Jordan Peele’s directorial debut, Get Out, may be a horror movie, but the real unease comes from its commentary on race.
What is Get Out about?
Photographer Chris (Daniel Kaluuya) and his girlfriend Rose (Allison Williams) plan to spend the weekend with Rose’s parents. Not only will this be Chris’s first time meeting the family, but they’re white – and don’t yet know he’s black.
What begins as a weekend of toe-curling social awkwardness takes a dark turn.
The Armitage’s remote home belongs to another era, complete with black servants. Then Rose’s mother, Missy (Catherine Keener), hypnotises Chris to help him quit smoking, but it leaves him feeling unsettled.
The bad vibes come to a head at the family’s annual garden party. Chris uncovers something disturbing about another guest, who warns Chris to “get out”. But will Chris take notice – and is it already too late?
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Is Get Out about racism?
Get Out’s message isn’t that ‘white people are bad to black people’, any more than American history begins and ends with genocide and slavery.
The film is a far more nuanced look at racism, from the perspective of Chris (and African American culture) rather than what and how white people respond to race and racism. But what does this actually mean?
The film has its share of jump scares, but Get Out’s dread comes from the everyday racism that Chris lives with. This includes casual racism, such as the cop who asks to see his driver’s licence, even though Rose is driving.
It’s there in the insidious racism of the all-American family, for example when Dean Armitage (Bradley Whitford) praises Jesse Owens in the 1936 Olympics, yet still has black servants.
And it’s there in Chris’s quiet acceptance of these unavoidable, everyday horrors. While Rose claims to feel embarrassed by these instances, Chris has to walk a more careful line. As a Black man, he has to moderate his behaviour to pacify white fears and aggression. Because to not do so too often leads to unfair criminalisation … or police brutality.
That said, the film also reflects racism and exploitation on the largest scales. The very idea of a modern white family with only black servants is enough to unsettle most cinema audiences, for instance.
Meanwhile, the garden party has unmistakeable overtones of a slave market – because that’s what it is. One by one, the guests speculate how much value Chris’s body can add to their lives.
Myths of Blackness
While racism underpins much of the movie, there’s one particular aspect that drives the plot. That’s the fetishisation of Black bodies, and especially attitudes about athletic and sexual prowess.
This weaves around the film at several points. Dean’s thoughts on Jesse Owens, for example, and Jeremy’s loaded questions about martial arts. And, of course, it’s why the Armitage family hunt Black men for their ‘Coagula cult’ in the first place.
This is a striking idea, with creepy overtones of The Body Snatchers. In fact, it builds on far older racist scientific theories. For example, beliefs that skull size varies by race, with whites having the biggest brain capacity.
Yet despite manufacturing the evidence like this, even white supremacists seem shackled to the grievance (or fetishisation) that Black bodies are somehow better at sports and sex. The Coagula is an attempt to square this circle. It injects white people’s supposedly superior intellects into better bodies.
The way the Coagula operates is a metaphor for broader social racism, too.
As blind art dealer Jim Hudson puts is, phase one is the hypnotism: that’s how they sedate you. Consider Chris’s behaviour in light of this. He lets it go when the cop mistreats him, and when Jeremy tries to goad him. He can’t always fight back against injustice because society punishes Black people who step out of line. It’s behaviour modification hiding in plain sight.
Easter eggs in Get Out
Get Out isn’t shy about giving away the game. The script does this in quite a playful way, again backing the idea that this isn’t so much horror as social commentary.
- In the prologue, Andre Hayworth is on the phone to his girlfriend. He tells her where he is, and that he’s lost. The girl is Rose, who tells her grandfather / ‘Walter’ where to find him.
- When Dean gives Chris a tour of the house he shows him the kitchen saying, “my mother loved her kitchen, so we keep a part of her here.” He means Georgina, whose body has been taken over by his mother.
- Dean tells Chris: “We hired Georgina and Walter to help care for my parents. When they died I couldn’t bear to let ‘em go.” This is a confession, except it’s not the servants he kept on but (through them) his parents.
- Rod explains the whole plot early on: “I think that mom is putting everybody in a trace and she fucking the shit out of them.”
These aren’t the only instances of things ‘hiding in plain sight’. Perhaps most significant is the way the Armitages mask what they’re up to. Their social circle won’t admit Black friends, yet having Black servants is the perfect cover.
It’s expected that Black people should fulfil these lower, manual roles … so it doesn’t raise any eyebrows. As Dean comments: “White family, black servants. It’s a total cliché.”
Meanwhile, the greater weight given to white experience and white bodies means that when Andre, Georgina and Walter go missing, the police search doesn’t last long.
In other words, social norms make it easy for the Armitages to get away with wrongdoing.
What does the deer stand for?
The deer has a couple of functions in Get Out. Firstly, it ties the start of the film to the end, creating a neat loop.
When Rose’s car hits the deer it’s an ominous sign that things are going wrong – that something dark lies ahead. It may be accidental, but what’s meant to be an enjoyable family weekend starts with death. And that’s never a good sign.
As predictions go, this one is spot on. Later, we see a deer’s head in the basement: by now, Chris has been attacked and locked up. Here the symbolism is of the hunting trophy, but it’s Chris who’s being hunted.
This hunting theme is there at the start of the film, too. When Walter tracks down and abducts Andre, the song playing on the car stereo is ‘Run, Rabbit’. It’s a song about a farmer hunting a pesky rabbit.
There are two more interesting things about the deer. Firstly, Chris turns the hunt on the Armitages, and even kills Dean with the deer’s antlers. And there’s the similarity of Rose running down the deer at the start of the film, with Chris driving down Georgina at the end.
How Get Out reverses halfway through
The way the deer metaphor bookends the film is another interesting aspect. Get Out repeats some scenes and symbols in reverse order later in the film. The halfway point is when Chris wakes up in the basement and Jim explains the Coagula.
- At the start of the film, Chris tells Rose he’s worried about visiting her white family. He says “I don’t want to get chased off the lawn with a shotgun” – which is exactly how the film ends.
- On the drive out Rod and Rose joke on the phone about how they should get together. At the end of the film, Rose threatens Rod with bogus claims that he actually wants this.
- They hit the deer. Later, the deer’s head reappears in the basement.
- Missy starts programming Chris to respond to the sound of a cup being stirred. Later they use this sound to trigger immediate hypnosis.
- Missy sends Chris to the sunken place for the first time. He wakes to find he’s scratching the chair’s arm involuntarily. In the basement he drifts in and out of the sunken place – yet now the reflexive scratching is how he escapes.
It’s also worth comparing the film’s opening and closing credits. At the start of the film, the credits play over scenes from a daytime car ride. It ends with a night-time car ride (to the same soundtrack).
At the start of the film, Chris has everything to look forward to. At the end, he’s uncovered a dark truth – and things will never be the same again.
Get Out (2017), directed by Jordan Peele
Other films similar to Get Out
- Us (horror movie, same director)
- Rosemary’s Baby (horror movie, a sole voice of reason)
- Westworld (things that look like people yet aren’t quite)
Picture credit: Chris Greenhow