A cultural phenomenon has hit our podcast table and it's called The Crying Game. The 1992 film directed by Neil Jordan definitely is problematic, especially for our trans friends around the world. Hopefully you'll still enjoy it for what it is, I know we sure do!
Ryan is slowly realizing that we cover plenty of films he enjoys and rates quite highly. Continuing with that streak, we look at Neil Jordan's THE CRYING GAME, starring Stephen Rea, Jay Davison, Miranda Richardson and Forest Whitaker. This episode is filled with some true revelations, as you listen to a man in real-time that "Rea" is pronounced "Ray". He always thought it was pronounced "Ree-a".
We know that The Crying Game has problems, especially considering the vomit scene, which has caused issues for the trans world since it came out. There's a good documentary that highlights this called Disclosure (2020) that's streaming on Netflix. Unfortuntely, we watched it after recording, so we didn't get to touch on it as much as we would have liked.
Overall, the truly important question really is: who is the winner of The Crying Game? Who, out of your loved ones cries the most? Play it at home and let us know!
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I think that's kind of hard. No father Ted, um, own with that sort of thing.
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Um.
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Well, hello there. Welcome to On The Bitte, the podcast that uncovers full frontal male nudity in cinema.
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My name is Laura, and I am joined by my amazing, incredible, wonderful co host, Ryan.
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I mean, I'm always here, like, in terms of the introduction, the introduction might need changing eventually because they will expect me to be here unless you say otherwise.
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That's true.
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I'm sure there'll be an episode at some point where I'm not here, maybe, like, I'll set it to record and I'll be like, guys, you have fun, and then I fuck off to the pub. I mean, don't go without me or I do that Stephen King thing where I'm just like, I'm going out to get a pack of cigarettes.
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Did Stephen King do that? Or was it his father that did that?
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His father that did that traumatizing for him.
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But, uh, speaking of traumatizing, are you ready to talk about the 1992 thriller drama The Crying Game?
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This isn't traumatizing.
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Well, I was just trying to roll it in. It's a little bit traumatizing.
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Okay.
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At least for our main character, Fergus, played by Stephen Wray. This movie also stars J Davidson as Dill, Miranda Richardson as Jude, Forest Whitaker as Jody.
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And directed by Neil Jordan.
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Our very first Neil Jordan. Yeah, this would be our only Neil Jordan.
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Yeah. I'm kind of assuming this is our only Neil Jordan.
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As far as I know from looking at the list, I got nothing else on Neil.
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Yeah, I feel like, I guess, like, in the pantheon of the rest of his work contextually, what we're talking about today is spot on personally.
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But in terms of being amazing.
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Yeah. Because the Dick reveal for this film is pivotal to the plot of this film.
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Oh, yeah. It's a game changer for.
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Yeah, it's a crying game changer. So let's kind of get into Neil Jordan, and we're going to give him the same justice we give everybody else. So Neil Jordan, he's an Irish film director, screenwriter, novelist, and short story writer. Uh, when he first started, he worked for, like, Irish television, but he got one of his biggest breaks when he worked with John Berman. John Berman of Deliverance Fame.
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Oh, right.
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I'm not going to watch that movie Zardos as well.
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Okay. I won't watch Deliverance, but I fucking love Zardoffs.
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There's nothing wrong with Deliverance. Well, the thing is.
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We'Ve got Zardoz and Bluray, and that commentary is phenomenal.
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I mean, you'll sit and you'll watch like a largeborn tree or like an Antichrist or the house that Jack Built that we watched recently. You won't sit and watch Deliverance?
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No. And I'm not saying I'll never watch it, but I don't want to watch that movie.
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Okay.
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I'm, uh, not going to put myself through something I know is going to be absolutely horrific.
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I don't know if I said this, but I think I'm going to re watch all of the films of my favorite films list to find out if they're still my favorite.
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That's a good idea.
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I think that's a really good idea.
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Like out of the really big list that you have on Letterbox.
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Or maybe I cut it down to 55 and then some other stuff got added in recently and I thought, well, look, I need to make this definitive so that I can move on with my life.
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I changed my top four every once in a while, but it's very rare.
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Yeah. No, I've never changed my top four, so I don't know if that's ever going to be the thing. We talk about favorite films because Crime Game is definitely up there. As one of my favorite films. I think this film is really good. Real good.
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I hadn't watched it in maybe 20 years.
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Yeah.
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And it's better. It's better than I remember.
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I mean, we'll get more into it. I'll do my near Jordan spirit. This is another one of those films that Ryan likes. So he was working as, I guess, like the creative associate on John Bormann's Excalibur. And John later, um, becomes the executive producer on Neil's first film, angel in, um, let's just say, like, in terms of just an all around kind of perspective on Neil Jordan's work, I would say he has a relatively eclectic range of films. Some would also say that it's relatively idiosyncratic. I didn't know what that word meant quite a few years ago. I got that on a school report once.
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What, that your work was idiosyncratic?
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No, that I, as a person was Idiosyncratic.
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I got to be honest.
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Right.
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I'm not even sure what that means myself. And I was just going to be quiet and pretend like I knew.
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Yeah. I mean, we'll figure out as we go along, but I'm pretty sure it means inherently, uh, flawed in one way or another. I, um, was definitely told this was in primary school as well. This is as a preteen. I was told I was Idiosyncratic.
