In age of neo this and neo that, few films that I have ever screened fit the age from which it was spawned quite like Get Out. The psychological thriller, directed by Jordan Peele, is mind-blowing, daring and epic.
Its very existence is maniacally stabbing through mainstream cultural allusions of the altruistic white sponsor or benefactor, as well as white perception of negritudes true purpose and how it is harnessed to serve them.
Get Out is reminiscent of Alfred Hitchcock in many ways, illustrating neoliberal racism as a violent, usurping phenomenon through which black identity, as well as black autonomy, are disintegrated into the mainstream.
Also, I find it very amusing that white America, while applauding it artistically, refuses to get it, ironically and ham-handedly illustrated by the Golden Globes listing the film as a comedy.
Get Out – In Theaters This February http://www.getoutfilm.com In Universal Pictures’ Get Out, a speculative thriller from Blumhouse (producers of The Visit, Insidious series and The Gift) and the mind of Jordan Peele, when a young African-American man visits his white girlfriend’s family estate, he becomes ensnared in a more sinister real reason for the invitation.
The character Rose and the individuals of the Armitage family, a seemingly neoliberal group, are all analogous to how some Americans, especially those who claim benevolence with control and subjugation being the end goal, use whatever tools at their disposal to gain entry.
Actress Allison Williams played the role of Rose with a convincing ambiguity of the nefarious movements of the Armitage family right up until the big reveal. But when her lies began to unravel before the viewers eyes, and unbeknownst to boyfriend Chris, she is revealed as an apex predator in the mythological pantheon of things that feast on black men. She goes from ambiguous to demonic in the span of a film. Now thats range!
Heres what Williams had to say about her character on Late Night with Seth Meyers.
Theyd say she was hypnotized, right? And Im like, no! Shes just evil! How hard is that to accept? Shes bad! We gave you so many ways to know that shes bad! She has photos of people whose lives she ended behind her! The minute she can, she hangs them back up on the wall behind her. Thats so crazy! And theyre still like, but maybe shes also a victim? And Im like, NO! No! And I will say, that is one hundred percent white people who say that to me.
Allison Williams talks about what it was like to film Get Out and reveals what white people say to her about her character in the film. ” Subscribe to Late Night: http://bit.ly/LateNightSeth ” Get more Late Night with Seth Meyers: http://www.nbc.com/late-night-with-seth-meyers/ ” Watch Late Night with Seth Meyers Weeknights 12:35/11:35c on NBC.
Heres what I wrote about the premise in my initial review of the movie earlier this year.
“The protagonist is made more suggestive to hypnotic commands by revealing an underlying, hidden pain when prompted by a stimulus. In the context of the film, the pain for Chris is the guilt of feeling responsible for his mother dying when he was a child. Missy seizes upon this pain to manipulate him and subdue his free will, putting him in a state called ‘the sunken place’.
In the contemporary mind of many Americans that fall into the African Diaspora, much of our pain reverberates from America’s original sin – slavery. And there are many who have seized upon that pain and manipulated it to their advantage as well.
Another significant and striking artistic affirmation to real world phenomenon that some black folks fear has to do with white liberalism being more about satiating and controlling of black longing for independence, and not for real justice.
The entire cast was brilliant, but Daniel Kaluuya was exceptional as Chris. His ability to sell emotions; fear, anger and helplessness, with his face was instrumental in various scenes, as well as the film overall.”
Critics predict “Get Out,” written and directed by comedian Jordan Peele, will be a best picture contender at the Academy Awards this year. The movie, about a black man who meets his white girlfriend’s family for the first time, is a thriller and social commentary on race relations in America.
My initial review was written a day after the film was screened, with much of its content still fresh in my mind. It circulated around my consciousness like a distant dwarf planet, coming at me unexpectedly and from erratic angles. For example, I cant even get into the lone Asian guy at the auction party. I mean, I can, but I wont–maybe a little. Yes, theres some contemporary and historic dressing for that ass in the character; neo-colonialism standing adjacent to contemporary racism. Whoa!
Its the movie that just keeps giving you more and more to talk about each time you view it. Culturally relevant, both contemporarily and historically, and representing countless views on the mechanics of Black autonomy of any kind relative to White supremacy in America, Get Out is The Shadow Leagues Movie of the Year for 2017.