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Posts Tagged ‘Get Out’

You know, I try to be a positive, upbeat, and generally forgiving person (admittedly more out of a need to counteract my natural inclination to be extremely bitter, cynical, and vengeful than for any deeply felt moral or philosophical reasons). Despite this, some things retain the power to move me to a dark and terrible fury, and one of these is having films spoiled for me, especially by the websites of newspapers that I trust. And just such a thing happened the other day: in the wake of the release of the trailer for the latest iteration of a well-loved (and perhaps very slightly overrated) franchise that’s been around for nearly 40 years, I clicked onto an article promising to discuss a very specific sub-genre of horror, only to find myself being informed of, well, fairly crucial plot details of Jordan Peele’s Get Out, literally about an hour before I watched the movie.

Get Out isn’t a movie which is wholly dependent on its twist to function, but there is a definite element of mystery built into the story, and knowing the twist going in almost certainly affected my response to the movie – what might have seemed genuinely startling and unexpected, encountered without warning in the unsettling darkness of a movie theatre, inevitably had less impact communicated via text on a laptop. Maybe this is why I am somewhat less impressed with Get Out than many others; I don’t know. I just mention this in the interests of full disclosure an’ all that.

Daniel Kaluuya plays Chris, a young photographer happily entangled with his girlfriend Rose (Allison Williams), and about to embark on a trip to meet her parents for the first time. Despite everything, he is a little nervous: will they really be okay with their daughter having a relationship with an African-American man?

Nevertheless, off they go, eventually receiving a warm welcome from her father and mother (Bradley Whitford and Catherine Keener). Gradually, though, there is an accretion of tiny details that put Chris just a little bit on edge – Rose’s parents have black servants, who behave extremely strangely, and the attitude of the rest of their friends, when they descend for a party, is also slightly strange. The only African-American in the community acts very oddly indeed, attacking Chris and whispering ‘Get out!’ when startled by the flash on his phone camera, and Chris’ transport cop friend Rod (Lil Rel Howery) is startled when he sees the picture – this is a man who disappeared months earlier…

Now, there’s a couple of things we need to keep in mind about Get Out, the first one being that – as mentioned – I had the revelation as to what’s really going in this movie spoiled for me in advance, and it is also – as you may have surmised – fundamentally about the African-American experience in the contemporary United States, something I am supremely under-equipped to presume to discuss in any meaningful way.

However, this movie is also presenting itself as a horror movie, and that at least is something I do feel qualified to comment on. Its closest antecedent, I would suggest, is The Stepford Wives, Ira Levin’s famous tale of… well, I’ve gone to great extremes in the past to avoid spoiling The Stepford Wives for anyone (see, this stuff matters to me), and I’m not going to change that now. Get Out is slightly more of a genre movie, slightly happier to wheel on the third-act violence and gore, but there’s still a distinct family resemblance, in that they are both horror films, to some extent paranoid fantasies, seeking to engage in social commentary and satire.

If we’re going to discuss the horror movie as a vehicle for social comment, then of course we should start with George A Romero and consider Dawn of the Dead: the story of a group of people struggling to survive a zombie apocalypse and the accompanying collapse of society, but also on some level a commentary on consumerism in the modern world. Slightly more pertinently, Night of the Living Dead, also the story of a group of people trying to survive a zombie apocalypse, but also (thanks to the casting of Duane Jones) obliquely about the civil rights struggle occurring in America when it was made.

Get Out, on the other hand, is the story of a group of privileged white people seeking to do horrific things to African-Americans, which also functions as, um, a story about a group of privileged white people seeking to do horrific things to African-Americans. There’s not really enough space here for the film to function on a metaphorical level in the same way as the films that clearly inspired it – what happens in the film is grisly and terrifying, to be sure, and obviously represents an attempt to control and destroy black identity, but even if it’s meant be a symbol of something in the real world, it’s not at all clear what that is.

I mean, some people have suggested the film is a satire on the corrosive and ultimately unhelpful effects of white liberalism – and some of the film’s wittiest moments concern Chris’s deadpan reactions to meeting a bunch of old white people who all assure him how much they love Obama and Tiger Woods – but this doesn’t seem to me to connect to the central notion of the film. I suppose you could argue the film is on some level about cultural appropriation, but again the horror aspect isn’t really a metaphor for this, unless you do some serious stretching. I’m not saying the film never touches on liberalism, or cultural appropriation, or indeed the realities of being a young black man in the USA today, it’s just that there are all these aspects of the film, and then there’s its central idea, which seems to be its own thing, not particularly related to any of them. (Film-making being what it is, Get Out was made before the Great Disaster of last November, and as a result is unable to comment on the implications of the Insane Clown President’s reign. Fertile ground for a future movie, perhaps.)

Not that it isn’t an effective piece of film-making, with a bunch of strong performances from virtually everyone in the cast, and Peele handles the shift from social comedy with darker undertones to full-on horror rather adroitly. However, it deploys a lot of very familiar horror tropes just a bit too knowingly, and some of the time you’re left wondering if this is genuinely meant to be a horror movie, or just some kind of witty pastiche of the genre. In the end I would say this is a well-made and very well-played film, clearly highly intelligent, but one which works much better in its earlier stages than in its final act, throughout which it sort of goes onto autopilot, and also one which never quite reaches the standard of the best of the films which inspired it. Still more fun than Moonlight, though, of course.

 

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