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Uh, as a definition, it just means peculiar or individual. So maybe it's not as bad as you think, right? That you have quite an individual type personality.
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I fucking hate the Scottish school system. Let's just put it that way. I didn't come out of it feeling particularly fond of, uh, anyone, really. So let's continue on with Neil Jordan's filmography. Right.
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Thank you so much.
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So angel, the Company of Wolves in 1984. Uh, that's a kind of seminal work, I would say. Mona, uh, Lisa in, uh, which is a film that I haven't seen for a very long time. Bob Hoskins is in that movie.
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Love a Hoskins. Yeah.
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So that is definitely one to look out for. High spirits. And We Are No Angels in 1989, The Miracle in 1991, and then, uh, The Crying Game does come out in 1992. And then I guess like kind of another thing. He's still working today. He's got a new film on the way called Marlowe.
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Yeah, that's coming out next year in 2023. Okay.
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So it's in the, uh, can. They've got it in the can, as they say in the can in the Biz. Yeah. It's about Philip Marlowe and we're going to bore our listeners who Philip Marlowe is. I want to bore them talking about Humphrey Bogart and like the number of different people and actors who have covered the role from the Raymond Chandler books.
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Yeah, of course, the one I liked which was what? The Long Goodbye? Yeah.
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The Elliot Gould.
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I love that movie.
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Robert Altman.
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I like that one.
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Yeah, it's a good one.
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I have one particular friend who will, if I say that I don't like Humphrey Bogart. I'm so sorry. I still love you.
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I don't know. There's a multi Falcon, there's The Big Sleep. Like, it's not multi Falcon. Yes, they're boring. They're classics. Anyway, we've got The Crime Game in 92 and I guess just kind of as a segue just to kind of wrap this all up and things. He does interview with the Vampire in 94, Michael uh, Collins in 96, Butcher Boy 97 in, uh, Dreams and End of the Affair in 1999. And as far as I'm aware, is quite a big year for Neil Jordan. Those, um, films are quite well received.
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Yeah, he does a lot of, um, films that I really like. Yeah, I can't think of any that I don't like.
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Yeah. Like I said, uh, I think The Crime Game is probably one of his best, if not his best overall. But I do think interviews of Vampire and Mona Lisa, uh, are kind of very high up there. But, yeah, he's still working today. Breakfast at Pluto, the Brave one Jodie Foster movie.
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Out of all of his films, Crying Game is probably your favorite.
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It's definitely my favorite. Yeah. It's a very strange beast. Yeah. It blends a lot of different elements together and they technically shouldn't they shouldn't work.
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You're absolutely right. And when you think about The Crying Game, you don't think about the plot as much as you think you would in a film. Because when I read the synopsis again and I hadn't seen it in 20 years, right?
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Yeah.
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I'm like what this is about the IRA.
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Yeah.
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That's strange. So maybe I should read the synopsis for everybody. And here I go.
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The thing is, as much about the IRA as, uh, Patriot Games, as much as it's not the titular highlight of what?
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No, of course not. But that is driving force in this film.
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He's also no stranger to covering that subject matter because angel covers, uh, the troubles.
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Irish Republican Army member Fergus forms an unexpected bond with Jody, a kidnapped British soldier in his custody.
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Despite the warnings of fellow IRA members Judy McGuire, Jody makes Fergus promise he'll visit his girlfriend Dill in London. And when Fergus flees to the city.
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He seeks her out. Hounded by his former IRA colleagues, he finds himself increasingly drawn to the enigmatic and surprising Dill.
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Do you want to know the tagline of this movie? I thought it was something different. I thought it was something like don't tell our secret or don't tell anyone. But the tagline I found was Play at Your Own Risk, which I thought was odd. I wasn't expecting that.
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Well, here's the thing. And this is something that I think is indicative of the lack of this films, like general success is the fact that the marketing and the way that it was put out there to a general audience, utter garbage. It's completely misleading, like what the film is. And when you look at the posters and when you look at the marketing materials for it, it's just not.
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Yeah, it's kind of hard to pin down what it is.
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But then I don't know what it is.
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Giving anything away either.
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No, but the thing is, you can quite easily take, like what you said in the synopsis and then that's what it is. And because obviously, if it's involvement narratively with the IRA, it was never going to ring particularly well in the UK. That was just not going to happen.
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Right.
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Even to this day, I don't think it would still ring that there's a lot of open wounds to do with that situation that just will never simmer down.
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Um.
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Uh, that's a terrible tagline. Yeah. It's not good at all because it doesn't make any sense.
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It's also strange that the. Well, maybe not strange, but the original title of this film was The Soldier's Wife. And they ended up changing it because apparently Neil Jordan and Stanley Cooper were friends. And Stanley Cooper said that's not going to work because people are going to think that it's a war, um, film.
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Yeah.
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And people don't want that.
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No, that's fine. Apart from anything, uh, else, it's not a wife either. Completely misleading. I can understand it being The Soldier because they are dealing with Forest Whitaker, who plays Jodie, who's playing a black, uh, British, uh, soldier.
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Yes.
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So, um, there is part of it that rings true, and I think that's fine. But, yeah, um, the rest of it. Um, doesn't really less than plus over.
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Yeah, it's weird, but the movie ended up obviously being The Crying Game, which is from the song My Name is Barry, which plays over and over again. Love a title song.
