Day 3: Three turning points

[Julie Scorziell]

I’m not seeing three scenes posted for Bridesmaids, just the one from the bridal shower. Am I missing something?

[Carol Kennedy]

GET OUT: Mother/Smoking Scene: I don’t think we’ve ever seen these two together like this so it already builds intrigue. It works as the mother’s ‘weirdness’ creeps up slowly and gets more and more intense and she delves deeper into his psychic ‘pain’.

GET OUT: Seizure Scene: A lot of this works because of the unexpected and the irony of the scene. The weird, creepiness of the characters and their odd behavior increases the intrigue and mystery and the blood dripping down the nose draws you in, now we have to find out why that happened.

GET OUT: End twist; It works because he is cornered. The desperation to ‘get out’ increases and only intensifies by her supposed inability to find the keys with a backdrop of the creepy dialogue describing even more weirdness.

BRIDESMAIDS: This scene works because so much of it is ‘relateable’ – who hasn’t had a jealous friend at some point or themselves been a little jealous. And who hasn’t felt as if they were at the ‘breaking point’ where they felt they could just topple over the whole thing. You can just feel the hatred and intensity building and the reactions of the others is also relatable.

[Adam Kroshus]

I watched the three scenes from Get Out.

The common thread between all three scenes is an action that creates a turning point. The ‘Hypnosis Scene’ turning point occurs when the mother is slowly mixing her tea with the spoon. That action leads to the main character being hypnotized for the first time. He can now be controlled.

The ‘Get Out’ turning point scene occurs when the main character takes a picture with a flash of the other African-American character triggering the other actor to rush toward the main character telling him to get out. It’s a twist because you believe he is telling him to leave because he is black, but he is warning him to leave because something terrible will happen if you stay.

The ‘Give me the Keys scene’ turning point occurs when the main character realizes his girlfriend will not give him the keys so that he can leave the house. At this point, he tries to defend himself but collapses when he is hypnotized again by the mother. At this point, the main character is now fully controlled by the family. He will end up like the other character in the ‘Get Out’ scene.

Again the turn points occur in each scene with the teacup, the phone picture, and not getting the keys. Let me know your thoughts. Thank you

[Julie Scorziell]

I watched the Bridesmaid turning point scene and it was awesome!

Annie and Lillian have been friends forever, but Helen has recently replaced Annie as Lillian’s maid of honor. Annie decides to be a good sport and go to the shower but when Helen gives Lillian a gift to Paris, Annie can’t control her jealous, angry emotions. They first show on her face, then she begins shouting at Lillian, and finally, she goes outside to the over-decorated backyard and starts destroying everything. Lillian comes out and the two have a terrible argument. Annie finally screams that she won’t bother Lillian anymore and heads to the exit. Lillian replies in kind, “Then don’t even bother coming to my wedding.” With that, Annie leaves.

There is no way for Annie to turn back from what’s happen. She has lost her life-long best friend to Helen and her money. Worse yet, she’s completely embarrassed herself in front of the other bridesmaids and guests.

[Ali Jordan]

I watched all four scenes. In the Get Out scenes the turning points are all no going back. Once he’s hypnotized, that’s it. They got him. When Logan breaks through, he can’t unsee that and neither can the audience. Obviously when he realizes he’s not getting the keys and the family outs themselves that they are going to kidnap him and worse, they can’t just back track and apologize. They need to complete whatever it is they have planned for him or they’re done for.

This bridemaids scene had me on the floor when I watched it for the first time. Especially the young girl who thinks her self destructive, jealous outburst is “awesome”. I love this turning point but I don’t see it as a no going back situation. I mean she made quite a mess of things but an honest apology would put the relationship back on track.

[John Woodward]

GET OUT, Act 1 TP. Missy hypnotizes Chris. Outwardly, Missy is concerned that Chris’s smoking will have ill effects on her daughter Rose. She wants to help him by hypnotizing him to give him a suggestion to quit smoking, but once he’s hypnotized, we no longer see the mother as a person seeking to help Chris. Missy wants to control Chris for something other than kicking cigarettes. Missy can’t go back to being the seemingly sweet, thoughtful, helpful mother of his girlfriend. The audience and Chris realize something weird is coming.

