We need more directors willing to take risks with films like Get Out.
[EDITOR'S NOTE: This review contains spoilers.]
A key moment in the development of the movie anti-hero came right at the end of "The Wild One," when Marlon Brando gave out with that slow, sickeningly sweet smile. For the first time, here was a leading character who didn't give a damn what you thought of him.
There had been anti-heroes in the movies before, but they were really heroes in disguise. The audience identified with them even though they were on the wrong side of the law, were unwashed, had rotten luck, were physically repugnant or were just plain bad guys.
But in the early 1950s, a new breed of anti-hero started to develop. He didn't want your sympathy or understanding. In fact, he despised social workers, and audiences who thought like social workers. Brando's belly-scratchng, under-shirted Stanley Kowalski in "A Streetcar Named Desire" was a leading character like that. And then, two years later in 1954, Brando made "The Wild One" and Hollywood had invested a new kind of film.