Introduction
Get Out (2017) is a movie that combines the elements of a social drama and a horror film. It discusses relevant issues, such as racism, objectification of black people, and other flaws of contemporary American society. However, unlike most dramas and documentaries, Jordan Peele (director) uses common tropes of horror movies to emphasize the dangers that African-American people face in the country. As a result, the film is equally creative and socially relevant, and multiple positive reviews highlight its highest quality. Ultimately, the current essay thoroughly analyzes the movie, explaining its significance to understanding racism and objectification of black people in the United States.
Racism and Microaggression
The depiction of racism in Get Out is vastly different from the common understanding of the term. For instance, the movie starts with the opening scenes of Chris (African-American protagonist) and Rose (a white woman and antagonist) living happily together (“Get Out”). However, the tone in the movie quickly shifts as Chris talks to Rose’s family, which has an unhealthy obsession with black people. It is a unique perspective on racial interactions, which could be considered passive racism or microaggression. As some authors note, it is an example of a ‘post-racial’ society, where direct aggression is unacceptable, but the discussions about race are still highly relevant (Patton 349). Moreover, it shows that racism exists on all levels, even when society does not want to recognize it.
This problem is present in Rose’s family, but Jordan Peele exaggerates it to make it obvious to viewers. Namely, Rose’s family is obsessed with black people – it has statues of prominent black figures in the garden and admires Chris’ physical appearance (“Get Out”). Such behavior dehumanizes black people as individuals and perceives them as objects. Jordan Peele makes it evident by showing Chris’ disgust and fear toward Rose’s family, when he is being treated as a celebrity at first for simply being a black person. As a result, the movie transparently shows the dangers that African-American people might face in a ‘post-racial’ society.
Slavery Reference
Additionally, Jordan Peele references slavery in the movie since most black people at the party are house servants. It shows that any spectrum of racism, from aggression to an unhealthy obsession, depersonalizes people. Dean’s quote shows the irony of this depiction, “I know what you’re thinking: white family, black servants. It’s a total cliché” (“Get Out”). However, this perspective reflects the similarities between contemporary American society and the state of slavery in the 18th-20th centuries.
Ending Significance
The ending is critical to the movie’s message of open and covert racism. When Chris escapes from the mansion, he is found by his best friend Rod, who is a policeman. The scene relieves the tension, showing that there is hope for the protagonist. However, it is also critical to note that, in the original ending, Chris is found by two white policemen (Jarvis 108). Since Rose’s family is dead and Chris is covered in blood, the police arrest the protagonist without investigation, showing prejudice against black people. In this sense, the two endings convey different messages, but they both show the reality of racism in society.
Conclusion
Get Out is an excellent movie that analyzes relevant topics through the lens of horror tropes and exaggerated perspectives. Rose’s family is an example of groups of people with an unhealthy obsession that dehumanize black people in the same manner as slavery. They see Chris as an object rather than an individual, despite the genuine admiration they have for African-Americans. As a result, Jordan Peele shows that covert racism is still a relevant social issue even in a ‘post-racial’ society that does not tolerate “open” racism.
Works Cited
Get Out. Directed by Jordan Peele. Blumhouse Productions / QC Entertainment / Monkeypaw Productions, 2017.
Jarvis, Michael. “Anger Translator: Jordan Peele’s Get Out.” Science Fiction Film and Television, vol. 11, no. 1, 2018, pp. 97-109. Web.
Patton, Elizabeth. “Get Out and the Legacy of Sundown Suburbs in Post-Racial America.” New Review of Film and Television Studies, vol. 17, no. 3, 2019, pp. 349-363. Web.