GET OUT, Midpoint turning point: Logan freaks out. Logan seems very docile with an oddly flat affect. When Chris takes Logan’s photo, the flash snaps Logan out of the flat facade he seems to hide behind. Logan attacks Chris, urgently warning him to “Get Out.” This event propels the story forward. Chris gets a glimpse of the true personality Logan has under the calm facade the audience has come to know. Chris can’t go back to thinking that this is a normal group of awkward white people who may have eccentricities but are generally friendly and harmless. Chris can’t go back because the warning given to him by Logan is so emotionally intense, urgent, and dire. The incident is stronger evidence that something weird is going on with Chris’ girlfriend’s family and their friends.

GET OUT, Act 2 TP: Rose refuses to give Chris the keys! Rose, her brother, and parents surrounded Chris. He realizes he’s in mortal danger and wants to escape the house, but he needs his car keys. He yells at Rose to give him the keys. The brother, father, and mother menace Chris as Rose frantically searches for the car keys in her purse, seemingly trying her best to help Chris escape. Suddenly, she finds the keys. Her distraught emotions disappear. She calmly states, “You know I can’t give you the keys. Right, Babe?” Chris’s last lifeline disappears. Chris and the audience realize Rose is incredibly devious, has pretended to love and protect her imperiled boyfriend, and now sides with her family against him. The fraudulent relationship cannot be saved, there is no going back as the story shifts into the final act.

[Ar Marewski]

GET OUT

I haven’t watched the whole movie so I can only guess, what has happened before TP1.

ACT 1 TP It starts as a casual conversation where Missy seems to be mildly concerned about his smoking. In the beginning it feels just like a casual small talk before going to bed. Likewise she introduces the subject of hypnosis very casually. She addresses his curiosity and his playfulness to get his approval for the hypnosis. “You wanna know how it works?” While the conversation is building up, there are early signs that this is something more then a late-night-small-talk. But early on me who’s watching can’t read those signs, neither can he. And this is one thing about the scene that is great. Because only when it’s too late, we’ll understand what was going on from the moment he sat down. First she says: “are you comfortable enough?” soon as his sits down. This feels like an odd question (enough? for what?) then she picks up the cup, and starts stirring, (why doesn’t she offer him some tea as well?) while teasing and challenging him a bit, she throws in some hypnotic suggestions “ahh, now you’re feeling very sleepy.” She even tells him exactly how the trick is done but he doesn’t get that something is happening to him already. He still thinks they’re just talking about it while he is already in it. When he says that he doesn’t want to talk about his mother and she keeps stirring, is when I notice, that this is probably not about his well-being, that she might have an obscure agenda. And then, when she says: “sink!” we know that this is bad.

So what’s great about this is, that it is so much like life-situations everyone has encountered. When something bad has happened one asks: why couldn’t I see the signs? Really it was clear from the beginning. Why did I agree to get involved? Did I look the other way? Why? Why was this woman sitting in the dark with a cup of tea to begin with? Who’s drinking tea in the dark? She was obviously lying in wait for him. But when you’re in the situation, those questions don’t come to you.

Some scenes work with audience knowledge. This is when you have “oh no” thoughts from the beginning. This scene on the other hand works differently. While watching I always approve of his behavior. This makes the identification with the character much stronger. I think: Yes, I would have probably acted exactly the same way. So, I would have ended up in the sunken place as well. And that makes it really creepy.

MIDPOINT

It functions quite similar. All the older and distinguished looking folks don’t come off as evil. And like in the Act1TP they just say some odd things. Of course, once the other African-American starts talking, we know that there is something wrong with him. His monotone speech makes me feel like he’s drugged (or hypnotized) and strangely adjusted, also this older women that he is with, feels like an odd match. When the flash suddenly sparks this outburst, we know that something is wrong with the man. Later they call it a seizure but at this point, we know and Chris must know, that something is wrong with the man, that he is probably in something like the “sunken place”. and his “get out” has to be taken seriously. And again, because nobody else but Chris, has the same doubts and questions that he has- not even his girlfriend- he still can’t see the whole truth. But his quiet and reluctant “yeah!” in the end shows that he is starting to understand.

Act2 TP

This TP differs from the others because now the threat is more open. All fake niceness is gone. He knows that he has to get away. What seems to be turning at this TP is that the one that he still believes to be his only ally – his girlfriend – is in cahoots with everyone else. We know that he is really in deep shit, when she finally says: “you WERE one of my favorites”. It is the perfect “all is lost moment” to start act three. We’re primed with the question: How the hell is he going to make it out of this nightmare?

• This reply was modified 2 years, 1 month ago by  Ar Marewski.
• This reply was modified 2 years, 1 month ago by  Ar Marewski.