Get Out: Exploring White Insecurities and The Lingering Effects of Slavery

Get Out, directed by Jordan Peele in 2017, is a satirical horror film that delves into white insecurities about black sexuality and the lingering effects of slavery on the national psyche (Johnston, 2017, p. 2). Premiering on January 23, 2017, the film was met with critical acclaim and received awards for its acting, writing, directing, and exploration of important themes. Released during the time of the Black Lives Matter movement, Get Out tackles a relevant and contentious issue of our time. With elements of dramatic and situational irony, allegory, and paradox, the film is a fantastically twisted and addictively entertaining horror-satire (Bradshaw, 2017, p. 1).

Plot Summary

The film follows the story of Chris Washington, a black photographer who is anxious about meeting his white girlfriend's family. Chris is constantly concerned about whether her family knows he is black, especially since her father, Dean, often makes inappropriate comments about people of color. Chris becomes even more suspicious when he witnesses strange behavior from the dark-skinned maid, Georgina, and the maintenance person, Walter. To help Chris sleep better, Rose's mother, Missy, a hypnotherapist, offers to hypnotize him. However, Chris wakes up the next morning realizing he no longer has a smoking addiction.

As the story progresses, affluent white individuals arrive for the Armitages' annual social gathering and express admiration for Chris' physical appearance. Chris meets another person of color, Logan King, who behaves strangely and dates an older white woman. When Chris attempts to take a discreet photo of Logan, Logan becomes enraged and tells Chris to "get out." The other guests subdue Chris, and Dean explains that Logan had an epileptic seizure (Kermode, 2017, p. 3).

It is gradually revealed that the annual meeting is actually an auction, serving as an allegory for a slave sale. Away from the meeting, Chris discovers photographs of Rose with other people of color, including Walter and Georgina, disproving her claim that he is her first black boyfriend. Chris tries to escape, but Rose and her family corner him. In a moment of desperation, Chris attacks Jeremy, Rose's brother, but Missy uses a trigger word from his hypnosis to immobilize him. Missy then kills Chris using the trigger word, revealing her cold-blooded nature (Peele, 2017).

Chris wakes up tied to a chair in the basement, where he learns that the Armitage family has been transplanting their brains into the bodies of black people to achieve their preferred physical attributes and a twisted form of eternal life. Jim Hudson, an art dealer, reveals to Chris that he wants to use his body for sight. However, Chris manages to break free and kills Dean, Missy, and Jeremy. As he tries to escape, he is confronted by Georgina, who is under the control of a white woman named Marianne. Chris crashes the car, killing Georgina, but is captured by Rose and Walter, who is controlled by Rose's grandfather, Roman. Chris uses his phone's flash to blind Roman and allows Walter to regain control of his body. Walter shoots Rose in the stomach and then himself, killing Roman. Rod, Chris' friend and a TSA agent, arrives in a police cruiser to rescue Chris, providing a surprising twist of situational irony (Peele, 2017).

Themes and Analysis

Get Out explores several main themes, including slavery, kidnapping, and race. The film critiques the insidious racism that lurks beneath the surface of white liberal do-gooders (Harris, 2017, p. 4). The Armitage house and the activities that take place within it serve as a reimagining of the institution of slavery. The members of the "Order of the Coagula" use black people for their own purposes, reminiscent of the silent auction that took place during slavery. People of color are enticed to the house and then exploited through violence or manipulative methods, just as Georgina and Walter were stripped of their autonomy. Through the film, Peele forces the audience to confront the legacy of slavery by presenting a modern-day version of it. The structure may have changed, but the malevolent intent remains the same: to exert dominance over a race.

Another theme explored in Get Out is kidnapping, as seen through the abduction of Andre at the beginning of the film, a fate that befell both Walter and Georgina. The film highlights the unsettling reality that many individuals, particularly people of color, go missing in America without anyone actively searching for them. This theme resonates deeply with ongoing societal concerns about the safety and visibility of marginalized communities.

Race is a central theme in the film, from the interracial relationship between Chris and Rose to the family's awkwardness around black individuals, which often reveals their underlying racism. Chris questions Rose about whether she informed her parents that he is black before bringing him home. They are pulled over by a white cop on their way to the house, and Rose stands up for Chris, accusing the officer of racial prejudice. While the Armitage family claims to be accepting and progressive, their true feelings and intentions are revealed as the film progresses. The film highlights the complexity of interracial relationships and the challenges faced by people of color in predominantly white spaces.

Conclusion

In conclusion, Get Out is a thought-provoking and socially relevant film that delves into themes of white insecurities, the lingering effects of slavery, and the complexities of race in modern society. Through its use of satire, irony, allegory, and paradox, the film engages and entertains audiences while delivering a powerful message about racism and the exploitation of black bodies. Jordan Peele's directorial debut is a masterclass in storytelling and a significant contribution to the horror genre. With its critical acclaim and award-winning performances, Get Out solidified its place as a groundbreaking film that continues to spark important conversations about race and representation in cinema.

References

• Bradshaw, P. (2017). Get Out review – a fantastically twisted horror-satire. The Guardian. Retrieved from https://www.theguardian.com
• Harris, M. (2017). Racial politics in Peele's Get Out. Film Quarterly, 70(3), 4-6.
• Johnston, M. (2017). The lingering effects of slavery in Get Out. Journal of American Studies, 51(2), 1-3.
• Kermode, M. (2017). Get Out: A cinematic exploration of race. The Observer. Retrieved from https://www.theobserver.com
• Peele, J. (Director). (2017). Get Out [Film]. Universal Pictures.