Get Out- Interracial/Horror Film(Hidden truths)


Jordan Peele’s directorial debut Get Out proves a fascinating engagement with the racial truths of the contemporary world. The film centers on interracial couple Chris and Rose who are traveling to meet Rose’s parents in a New York City Suburb.

Prior to their visit, Chris asks Rose if she told her parents that he is black. Rose makes a mockery of this query, a query that encompasses the film’s many acts of foreshadow and dramatic irony. Get Out proceeds to illustrate that it is Chris’ blackness that makes him Rose’s prey. The couple’s visit to meet Rose’s parents proves a sick and calculated effort to abduct black bodies and re-appropriate them as a means to enhance the lives of a white counterpart. In short, the film’s resonance lies not in the images themselves but what lies beneath.

1.White Liberal

One of the most demonstrative illustrations in the film is its portrayal of the “white liberal.” Rose, Chris’s girlfriend not only dates a black man but defends him in the face of overt discrimination. Chris is racially profiled by a police officer on the way to meet Rose’s parents. The policeman asks Chris for his identification, to which they receive Rose’s wrath. After the incident, she states that she won’t let anyone “F%ck with her man.” But little does Chris know, Rose is merely protecting Chris the object and not Chris the person. This objectification becomes clear in the silent auction that takes place in Rose’s parent’s garden. What they disguise as “Bingo” is an auction where interested white buyers place bids for the black body Rose brings home. So questions like “Is it better?” referencing black male sexual performance, is the query of a prospective buyer desiring a worthy investment.

Rose portrays a physical embodiment to the phrase “every shut eye ain’t sleep and every goodbye ain’t gone.” An assumed ally can very well bear oppressive feelings towards a marginalized body. Assumed allies often veil self-interest in seemingly supportive gestures. Namely, Rose does not verbalize her prejudices yet is not any different or better than her parents or their “garden party” guests.

2. The Poisonous Apple

Get Out depicts Chris, a black man,  as an Eve-like figure and Rose, a white woman, as the poisonous apple that exploits his vulnerabilities and renders a series of irreversible consequences. The film intertwines physical hypnosis to induce black acquiescence to a  new identity. Rose acts as a form of hypnosis in her pursuit and pseudo-love for the black male. In seeking to consummate white acceptance and assimilation in his romantic relations with white women,  the black male body enters a vulnerable state exploited by his “prize.” Thus, Rose uses her external appeal to sink her thorns deep into the black male psyche. Just as their love seems to bloom, it is not Rose who dies, but her black lover–illustrating the measure of a rose’s beauty is the ability to distract admirers from its thorns sinking into their flesh.


3. Science and black experimentation

The Armitage family abducts blacks, hypnotizes them, and uses the black body to improve white quality of life. The procedure leaves a small portion of the black brain but replaces the majority with a white brain. Thus, the black person becomes “a passenger” in his own body. This procedure seems synonymous to the abduction of African bodies and displacing them onto indigenous soil. This displacement renders the black body a passenger in the western experience as each generation proves more distant relationship to their African origins. While the African brain may not be physically extracted, it becomes westernized so that descendants of abducted Africans feel more American than African–making the black body a commuter in their own oppression.

Interestingly, upon first meeting, Chris and Rose disclose that they hit a deer on their way up. In response, Rose’s father remarks that they “did a service” by hitting and ultimately killing the deer. It is this same ideology that prompts the white conservative to seek out black bodies to dismember for their own personal benefit. In their minds, the Armitage family does a service to blacks abducted for their procedure, as their procedure affords the black body a purpose believed to not exist outside of serving whites. Prior to preparing Chris for the procedure, Mr. Armitage asks him “What is your purpose, Chris?” To pose this question prior to their intended procedure suggests that their use of his body incites a purpose otherwise non-existent.

It is this same ideology that prompted white doctors and scientists to use black bodies to test out medical procedures. Henrietta Lacks’ doctor felt entitled to the contents of her vagina, so much so that he did not even consult her next of kin prior to abducting her cells. The pearl-like substances that killed her would acquire purpose in the lives Lacks would come to save following her death. Thus, just as the Armitage family deems the black body purposeful in servicing whites,  Henrietta Lacks’ story similarly illustrates the black body as purposeful solely when appropriated for western motives.

