Here's a movie that virtually cries out, "Don't you dare review me!" If you haven't already seen this film or heard about its various twists and turns, don't bother to read this review or any other. If you're an adventuresome movie lover with a taste for action and plot twists and an open mind, just go out and rent or buy the film, according to your preference, and give it a go with as little foreknowledge as possible. Foreplay is fun, but in this case, a little wham-bam will serve you better.

What? You're still reading? Well, then, let me say next that I watched this film today without any foreknowledge. I suppose that admitting as much calls into question my credentials as a film critic. Apparently back in 1992, when this film was released, I must have been busy with something that seemed more important, at the time, than keeping up with the latest hot films. Also, by way of preamble, let me acknowledge that this particular film is not well suited to my style as a film reviewer. I like to discuss the meaning of key plot elements, but that's out of the question for this film – without engaging in the most egregious kind of spoilers. I like to analyze a film's themes. This film has some interesting themes, but anything more than an oblique reference to them would also result in unconscionable spoilers. There's even an extra on the DVD that has to go unmentioned, to avoid generating a spoiler! Rest assured, however, that this review contains no spoilers. Please overlook its opaqueness.

Historical Background: The Crying Game was the work of Irish screenwriter and director Neil Jordan, a man who has been around the block more than once, with distinctly mixed results. He has worked both independently, in Ireland, and within the Hollywood studio system. His best films resulted from his independent work. Imagine that!

Jordan was born on February 25th, 1950, in Sligo, Ireland. He received his education at University College in Dublin, in Irish history and English. He first made a name for himself as a writer of novels and short stories. His first film experience came as a script consultant for the John Boorman film, Excalibar (1981). Jordan then directed a "making-of" kind of documentary for that film. That was enough to hook Jordan on filmmaking. Jordan surprised critics with his debut film, Angel (1982), with its daring Buñuel-like surreal treatment of violence and murder in the underworld. Jordan's second film, The Company of Wolves (1984), is arguably his best. Mona Lisa (1986) was another success, further extending Jordan's international recognition.

Jordan then went to Hollywood, where he sacrificed a big chunk of his artistic freedom for the benefits of marquee performers and big-budgets, but the results were two flops: High Spirits (1988), a feeble comedy starring Peter O'Toole and Steve Guttenberg, and We're No Angels (1989), starring Robert De Niro. Jordan had no role in writing either script.

Returning to the U.K., Jordan immediately redeemed himself and reinvigorated his reputation as a filmmaker with the present film, The Crying Game (1992). It received nominations in six Oscar categories. Since 1992, he has made six more films: Interview with the Vampire (1994), Michael Collins (1996), The Butcher Boy (1997), In Dreams (1999), The End of the Affair (1999), and The Good Thief (2003). Currently, Jordan has Breakfast on Pluto (2005) in post-production and Me and My Monster (2005) in pre-production. Jordan is basically a romantic at heart and almost all of his films have to do with the nature of love, one way or another.

The Story: The film opens with a shot of a carnival in Ireland, at some distance, taken from under a bridge, across a river. The lyrics of a romantic love song can be heard emanating from the carousel: "When a man loves a woman . . ." One of the revelers at the carnival is Jody (Forest Whitaker), a black English soldier from Tottenham, stationed in Northern Ireland. A blond, Irish lass, Jude (Miranda Richardson), seduces Jody and takes him to the seclusion of the river for what he expects to be a little refreshing one-on-one. Instead, the hapless Jody gets a pistol stuck against his head by Jude's comrade in the Irish Republican Army (IRA), Peter Maguire (Adrian Dunbar). Jody's a kidnap victim and soon he is being held hostage in some remote country redoubt in the hopes of an exchange for an IRA operative. Jody is to be shot in three days if no deal can be arranged. Jody realizes almost immediately that he is as good as dead, because no exchange will be forthcoming.

Jody's a naturally observant and talkative kind of guy. He strikes up a conversation with his primary guard, Fergus Hennessy (Stephen Rea), who is a basically decent sort of chap, simply following orders from his position at the bottom of the IRA hierarchy. Fergus and Jody chat about their girlfriends and downing pints. When Jody has to take a leak, with his hands tied behind his back, their relationship suddenly takes on another kind of intimacy. Fergus has to pull Jody's member out through his zipper and replace it when Jody has finished emptying his bladder. The pair ends up guffawing about the awkwardness of that arrangement – for both of them. Jody asks Fergus to take a look at the picture in his wallet of his girlfriend, Dil, who he describes as his ideal woman. Fergus, only half-jokingly, replies that she would be every man's ideal woman. She has a lovely face with a sparkling smile and a perfect light brown complexion. Later, during the last night before Jody's scheduled execution, he asks Fergus to look up Dil, someday, at Millie's Hair Salon in Spittalfields, to tell her that he was thinking of her.

