David O'ConnellThe Crying Game
September 16th 2008 03:57
Neil Jordan’s gender-blurring drama still retains the mysterious allure which grabbed the world’s attention 16 years ago. Seeing it for the first time in years I had doubts about how well it might have aged, but the convincing performances anchor it in reality, and Jordan’s direction is assured in the film that soon brought the Irishman international recognition and excited phone calls from Hollywood.
Jordan regular Stephen Rea is Fergus, one member of an IRA group who take a British soldier Jody (Forest Whitaker) hostage in an effort to force the British government to release one of their own.
Fergus is close to Jude (Miranda Richardson) who is the bait used to lure Jody away from the carnival crowds for the snatch-and-grab, but she and the other members of the group are soon dubious about Fergus’ method of guarding their prisoner, allowing for face-to-contact and idle chatter.
The two develop genuine rapport, with Fergus’ humanity and genuine nature – as explained to him by Jody in a parable involving a frog and a scorpion – not allowing him to blindly shut out their prisoner’s request for some measure of mercy in the intervening days.
Things go horribly wrong as the film's first act ends and Fergus flees to London, mostly to fulfill a promise to Jody to make sure the love of his life, hairdresser and singer Dil (Jaye Davidson), comes to no harm in his absence.
Fergus is intrigued by her beauty and against his natural instincts begins to become protective of her, plagued by the guilt he feels for his involvement in her boyfriend’s death. He quickly falls for her, eventually leading to the famous reveal that the film is often remembered for.
The third act becomes a much tenser affair as the complexities of the present and past are intertwined in a volatile and deadly mix, the ghosts of Fergus' mistakes in Belfast returning, forcing him, reluctantly, into one last unavoidable debt repayment - the murder of a British judge.
An Oscar winner for Best Original Screenplay, Jordan’s story seems a fairly simple one on the surface but its depths are revealed in the last half hour as emotional needs get confused with duty when the past comes knocking. Though a political context is established early, the story only ever treats those potentially incendiary matters peripherally, wisely concentrating on the human drama within.
Rea’s solemn, dour demeanor suits Fergus perfectly, and his weakness for human kindness gets him into plenty of trouble, firstly with Jody and then Dil. Lacking the cold-blooded ruthlessness of his IRA comrades, he’s vulnerable to the whims of his emotions - some of which seem contorted by shame of the taboo; he’s damaged too by the weight of the past and senses the same turmoil within Dil; much of the plot is set into motion by his inability to keep these feelings in check - ultimately he’s just a good man who finds it hard to say no.
Richardson as the icy Jude also gives a memorable turn, whilst Davidson was marked for life by this defining role that resonated with audiences worldwide and still seems strong today, with a rare truthfulness that we easily empathise with. Whitaker is strong in the early scenes too, once you overcome his unlikely British accent.
The Crying Game is an original classic, a compelling drama interweaving themes of guilt, uncontrollable desire and deception with the inescapable sins of the past, and with a twisted love triangle - in more ways than one - at his heart!
Above all it still stands as a brilliant piece of filmmaking, one of the best of its time and possibly still Neil Jordan’s finest hour, marginally ahead of Mona Lisa.
Here's one of those funny old VHS trailers we remember fondly:
Jordan regular Stephen Rea is Fergus, one member of an IRA group who take a British soldier Jody (Forest Whitaker) hostage in an effort to force the British government to release one of their own.
Fergus is close to Jude (Miranda Richardson) who is the bait used to lure Jody away from the carnival crowds for the snatch-and-grab, but she and the other members of the group are soon dubious about Fergus’ method of guarding their prisoner, allowing for face-to-contact and idle chatter.
The two develop genuine rapport, with Fergus’ humanity and genuine nature – as explained to him by Jody in a parable involving a frog and a scorpion – not allowing him to blindly shut out their prisoner’s request for some measure of mercy in the intervening days.
Things go horribly wrong as the film's first act ends and Fergus flees to London, mostly to fulfill a promise to Jody to make sure the love of his life, hairdresser and singer Dil (Jaye Davidson), comes to no harm in his absence.
