“Get Out” (2017, dir. J. Peele) became a breeding ground for a cultural dispute in America which has been
going on for several years. Some people complain that it’s another movie
about blacks, so the critics will applaud
and it probably will get some Oscar. Others, on the other hand, are mindlessly repeating
the slogans of “cultural appropriation” and are crying over the presumption of racism on the streets. None of the groups, however, notice the ambiguousity of the film itself, that in this fascination of film characters on African Americans, there’s definitely something wrong, and the political correctness brought to the limits only confirms the prejudice, with which it was supposed to fight. First things first. Rose and Chris have been together for some time,
so the girl decides to introduce her new boyfriend
to her parents. There’s only one problem. Chris is black and has great doubts about the Armitage’s reaction. On the spot, it turns out that the girls’ parents are very open and extremely nice. Somehow, however, too nice, which combined with the strange atmosphere of the house, which gives the impression of a cotton plantation,
and only black, very suspiciously behaving service, stimulates a sense of anxiety in the boy. Jordan Peel’s movie consists of two parts. The first part is kind of a warm, full of indirect comedy with “meet my parents” scheme, and at the same time a satire on modern US. At some point this cunning idyll changes into a typical horror. Definitely, however, too typical. When everything is explained, the director falls into simple cliches, which makes it quite easy to the viewer to guess the next events, leaving it somewhat unsatisfied. It is still a really good cinema, but it disturbs this picture of the ambigiuous overtones of history. In no way “Get Out” is the best movie of this year’s Oscars, but still rightly appreciated by nominations
and indeed worth attention. – Sink into the floor.
– Wait, wait, wait…
– Sink. – A mind is a terrible thing to waste.