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Yeah. Well, I think the song only plays so many times because it's sung at the karaoke at the Metro. And then it's the final song in the end credit sequence that I think song by Boy George. It's his version of it. That kind of thing.
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Is it?
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I will say the score for this movie is very good. It's very memorable, and it definitely tugs in all the right places. It's a really nice complimentary score for the story that's being told here.
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Oh, it's lovely.
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Uh, I think it's really cool. But, I mean, as the film opens, I mean, here's another song, because this film does a very good job of being self referential. I'm not too sure I thought you're right.
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It was Boy George. My bad.
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Okay, I'm sorry. That's fine. I mean, it's only going to be the 7th apology that I'll actually accept. So we'll see what happens over the course of this episode. But the thing is, this film opens and closes with two separate songs, which are kind of very self referentialistic, the narrative of it. So the opening song is when a man meets a woman. Meets a woman.
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Yeah. Very interesting choice for an opening song.
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But then it's also quite literal because Jodie is with, uh, Jude at the Carnival, which at this point is Miranda Richardson, Forrest Whitaker. Jody is not sure who Jude is at this point. They're just a couple at the fairground.
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Yeah. They're just having a nice time on a date.
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Yeah. And not only that, we introduced to forest worker, but we're introduced to his accent.
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Oh, my God. I don't think I would have been so bothered if I didn't realize that I know he's American. So I'm automatically going to think it's strange, and I'm automatically going to judge that accent.
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You're right, Darling.
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In a fog, I can't do any better.
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But they're having a conversation. And at one point, Jordy, uh, says, oh, he's never offended. But then I was like, I am.
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Um.
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Well, the thing is, we were watching the behind the scenes, uh, stuff, and we can't really recommend the behind the scenes stuff. It's very dry.
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I love behind the scenes. I love extra special features, especially the, um, bloopers, which, unfortunately, this film did not have. Bloopers, obviously.
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Yes, it would have been nice to see Stephen Ray. Like, maybe crack a smile for anything other than being told to crack a smile.
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But he's adorable.
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I love Steven Ray, but at the same time, we're going to get to his performance in this movie as well, which is perfect.
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Um, what did you call him when we were watching the movie?
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You go.
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I, uh, have a nickname for him.
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Uh, monotonal Steve.
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Yeah.
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And we're going to be covering a lot of the monotonal stuff. Kind of comes out in the first half of the film where it's basically him and Jody talking as they have Jody as a prisoner.
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Yeah. He's just trying, um, to be a good IRA soldier and do his job trying to not be too friendly.
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Yeah, well, let's say there's many different kind of leaps, because in the behind the scenes stuff, they got like, actual members of the IRA who were in prison and stuff like that to, um, kind of point out the fact that they're doing things that we wouldn't have done.
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Yeah, they fact checked them. And it's weird, uh, that they had former IRA members filmed for the special features, telling the filmmakers what they did wrong in the film and how they wouldn't have done that. And I just think that's an odd choice for a special feature on a DVT.
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Yeah. They would have been more useful back then prior to when the film was released.
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Yeah.
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To be fair, it's not effectively kind of in the middle of the midst of it. They're not going to do that. Like, that's never going to happen. But like, you've, uh.
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Got IRA members who weren't even wearing a fake mustache. What are you thinking?
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Yeah. So you're not wearing gloves, even wearing a mask, even concealing your identity, just running through the street with a fucking Tech nine.
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They look like they're the only members of the IRA that ever existed. Just these few people.
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But like, that stuff aside, because I didn't fucking know. I wasn't really that too fussed about the whole thing.
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No, you're just watching a movie.
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Just watching a movie. But, um, there's the bit at the Carnival.
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I hope you're going to talk about what I think you're going to talk about.
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I need the guy for peace. So he goes with it. Guys are by the hand and they're running and there's a tent. It's like a PP tent. And it's got like this little cardboard sign up and he's like girls and would have gone for a piss before.
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Say that again.
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I've never had a girl's, uh, hand would have gone for a piss before.
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They're holding hands as he's pissing in this little tent. And here's the thing. There's two things that I want to say about this, okay? And one of them is he stops peeing, comes out of the tent, and then touches her face with.
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Immediately with these pissy hands, kissing Jude.
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It's disgusting. But also it's the fact that obviously we're recording this episode because there is a penis in this film. And I know that most of you have seen The Crying Game. If you haven't, please go watch The Crying Game. What are you even doing listening to this if you haven't seen it? So there will be spoilers.
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This will completely ruin the film for you.
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Yeah, I just want to say that flat out.
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Yeah.
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Definitely will ruin this film if you haven't seen it. But, um, you're set up in a way to not expect to see a penis. And there are, I believe, three instances before we actually get full frontal nudity to where you just think, okay, well, I'm not going to see a penis in this movie. The first one is when Forrest Whitaker goes to take a pee in the peepee tent. He goes in there, he's completely shielded, he pees comes out, no penis. Okay. You could have maybe shown him from behind or anything, but you feel safe in a way you're like, okay, I'm not going to see anything, but that's the first time. I'll point out the others later. But I just think that's really interesting that Neil Jordan wanted to, in a way, just not. Yeah. He wasn't giving anything away throughout the whole film.
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Yes. Suspension of disbelief.
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There's many penises we could have seen.
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I feel like, controversially though, because of the way that it's revealed eventually and because of the themes that the film itself is exploring, there's only so far they could take the film. Just in general, I feel like for the time, let's say, um, early 90s. Right. This is, um, incredibly brave and daring and controversial. Like piece of work. Uh, it just did not fly with anyone any way, shape or form, for whatever reason.