Fergus keep watch over Jody
Fergus is intrigued by her beauty and against his natural instincts begins to become protective of her, plagued by the guilt he feels for his involvement in her boyfriend’s death. He quickly falls for her, eventually leading to the famous reveal that the film is often remembered for.
The third act becomes a much tenser affair as the complexities of the present and past are intertwined in a volatile and deadly mix, the ghosts of Fergus' mistakes in Belfast returning, forcing him, reluctantly, into one last unavoidable debt repayment - the murder of a British judge.
An Oscar winner for Best Original Screenplay, Jordan’s story seems a fairly simple one on the surface but its depths are revealed in the last half hour as emotional needs get confused with duty when the past comes knocking. Though a political context is established early, the story only ever treats those potentially incendiary matters peripherally, wisely concentrating on the human drama within.
The exotic Dil entices Fergus
Rea’s solemn, dour demeanor suits Fergus perfectly, and his weakness for human kindness gets him into plenty of trouble, firstly with Jody and then Dil. Lacking the cold-blooded ruthlessness of his IRA comrades, he’s vulnerable to the whims of his emotions - some of which seem contorted by shame of the taboo; he’s damaged too by the weight of the past and senses the same turmoil within Dil; much of the plot is set into motion by his inability to keep these feelings in check - ultimately he’s just a good man who finds it hard to say no.
Richardson as the icy Jude also gives a memorable turn, whilst Davidson was marked for life by this defining role that resonated with audiences worldwide and still seems strong today, with a rare truthfulness that we easily empathise with. Whitaker is strong in the early scenes too, once you overcome his unlikely British accent.
The Crying Game is an original classic, a compelling drama interweaving themes of guilt, uncontrollable desire and deception with the inescapable sins of the past, and with a twisted love triangle - in more ways than one - at his heart!
Above all it still stands as a brilliant piece of filmmaking, one of the best of its time and possibly still Neil Jordan’s finest hour, marginally ahead of Mona Lisa.
Here's one of those funny old VHS trailers we remember fondly:
| 101 |
| Vote |
subscribe to this blog
Comment by Tracy
Movies and Life
This is one of those films that has vividly stayed with me. I cried through a lot of it.
Tracy
Comment by Tracy
Movies and Life
This is one of those films that has vividly stayed with me. I cried through a lot of it.
Tracy
Comment by David O'Connell
20/20 Filmsight
Screen Fanatic
The film really stands the test of time well too, I don't think I'd seen it since it first came out.
Comment by JohnDoe
Film & TV on DVD
I'm a fan of The Crying game too, though Neil Jordan seemed to slip after this. I still think Mona Lisa is his masterpiece..but this is still an engrossing experience.
I did enjoy Jordan's remake of Melville's Le Bob Flambuer titled The Good Thief.
Comment by David O'Connell
20/20 Filmsight
Screen Fanatic
I know you don't like Tom Cruise mate, but I do admit to quite liking Interview with the Vampire even though it was obviously a pretty awful experience for Jordan in Hollywood at the time.
Michael Collins was a very worthy film but lacked a certainly quality to make it truly compelling, even though Liam Neeson was a towering presence and quite magnificent in the role.
The Good Thief was quite ok too, Nick Nolte suitably dour and grim as death in that one!
Comment by JohnDoe
Film & TV on DVD
I loved the original Anne Rice book to much to see it raped like it was on film. Lestat needed, menace, danger and charisma sadly Tom had none. I did like the atmosphere though if that counts.
For the record I like Tom in T.A.P.S and The Outsiders. Risky Bussiness is good when I'm in the mood, but after that he hasn't really impressed. Magnolia and Tropic Thunder may be his greatest performances for me, but thats because he is easy to believe as a grade A prick..plus the characters themselves are so flamboyant and fake that the parts suit Tom's artoificially manufactured energy.
Michael Collins never engaged though I do like that sort of thing normally...then again I loved Mickey Rourke in A prayer for Dying so what do I know?