In late 2016, I came across one of those social media oddities that can really make your day: a fake movie trailer for the variety of film you always wish film studios would develop and push nationally. It was a satire of with such deadly accuracy that it zoomed past hilarity to hit somber dread, which in turn heightened the humor. It was stunning. And, as it turned out, what I was seeing wasn’t a spoof.
After experiencing the initial trailer for Get Out, and confirming its veracity with other creative types of diverse ethnic backgrounds like myself, well, I experienced trepidation walking into the theater on opening day. The showing was at 1:45 in the afternoon during a work day, but instead of finding an empty theater there were 50-60 other audience members. Clearly the enthusiasm wasn’t contained to just the arts community.
Despite initially being impressed—or perhaps due to that strong, positive impression—I was unwilling to believe the filmmakers would carry through on the promise delivered via trailers and pre-release hype. Too often films fail to contain more substance or thrills than their cleverly cut commercials offered to begin with.
Especially in this case, right? I mean, if you’ve seen any of the publicity you understand Get Out focuses on the African diaspora attempting to navigate our contemporary “post-racial” United States. They couldn’t really be permitted to fully go there, could they? Even if they did, it couldn’t happen with intelligence or enough restraint to come off as anything more than ham-handed lashing out.
Martin “LilRel” Howery is a scene-stealer with his charisma and delivery, but without the sharp dialogue to make it work he’d have been a flat character at best, or stereotype at worst, of the variety we so often see in “black friend” characters.
Bradley Whitford and Catherine Keener, playing the love interest’s parents, turn out to be a brilliant pairing. Their background in both drama and comedy brings moments to the film that rival the best they brought to work such as The West Wing, Being John Malkovich, Cabin in the Woods, etc. They have a knack for helping director Jordan Peele find the uncomfortable in otherwise happy moments, and the disarmingly humorous and relatable in alarming situations.
As the protagonist Daniel Kaluuya delivers a performance so understated that you forget he is acting, delivering the full emotional range from grief to love to rage, but shining just as strongly existing in the mundane moments we all share, and making those believable is his most important strength because it is in these “in-between” moments the film builds intensity.
It would be easy to go the route of a typical slasher, torture porn, or supernatural FX blowout. Instead Get Out uses moments of silence to unnerve, and seriously…when all conversation stopped during the party scene the audience was unanimous in our “Nope, y’all are too much!” response. Gratuitous content is avoided, with most violence occurring out of the frame, and an absence of nudity or sex scenes. Instead of hyperkinetic jump cuts to raise our heart rates we have lengthy closeups up weirdoes dragging us through painfully awkward conversations to increase apprehension.
In addition to avoiding common pitfalls of horror, the black characters disappearing in last 20 minutes of major films like Sicario and Jurassic World after being scared into submission were not here…no white savior.
When it comes to what the film is really saying we could get deep. On examining the speculative element we experience the reproblematization of black autonomy/identity, the theories of Marshal McLuhan re: The Media is the Massage/cool media, “the opiate of the masses,” or—perhaps most disturbing of all—the story as a condemnation of us as a society, and blacks in particular, for sitting back and watching as our people are literally killed in the streets with no recourse. But that’s a discussion best left to academic journals. Suffice it to say: this movie is creepy as all get-out, and not in a way that makes you feel like a cheese ball for enjoying it.
When it comes to the dangers racial bigotry poses to our entire society I’m continually chastened—both publicly and privately—not to rush to judgment, be grateful things aren’t worse, and if I don’t like it go make my own. One problem is that when we do “go make our own” there is a backlash against accepting any part of how we express our experience, because observing racism is “racist”—a delegitimizing accusation already levied against Get Out by multiple outlets. The other problem is the rest of Hollywood’s productions stand in even more stark contrast than previously. If high caliber entertainment with desegregated casting can be made…then why isn’t it?
After Mad Max: Fury Road came out I had discussions with women who were in tears. Not because they were saddened or angry, but due to being so overwhelmed by seeing a major motion picture about women with portrayals and story construction that didn’t revolve around Hollywood stereotypes of women. I’m not saying folks left the theater in that state. Get Out was excellent, and while there was exuberance aplenty from the crowd as we filed out there were no tears.
Now if we can just work on ageism and ableism in film. Yes, Fury Road missed a huge opportunity for Hollywood, and society, by casting somebody with two arms as Furiosa, but I digress. The point is we’re moving toward richer entertainment experiences, but have to continue that momentum. A key to that will be the sophistication of the filmmaking itself.
When considering the framing, use of sound design, transitions, and attention to detail—in addition to more obvious elements such as the screenplay and performances—I find it difficult to believe this is Jordan Peele’s feature film directorial debut. Not satisfied which that accomplishment Peele also managed to create something that succeeds as both a horror/thriller and a comedy.
It’s my hope Peele not only continues to deliver, but those in minority groups inspired by him help make inroads in horror, and the other speculative genres as well. Because I’m telling your right now that guy can just take my money.