‘Get Out’ stormed to the top of the box office upon release and proved/disproved many conceptions/misconceptions about what makes a popular movie, from a film whose plot is built largely on race and social issues. Most notably it, along with films like Moonlight, Rogue One and Hidden Figures proves inclusion, diversity and representation sells or at the very least does absolutely no harm to ticket sales. A bad film effects ticket sales. And Get Out is most definitely a good film. As a fan of Key & Peele I had no doubt about the kind of quality Jordan Peele could muster but the viewing public and certainly THE MARKET was rather surprised by its success. Garnering near universal praise it is a standout horror/thriller classic already and hopefully marks a watershed moment for racial attitudes within Hollywood. And it is that last point that is so interesting to me. Plenty of films have been made that discuss similar themes and even have a similar story (Peele himself calls it ‘Guess Who’s Coming To Dinner?’ vs ‘The Stepford Wives’) so what about Get Out really captured the imagination? There are a lot of answers to this, the most important being the racial tensions at play in societies across the globe right now, but also the idea of gentrification taken to its absurd extreme. For me, it’s all about the last 20 minutes or so.
Much was made of the opening 3rd of the film that displays not just the pernicious effects of negative racism but equally the troubling effects of “positive” racism i.e. delight at a relative losing to Jesse Owens, wanting to vote Obama for a 3rd term, generally over praising the main character and his culture and so on thus excluding as exceptional Daniel Kaluuya’s character Chris rather than including him. But I found the thing that made me most uncomfortable as the credits rolled was my feeling and assumptions as to how the film would end which I discovered were… actually pretty racist. This is 100% because of the way Hollywood portrays POC in movies and as a film fan these assumptions were built into me so I made assumptions as to a twist. What do I mean by this?
At the end, after the family’s plot for Chris is revealed he begins his escape and this is where my ‘I know how films work, me’ assumptions kicked in. Chris flat out murders the entire family in various gruesome ways and you are WITH him the whole way, an excellent display of how Peele has got you rooting for these odious monsters to die despite the fact, as a majority white audience, they – sadly – represent us, but at every turn I constantly was waiting for the about face. “There’s no way he’s gonna make it” I thought, waiting for the rug to be pulled from under me. But he doesn’t. Through wily cunning and determination Chris ploughs on, even trying to help the maid who we know to be with the family as he makes good his escape and destroys the house in his departure. Even up to the last minute I was internally begging for Chris to make it, to survive, to Get Out, but knew, because I know how films work, that wasn’t going to happen. Chris was doomed. The whole finale was a dream, I thought, a hallucination brought on by the hypnosis, or the police car was a real police car and Chris was about to become another young black police statistic, or Rod was in on the whole thing or had been hypnotised too etc. But when the credits finally rolled and Chris Got Out I was left with a horrible sense of guilt at how I had spent the whole film waiting for the black guy to get caught or fail or die, i.e. my own racism. The opening 3rd hadn’t affected me that much, I’m sure I have acted questionably around BAME people but never that bad and was brought up well enough to be polite and genial to everyone whatever their race, gender or creed, but my instant assumption that the black guy couldn’t win, that he could not succeed where so many other white protagonists did (particularly white female protagonists), that the black character could not triumph, made me very ashamed. And that is what is most incredible about the film.
As well as being a tour de force of small scale but big idea filmmaking, with a faultless ensemble cast, a near total lack of CGI, minimal gore but used to wince-inducing effect, pitch-perfect tone and a lean yet well paced script, what amazed me the most is how the very structure of the film itself asks you to question racial assumptions. The very existence of the film in the mainstream demands discussion as to why we expect it shouldn’t be there. For me this is the absolute triumph of this movie. In an interview Jordan Peele expressed his dislike for the sledge-hammer politics that surround the race debate in America, saying that the “conversation is broken” around race, by which I think he means the topic is continually brought up but either side continues to be combative and no ground is made. The miraculous thing about this film is that, on every level, it offers up a question to a white audience and a white industry as to what our assumptions and prejudices about race are. From the surface to the very meta notion of a movie about a black man getting revenge with no comeuppance (just like every white protagonist in cinematic history) being such an alien and revolutionary thing, Get Out asks ‘why do people of colour get treated differently?’ This was brought shattering to the foreground when Moonlight was robbed of its moment at the Oscars by the false announcement of La La Land as winner of Best Picture. An all black cast and crew forced to share their win with an almost all white cast and crew and – most uncomfortably – every pundit who immediately heaped praise on La La Land as a deserving win having to then instantly back track and say exactly the same about Moonlight, quickly proving how hollow that praise really is. Not to insult La La Land at all as I have not seen it yet and heard nothing but good things about it but the response to the screw up was most revealing.
Race and nationality is the topic of our time. As every country closes its borders in support of the fringe voices demanding a backwards step to nationalism and exclusion in its political policy, it is culture that needs to open its borders and be more inclusive and open up the dialogue, something the powers that be are insistent on shutting down. Support for films that are inclusive and take risks (so long as the film is actually good) and condemnation for films that whitewash (I’m looking at you Gods of Egypt) are what shift industry standards and most importantly move the fucking MARKET away from the homogenous white mess we’ve been fed from a shit coated trough for the last few decades. If you’re at the cinema and have a choice between another white populated blockbuster and a film with even just one POC or non-binary character go and see the latter. Its a small start but we can already see the positive results.
Get Out’s budget was a paltry $4.5million (that sounds a lot but it really ain’t. That wouldn’t even cover a Marvel movie’s food budget), it has so far made $160million at the Box Office and it’s still going. The studio that sponsored the project, Blumhouse, have a track record for sniffing out a success. Saw, Insidious, Paranormal Activity, The Purge are all multi-sequel box office smashes from that same studio which indicates they understand audiences and Get Out is no exception. Film studios realised recently (prior to the Marvel boom) audience numbers were slipping again thanks to streaming services and 3D being the giant pile of dogshit that it is wasn’t helping, so they very sensibly attempted to diversify and take a few risks. Pleasingly this paid off and over the last few years we’ve seen the biggest studios go out on much greater limbs and surprise, surprise it has paid off. It is laughable that making a film with two female leads or with non-white or non-English speaking actors should be considered ‘Risky’ but that’s the kind of dumbass hacks we have in charge, be it a film studio or a country. What Get Out is the poster boy for is that inclusion matters, representation is beneficial to everyone and most importantly don’t patronise your audience. Get Out is a multi-layered GEM of a movie that doesn’t talk down to its audience whilst confronting a large part of it with a very real, very horrific issues that is quite literally killing people. Now if we could just get just one film, just ONE, with the positive portrayal of a Muslim man or woman then we might really be cooking with gas. With films like Black Panther from Marvel on the way though and I don’t doubt Jordan Peele’s ascension to the Hollywood director A-list the future is looking a lot darker. But, like, in a good way.
Post Script: So chuffed to see British actors like Daniel Kaluuya, John Boyega, Chiwetel Ejiofor and Idris Elba being the leading men in all the modern cinema classics as an antidote to white guys named Chris. If you haven’t watched Daniel Kaluuya’s episode of Black Mirror do so now. It’s a pip.