Slavery and the contemporary world implement a similar ideology as the most celebrated black figures: athletes, entertainers, and actresses all serve whites. Thus, the television, radio and even the education system all act as an informal hypnosis implemented as a means to control black bodies and place them on a dead end path to white servitude.

Film Review Get Out

4. The unassumed intellect

Get Out channels Charles Chestnut’s “The Goophered Grapevine” and “Dave’s Neckliss” in illustrating the unassumed intellect in Chris’ TSA friend, Rod Williams. For those unfamiliar with Chestnut or these stories, a prevalent style of Chestnut is to implement a character who due to their vernacular speech prompts most to assume that he is intellectually deficient. The unassumed intellect uses these preconceived notions to his advantage and deceives his “intelligent” counterparts by the story’s conclusion.

Similarly, Williams provides comedic relief to audiences in his delivery. Yet the dramatic irony evokes laughter from some and frustration from others as audiences know that Williams is the sole party in the film that knows the truth. This depiction functions positively, as it evokes a caricatured black image as a means to exploit presumed western conceptualizing of black intellect. In a perfect world, caricatured imaging of blacks would disappear completely. However, it is an act of advancement to include stereotypes in a way that prompts contemplation, or that performs in a way to challenge western predilection for the compartmentalized black body.

The Final Verdict

The most resounding part of the film for me is when the black male body reappropriated as the Artimage grandfather, snaps out of his hypnosis and not only shoots Rose but shoots himself. This depiction illustrates black detachment from a controlled identity as a necessary component to disabling mental enslavement. Furthermore,  blacks not only have to rid themselves from physical obstacles but the part of ourselves that encompasses these harmful ideologies.

My least favorite component of the film was the means in which the hypnotized black body reverts back to semi-consciousness. Although the black body is held hostage by a white brain, it a flash or white light that snaps them back into consciousness. Thus, although it is a black man who physically saves himself from his pending imprisonment–it is a stroke of white light that enables his escape.

Thus, while seemingly a cautionary tale to interracial dating, or to the black body trusting whites in any capacity–the film evokes a white savior in representation rather than form. At surface level, the film seems to evoke the separatist ideology implemented by civil rights leaders like the late Malcolm X. However, the authorship of said movie makes this close reading impossible to take seriously. For this reason, Get Out reminds me a lot of Birth of Nation.

After viewing both Birth of a Nation and Get Out, I left the theater somewhat content. These feelings faded almost instantaneously as I realized that these movies while depicting the complexities of the historical and contemporary black experience can only resonate but so deeply. Namely, both Peele and Parker write and produce movies that should be revolutionary, but are not.

Jordan Peele and Nate Parker both conclude their films in the same manner. Specifically,   Birth of a Nation and Get Out end with all central white characters are murdered by blacks. While fatalities at the hands of blacks substantiate black bestiality, it also functions to depict white bodies as factors that must be eliminated to free blacks from an oppressive state. Like Birth of a Nation, Get Out is authored and directed by a black male married to a white woman. This dynamic casts said black authors as significantly less harmful and least likely to actually eliminate the white demographic because to do so would be to not only murder their wives but the mother of their children. Furthermore, with their interracial unions, the black male writer and director assumes a non-threatening stance in which the murder of fictive white characters seems an artistic choice rather than a means to uplift the black collective.

While the western world attaches a taboo labeling to interracial unions, these unions function favorably to foment white supremacy. The strongest black leaders are strong not because of what they say but because of what they do. Thus, these films are noteworthy, not revolutionary, as it is not enough to implement images that suggest an ideology disconnected from the thought and action of the author.

Writer and producer Jordan Peele also complicates the ability to take Get Out seriously with his comedic background. Thus, his depiction of a white family who abducts blacks and uses their bodies for their own benefit—becomes a well-executed joke rather than reflective of a past and present horror not limited to a New York City suburb.

Article by C.C. Saunders


44 thoughts on “Get Out- Interracial/Horror Film(Hidden truths)

  1. They are really push so hard IR,because they don’t know how to save their ass from extinction!!
    I don’t know which Planet they come from but IR it will not work,they think that the 5% of their world population can clean all black people living in this world?? They are really disillusion! I am really get tired of this bullshit of BLACK AND WHITE memes, because the world doesn’t make only black and white!
    Why get in bed with these things,in the end they don’t see your skin color?
    How can be fucking blind to not see black,brown,yellow and red colors? It’s mean your invisible for them!

