Get Out is an exquisitely done movie. A movie that solicits authentic gasps, laughs, cheers and chills; I can highly recommend watching it with your full attention, in attentive company, in high quality (sound particularly). Even if horror/thriller isn’t normally your thing [it’s not mine either. TBH I’m kind of a huge bitch for that stuff. Like Stranger Things gave me nightmares for three days.]
It’s refreshingly modern, new, and rewatchable but still feels familiar; following the perfect ploys to build atmosphere or playing them on their nose for amusement or attention.
First. Spoiler warning. I’m really only going to analyze two bits of symbolic imagery as a couple of many threads you can follow in this complex, careful, and entertaining drama. I also honestly don’t think knowing the plot does anything negative to the movie, it’s that well done. But if you’re a stickler for that stuff, be warned here.
I think the deer motif is an amazing example of Get Out’s story-telling. Its initial appearance is almost meta. While the opening scene is a blend of horror and history, the light atmosphere of young love [plus Rod played perfectly by LilRey Howery] that sets Chris [Daniel Kaluuya] and Emily’s [Allison Williams] weekend get-away is sweet, kind, and nuanced. It gets rudely shocked with an almost cliché deer accident with the car [brought to you by Lincoln. Look at the perfection of having that parked outside your suburban house mansion.] This seamlessly blends in to the police scene, not only playing on the racism subplot and also perfectly foreplays the flashing lights of the conclusion.
The deer next appears in Chris’s dream; the overwhelming buzzing wakes Chris. I’ll note that he promptly turns the head of the lion away, highlighting the difference between beast [the Armitages] and prey [Chris]. [It also will remind the audience that the hypnosis was real, as the next morning, the lion is still turned.]
The deer next appears mounted above the basement as Chris is strapped into the chair, facing doom. About to become the ultimate trophy.
And finally, as a tool, stabbing the doctor [Dean Armitage, Bradley Whitford], the antlers literally wielded by Chris.
The grandma [Georgina, hauntingly performed by Betty Gabriel] jumping on the speeding car also resonates on multiple levels. Chris’ guilt drives him to look and rescue her, just as he stopped to look at the deer Emily hits in the first act.
Even the final showdown between Emily and Chris also echoes the prey/predator relationship. Emily is previously seen in her room with the stuffed Lion re-adjusted and pictures of her own trophies lining her bedroom and wields a literal hunting rifle to poach Chris.
The gazebo also is a great example of subtlety placed metaphor. Its historical timeline is important, popular additions in America during the 18th and 19th centuries, overlapping with slavery’s legality. It has also remained a symbol of the wealthy upper classes. And, as seen in the initial tour of the house, a very poignant foreshadow.
Chris and Jim Hudson [played by Stephen Root] sit and chat outside the gazebo. Hudson is looking the gift horse in the mouth, or in this case, his eyes; appreciating Chris’ value. [It’s also an irony that the art collector is blind, but it is Chris that can’t see what is happening.]
In the final emotional climax, as the auctioneers silently bid on Chris’ body around the raised stage, we learn of Chris’ true depths of humanity, the loss of his mother and his own deep regret at inaction, on display against the worth of his physical flesh.
Again. I love Get Out. I just touched on the smallest of details, because I think there is just too many well thought out moments, scenes, lines, deliveries, scores, signs, and shots. This movie, more than any I’ve seen in recent memory, deserves two or three re-watches. Every detail is important and endlessly fascinating. If you haven’t watched it over, I highly suggest it. If you’ve never seen it once, what are you doing reading this?! Go watch it, no one could spoil enough to make it not worth seeing.