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It just did not send to anybody several subjects within the film that are not, I don't want to say controversial, I don't even want to say taboo necessarily, but touchy perhaps for people. And it still works perfectly.
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Yes.
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In its way. But yeah, I can see why it would annoy people, perhaps.
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Yeah. I think because Neil Jordan talks a bit about being a European filmmaker and how going through the American system, he referred to it as a meat grinder.
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Yeah.
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So he'd already made a few films in the US. He comes back to the UK to make a bit more personal, intimate works. And I mean, again, I think the crime game is probably the best out of the bunch. But it was a nightmare to make as far as where the company goes that ends up folding and the amount of finances that are involved in the making of this film as well.
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The fact that the producer who owned a movie theater had to go into the movie theater and take the day's earnings to pay the cast and crew so that they wouldn't quit, that's how bad the financing was and that's how hard it was on everybody to be able to just get it done. Because Steven Woolley. Right. Because if I didn't put a start date in, I don't know if it would ever have gotten done. Like, we just had to go despite knowing whether or not we were actually going to get it financed properly.
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Yeah.
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What else did he say?
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He was talking about like sending a letter to Channel Four.
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So he was hounding Channel Four, and he basically made, like, a kind of veiled threat that he was going to set himself on fire in the hall to ensure that he got the funding that they needed in order to finish the film. And even when he's reciting the story, he's kind of just like, say, oh, it's like tongue in cheek. But at the time he was like, I was probably more than capable of doing it to myself.
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Yeah. It's really important for him to get this done.
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Yeah. I'm like, good for you, man.
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I'm a good producer.
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Good for you. In short, Jordy gets kidnapped by the IRA.
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Oh, man. Okay. Fergus is walking around this Carnival with a mullet, um, from the gods. Beautiful curly head of hair, gorgeous mullet. And when he finally comes up and interacts with Jude and Jodi, he straight up kicks Forrest, uh, Whitaker in the face.
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Yeah.
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Kicks him. Right. Uh, in the. Noggin, it was so bad.
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Yes.
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I don't know why I'm laughing, but it's really funny. But, yeah, he gets straight up kidnapped.
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Yes. Um, there's a fellow prisoner. I can't remember the place where he was being held, but there's a fellow prisoner. They were using it as, like a prisoner transfer thing. And if they didn't release the passing cars, yeah, they were going to shoot Jordy. But the first, um, half of the movie is effectively a bunch of character development for Fergus, which is obviously Steven Ray's character, where we're introduced, um, to more of the life of, I, um, guess being a member of the IRA and, um, also the backstory of the kidnapped soldier. And this is when we're introduced to the idea there because, uh, the girl that he's with called Dill, who's waiting for him back home. Yes, that's when that happened. That's when he shows in the wallet and there's that fantastic camera tilt where it goes in that counted angle. I was like, Holy fuck, that's fucking cool.
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That was really cool.
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Yeah. That happens like, once or twice in the movie.
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Yeah. It also happens when he's standing outside of Dilsa apartment.
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Uh, yeah, it kind of happens at, like, pivotal points in the narrative and things. I think it's a nice kind of little visual cue.
24:19.302 --> 24:31.674
You have the nice visual cue of the tilted angle. And then when Fergus opens up at Jody's wallet to look for the picture of Dill, he instead pulls out a picture of Jody himself dressed up in his cricket sweater.
24:31.722 --> 24:33.282
Yes, he's got that thing in his wallet.
24:33.366 --> 24:34.962
He has a picture of himself.
24:35.106 --> 24:38.710
That's weird. It's very strange.
24:38.710 --> 24:48.914
But then, yeah, there's a picture of himself and Dill in the wallet. If anything happens to me, go to her. Tell her I was thinking about her at the end.
24:49.072 --> 25:10.694
Yeah. They kind of form an inseparable bond. Or at least like Fergus, um, gives Jodi the opportunity to relax a little bit kind of show his own person. And, I mean, at the end of the day, they are expected to shoot this man.
25:10.792 --> 25:12.130
Yes.
25:12.130 --> 25:29.034
And for whatever reason, we're not really 100% sure about just Fergus as a character, where he's been, what he's been up to and stuff like that. But he's showing quite a remarkable amount of remorse for, I guess, in comparison to the rest of the crew.
25:29.202 --> 25:41.478
Well, because the rest of the crew wants Jody to keep his hood over his head so they don't see his face. The more you see his face, the more you can connect with them. The eyes of the window to the soul.
25:41.574 --> 25:44.870
Well, he's able to identify them.
25:45.040 --> 25:58.570
Well, I know, I know why they want to do it, but he's the only one. Fergus is the only one, um, that's kind of talking to him face to face and getting to know him. And I don't know why they sent the most sensitive of all of the members.
25:58.570 --> 26:12.794
Yeah. If you have trouble getting through, like, forest workers accent in this movie. Also coupled with the fact that Stephen Ray is incredibly slow, uh, nothing seems very interesting to him.
26:12.952 --> 26:20.798
Well, he's very, um, stressed. He's having a really hard time. He just wants out of his country.
26:20.944 --> 26:23.306
I'll take a point of the Crown. It was something.
26:23.368 --> 26:25.986
Well, I mean, they get to really man with simple pleasures.
