The Crying Game has been reduced to a single scene in the public imagination. Fergus (Stephen Rea, it wouldn’t be a Neil Jordan film without Stephen Rea) is about to have sex with Dil (Jaye Davidson) for the first time, when it’s revealed – both to Fergus and the audience – that she is transgender. She takes off her robe and the camera tilts down her body to show a penis. Fergus’s reaction is, to say the least, not great: he hits her in his attempt to push her away, and he throws up in the bathroom. Dil meekly says she thought that he already knew.
If you know anything about The Crying Game, it’s this scene. It’s this twist. To some extent, that reputation was deliberately cultivated: after flopping in the UK, it became a hit in the US with a marketing campaign built around the twist. And in isolation, it makes The Crying Game sound like a relic, in a way I’m sure puts people off watching it. When critics revisit The Crying Game now, it’s mostly to measure its understanding of trans people against our modern sensibilities. It’s good to re-examine representation of trans characters from the past, obviously, but it can be reductive when historical transness is purely viewed through modern lenses. Mainstream understanding of trans people has transformed so quickly so recently that a film from 1992 sounds like an ancient artefact.
But The Crying Game is an incredibly rich, complex, and beautiful film. It has a deft touch for the nuances of gender and sexuality, but it’s about so, so much more than that. It’s a film about shifting identities whose own identity is in constant flux: it’s a thriller, a romance, something else entirely. And at its centre is a character whose identity is shifting: not Dil, but Fergus.
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