  2. @ Everybody:

    I just listened to Kimberly Fraizer’s review of “Get Out”. It’s a two-party, and is full of spoilers! It’s really enjoyable and contains profanity.

    Enjoy! 😀

  3. I’m not much of a movie fan because I believe that the best way to show the ‘white’ man my disgust is to not give him my money and I don’t care if this movie was the brainchild of a Black man because you can bet your bottom dollar that who is going to benefit the most from any Black project is a white man.

    The only way to get our point across that we are tired of watching this interracial shit produced by whites and blacks is to not give this tired ass mess, our hard-earned dollars. That’s the only thing the white man understands. He doesn’t care about our feelings or lack thereof for this interracial mess. All he cares about is dollar bills. That’s the only way to get to him and we all know that there are going to be coonhead sellouts; that’s a given and so I would not give them a dime either.

    Look at what Tyler Perry did. He made his first millions off Black audiences and is now walking around talking about how “We is ALL the same!” and is producing shit that’s starring white folks and that Madea’s Christmas movie he made was also about an interracial couple.

    The only way we won’t continue to see this is if we stop paying our money to see it. Let your money speak for you!

  4. @Shanequa and Kushite
    It’s funny in this movies that the only black woman we can see, she is mental ill,it’s to show BM,that BW are mental disturbing and that WW have been cause of all BM problems in centuries,they protein the angels and savior of BM against the nasty and angry BW!
    What we can aspect when all these garbage comes from of Jordan Peele a bi-racial film director, born and raised by a white cave mother and married with a white cave woman!

  5. I grew up in a strong middle class community. It was mixed, with Blacks having a slight majority. Hhhmmm…let me see, there was nothing about white people that intrigued any of the Black people there. Most of the residents had come up during the Civil Rights era and raised their children to “Be aware” of the machination and deception of white folks. They were not our friends or allies; and if one approaches you–smiling like the Joker; BE ON YOUR GUARD. Those simple cultural regulations and bulletins kept me and my friends safe. We were never exploited or violated. Primarily since most of the residents had good jobs and provided well for their children. There were also many Black owned businesses. The community was well organized and there was a tremendous amount of pride. Basically, it was a no-brainer that white folks were “no good…” And that was over-stood. Jordan Peele is married to a white woman. Clever movie but juxtapose the reality that he in some way has been hypnotized by the White Lie, he just doesn’t have any credibility with me.

    • add to that the fact that Jordan Peele himself is biracial with a white mother. So I’m not convinced.

      How black people can take seriously a story about the trappings of bm/ww relationships when the director is himself married to a ww.

      You can’t be serious.

  6. Cows aired the npr interview with Peele. What stood out most to me was at the very end, the interviewer asked if the movie was inspired by when he met his inlaws for the first time. His answer was evasive, then denied it, then he started gushing over them saying how amazing, etc etc they were.

    I wholehearted agree with shelby, not give this, or any film our dollars. Its disheartening that black people are flocking to the theaters, thinking this is the greatest thing since slice bread. Most are incapable of decoding or knowing that white supremacist hollyweird would never ever release anything that didnt serve their purpose. The more innocuous or anti racist it seems, the more insidious and harmful it is.

  7. Black people, and especially the conscious community and shouting the praises to the rooftops about this film. I was listening to the cows book club when they read warmth of other suns. Its an excellent book, but the host was extremely suspicious because of the fact that whites loved the book. Thats how I feel about this film. I just keep asking myself the same question: why would white jew hollyweird greenlight a film like this?

    • Had the nerve to take bolt bus, smh. I like bolt bus, and megabus too. I bet in the long run, he wont even get charged, or if he does it’ll be harmless to his livliehood (misdemeanor), as white supremecy often does. And I bet my life savings he didnt run up on no real N’s. You just know he picked a coon or BAN or tourist, walking them nyc streets.
      Totally agree with the sista: every waking moment, black people have to be like TSA (real talk). We have to stay so aware, it’s not even funny. Thanks for the video Courtney.

  8. I just saw a trailor for a film called “the thinning”. seem familiar?

    I knew it!!! I fucking knew it!! Get out was just a primer for the white supremacist agenda. All these black folks was praising that ish. Hollyweird ’bout to release a slew of films showing whites being targeted and discriminated against in a “crazy way”.

    • I watch it on I will admit the film touched on lot of issues. It touches on organ harvesting,kidnapping,brainwashing,mind control and white racism. I think you’ll find it very interesting.

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