Warning: The article contains spoilers for No.
With Jordan Peele’s third film, Nonow in theaters, it looks like the director foreshadowed the film’s plot eight years ago. His dream – nightmare really – about a baby chimpanzee attack likely formulated the character arc for Jupe, allowing Peele to struggle with the shock factor with the gruesome opening scene. He continues to showcase Peele’s creativity and unique style in creating his horror creations, while also bringing a dash of comedy that sets his storytelling apart from other visionaries.
While this is only Peele’s third film directed, people must have noticed some recurring themes and trademarks in No who also stood out We and Go out. From titles to images of scissors, there seem to be some permanent ideas in Peele’s head that he puts into his films for ongoing review.
First appearing as the weapon of choice for doppelgangers in Wethe golden scissors make another quick appearance in No. Eagle-eyed spectators will see exactly the same on the Jupe table.
Although golden scissors are not dramatic devices in No as in Wethe fact that Jordan Peele chose them for both films is a good hint that the arts and crafts tool could continue to reappear in future Peele films. If anything, the golden scissors can serve as an easter egg like a node for We.
Jordan Peele has a varied musical taste and packs his films with scores and soundtracks from a variety of genres. Each of his films so far has used a particular song as the main story motif or the film’s marketing focus.
No has a remixed version of “Sunglasses At Night” by Corey Hart that begins the climax of the story. Go out uses “redbone” by Childish Gambino, who openly states some of the film’s themes. and the trailer of We famously slowed down Luniz’s “Got 5 on It”“ to extremely frightening effect.
One of the less outstanding strengths of all Jordan Peele’s films is the sound design. although some unpopular opinions suggest that Peele’s films are not subtle, the sound design with the distinct sounds is an example of the subtle details for thematic and suspenseful intent.
The sound of a spoon clinking around a teacup is the key to mesmerizing Chris Washington in Go out. The leader of the doppelgangers in We can only speak in a hoarse, disquieting voice. Is at No, the screams of captured animals and people are horrific and a brilliant design choice to indicate to the main characters where Jean Jacket is.
Part of the fun whenever a Jordan Peele movie comes out is figuring out what its catchy titles mean exactly and when they’ll appear in the movie. They are often telling the theme of the story as well as a central line.
Inside Go out, the title is shouted as a warning to Daniel Kaluuya’s character. Inside We, doppelgangers make constant reference to “us”, the forgotten people of the underground. Is at Nothe title is used to humorous effect several times by characters when coming face to face with the film’s antagonists.
The main characters in Jordan Peele’s films are very subtle and real protagonists, and this makes it easier for audiences to relate to and care about what happens to them throughout the film. Up until No turned out to have nice characters, like the Haywood brothers, despite their different personalities. Most of the other characters in the movie are equally human, but Peele likes to include at least one over-the-top character to demand true horror.
There are several exaggerated characters in these films: the brother in Go out, Elisabeth Moss’s family in We, and a TMZ reporter in No. It’s a social discussion of the darker side of humanity, which Peele continues to highlight across all three films. Of course, this is more true for No, with a story focused on many characters trying to cash in on the UFO. Some characters go to extremes, like the TMZ reporter, so as a consequence Peele gives these characters suitably twisted fates.
While most horror movies have the same cliché with a group of friends or strangers trapped in a horror event, Peele chose to go in a different direction. The main characters plagued by the film’s plot recently love black families.
With a nuclear family in We and the brother-sister combo in No, always solve their problems on their own, becoming the smartest movie characters. Whether tied up or Jean Jacket, these families understand the terrifying situation at hand, where they work together to outsmart, and their love for each other becomes their motivation to fight for survival. It’s these activities that make the characters more admirable, especially when OJ and Emerald become closest brothers in an attempt to capture Oprah’s photo. Both movies end with several badass moments that see the family coming together to defeat evil.
There seems to be a common theme that runs through most of Peele’s films, which is that the characters are somehow trapped in a specific location and find it difficult to escape. It becomes more of an ingrained fear, but it also adds to the horror factor and becomes the main mission of the character in their quests and survival.
The victims in Go out are hypnotized, and their consciousness is trapped in the “Submerged Place”, which is more subtle with the subconscious mind being trapped than their physical state. The doppelgangers in We are trapped and forgotten underground, losing their voices. Is at Noa paying mob is forced, motionless, in one of the most gruesome places imaginable.
O Social commentary on Peele’s films, Go out and Weit was well discussed and No will be no exception. But there is a common theme in No that has already been mentioned in previous films: violence against animals. Peele wants to highlight the issue of Hollywood’s historically bad treatment of animals, and No is his main essay on the subject, but he has touched on similar points in earlier films.
A deer is hit by a car at the start Go outRabbits are bred to be eaten raw in Weand a number of animals are lambs sacrificed throughout No. Although the deer scene foreshadowed Chris’ salvation in Go outthe problems of animal abuse are more evident in No, where harmless horses are being used as bait. This issue becomes more prominent in scenes with Gordy, an exploited chimpanzee who loses his cool in the middle of a set.
While most of Peele’s back catalog takes place at night, some of the scariest scenes take place during the day. The day should be safe, and Peele often counters that notion by scaring the audience with the sun.
If it’s an alien abduction in Nothe immolation of a child in Weor a meltdown at brunch in Go out, Jordan Peele shows the scenes in bright yellow during the day. The main and final act in No happens heavily during the day, while OJ, Emerald, Angel and Antler must catch the perfect picture of Jean Jacket. Every feature of every character is visible, and the scene has a scarier effect. It showcases one of the most unique narrative aspects of Peele’s vision, demonstrating that horror isn’t just restricted to the night.