Product Details

• Amazon Sales Rank: #8755 in DVD
• Released on: 2005-01-25
• Rating: R (Restricted)
• Aspect ratio: 2.35:1
• Formats: Closed-captioned, Collector's Edition, Color, Dolby, DTS Surround Sound, DVD-Video, Original recording remastered, Widescreen, NTSC
• Original language: English
• Number of discs: 1
• Running time: 112 minutes

Amazon.com essential video
The Crying Game offers a rare and precious movie experience. The film is an unclassifiable original that surprises, intrigues, confounds, and delights you with its freshness, humor, and honesty from beginning to end. It starts as a psychological thriller, as IRA foot soldier Fergus (the incomparable Stephen Rea) kidnaps a British soldier (Forest Whitaker) and waits for the news that will determine whether he executes his victim or sets him free. As the night wears on, a peculiar bond begins to form between the two men. Later, the movie shifts tone and morphs into something of a romantic comedy as Fergus unexpectedly becomes involved with the soldier's girlfriend Dil (Jaye Davidson) and discovers more about himself, and human nature in general, than he ever dreamed possible. Like Spielberg's E.T., The Crying Game was supposed to be director Neil Jordan's "little, personal movie," the one he just had to make, even though no studio was willing to give him money because the story was so unusual. Instead, it became a surprise popular sensation, thanks in part to Miramax's cleverly provocative campaign playing up the hush-hush nature of the movie's big secret. The performances (including Miranda Richardson as one of Fergus's IRA colleagues) are subtly shaded, and the writing and direction are tantalizingly rich and suggestive; you're always trying to figure out the characters' true motives and feelings--even when they themselves are fully aware of their own motives and feelings. The Crying Game is a wise, witty, wondrous treasure of a movie. Director Jordan's credits include Mona Lisa, Interview with the Vampire, Michael Collins, and The Butcher Boy. --Jim Emerson

From The New Yorker
This amazing new movie by the Irish writer and director Neil Jordan ("Mona Lisa," "The Miracle") has the sure grip and the unstoppable momentum of a dream. Jordan tells the story of Fergus (Stephen Rea), a troubled I.R.A. gunman who undergoes a thorough emotional metamorphosis, and he makes the hero's change of heart moving and persuasive; the film inspires an irrational sort of trust, a willing suspension of something deeper and more fundamental than disbelief. The script is full of reversals and abrupt dislocations and, halfway through, the movie springs a huge, jaw-dropping surprise. Disorienting us isn't the ultimate aim of Jordan's artistic strategy, though; he jars us out of our accustomed responses to prepare us for the purer, more penetrating ones he really wants from us. The picture is a contemporary romantic thriller whose values are, in the best sense, medieval. Every startling twist in the plot functions as a trial for the hero; and in the end Fergus, having come through the fires of battle and through enchantments that alter the appearance of the familiar world, achieves a knightly grace. But you're not likely to think of the film's mythic overtones while you're watching it. The story is so unusual and so involving, and Jordan's direction is so envelopingly sensuous, that you allow the movie simply to carry you along. It's a splendid entertainment-an elating, charmed sprint through all sorts of contemporary terrors. Also with Forest Whitaker, Miranda Richardson, Jim Broadbent, Adrian Dunbar, and a newcomer named Jaye Davidson, who is astonishing. -Terrence Rafferty
Copyright © 2006 The New Yorker

Customer Reviews

True Love Is Half-Blind
THE CRYING GAME has been described as many things, and all of them probably true. Even after 15 years after its initial release, it remains writer-director Neil Jordan's insurmountable masterpiece. Not many casual moviegoers seem to know about this one, but serious film buffs hold this dramatic gem along the greatest cinematic landmarks. This film hasn't changed the landscape of moviegoing as we know it, but it's impacted the souls of those who've embarked on its journey.

And what a journey it is...one so intriguing and fascinating that longtime fans still refuse to give away its secrets. When THE CRYING GAME was marketted back in 1992, Miramax and Jordan urged audiences to not reveal the plot twists. That audiences respected their wishes is an unbelievable acheivement. The acheivement was so remarkable that even though I didn't see this film until 2003, I instantly knew that my blabbering wouldn't ruin just a few cheap shocks. No no no, to talk about THE CRYING GAME in too much detail is to deprive audiences of a legitimate emotional connection with the characters.

