By Samantha McCoy Staff writer
It looks like transcending one’s expertise into an unexpected category of employment is becoming a trend in recent days. However, comedian Jordan Peele decided that instead of leaving entertainment to take a space in the political world, he would take a break from gags and laughter to direct a horror film. It may have been his best decision yet.
“Get Out” released earlier this month and has become a box office hit. The movie has taken in $136 million, around 30 times the film’s budget. It rocked a perfect score of 100 percent on Rotten Tomatoes for a steady amount of time, the score currently being 99 percent with only one negative review. The film has been said to further expand on the constant dialogue of modern racism in America, raising praise and disapproval from all sides of the debate.
“Get Out” also sheds light on the dynamics of the white liberal class, and how their good intentions could possibly be incredibly harmful to black people and their path to survival. Although the film highlights the African-American struggle, Peele in an interview with NPR stated he wanted not only black people to identify with what Chris, the film’s protagonist, was going through, but he also wanted white audiences to recognize the actions taken against Chris in the film as something they might have done or something they might have seen before. In addition, although the film’s commentary on current society is important to see with the onslaught of police brutality and other injustices, if one wanted to simply ignore all of that and just watch the film for pure entertainment value, “Get Out” also stands up on its own as a horror movie with thriller and comedic elements.
“Get Out” stars Daniel Kaluuya as Chris, who is preparing to leave for the weekend with his girlfriend Rose, played by Allison Williams, so that he can meet her family. Symbolic imagery and foreshadowing are present throughout the entire film, and they without a doubt are the integral part of the film’s success.
As if it were possible to pick, one of the most symbolic events to address is the “sunken place.” Chris’s subconscious is literally sunken into his body, and he can only see the outside world through a television-like screen. The sunken place itself can be a metaphor for the black experience in America, with the sense of oppression, hatred and violence acting as the void that Chris is hopelessly trapped inside. The screen-like ambiance also reflects on Chris’s past, an event later detailed in the film.
Slavery, and the details of, were also shown, as Chris attends his girlfriend’s family event the next day. The theme is displayed in a modern setting when a slave auction is hosted at the party. Later in the movie this is revisited, with Chris having to pick cotton from a ripped seam in a chair and stuff it in his ears to avoid being controlled.
What made “Get Out” such a stunning masterpiece of a film was that Peele paid attention to details and he used them to his advantage. Although the motives of Rose’s family could be outlandish to some, the actions and paths taken to getting there are relatable because they have already happened in some form or another to black people, both past and present.
There are comments in the film, such as assumptions about athleticism in black males and sexual performance, that are real opinions of many. There are experiences that reflect real instances of police accusation and brutality toward people of color. The film is explicit in this goal but keeps the underlying message with the symbolism shown before. As said before as well, the film stands solid as mere entertainment as well with its imagery and cinematography, although “Get Out” should not be taken at face value. This film may be pure fiction, but Peele was able to create a very raw, authentic portrayal of race in America that can no longer be contested.
