(AllHipHop Editorial) The relationship with Black men and White women is one that goes back scores of generations, deeply intertwined into the racial fabric of this nation. Black men and White women have often had an electro-magnetic pull to each other that has resulted in tragedy and, other times, triumph.
The allure of the White woman…
I never comprehensively understood why some Black men longed so deeply for White women. Some of them were super obsessed to the point of being uber-corny and all gushing with self-hate. I suspected some guys wanted to get White men back for their savage rapey ways in the slavery days. There were plenty of success stories too, you know, like Kanye And Kim. I kid. I realize now that many people were just happy to be able to love freely regardless of skin color.
After meeting the acquaintance of Rose, I mean Allison Williams, I feel like I was momentarily stricken with the same carnal urges as my heart-faced high school associates. See, I have never dated outside of my lovely, mighty Black race. I have some great friends that are White, but none that I have been intimate with. After watching Allison play “Rose” in Jordan Peele’s brilliantly intense thriller “Get Out,” I feel like I got it for a moment.
Allison, I mean Rose…or is that Allison, was so freakin’ nice in real life. In the movie, I could relate. Daniel Kaluuya the British thespian who plays the chocolate, but vulnerable brother Chris, is in love with Rose. Rose and Chris’ seemingly idyllic relationship has come to a pivotal place and guess who’s coming to dinner? The cute, loving couple head upstate for a weekend getaway upstate with the parents, Missy and Dean. The awkwardness is misconstrued and a sinister plot with evil implications emerges.
A review is almost pointless. “Get Out” is a must-see movie and – without question – the smartest, thought-provoking, thrillstastic horror movie I’ve ever seen. I am not a connoisseur of the genre, but I just find first time director Jordan Peele’s ability to intersect race with horror to be masterful. Hell, we all know that the Black person is the first to go in traditional horror movies. This is a stress fracture level break with thriller tradition.
Peele has been known to make deeper statements through his art, but has taken such liberties with comedy. Even “Get Out” has such moments, as they are unavoidable. Lil Rel Howery, the boisterous comedian is the movie’s voice of reason and the comedy. He’s also sort of like the quintessential “every-Black-person” that will be screaming at the screen. The New York move screening was hilarity. People – ok Black women – yelled a multitude of “We told ya’ll about dating those Beckys” and “Hit him!” Indeed, it was a community event.
“Get Out” sets a new standard for film making around issues of race, especially by Black film makers. It doesn’t pander to audiences’ typical sensibilities about race relations and conflict. There are no big mamas, boys in the hood, police or slave narratives. It should make you think, providing you have a brain. There may be some latent depression once you realize the true gravity of the movie subtext. There is blatant evil, but it comes from an unlikely place with unlikely participants. Take that, Liberal Elite. Stab with a twist.
See “Get Out” and remember, if you happen to meet Allison Williams, remember…she’s not Rose. Date on, Black man, date on, you gotta date on, Black man, date on.
Below are some clips from the cast at an exclusive talk back in New York City for the movie.
“Why is this happening? What did we do?”
“She’s such a unique psycho.”
“This movie is everything my aunties said would happen if I brought home a White girl.”
Chuck Creekmur is a lot of things, but he really loves writing. Here is is with Allison Williams, and the stars of “Get Out.”