Made for less than $5 million, this film about vicious whites plotting to enslave blacks by implanting their cunning brains into superior—“stronger, faster, cooler”—black bodies brought in $31 million its first weekend. And it earned a 99 percent thumbs-up from critics on Rotten Tomatoes.
While Get Out, which was written and directed by Jordan Peele of Comedy Central’s Key & Peele black humor sketch show, may sound like satire, it eschews 90 percent of the opportunities for laughs. (Peele and his former partner Keegan-Michael Key both have black fathers and white mothers, just like Barack Obama, with whom they strongly identify. They are best known for their skit “Obama’s Anger Translator” in which Peele plays Obama while Key acts out the former president’s id.)
Get Out could have been a very amusing movie, but Peele correctly perceived that in this era there is big money in supplying audiences with their politically correct racial hate uncut with much in the way of wit. People don’t want intelligence in 2017, they want antiwhite animus.
Sure, Get Out does offer a few sly winks to those of us in the know about how bogus the Black Lives Matter media frenzy really has been. For example, in Get Out our black hero is knocked cold by his white girlfriend’s creepy brother using an implausible weapon, a lacrosse stick. This is presumably included as a nod to the 2006 Duke lacrosse team hate hoax in which a black stripper accused white jocks of rape. (By the way, speaking out against this fraud launched the career of Donald Trump’s speechwriter Stephen Miller.)
But mostly Get Out plays it straight in sticking to its popular message: The reason white people are scary is because they are evil and dangerous.
After all, why should amateur hate hoaxers like Durham’s Crystal Mangum and UVA’s Jackie Coakley have all the fun of making up stories about how hateful white people are when talented professionals like Jordan Peele can do it so much better? Blood libels against whites are much in demand at present, so why should America have to rely upon teenagers lumping together plots from Law & Order with dialogue from Dawson’s Creek when experts could furnish us with well-crafted originals like Get Out?
I would guess that Get Out originated in funny stories Peele would tell about going for Thanksgiving weekend to his white grandparents’ or his white in-laws’ house, and his mother or wife making him promise not to bring his beloved drugs.
But withdrawal induces paranoia and pretty soon you are thinking that every awkward conversation is a prelude to the white people grabbing you and making you into their yard-work zombie.
Get Out is clearly modeled on the funny scene in Woody Allen’s Oscar-winning Annie Hall where Alvy Singer has an Easter ham with Annie’s ultra-WASP family. Soon Alvy is imagining his hosts imagining him as a bearded Orthodox rabbi. Catherine Keener plays the girlfriend’s mother in Get Out, perhaps because she’s a dead ringer for Annie’s mother, while Caleb Landry Jones re-creates Christopher Walken’s role in Annie Hall as the creepy brother.
Of course, Alvy didn’t ultimately slaughter Annie and her entire family as racial revenge. The anti-gentilic movies of the late 1960s and the 1970s that Get Out is drawing upon, such as The Graduate and The Stepford Wives, generally stuck to comedy, or at least offered metaphors to cover up their underlying ethnic hostility.
I wouldn’t be surprised if Get Out also originated as Key and Peele riffing over whether they could have come up with a better excuse than O.J. Simpson’s.
Here’s the situation: The police car rolls up, you’re covered in blood, and there are butchered white people all over the ground. You are in a tight spot, so what do you say? O.J. has already worn out the it-was-uh-drug-dealers theory. You need something more creative, like…you were lured to this country mansion by your white girlfriend as part of her family’s hobby of harvesting black bodies.
Yeah, that’s the ticket!
The 38-year-old Peele doesn’t appear in his Get Out. Instead, the protagonist is played by Ugandan-British actor Daniel Kaluuya, who told the Los Angeles Times:
“This film is how racism feels,” said Kaluuya. “You get paranoid and you can’t talk about it. You can’t voice it. No one around you gets it, so you can’t speak about it. And in the end it just comes out in a rage.”
Well, to be precise, that’s how antiwhite racist paranoia feels.
Kaluuya is best known previously for playing the enigmatic FBI agent in Denis Villeneuve’s adept 2015 Mexican border thriller Sicario. His abbreviated role appeared to have been left on the cutting-room floor, leading to speculation that his character was intended to turn out to be in the pay of the cartel. But do you dare portray a black bad guy today? (Sicario was politically incorrect enough about how waif FBI agent Emily Blunt was in over her head with all these tough guys.)
Kaluuya is, in truth, a creepy-looking actor most notable for his jet-black skin and bloodshot giant white eyeballs. He resembles a witch doctor in a 1950s safari movie. Kaluuya would be better off making a career out of playing villains because it takes much force of will for audiences to see him as the hero of a movie. But that’s what people mandate themselves to do nowadays to avoid being called racist.
Casting Kaluuya as the leading man may have been one of Peele’s passive-aggressive subliminal jokes. But the only overtly amusing lines in Get Out are given to Lil Rel Howery in the Anthony Anderson role as the funny fat friend who immediately recognizes that the protagonist’s discomfort is due to a vast white conspiracy against the black race.
Somebody should reboot The X-Files with a black cast investigating traditional black conspiracy theories about how the CIA is behind crack and AIDS. In the series finale, they would team up with Oprah to uncover the shadowy cabal behind all white racism: fashion designers Gloria Vanderbilt, Liz Claiborne, Tommy Hilfiger, and Michael Kors.
(In case you are wondering, here’s the reason so many blacks believe that various famous courtiers who are popular with blacks have gone on Oprah and, bizarrely, announced that they hate African-Americans: Young blacks like to go into department stores and try on clothes they can’t actually afford. But that would be embarrassing to admit, so when their friends tell them the clothes look fabulous on them and they should buy them, they need to make up an excuse fast. They improvise that…they’re boycotting the racist designer! Unfortunately, their pals fall for their stupid stories and spread them to other blacks around the country.)
But Get Out isn’t the comic masterpiece it could have been. Instead, it just encourages more lowbrow black resentment, which often doesn’t end well. Four years ago, I reviewed Quentin Tarantino’s Django Unchained antiwhite bloodbath movie and asked:
In 2013, is the black gun violence Tarantino espouses really such a fascinating new phenomenon? For generations now, American media have been encouraging blacks to take violent retribution. We’re coming up on close to a half-century of whites in the media egging on black badassery. How’s Tarantino’s macho minstrel show working out for black males, anyway?
Since Django, the media and Obama administration have turned the hate-white-men noise machine up to 11. But after a half century of liberal management of race relations, white people are adept at sidestepping black criminality, so most of the subsequent spike in homicide has been black-on-black killings. The big-city murder rate leaped a horrifying 27.7 percent from 2014 to 2016, which is a big reason the Democrats lost.
That’s more than 6,000 incremental dead bodies since Ferguson, most of them blacks murdered by blacks, which is a lot of blood on the hands of respectable people like Obama and Peele.
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