26:26.118 --> 26:34.030
He is. Yeah. And they kind of establish that. It's just like, obviously your simple pleasure is like, I like to go to the pub.
26:34.030 --> 26:34.826
Don't we all?
26:34.888 --> 26:38.966
Yeah. And that's when he introduces the Metro as well. The bar.
26:39.148 --> 26:47.830
I didn't realize until they actually got to the bar called the Metro. I thought he was just drinking pints on the train.
26:47.830 --> 27:07.062
Okay, well, there you go. I don't know. They're sharing each other's stories. There's a story that's recited later on about the frog and the Scorpion, which we're not going to recite because. Look it up. It's a moralistic tale. It's a fable. Just look it up online. Um, or watch the movie.
27:07.086 --> 27:07.673
You've seen the movie?
27:07.673 --> 27:12.250
Uh, yeah, or watch the movie. Just fucking type it into the Googles.
27:12.250 --> 27:17.454
I hope we're not going to skip over the part where Fergus takes Jodie to go take a pee.
27:17.622 --> 27:18.902
No, we're getting to that.
27:18.976 --> 27:34.330
Okay. Because that is the second time in this film where you think you might see a penis and then you don't. So it's another time where Neil is wrapping you up in the safety blanket of no penises. And it's very, um, funny.
27:34.330 --> 27:39.422
But the thing is, what, uh, you find is Jody has a massive problem with women. He doesn't like women at all.
27:39.496 --> 27:40.514
In what way?
27:40.672 --> 27:42.870
Because of Miranda Richardson's character.
27:42.930 --> 27:45.134
What, she makes him, uh, hate women?
27:45.292 --> 27:49.034
No, I don't think he likes women at all.
27:49.072 --> 27:50.594
Then why is he making out with her?
27:50.692 --> 27:59.834
Because I think he was just getting something out of it. Like a lonely man. But every time he sees her, he's just like, fucking. Can he stand up?
27:59.872 --> 28:03.050
Well, yeah, because she, uh, pistol whips him in the face.
28:03.160 --> 28:07.034
But this is when you find out that women is not his type.
28:07.192 --> 28:11.702
Well, yeah, well, it takes a long time before you figure that out.
28:11.836 --> 28:14.350
Yeah, that's true.
28:14.350 --> 28:22.270
But I like when Fergus has to put Jody's Weiner back in his pants.
28:22.270 --> 28:23.802
Only a piece of meat.
28:23.886 --> 28:26.410
There you go.
28:26.410 --> 28:31.210
It's got no major diseases. Yeah.
28:31.210 --> 28:38.226
I want to talk about what happens to Jody. Unless, uh, you have something you want to say before it happens. Not that we need to walk through this whole thing, but I do, like all these moments.
28:38.298 --> 28:40.590
Yeah. Helicopters are gone. Shit.
28:40.770 --> 29:06.490
Holy shit. So it comes down to the point where the British Army will not release their IRA member. And so they're like, we got to shoot Jody. And of course, they're going to make Fergus do it. The sweet, softy. So Fergus walks him out into the woods, and Jody's been seducing him this whole time. Not like sexually or anything.
29:06.490 --> 29:12.054
He's been biting his time. Yeah. He's been looking for a chance to escape.
29:12.162 --> 29:19.946
Yeah. And just hoping that he has gotten through to Ferguson in this way to be like, hey, man, we are best friends. Please don't hurt me.
29:20.008 --> 29:21.477
Yeah. Please don't shoot me in the face.
29:21.477 --> 29:31.090
Uh, and they make jokes. He ends up trying to run faster than Fergus, which is hilarious, because that's not going to happen.
29:31.090 --> 29:31.845
Why is that?
29:31.845 --> 29:33.422
Um, he's a big, um, guy.
29:33.556 --> 29:34.586
He's a big boy.
29:34.708 --> 29:35.102
Yeah.
29:35.176 --> 29:36.894
He runs around on the cricket fields.
29:36.942 --> 29:39.910
So how much do you run on a cricket field?
29:39.910 --> 29:55.514
He's, uh, also technically meant to be a soldier in a dirty commas. I mean, that was one of the criticisms they had about him was that he looked overweight, um, and a bit too Pausey to be a soldier, which I can kind of agree. Uh, but I think he plays it really well.
29:55.612 --> 30:02.346
Yeah, he's great. But when. Oh, uh, boy, it's so bad. It was so shocking.
30:02.418 --> 30:03.474
Yeah, it's rough.
30:03.642 --> 30:18.770
When Jody runs away, he ends up running into the street and in a partial, um, half second, tries to flag down a car. It almost looks like. Or is it just happened?
30:18.770 --> 30:21.298
A fucking truck just comes out of nowhere.
30:21.394 --> 30:21.618
Yes.
30:21.644 --> 30:32.554
Like a big old Humvee knocks onto the ground. Well, the first one knocks into the ground. The second one, he gets caught under the fucking wheels and dragged along the road. And he is rushing. He is fucking dead.
30:32.722 --> 30:38.334
Yeah. It's so shocking because you go, oh, no. Fergus might actually have to at this point.
30:38.372 --> 30:44.886
It's obvious it's a fucking model. Like it's a model body or something. And, uh, it's just a simple case of just, like, the trucks just going over it.
30:44.948 --> 30:45.834
I'm in the moment.
