Victor Halperin
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Writer/director Jordan Peele (writer TV's 'Key and Peele,' "Keanu") puts a racial spin with a sly twist on his sharp horror film rooted in such classics as "White Zombie," "The Stepford Wives" and "Rosemary's Baby."
Think “White Zombie” or, to a lesser extent, “Night of the Living Dead.”
“Get Out” evokes a plethora of horror-movie antecedents: “The Wicker Man,” “Rosemary’s Baby,” “The Stepford Wives, “ “White Zombie” (a Val Lewton classic from the ‘40s), even “Abbott and Costello Meet Frankenstein.”
A flexible metaphor for all manner of social, cultural and political maladies, the zombie genre has, over the decades, been employed as an analogue for everything from the U.S. occupation of Haiti (1932’s Bela Lugosi starrer “White Zombie”) to the upheaval of the Vietnam/civil rights era (“Night of the Living Dead”) and the bio-panics of the late 20th century (“28 Days Later,” “Resident Evil”).
Dating back to 1932's "White Zombie," the stories of the relentless, omnivorous undead and the humans who try to escape them have been one of film's most popular genres, with sub-genres including the flourishing category of zombie comedies, best described as gallows humor, gasps of horror alternating with gasps of laughter.
It can be traced back to the silver screen in 1932’s White Zombie…
Did a New York theater in 1936 screen White Zombie in anaglyph 3D? Probably not, but the sight of a packed audience wearing those red-and-blue glasses makes for an indelible visual.
…after Frank and Penelope (as the Bride is briefly convinced to call herself) take in a screening of White Zombie (1932), they see themselves up there on the screen as the ghouls…
Hopefully it will inspire people to check out “Metropolis” (1927), “White Zombie” (1932), “Bonnie and Clyde” (1967), and “Young Frankenstein” (1974).