When Horror Became a Mirror: The Journey of Get Out
Leading up to the 2017 premiere of Get Out, the anticipation surrounding Peele’s directorial debut was cautious but fervent. Having predominantly worked in comedy in Key & Peele, Peele’s announcement of a social thriller about race in America left potential audiences wondering about his approach. Would he treat the subject with the expected gravitas or would he weave some comedy in, keeping it light? Would it be a satire, a horror film, or some combination of the two? This wondering permeated the film industry, while Peele’s trailers hinted at a captivating mix of horror and comedy. Online discussions at film forums reflected a sense of Peele’s innovative approach to storytelling: combining elements of horror with social critique was relatively unexplored.
When the film was finally released, the results were unparalleled. Stephen King’s quote describing the horror genre, “The finest horror films reflect the social issues of their time,” was operationalized. Get Out was a film about undiscussed relational racism in America and it opened up culturally important dialogues. People left the cinema unsettled, not just by the horror, but by the truths it exposed.
The Story That Chills and Provokes
At its core, Get Out follows Chris Washington (Daniel Kaluuya), a young Black photographer, who accompanies his white girlfriend Rose Armitage (Allison Williams) to meet her family at their secluded estate. At first, everything seems idyllic, polite conversations, the genteel charm of the Armitages, and an air of wealth and sophistication. But gradually, small moments of dissonance emerge, the servants are eerily robotic, offhand remarks feel loaded with condescension, and Chris begins to sense that something is fundamentally wrong.
As the narrative unfolds, Chris discovers a horrifying truth, the Armitages are part of a secretive scheme to transplant the consciousness of wealthy white individuals into Black bodies. The film’s tension escalates as Chris’s observations of microaggressions and bizarre behaviour transform into a desperate struggle for survival. Peele uses the narrative to explore not just external horror, but the internalized anxiety and hyper-awareness experienced by Black individuals navigating predominantly white spaces.
Chris’s experiences are horrifying yet relatable. His attitude progresses in the following manner: he starts as hopeful and then becomes desperate and extremely suspicious and then finally becomes desperate to the point where his life is threatened. This transformation is powerful and subtle in the way that Daniel Kaluuya portrays it. What is the most telling and stark change is when he goes from the welcoming posture and calm silent attitude to the high tense vigilant posture of a person lost in thought and then finally to the fearful watch of a person that is about to become prey. Opposite to Kaluuya, Allison Williams’ Rose is a perfect example of duality. She even more so illustrates the point of Peele about betrayal and hidden intent. This is even more meaningful in the context of the warmth that is incorporated into the evil malevolence.
Kaluuya’s career was taking off when he was cast as Chris. Having gained notoriety from his role in Sicario and his earlier work in British British television and stage, his intensity and emotional intelligence was extremely and uniquely pronounced to the extent that the Chris that he portrayed became relatable. His experiences with race and the subtle microaggressions that he incorporated in his performance made it that much more powerful. This is the power of the film: it goes beyond the typical horror that is infused with racialized elements. People were not just terrified, they could identify and relate to the racial subtleties.
At the same time, Allison Williams was juggling the shift from comedy and drama television in Girls to feature film horror. In the role of Rose, Williams had to sustain an interplay of charm and subtle menace. Later, Williams commented that Peele pushed her to seek the humanity in her character, even in the moments of wickedness. This was psychologically chilling. Rose is not just a horror character; she is believable. It is her duplicity that amplifies the horror.
Keener and Whitford added their own gravitas to the Armitage family. They personify the calm civility of the layered horror that is revealed. As the horror is revealed, gasps become automatic. Actors backstage commented on Peele’s genius in seamlessly merging improvisation with rehearsal.
Craft and the Language of Fear in Film
The film is particularly strong in the area of cinematic tension. Peele’s unique direction is to focus on what is felt, rather than what is seen. Long takes, close-ups that seem to linger, and what a viewer expects to hear in a scene cultivates a sense of unease. Chris’s “Sunken Place” scene is a strong example, both for the visual metaphor of a hypnotic void and the themes of marginalization and systemic oppression.
Sound design adds another layer. The eerie jazz piano motif with the creaking and rustling of the Armitage estate adds layers to the feeling of suspense. Peele’s decision to avoid conventional jump scares and use psychological horror instead grounded the film in a reality that audiences found resonant.
Cinematography by Toby Oliver employs color and framing to express and reinforce ideas. The warm, inviting tones of the Armitage home stand in contrast to the colorless, cold feeling that Chris experiences, creating a visual form of tension that complements the narrative.
From Anticipation to Cultural Phenomenon
Social media and film blogs were buzzing with anticipation before the film’s release. Fans speculated about the horror elements, and potential messages sparked debates. The film’s trailers invited audience members to consider not just the narrative but the film’s reflection of society. Upon release, the movie sparked discussions on race and privilege, along with the horror genre and societal critiques.
Get Out’s commercial success was in result of all the buzz created around the film. With a budget of $4.5 million, the movie grossed $255 million worldwide and positioned Peele as an accomplished director within the industry. More than fear, audience’s reaction towards the movie was a cultural phenomenon. Get Out fed the meme culture surrounding and critiquing systemic racism, microaggressions, and social discomfort in America.
Behind the Curtains: Challenges and Secrets
Every film comes with its unique challenges to overcome, and Get Out was no exception. For Peele, horror and social commentary was a tough balance to maintain. Kaluuya has commented on the Stregth that was expended in the final scenes that he was to perform as well as the hypnosis sequence. Most people are surprised to learn that the Armitage family casting was difficult as well, with many of Peele’s first picks dropping out due to the nature of the content of the film. This was especially concerning in order for a cohesive and convincing Armitage family to tell the unsettlingly believable story. Kaluuya’s performance in the “Sunken Place” was even more difficult as he had to perform for hours while the camera was focused on a plain black backdrop.
The film also sparked minor controversies. Some critics argued that it crossed the line into exploitation when depicting racialized horror, while others deemed it a courageous artistic choice. Peele deftly handled the tension, stating that he wished to instigate dialogue rather than a mere ‘shock for shock’s sake.’
When Horror Meets Reflection
Get Out is a genre film, but also a cultural milestone that seamlessly combines social tension with suspense. The horror experienced by Chris Washington is intertwined with the personal struggles of the actors, who drew upon their own experiences to ensure their performances communicated the required authenticity. The film’s success, from a modestly budgeted horror project to a redefining moment in modern horror, lies in the crafted cinematic techniques, inventive storytelling, and sophisticated sound design.
For Daniel Kaluuya and Allison Williams, this film was an important step in their careers, displaying their versatility and depth of feeling. For Jordan Peele, this was the start of a directing career focused on the cross-section of horror, culture, and identity. For the global audience, Get Out was a film that made them flinch, contemplate, and engage in conversation, often in a whisper, as if afraid of exposing their collusion in the social monstrosities that Peele so brilliantly captured.
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