In a combination of comedy and chaos, Get Out did not let my attention stray. This social commentary about racism scares and stuns. It allowed me to empathize with a minority group like I never had before, inducing me to an awareness to a problem that I had never experienced first-hand.

 

Written, produced, and directed by Jordan Peele, who starred in the Comedy Central sketch show Key and Peele, the humor within Get Out highlights the horrors of racism. Poking fun at societal issues, Peele exposes them to individuals who might have never considered them before. During the movie, in the theater seats all around, there was a diverse group of people from most social classes and ethnic backgrounds and no doubt different political parties. Our beliefs no doubt drastically contrasted. Yet, throughout a 103-minute presentation, I felt emotionally connected with the strangers surrounding me. Our reactions to Get Out were the same. Our gasps, sighs, and howls of laughter corresponded and communicated our agreement that this movie was an enjoyable one.

 

The main character, Chris, has reached an important point in his relationship with his girlfriend, Rose, the point which many can relate to as the most stress-inducing part of a new relationship--meeting the parents. For Chris, this meeting is even more suspenseful than most. He is African American, going to his girlfriend’s white suburban family’s house for a weekend, a family who is not aware of the pigmentation of his skin. In a denial of any vitriol that may come from her parents, Rose reassures Chris that her father really liked Obama. This, of course, does not necessarily mean that the dad is an outstanding individual.

 

Foreshadowing flaunts the future of the movie from the first scene. Whether it be the suburbia police officer insisting that Chris reveal his identification or the deer that Rose runs over, causing it to lie dying and crying on the side of the road, a sense of foreboding accompanies the film’s beginning moments. Much like the existence of racism itself, some can choose to ignore it. But, as the movie proves, ignoring problems only prolongs and strengthens them. Despite the nothing-could-go-wrong attitude of Rose, Chris finds himself growing increasingly suspicious of the situation and suburban setting. Rightfully so, as it turns out. The acceptance expressed by Rose’s family and friends is a mask over sinister motives.

           

In twisted but brilliant writing, Peele has us giggling where we should probably be gagging. When we realize that what we find so funny is morbid and messed-up, there is a moment of insight, an epiphany that the content which we watch is inspired by the injustices actually occurring in reality. Every racial joke and cultural misunderstanding that came from the characters were not likely created by Peele. Being an African American, he probably had heard them himself, directed towards him. That we chose being mirthful of the oppression seen in the movie exposes the real-world mindset seen through the United States and the entire world, the thought process of, “If it’s not happening to me, it’s not actually happening.” Thus, we crack jokes about other races, use derogatory slang, ignore centuries of history and avoid the feelings of others.

           

Comedy aside, Get Out is full of gore, perversion, and prejudice. While this is an adult movie, what is discussed within is not an adult concept. Racism affects all. This social commentary is staunch in suspense, and never once did my attention waver. The movie’s comedic components achieved its goal of laughter. The gruesome gore produce the necessary level of cringe. The action activated my adrenaline. Above all, this movie articulated the voices of those who have long been shushed by the majority.