R
1992    1h 52mDrama, Crime
7.295%78%6.8
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Irish Republican Army member Fergus forms an unexpected bond with Jody, a kidnapped British soldier in his custody, despite the warnings of fellow IRA members Jude and Maguire. Jody makes Fergus promise he'll visit his girlfriend, Dil, in London, and when Fergus flees to the city, he seeks her out. Hounded by his former IRA colleagues, he finds himself increasingly drawn to the enigmatic, and surprising, Dil.
Directed by Neil Jordan
  • Stephen ReaFergus
  • Miranda RichardsonJude
  • Jaye DavidsonDil
  • Forest WhitakerJody
  • Adrian DunbarMaguire
  • Breffni McKennaTinker
  • Joe SavinoEddie
  • Birdy SweeneyTommy
  • Andrée BernardJane
  • Jim BroadbentCol
  • Ralph BrownDave
  • Tony SlatteryDeveroux
  • Jack CarrFranknum
  • Josephine WhiteBar Performer 1
  • Shar CampbellBar Performer 2
  • Bryan ColemanJudge
  • Ray De-HaanSecurity Man 1
  • David CrionellySecurity Man 2
  • Charles MandracchiaBouncer (uncredited)
  • Neil JordanDirector / Writer
  • fhe82
    fhe82August 9, 2026
    The Crying Game is one of those movies I kind of liked, but I am still not completely sure what I think about it. The acting is very, very good. What really stood out to me was the way the camera moves into these extreme close-ups whenever things become tense or emotionally uncomfortable. It makes the performances feel more intimate and almost invasive, like you are trapped in the room with them. As for Dil, there was nothing particularly surprising to me about the reveal. What interested me more was why the movie made her identity such a central device in the first place. By the end, though, I think I understood it differently. Maybe the whole movie was really about Dil: lonely, vulnerable, looking for someone who would stay. Everything else—the politics, violence, guilt, loyalty—was simply the world spinning around her. Very good performances. Strange movie. Still thinking about it.
  • stuhannaford
    stuhannafordJuly 30, 2025
    More than a little ahead of its time. Unfortunately shows it’s age a little, especially the opening part of the story, which has an almost romantic feel, acting and score, which flies in the face of the subject matter and tone of the time. Whitaker is less than convincing in his role, which is unusual, but this simply sets the scene for the main story. Sadly, the twist is well known, so the surprise element is unlikely to hit with most newer viewers. However, that aside, it’s incredibly well acted and believable. Had it been made today, it may well have been over done from a social point of view, and so the turmoil and questions Fergus faces feel much more honest than a modern script might offer. Quite a debut, and incredible to think only two more films appeared on Davidson’s resume following this.

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