Let's get the plot setup out the way; if I weren't to include it, I'd be talking to myself when I want others to share my experiences. Several IRA operatives kidnap a British soldier, holding him for ransom. As Jody (the British soldier) is held captive, an IRA volunteer named Fergus reluctantly befriends his target. Basically, it's Stockholm Syndrome backwards --- rather than the victim embracing his/her captor, Fergus is eager to use the carrot rather than the stick. As things develop poorly for Jody, Fergus ends up looking for Jody's lover, Dil. From there, I will reveal no more...

The word "unpredictable" is an understatement. To call THE CRYING GAME a tale of love or loyalty does not do this film justice. This masterpiece deserves to be known as a "drama" in the truest sense. Webster's definiton is:

"A COMPOSITION IN VERSE OR PROSE INTENDED TO PORTRAY LIFE OR CHARACTER OR TO TELL A STORY USUALLY INVOLVING CONFLICTS AND EMOTIONS THROUGH ACTION AND DIALOGUE AND TYPICALLY DESIGNED FOR THEATRICAL PERFORMANCE."

A story like THE CRYING GAME's might not be plausible in our physical world, but the triangle involving Fergus, Jody, and Dil is every bit as interesting as a romantic or spiritual connection can be. When the definition refers to "a composition in verse or", I think Neil Jordan's film is constructed in acts very similar to PSYCHO. Although we don't meet very many characters, Jordan seems to keep reinventing what they're about. The central focus or narrative is in a constant growth, which is interesting considering Fergus is almost in every shot.

Another interesting note about the verses: Jordan's selection of music is appropriate on a variety of levels. He uses "The Crying Game" in several versions, each telling a different story. Percy Sledge's "When A Man Loves A Woman" opens the movie, and takes on new meaning if you watch the film several times (aside from the obvious "joke"). Anne Dudley's score for the film is a jack-of-all-trades, using military drums for intensity, and classier & seductive instruments for reflection and discovery. It's a rather wonderful music soundtrack.

The verses and prose continue with unbelievable sequences of dialogue. Just listening to these characters talk is an absolute joy.

"I can't help it. It's in my nature."
When a headbagged Jody tells his captor the fable of how a scorpion betrays a frog after being helped across a pond, we relate to Fergus. We realize the visceral impact of the story, but not the cerebral effect. We react, but do not understand. THE CRYING GAME works as a tease, but each time delivers a payoff, and each payoff is an unexpected development.

I think most of this movie's fans' favorite narrative tool is Col, Dil's preferred bartender. In Dil's early scenes, instead of talking directly to Fergus across the bar, she thinks aloud to Col, which the drink-server relays Dil's comments to Fergus.

DIL: "Ask him if he likes his haircut."
COL: "She wants to know, sir, do you like your hair?"
FERGUS: "Tell her I like it fine."

And to finally on comment on THE CRYING GAME's dramatic "theatricality", the pacing is tight with its 2-hour length. The film works a variety of tones from comedy to violence, from love to hate, and from love and loss. The presentation isn't corny like an American filmmaker would've treated this subject. We believe in the story not only because of Jordan's sensibilities, but also because this story has yet to be replicated. Few screenplays command such respect from future artists.

I could go on and on about this work of genius. Thankfully, I still haven't given away anything. THE CRYING GAME's truest admirers haven't, either. And once you've watched the film, you'll come up with clever ways to entice newcomers into the fold, while struggling to keep a tight lip.

DVD EXTRAS
---This Special Edition DVD includes a making-of documentary, which includes interviews from Stephen Rea, studio execs, Neil Jordan, and even two military officers from both sides of the Northern Ireland conflict. Jaye Davison (who played Dil) is noticeably absent, but Davison has been long-removed from the spotlight, so that's not a surprise. There's also an alternate ending that the studios insisted upon. The Alternate ending isn't terrible, but Jordan's original ending is vastly superior.

A+++++ Acting
I wish I didn't have alot of the dialogue memorized whenever I decide to rewatch "The Crying Game". That is the only drawnback. I love the performances the best, which are classic cinema to me. It's actually quite difficult to pinpoint the brilliances of each actor since they all trumped eachother with moments of brilliance in their performances. I of course love Jaye Davidson's character, I related to alot of her pain, and emotion. Miranda Richarson was the most intense and passionate and agruably maybe the best performance if I had to choose. Her character is so venomnous I want to bash her face in at some points during the movie. I always knew Forest Whitacker would go on to do more great things. Any actor that drools and spits out his mouth in almost every role is worthy of AN OSCAR!!!!!! He deserves the praise and the reward. Glad he won the oscar for "Last King Of Scotland". This is a timeless movie I can still watch every blue moon.

Great movie
I saw this movie when it came out in 1993. Its not for everyone and is a strong "R" movie but keeps you guessing.