30:45.932 --> 30:48.058
It's shocking. Yeah, it's pretty fucking shocking.
30:48.094 --> 30:49.430
I'm in the moment.
30:49.430 --> 31:06.450
And it got that close up of actual Forest Whitaker. Like underneath the fucking car. Like under the truck. Like his fucking face dragged along the tarmac, rough Clara everywhere. Fucking hell.
31:06.450 --> 31:12.878
Yeah. And then the army with the helicopter just blows their little hide away to smithereens.
31:12.974 --> 31:15.694
Yeah. They fuck that place up good. That's it.
31:15.792 --> 31:24.986
And luckily, sweet Fergus is out in the woods trying to chase down Jody. So he's not involved in the destruction and he stays alive.
31:25.058 --> 32:07.802
Yeah. I like that moment. There's a lot of stuff about this film. You kind of feel like, I guess when the film starts, I feel like it seems relatively unremarkable, just as a piece of cinema. But as it goes on, I feel like just the way it's directed and the way it's put together and there's like, some of the close ups between Jodi and Steven Ray, I think are fucking awesome. Some of that stuff looks really nice. Yeah, absolutely. There's some better cinematography to come as well. Certainly when we see the Metro Bar and things, we finally get to, um, London Town. London, London, London. But, yeah, Fergus gets himself, uh, on a boat. Gets himself over the water to London Town.
32:07.886 --> 32:09.750
Yeah.
32:09.750 --> 32:13.210
Basically he's seeking out Dill. Pretty much, yeah.
32:13.380 --> 32:22.234
It's like he wants to tell her what happened, but then it doesn't quite go that way. It gets entangled immediately into her life.
32:22.392 --> 32:24.090
Her web.
32:24.090 --> 32:25.418
Yeah, Herb.
32:25.454 --> 32:32.190
Her giant hands. Giant web hands.
32:32.190 --> 32:46.594
I like when we see, um, Dill, and this is probably a little bit later, but when she's singing karaoke at the Metro Bar and she's singing The Crying Game, and so she gets to sing the titular line of the movie, and I like that very much.
32:46.752 --> 32:49.262
Well, yeah. Dill's played by that J, uh, Richardson.
32:49.286 --> 32:50.210
Is it Davidson?
32:50.270 --> 32:53.850
J Davidson. Because this person is a relative unknown.
32:53.850 --> 32:55.630
Yeah. He had never acted before.
32:55.680 --> 32:56.730
Yeah.
32:56.730 --> 32:59.738
This is like, I think they found him at a bar somewhere.
32:59.774 --> 33:04.170
Star material. I don't know if he acted in anything after this.
33:04.170 --> 33:08.970
Davidson played Raw, uh, in Stargate.
33:08.970 --> 33:12.850
Fuck. Yeah.
33:12.850 --> 33:15.470
He kind of got out of the industry after that.
33:15.520 --> 33:22.350
We might have had this conversation already, potentially. Yeah. Okay. Yeah, that makes sense because the film industry can be fucking horrible.
33:22.470 --> 33:24.230
Yeah. He's just like, I'm good.
33:24.340 --> 33:24.866
Yeah.
33:24.988 --> 33:26.531
Thanks for the laugh.
33:26.531 --> 33:29.894
Uh, thank you, Roland Demeric. I won't bother with this again.
33:29.992 --> 33:32.154
Anyway, Jim Brabant, isn't this movie.
33:32.262 --> 33:33.630
He's so good is the bartender.
33:33.690 --> 33:34.310
He's so good.
33:34.360 --> 33:40.998
Yeah. Fucking bartender. Uh, and the fucking waistcoat, as I put down in my notes, the philosopher pulling pints.
33:41.154 --> 33:55.566
Yeah, for sure. And every time that Dill is trying to have a conversation, uh, like with Fergus or Jimmy. Right. Yeah, he's Jimmy now because he's got a new identity.
33:55.638 --> 33:58.782
Well, he had to change his identity because he's a member of the IRA.
33:58.926 --> 33:59.522
Right.
33:59.656 --> 34:00.206
Come on.
34:00.268 --> 34:01.210
Right.
34:01.210 --> 34:02.478
That's not smart.
34:02.634 --> 34:13.718
And Dill's having this conversation between the bartender, like, asking Jim Broadbent, the bartender to tell him I'd like a drink. And this whole back and forth trying to be all.
34:13.744 --> 34:15.614
Yeah, but it's trying to be cute, though.
34:15.652 --> 34:16.230
It is cute.
34:16.290 --> 34:17.106
It's definitely cute.
34:17.178 --> 34:27.914
And I like that the bartender is totally okay with these jokes as long as the bar is not busy. And if the bar is busy, he's like, just ask him yourself. Stop talking to me.
34:28.012 --> 34:31.782
Well, Jim brought Ben. Just in general, I think he's fantastic.
34:31.866 --> 34:32.582
Yeah.
34:32.776 --> 34:43.554
But he's, uh, got a relatively small role in this. But then there's also who's the other guy? The guy that plays. Is it Jimmy? Who's the other one or Davy?
34:43.602 --> 34:46.190
Dave. David. Jimmy.
34:46.320 --> 34:52.802
Uh, yeah. See, but he's got five different fucking names. And if we watch the alternate engine, he has another name.
34:52.876 --> 34:53.570
Clive as well.
34:53.620 --> 34:56.710
Clive. God, doesn't look like a Clive.
