Get Out Originally Had A Much More Tragic Ending
If you haven’t seen Get Out (and you really should), stop reading here—there are major spoilers ahead.
If you have seen Get Out, you’ll no doubt remember the triumphant scene at the end of the film where Chris (Sicario‘s Daniel Kaluuya) is saved from the clutches of Rose (Girls‘ Allison Williams) and the other members of Rose’s unhinged, racist family by his best friend Rod (comedian Lil Rel Howery). During the scene, a police car, sirens ablaze, drives up to Chris immediately after he’s just finished violently attacking Rose. Even though the reveal that it’s Rod in the police car is both surprising and immensely satisfying, it turns out director Jordan Peele initially envisioned a much darker, sadder ending for the movie.
On last week’s episode of BuzzFeed’s Another Round podcast, Peele spoke with hosts Heben Nigatu and Tracy Clayton about Get Out and revealed that in the film’s original ending, “the cops actually come at the end. He [Chris] gets locked up and taken away for slaughtering an entire family of white people and you know he’s never getting out, if he doesn’t get shot there on the spot.”
When asked about why the ending was changed, Peele said that he wanted to end the film on a more hopeful, positive note given the current political climate, explaining “It was very clear that the ending needed to transform into something that gives us a hero, that gives us an escape, gives us a positive feeling when we leave this movie. There’s nothing more satisfying than seeing the audience go crazy when Rod shows up.”
In a recent interview with Vulture, Howery also mentioned the alternative ending and indicated that it may be included as a DVD extra once the film leaves theatres. And it sounds like he agrees with Peele’s decision to make the movie’s finale more hopeful—Howery told Vulture that the original ending was “almost too sad. Jordan’s genius was he was like, ‘O.K., this is a movie, we can’t end it like this.’ It’s too real.”
Howery also admitted that he’s seen the film a whopping nine times, and that watching people react to Rod unexpectedly walking out of the police car is never not enjoyable. “When I come out that car, the crowd just erupts. If anything, that’s a gratifying feeling, seeing them lose their minds, taking them on that ride in that last scene.”
As Howery points out, Rod is Get Out‘s audience surrogate—he’s the one warning Chris that Rose and her family may not be as innocent as they seem, and seeing someone who shares our opinion triumph at the end of the film is satisfying in a way that no other ending would have been. Still, we’re curious to see how the other ending plays out when (and if) we do get to see it on DVD.