Directed by: Jordan Peele

Oscar Awards: 2017 Best Original Screenplay, Nominated as Best Motion Picture of the Year

“Get Out” underlines the benevolent racism that is prevalent in the present day. The screenplay opens with a black man strolling down the streets when an anonymous white man abducts him. The next scene introduces an interracial relationship between Chris Washington, a typical young African-American, and Rose Armitage, a seemingly welcoming and protective white girlfriend. The two plan to visit Rose’s parents, at which Chris begins to question the overly generous attitude of the family members. During a “family” party, a few black individuals with a stereotypical white speech appear. To add to these odd features, all of the Armitage family’s workers share the black race. A few days into the trip, Chris awakens to the fact that the entire purpose of Rose’s invitation was not because she truly loved him. Rather, it was a scheme to target him as a victim for brain transplant, a form of slave trade for the middle-aged white Americans. 

The characterization of each individual is well-represented through the dialogue. Chris is portrayed as a gullible, yet self-aware man, as he asks Rose, “Do they know I’m black?” This line shows he recognizes that racism prevails. On the other hand, easily convinced by his girlfriend’s words, Chris ultimately complies with Rose’s offer to meet the Armitage household. At first glance, Rose is characterized as another lovely, defensive girl as she stands up for her boyfriend in most scenes. Yet, she is revealed to be the most ruthless racist of all white people, purposefully seducing black people to manipulate. Throughout this intense mood, Rod Williams, a black best friend of Chris, is the key character who relieves the audience with comedy. In the end, he leaves the impression of a friendly neighborhood “hero,” sometimes overly proud of his occupation. 

Although the cast did not involve any esteemed actors in particular, there were no exceptionally incompetent actors either. Daniel Kaluuya, who played Chris, adeptly placed emphasis on conveying his emotions through facial expressions. The audience could easily tell when the man was confused, shocked, or nervous, enabling them to empathize with the character more effectively. Allison Williams also performed Rose appropriately, giving life to both the sweet and merciless traits of the character. Of all the actors, Betty Gabriel personated Georgina, the black house-maid, the best. As a scene stealer in the movie and trailer, the actress was praised for building suspense and fear with the single line of “No, no, no, no, no.” 

Moreover, this screenplay delivers a message needed in today’s society. Not the classic lynching slave story, “Get Out” discusses slave trade implemented for eugenics. The older white population attempts to implant their brains in black men’s physical body to live a longer—possibly healthier—life. It is evident that this practice is immoral, and must be prevented. Jordan Peele further highlights the taboo of mixed race relationships, since Chris seems to be careful of receiving disapproval from Rose’s parents. Despite the fact that Americans have asserted to remove racism from their culture, because international and interracial relationships are yet perceived negatively, it is difficult to completely conclude that racism has ended. The issue of police brutality is presented as well. Particularly because the Black Lives Matter movement grew viral in 2017, this short scene with a white police blaming Chris for a deer car accident communicates the racial prejudice—even authorities have—against black people. 

The movie was not only grew awareness, but also appealed to the audience’s emotions. Even without identifying as a black individual, the screenplay allowed the viewers to absorb the uneasiness an African-American feels in a suburban area. Urging the audience to first-hand experience a black man’s terror, the director slightly closes the gap between the white and black race. Owning two identities as an African and American, Chris undergoes double consciousness, supposedly troubled by the discrimination he receives in society. Desiring to keep his “two souls, two thoughts, two unreconciled strivings,” he comes across as an individual who neither yearns to “Africanize America” nor “bleach his Negro blood in a flood of white Americanism.” In other words, withstanding a identity crisis, he remains insecure. Hopefully, once white Americans understand the black people’s nightmare, they will help make a change. 

Illustrating racism through dark humor, this movie diverts from the common single white hero saving Chris. Instead, his friend Rod comes to the rescue. Developing a plot twist, this screenplay is definitely an educational and entertaining production. The originality of the storyline is thrilling, especially due to unexpected changes that occur to the main character. As one of the few meaningful horror movies, “Get Out” is a film worth a watch even for the easily frightened.