34:56.710 --> 34:59.910
No, it looks like a Jimmy either. It looks like a fucking Fergus.
34:59.970 --> 35:11.930
Yeah. Uh, it's just like how, uh, many personalities can Steven rehab in one film? And the answer is one monotone.
35:11.930 --> 35:12.726
Yeah.
35:12.908 --> 35:15.590
But, you know, Dave shows up and he's a fucking.
35:15.590 --> 35:17.418
Yeah, he's not great. He's not a great person.
35:17.444 --> 35:19.618
I guess this is whoria.
35:19.774 --> 35:25.534
Yeah, this is who Dill had been dating before, uh, meeting Fergus. Jimmy.
35:25.702 --> 35:40.250
Because the thing is, Fergus is 100% going to get on Dale's good side. That's it. This is it. This is his plans.
35:40.250 --> 35:46.962
Necessarily. I think it was like an accident. I think he just got pulled in. And also from feelings of guilt, I'm sure.
35:47.156 --> 35:56.750
I'm assuming. So, yes. He chased the man down with a gun. Yes. He ended up under the wheels of a fucking truck.
35:56.750 --> 35:58.854
Yes, he did.
35:58.952 --> 36:01.670
It would make anyone guilty.
36:01.670 --> 36:24.814
There's this part where Dill ends up getting in an altercation with David, her ex boyfriend. And it looks like they've been living together. And Fergus goes upstairs with her, and she, um, starts throwing David's stuff out the window, like all of his clothes, all of his extra track suits, and then throws his fucking goldfish bowl out the window.
36:24.922 --> 36:26.274
Yeah. You didn't like this bit.
36:26.312 --> 36:27.730
I was furious.
36:27.850 --> 36:28.386
Yes.
36:28.508 --> 36:31.690
There's a sad goldfish flopping around on the street.
36:31.810 --> 36:33.546
The 90s is a different time.
36:33.668 --> 36:40.774
I don't like you. And what did I say? And it's the stupidest thing in the world. But I called her villain. And then you said Dylan.
36:40.882 --> 36:55.450
Dylan. Yeah, she's a Dylan. Yeah, Dylan villain. If there's anything that I can provide for our partnership here is that I'll give you all these terrible jokes and all these terrible accents.
36:55.570 --> 37:12.110
There's one more moment where you think you might see a penis, um, and you don't. So it's another time. This is the last time where you think you might see it is where Jimmy Fergus goes upstairs with Dill, and they start getting a little hot and heavy.
37:12.110 --> 37:15.766
She pulls his hand away from his crotch or her crotch.
37:15.838 --> 37:16.398
Correct.
37:16.544 --> 37:17.070
Right.
37:17.180 --> 37:19.302
So she's like, not the time.
37:19.436 --> 37:22.610
But she goes down on him.
37:22.610 --> 37:26.750
Yeah, I guess this is when we bring up the Jordy flashbacks as well.
37:26.750 --> 37:29.810
Oh, my God.
37:29.810 --> 38:05.510
I mean, I really like this movie, but, I mean, there's this weird bet, and I'm not even sure if, like, um, there's probably some cricket. Maybe someone who plays, like, cricket and bowls and stuff like that is on here. But if you're playing cricket, then, I don't know. At the same time, like, there's this slow Mo shot, Forest Whitaker coming towards the camera, and it's all in Bloom, and he does a cricket ball, but it doesn't look good. It really doesn't look great. And I don't want cricket bowl either, but it doesn't look very fluid. It looks very clumsy.
38:05.510 --> 38:11.826
I don't know. I'll chalk it up to him making a memory of something that he's never seen him actually do.
38:11.888 --> 38:15.706
Yeah, he's probably never done it before. No, I mean, Forrest.
38:15.718 --> 38:26.190
Whereas Whittaker has probably never played cricket before and no idea what he's doing. But also our character, Jimmy Jim Fergus, is, like, having a memory of something he's, um, never seen.
38:26.290 --> 38:26.450
Just.
38:26.450 --> 38:27.946
He's making up this image.
38:28.018 --> 38:32.226
Do you think that image stays in Stephen Ray's head rent free for the rest of his life?
38:32.288 --> 38:33.258
Every time he comes.
38:33.344 --> 38:36.742
Every time he goes to bed, every time he gets a blowy.
38:36.826 --> 38:41.334
Every time he gets a blowjob, he imagines for his Whittaker, uh, playing cricket, that happens.
38:41.372 --> 38:46.698
Like, three or four times. And then the other one is just him, like, tossing the ball around. He turns around, he walks away.
38:46.844 --> 38:48.190
It's very weird.
38:48.250 --> 39:07.490
It's very strange. I can understand why it happens and why it's there. It's a nice little visual thing, but at the same time, it bridges the gap between that going, uh, in Dill's mouth and then Fergus coming.
39:07.490 --> 39:18.050
It's the moment that, you know, like in a film where he would definitely have came, right? Like, he definitely came is the exact moment when you see Forrest.
39:18.050 --> 39:40.650
If he did come, you wouldn't really notice it. It just kind of goes, and then that's it. You just kind of, again, very gratuitous or anything. Any kind of straight face. Well, it's not like. It's not gestures or not. I mean, it probably could be usually you're a little bit more animated in the facial Department. When that sort of thing starts happening to you.
39:40.700 --> 39:42.738
The only thing you see is force. Whittaker's face.
