Get Out — Is racism still in doubt?

Jude Yawson
Jude Yawson in FWRD
Apr 3, 2017 · 6 min read

Coasting through unease, Get Out is a spectacle that will no doubt appease most film lovers. Its genius comes in subtle forms, born from a perspective only a few have met. The racial tendencies crept into a satirical view, though it swimmingly moved to horrific at times too. Either way I was glued to this brilliant film which instilled a sense of success within me. This is no conventional horror film, in fact I despise the genre as I do not easily scare. I am more inclined to find a thriller bigger by imposition, a story formed from a Humane aim which explains behaviours we somewhat shouldn’t entertain. I gained that scent of success as I witness this as a Black film, an identity which in recent times has been mined for its worth.

Chris being wary of Logan, played by LaKeith Stanfield

For Jordan Peele’s directive debut Get Out is truly exhilarating, it boasts an unconventional approach that seamlessly blends comedic apt and an anxious horror. An interesting bother throughout the film was the crowd, I felt bad at the awkwardness which moments in the film spawned — occasionally glancing back to witness more awe. Peele managed to store the collective angst that whiteness presents for the other. I feel identity becomes the other as an “ethnic minority” due to a gross lack of representation, though this point is questionable as such a film portrays the translation of cultures. Daniel Kaluuya is a top notch actor that stepped into his role as Chris fantastically, ironically for me showcasing Black British talent which has faced contentiousness in the past couple weeks. With the whole debate inspired by Samuel L Jackson’s comments and even the release of More Life which included so much UK Talent it is great that limelight is being shed on such people.

Constantly acting with the body and expression Daniel Kaluuya’s performance is one of his best to date

The waywardness of interaction which stores identities and stereotypes gained through daily life is flipped. Get Out manages to entirely flip this by presenting the spectrum of the Black being to an audience that cannot digest that Black feeling. Meaning there are different ways to perceive this pointing out our accumulated experiences aren’t the same. In the cinema I witnessed how people reacted, though it was more evident by other reviewers and commentators understandings of the film. It is easy to receive this as comedic with a lot of relief intertwined with the films plot, especially through Chris’ friend Rod played by Lil Rei Howery — a friend of Peele’s who he has worked with in the past. Chemistry is of great importance too, highlighting the cultural differences expressed and expected by different identities. The split of seriousness and the laid back demeanour of Howery offers ridiculousness and a sense of reality, which works out to be hilarious. Hence it almost feels like a 4th wall, his statements regarding Chris’ whole relationship and eagerness serve the film well — sealing the usual criticism the unreality of most horrors portray.

I would have got out at this point if I’m honest, though there are like a dozen more occasions too

I claim Get Out translates through cultures as that dread of being Black in white spaces has to be realised otherwise we would have that Hollywood casting problem . e.g. Scarlet Johansson in Ghost In A Shell. Blackness in the United Kingdom of course has a different route to prominence, each country or rather system has its own forms of racism, though Get Out pinpoints themes I feel are recognisable internationally by diasporas. I think Peele understands this, hence even placing an Asian man in the mix who seemed as fascinated by Blackness like these strange white folk. I feel the trailer showed most points of the film in a structural sense which amazed me when I recognised how strategically well done this film is. Menacing soundtracks rode my piling anxiety which began to act as horror. Watching with my Brother we both expressed the same thrill, noticing that chilling vibe of being in the wrong place at the wrong time. Though as the response has been to the film, as Black watchers looked on, it was clear this is was a social critique of intensified racial interaction.

Lil Rel Howery as Rod — I expect to see him benefit the most acting wise from this film.

What is being Black worth? It is becoming a curse, with riled up angles born from social justice deniers the identity is on fire. We exist in times the conversation is a daily weight. It is refuted, questioned, nevertheless it is debated. This fragrance of the Black identity for me stems from negritude. This is a concept I have fooled around with for a while, such ideas stem from a middle class academic style. It gathers a collective sense of being under an ideal. Negritude is an idea that points toward the recognition of blackness, a sense shared between African diaspora mostly. Spaces in which Blackness feels a thing, the creators of the concept all hailed from different former French colonies. Leopold Senghor, first President of Senegal, Aime Cesaire, an author from Martinique and Leon Damas, an author from French Guiana. The shared experiences they accumulated by skin, the scientific racism, colonial will and ideals which filled people’s with a perception of Blackness as unwanted, poor and innately disruptive — negritude spawned from this compilation. My unease in this film stemmed from acknowledging negritude, especially in one scene where each stereotypical concept of Blackness was versed and displayed by so many interested white people. I feel most people have used at least one of these racially motivated phrases. When streamed as a collective of thoughts about the state of people there was a collective anxiousness which was swallowing me, I wanted it to end.

For me even the body language highlights different cultures, it was quite apparent in this scene

I have to commend Jordan Peele on this amazing film which has become the highest grossing original debut film. It has drawn comparisons to The Stepford Wives and The Rosemary Baby, two films I have not seen before though are famed for their play on normality as social critique. In a really real interview he states that Human beings are the worst Monster in this World, which I agree, and calls this genre the Social Thriller where the thrills come from Society and the way we interact. It is an incredible task to create a captivating horror film and Peele seems so talented when you consider his comedy, acting history and such interviews where we can talk over these levels. I feel there are so many layers to how we discuss such, racism being a contentious phenomenon people do not settle one. Though when you present micro-aggressions constantly in one setting like the film Get Out does, our experiences conspicuously differentiate. It is a surprise people cannot continuously be aware of it, though that ignorance regarding interaction has inspired the booing of the film. That and — it is just that tremendous.

Within a sunken place

This film is so good that I have to start offering ratings and I give this a 10/10 for the sake of it. I won’t seek any bad moments, I did not feel the need to — as Peele had an idea and expressed it brilliantly. He claims the audience is Chris — everyone shares and goes through his stories, though Peele also notes the neatly placed micro-aggresssions that the Black audience recognise. That layer of Blackness whilst other viewers can witness but not feel. It is a timely released film that reignited my admiration for horror. I definitely recommend this — watch it in the Cinema if you can to take in the mass of feels.

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Jude Yawson

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The greatest writer in the World Agent: agency@ownit.london

FWRD

FWRD

A community of forward thinkers, expressing themselves beyond the limitations of 140 characters. Encompassing tech, life and culture. Driven by authenticity, creativity and great storytelling. Lets move FWRD, together.