The Crying Game
Directed by Neil Jordan
Reviewed by Catherine Brown and Frank Noakes
Reihana Mohideen's favourable review of the The Crying Game (GLW #093) asks whether Jordan's film does a disservice to the Irish struggle in his portrayal of Irish Republican Army activists. Reihana thinks not. We disagree.
As Reihana notes, the first few minutes of the film throw up a number of issues: black British soldier serving is captured by IRA after having been sexually enticed by an IRA woman.
But while it touches on the question of black man (oppressed race) being part of an occupying army oppressing the Irish, this is done fleetingly. Likewise, the displeasure of the IRA woman at having to use her body to entrap the hapless Brit is dealt with in the same manner — that is, it is not dealt with, and not raised again during the remaining 100 minutes.
In fact, the film's publicity does not claim anything more for it than a "riveting romantic thriller".
Fergus, the IRA volunteer assigned to guard Jody (Forest Whitaker), grows fond of his ward, but knows that ultimately he may have to become not only jailer, but also executioner. Fergus does not relish the prospect but is committed to the cause of Irish freedom.
But here is the rub, and the point is laboured: Fergus is quite unlike the other IRA active service unit, who are all portrayed as devoid of any human feelings; they, and by implication the rest of the IRA, are just mindless fanatics. It is Fergus' "nature" to be kind and, noticeably, he is the only volunteer to laugh.
Initially the film presents two images of the Irish woman — using her body as enticement, and serving tea and sandwiches to the male IRA members. When she dares to express an opinion in argument, she is silenced with a wave of the hand. This reflects society's view of women, or perhaps the script writer's, not the IRA's.
Further, and worse, her character, as it is developed during the course of the movie, becomes ever worse. The clear message here is that women activists involved in the armed struggle are even more fanatical and heartless.
There is a real twist to the plot, which cannot be divulged without spoiling the film entirely for the movie-goer. Without this clever, even brave, swerve, the film has little merit. Artistically, it is interesting, nothing more.
Judged politically, The Crying Game is reactionary. Every British government or media lie and distortion about the IRA is represented. When Fergus wants out, he is told that there is no way out. If he doesn't kill for the IRA, it is implied that not only will t his lover will be harmed.
The truth is that members of the IRA are not mindless hoods, criminals, nor are they dehumanised. Ronan Bennett in the Guardian newspaper says of IRA volunteers: "Any of them could be living next door; and they would not be passing themselves off as 'normal' people — they would be normal people, but normal people at war".
Whether one agrees or disagrees with armed resistance to oppression, or the tactical employment of it by the IRA at any particular moment, distorting and demonising the organisation and its members only serves to shield the real cause of violence in Ireland — the British government's occupation.
The movie challenges at the level of sexuality and does this well. That is its only recommendation. The rest of it speaks in stereotypical images common to consumers of the mass media. Perhaps centring the plot on the IRA stereotype has no real impact on most viewers. Perhaps.
If the bad guys had been the mafia, or some other gangland group, the plot would have made perfect sense — which indicates how the depiction of the IRA misrepresents it. The misuse of the IRA in this manner spoils what otherwise could have been a better than average thriller. One could even have overlooked the lame theme song, and enjoyed the twist.