If any one is familiar with Comedy Central’s original series “Key and Peele”, then you automatically expect raw laughter and some difficult topics camouflaged as comedy. But, when one of the members of the dynamic duo transformed his vision into a film, it surprisingly makes some of the scariest issues both funny and real.
Jordan Peele wrote, directed, and produced the recent thriller, “Get Out”. A story about a young Black man, Chris (Daniel Kaluuya), who travels to an affluent suburb to visit his White girlfriend’s family. Upon arrival, it is evident that there is something wrong with the Black residents and as his suspicion rises, he discovers a terrifying family tradition.
In the wake of random videos surfacing on the internet, from our boisterous President Donald Trump to Kanye West’s ex-girlfriend’s poetic justice, this movie is right on time. The movie’s ideas and topics are racially-motivating and thought provoking.
While many current films are now playing it safe when comes to discussing race relations, “Get Out” pushes the envelope and forces the audience to evaluate the role of White people in the modern-day oppression of Black people.
As a Black woman, I am constantly concerned about the mass manipulation and cherry picking of African Americans, especially our men, to further an agenda that only hinders the Black community. Often times professional athletes to musicians, even at the height of their careers, are employed by or dealing with a White person who further benefits from their work.
I hate to get philosophical, but there is no question that “Get Out” holds a deeper meaning than its simple plot. It shows how some White people (not all) systematically and generationally deprecate the value of Black lives through exploitation and many forms of abuse (social, mental, physical, and financial).
“Get Out” got increasingly creepier as the film progressed. There were moments of suspense, tension, relief and laughter. Some fresh, new faces like Daniel Kaluuya and Allison Williams were mixed with some old ones, such as Catherine Keener and Bradley Whitford, and that was a great balance too.
Peele should be commended for taking such a risk. His directorial debut is relevant, pushes all the right buttons, and, most importantly, steps outside of his comedy comfort zone.