The sudden, explosive rise of Keegan Michael Key and Jordan Peele has always been something of a surprise tome. Not that I didn’t think they had talent, they were definitely some of the standout performers on MADtv back in the day, but MADtv was quite a few years ago. Suddenly they have their own show, Key & Peele, that explodes in popularity. Then they’re appearing in commercials and movies, although starring in Keanu might not be the best line on your resume, and now Jordan Peele has stepped into the world of directing with this film (he’s also got a TV series coming out in the near future). Which was again a huge success, by all accounts! I don’t what it was that clicked and get everyone into that K&P life, but it’s great to see talented guy like them get the respect that they deserve.
On the other hand, films about the conflict between white and black Americans have existed almost as long as the American film industry. Guess Who’s Coming to Dinner, In the Heat of Night, John Cassavetes’ Shadows, all the way up to Dear White People and that one episode of Atlanta (you know the one), the culture shock of black encountering with white culture has been the subject of many a good movie over the years. Movies that are just as relevant today as they were when they were released, by the way, but I’ll try to keep it at that. I could be here all day writing about how the rabid infestation of racists, bigots and fascists in this country make me embarrassed to be an American citizen, and I’ve got 6 more movies to watch.
Taking that setup and reinterpreting it for the horror genre is relatively unique though (the only film that feels similar is Meet the Blacks), and maybe that’s why Get Out’s melding of Guess Who’s Coming to Dinner, The Stepford Wives hits so hard. Like all horror it takes fears and anxieties that we’re familiar with and gives it a physical form. The Ted Bundys and Zodiac Killers of the world fueled Halloween and Black Christmas, the fear of nuclear war brought us Planet of the Apes, the fear of open sexuality gave us Dracula and Hellraiser, and so on and on. In the case of Get Out, it’s Chris Washington’s fears of dehumanization and persecution based on who he is eventually lead to him being dehumanized and persecuted based on who he is. It’s the same kind of fear that drove the protagonist of Kafka’s The Trial or at least one iteration of Invasion of the Bodysnatchers, becoming aware that you the centerpiece of a large play, and that the people you thought you knew are actors playing a role that you aren’t allowed to know. Classic paranoia, and as someone who does have anxiety issues, Get Out is right in my wheelhouse.
One of the common criticisms I’ve heard is that Get Out isn’t special, that it’s just a generic movie. That’s true to an extent; Jordan Peele hasn’t reinvented the wheel here, and despite the hype a director’s debut film isn’t always indicative of how they are as an artist. No one talks about Spielberg’s The Sugarland Express after all, despite being one of the biggest directors of all time, and you’re not likely to see many Coen Bros. fans name drop Blood Simple. What Peele has done, however, is to give a good solid horror movie in an era where horror is at its most humdrum. Occasionally you’ll find a gem, but most of the genre seems to be going through the motions. Get Out is creepy, it’s surreal, it’s violent, sometimes shocking and yes, even potentially scary, although it’s been a long time since I was actually afraid during a movie. I was actually engaged with the film, which more than I can say about Babadook and A Girl Walks Home Alone At Night and many other movies that have gotten lip service in the modren era.
For those who liked The Trial, the Stepford Wives and other such movies of things not being what they seem, then Get Out might be the kind of film for you this Halloween. Trust me, you won’t want to drink tea for a week.
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