The Powerful Police Scenes of Get Out

SPOILER ALERT: This post will discuss the end of this movie including its essential twist and various plot points, so if you have not yet seen the remarkable film, please see it before reading.

Get Out illustrates the struggle of African Americans in current society in a myriad of ways, from blatant racism to nuanced – yet significant – indications of discriminatory bias. Chris, the main character and a black man, is dating Rose, a white female with a completely white family, and Rose decides to bring Chris home for the weekend to finally meet her family. They drive together to Rose’s family’s isolated home where Chris feels the underlying racist tension from the beginning. Ultimately, Chris figures out that he is the victim of a plot by the family to use Rose or her brother to bring African Americans to the house so that their consciousness can be reduced to the “sunken place” and replaced with a dying white person’s consciousness. Although this plot itself does not focus on policing of African Americans, two key scenes do.

First, on the way to Rose’s house, Chris and Rose hit a deer and end up confronting a police officer. Even though Chris has obviously not committed any crime or any wrongdoing, the police officer still asks for his identification as if he had. Chris reluctantly begins to comply with the officer’s request but Rose interjects and defends the blatantly unjust practice. This scene shows bias toward African Americans in two ways. To the audience, the officer’s request for identification is ridiculous and demonstrates a bias toward Chris that he is suspicious only because of his race. By portraying the officer as nonchalant in asking for the identification, the film critiques the normalcy that such a practice holds – it has become common to suspect an African American of wrongdoing simply because of race. Rose’s argument for Chris shows a subtler bias: she only interjects to avoid a paper trail connecting the two as she plans to carry out the family’s plot seamlessly. This heinous intention serves to warn the audience to not take a white person’s actions at consequential value because his/her intentions could be ill-intentioned.

Second, at the end of the movie, a police car arrives as Chris has escaped from the house and has killed the entire family except for Rose. Rose had a gun but Chris overpowered her, took it, and proceeded to nearly strangle her with the gun by his side. The police car arrives as Chris lies on top of Rose and blood is everywhere, and Chris immediately stands and puts his hand up while Rose hoarsely pleads for the officer’s help. Even though the officer ended up being Chris’s friend rescuing him, the audience still believes that Chris will be arrested for attempting to murder Rose. This belief demonstrates bias by showing that even when Rose was the clear oppressor and Chris merely acting to save his own life, the police officer would much more likely believe Rose’s story to Chris’s. Presumably, the officer would not even investigate the house to find evidence to attempt to prove Chris’s truthful story. If the bias did not exist, the two stories would be held at equal weight and an honest, impartial investigation would ensue. Had that been a real officer to end Get Out, such would not have likely been the case.

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