The hostage situation soon resolves itself in a surprising way, but in a way consistent with what we've learned about the various characters. I'll only state that Fergus is soon on the lam. He gets help from an older man named Tommy, who arranges for Fergus to stowaway on the ferry to London. There, Fergus takes on a new identity as Jimmy from Scotland, and gets work with a construction team. Inevitably, Fergus (alias Jimmy), is drawn to Millie's Hair Salon. Near closing time, when Dil (Jaye Davidson) is the only haircutter remaining, he impulsively decides to go in for a trim.

Fergus later arranges to run into Dil at the nightclub called the Metro, where Dil works as a singer. Dil spots Fergus giving her a look or two and begins to flirt with him, using the friendly bartender, Col (Jim Broadbent), as a conduit for her witticisms. Dil, decked out in earrings the size of small Christmas ornaments, is as pretty in person as her picture had suggested. Later, on the street, Fergus intervenes when Dil is harassed by an unruly bar patron named Dave (Ralph Brown). Gradually, playfully and hesitantly, Fergus and Dil begin to become involved. It's no simple love story, however, as one obstacle after another will come into play before the film runs its course. Fergus has his past involvement with Jody as a skeleton in his closet and Dil has her own special circumstances, as well. The IRA isn't done with Fergus, either. You'll have to check out the film to discover exactly what the twists are and how it all plays out.

Themes: The two principal themes are love and how labels and demographic categories define who we are and how we interact with other people. The film raises interesting issues but doesn't really explore them very deeply. At least there's plenty of fodder for post-viewing discussion among friends. The IRA connection is rather arbitrary. The story could just as well have been told in relation to any political or mercenary group engaged in kidnapping. I can add no more to those generalizations without introducing spoilers.

Production Values: Jordan wrote the script himself, based loosely on a short story by Irishman Frank O'Connor, entitled A Guest of the Nation. It's an excellent script, as evidenced the Oscar awarded the film for Best Original Screenplay. The script is clever, engaging, and packed with startling surprises. The story's pacing is excellent, mixing action with character development and drama.

The cinematography is a high quality, especially in the opening hostage scene, where the country setting provides excellent potential for interesting shots. Later, there are some clever angles looking up and down ladders and partially completed stairwells at a construction site. The Metro Bar is also portrayed to marvelous effect. The highlights of the soundtrack are three stellar songs: Jaye Davidson's rendition of the famous title song, "The Crying Game," Percy Sledge Lewis's "When a Man Loves a Woman" as the film opens, and Lyle Lovett's "Stand By Your Man" as the film winds down. The rest of the soundtrack consists of the melancholy strains of composer Anne Dudley.

The casting and performances are two of the strong points of the film. Stephen Rea, who plays Fergus, is a regular performer for Neil Jordan. He's appeared elsewhere for Jordan in In the Company of Wolves (1984), Interview with the Vampire (1994), Michael Collins (1996), The Butcher Boy (1997), In Dreams (1998), and The End of the Affair (1999). He reveals his character's emotions as much through facial expression and mannerisms as through dialog. Jaye Davidson is absolutely spectacular as Dil. She latter appeared in Stargate (1994). Adrian Dunbar (Hear My Song (1991) and The General (1998)) was effective as Peter Maguire but I didn't care much for the over-the-top performance by Miranda Richardson (Empire of the Sun (1987) and The Hours (2002)), as Jude. I very much liked American actor Forest Whitaker (Platoon (1986) and Panic Room (2002)) as Jody.

Bottom-Line: There are plenty of extras with the Lions Gate Collectors' Edition DVD, featuring a newly remastered digital transfer and 5.1 Dolby digital stereo sound. There's a commentary track featuring Neil Jordan, an alternative ending, a making of the film featurette, a featurette on the problems in Northern Ireland, trailers, and more. This is a film with high entertainment value, but mainly for an open-minded audience. Religious or political conservatives may find some of the content offensive. It's also a film of moderate thematic value, though it does a better job raising issues than exploring them or taking positions.

Recommended:
Yes

Viewing Format: DVD
Video Occasion: Good for Groups
Suitability For Children: Not suitable for Children of any age