Get Out- Interracial/Horror Film(Hidden truths)

get-out-poster

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.

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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

 

The Interracial Madness-Sexuality in TV and Film(Part 2 of 3)

Film historian Charles Woods talks in this video about interracial sex/love in Hollywood films. Woods says in Hollywood there is always a “3D Effect” when interracial relationships are involved.  The three D’s are denigration,devastation, and destruction. Woods is exactly right.  This is something they do in Hollywood films a lot.  Another common theme is the black men and women are always separated from each other. They do this by not casting another black person of the opposite sex.

The Hays Code.jpg

Back in 1930 the Motion Picture Code was created. It was called The Hays Code. The picture(above) is some of the guidelines. Of course you can see that number four is no miscegenation(race mixing). Naturally times have changed so it’s been revised.  The powers that be realize that promoting interracial sex can be used against black people.  So of course the list seems very outdated at the present time.  Here’s the complete list:

http://www.artsreformation.com/a001/hays-code.html

Scandal

Of course we are all familiar with the show Scandal. Scandal has beautiful actress Kerry Washington caught in a white boy-love triangle. And even when an episode had her former black boyfriend show up…conveniently they could not see eye to eye.  What’s amazing is that the show is written by Shonda Rhimes…a black woman no less.  But of course Shonda has to be down with the interracial propaganda if she wants to continue working in Hollywood.

Pilot

On the hit show Supergirl,actor Mehcad Brooks is caught in a white girl-love triangle.  Supergirl is played by actress Melissa Benoist. Brooks plays James Olsen who has a girlfriend  played by Jenna Tatum. But he has feelings for Supergirl also. Where are the black actresses on the show?  There are….ZERO! No surprise right?  This way the white girls have no competition with black women.

Candice

In keeping with the superhero theme,there is also the show The Flash.  Where we find actress Candice Patton. She’s biracial but never mind that at the moment.  She plays a character who has a white boyfiend. But she is feeling conflicted because she’s starting to have feelings for another man.  YEP! You guessed it..another white guy.  Who writes this stuff??

Jungle Fever

One of the first films I remember that caused a lot of controversy was Spike Lee’s Jungle Fever(1991).  It starred Wesley Snipes who cheated on his biracial wife with a white woman.  Average looking actress Annabella Sciorra  played the mistress. It was a big deal I guess at the time because the story ine centered on race a lot. But nowadays the racial issue is hardly brought up. I guess this is an attempt to normalize interracial relationships by ignoring race altogether.

A Bronx Tale

The film A Bronx Tale(1993) had an interracial relationship starring Taral Hicks. Her character falls in love with an Italian boy played by Lillo Brancato. There were a lot of these type of these films in the nineties.

Corrina

The film Corrina,Corrina(1994) starred Whoopi Goldberg who falls for actor Ray Liotta. This was just one of many films where Whoopi is paired with a white man. If you include this film,Jungle Fever,A Bronx Tale and The Bodyguard with Whitney Houston…the nineties had a lot of interracial films.  I think the nineties was the decade they really started pushing much of the interracial propaganda.

The film Save the Last Dance(2001) starred actor Sean Patrick  Thomas and actress Julia Stiles. It was about an out of town white teenage girl coping with the death of her mother. She and her father move to Chicago and she falls in love with a black teenager(Thomas). The film was a huge hit back in 2001. It grossed over $130 million.  I think that’s one of the reasons we saw such an increase of these type of relationships in films.

In the drama film O(2001)  Julia Stiles stars again in an interracial relationship.  This time with actor Mekhi Phifer.  The film is a loose modern adaption of William Shakespeare’s Othello.  This film also perpetuates a lot of negative stereotypes.  In the clip(above)  Phifer’s character has sex with her then when she says stop…he continues anyway.  So basically he rapes her.  Then if that wasn’t enough he chokes her to death afterwards.  So we have a black man that is a rapist and murderder.   That’s racist Hollywood for you.

Trey Songz

They even have interracial couples in horror films. In the film Texas Chainsaw 3D(2103),singer /actor Trey Songz was in a sex scene with actress Tania Raymonde. Trey is a horrible actor and should stick to singing.  The film was a total waste of a hour and thirty minutes. I guess the message of the film was just because a crazy lunatic with a chainsaw is killing people…doesn’t mean you can’t find the time to get your “swirl on”.

Blair .jpg

Actor Blair Underwood played the boyfriend of actress Julia Louis-Dreyfuss on the sitcom The New Adventures of Old Christine(2006-2010).  I remember meeting Underwood over fifteen years ago at a black rodeo in Burbank,Ca.  Underwood  was a real cool brother.  I remember there a lot of black women around him trying to get his attention. I know many black women see him as a sex symbol.  I’m sure many of them are not too fond of seeing him in these roles with non black women.

Taye Diggs

On the drama Private Practice(2007-2013) Taye Diggs was a relationship with actress Kate Walsh.  I guess Taye is the go to interracial black guy in Hollywood.  Kind of like how Zoe Saldana is always linked with white guys in films.  But it kind of makes sense when you think about it.  Since Taye likes pale-skinned flat assed white girls in real life,it only makes sense that he always gets the phone call for these roles.  And Zoe is married to a white guy in real life too. See the pattern?

 

Joy Bryant

On the television show Parenthood(2010-2015)actress Joy Bryant played the wife to actor Dax Shepard.  Isn’t this a perfect picture?  This is what they want for black people.  This is another way to promote the false belief that race mixing will end racism.  That mixed babies will heal all the wounds.That somehow just having sex with whites will wash away hundreds of years of slavery,rape,lynchings and genocide. I covered this once before.

https://kushiteprince.wordpress.com/2015/09/09/mixed-babies-will-end-racism-who-believes-this-nonsense/

Part 3 is next!  The conclusion!