holiday. (791.4372 DOD)
Written by Phil Wintle