39:42.884 --> 39:50.430
Just want a pint, maybe two pints.
39:50.430 --> 40:00.690
We end up at the penis scene, which is a landmark scene in cinema. I would say.
40:00.690 --> 40:53.490
They would say it kind of bridges a lot of kind of different cultural gaps in cinema. I feel like, uh. Yeah, I mean, I would kind of say that European cinema, just in general, is very good at doing this, and I guess, like, pushing the envelope a little bit. But if you were to speak to people within the culture itself, like the audience scores for the country of origin, you'd be like, yeah, whatever. Because you know what? Again, like with the Crying Game, with a lot of the stuff that we cover. I mean, I was like, no, the Dick scene is coming up. You're like, no, it isn't. No, it is. We're near the end of the film. Uh, we've got half an hour left. Probably after this scene happens, the film is going to end. I can't remember how in your face this.
40:53.490 --> 40:53.782
Is.
40:53.796 --> 40:56.190
Fuck.
40:56.190 --> 41:04.360
It'S, right? It's right there. Full frame.
41:04.360 --> 41:37.990
Uh, I've spent fucking almost 15 something years saying Steven RIA because it's spelled exactly the same, uh, way as Chris RIA, the popular musician driving home for Christmas. I've only just figured out his second name is Ray. Maybe they only assumed that it was Ray because Stephen Ray is incapable of elongating vowels. I'm, um, assuming.
41:37.990 --> 41:39.194
Okay, well, in an hour.
41:39.232 --> 41:43.330
I just do the film, I suppose I was asked to do the film.
41:43.330 --> 41:45.818
And it was much easier in those days.
41:45.904 --> 41:51.610
I don't know what it was. Someone just gave me a phone call, and I met them, and I read the script.
41:51.610 --> 41:59.274
And an hour, 1 minute and 29 seconds. When we saw a Dick, everybody saw a Dick.
41:59.442 --> 42:01.766
It changed inches away from my face.
42:01.888 --> 42:06.610
Everything. Those inches were inches from my face.
42:06.610 --> 42:21.550
Yeah. Like I said, I think at the beginning of the episode, this is pivotal in that it's written into the film. This needs to happen in order for the film to progress properly.
42:21.550 --> 43:17.190
There was a conversation that Stephen Ray and, uh, Neil Jordan had apparently Steven said before he had even gotten the script, they had dinner together, and Neil says, do you want to do this movie? And he explained the whole story. And then he says, and then they go back to her apartment and she undresses and she's a guy. And then Stephen Ray immediately said, I'll do it. And then he also said, but then he goes, I don't think I'd ever seen a penis on screen before. That's what Stephen said. Uh, I don't even know how many more times I can reiterate that this, like, changes everything. It's it's so pivotal in this film, and it's so pivotal in the way that Full Frontal Malone was, uh, used and utilized in film from this point.
43:17.360 --> 43:17.946
Okay.
43:18.068 --> 44:07.714
It's like a very shocking moment. It's very melodramatic. And that's kind of why I was saying before. Like, there's all these moments, all these moments leading up to this one really important time where you could have seen a penis. There are penises everywhere. Penises in people's hands, penises in people's mouths, penises in this other guy's hand. So you don't see them. There's Dicks in hand, and then there's just a human standing in front of another human balls out, and you'd never expected to see it. And that's why it was shocking and interesting and fascinating. And you have this man who's falling in love with this woman, and then it just kind of tops you. Turvy turns his life inside out.
44:07.812 --> 44:08.686
Yeah, pretty much.
44:08.748 --> 44:11.098
And, um, it's crazy.
44:11.244 --> 44:34.950
Yeah. But like we say, it's pivotal in the sense that you need it for this film in order for it. And it's the only way that makes it shocking is that it has to be right there in your face in the exact same sort of frame and eye line as Fergus would be seeing it. In actuality.
44:34.950 --> 44:36.574
We're seeing that dig through his eyes.
44:36.672 --> 45:03.390
Oh, um, yeah, big time. Big time. To the point where it's kind of, um. Because I guess all of the rest of the scenes are certainly we could argue that a lot of the scenes that we have covered are relatively incidental. And essentially the way that I've looked at the scenes that we have covered is that the Dick's presence is not essential to driving the story forward.
45:03.390 --> 45:04.470
Right.
45:04.470 --> 45:42.850
So if we take this as like a benchmark moment, and I think we've kind of use that to cover more than one scene. But this is like, it's, um, essential to driving the plot forward. It's essential to driving the story forward. So I guess this is probably one of the main reasons why this film just did not Garner the same amount of success or, let's say, any sort of swiftness towards it. Getting into production was just purely because this is it. This is the way this film is going to be. There's nothing you can change about it.
45:42.960 --> 45:50.818
Right. And you're talking about success in the way, like maybe commercially. Is that what you mean? Because it was definitely a success in terms of.
45:50.904 --> 46:02.950
Well, let's put it this way. I mean, there was plenty of films with Dicks in them that had commercial success. Well, when the room of the view come out. Because that film didn't need a Dick in it. No, no, it didn't need it at all. But it's there.
46:03.000 --> 46:03.898
But it's so good.
46:03.984 --> 46:05.110
Yeah. And it's a lot of fun.
46:05.160 --> 46:07.694
Yeah, but that's not the main focus of that movie.
46:07.802 --> 46:08.674
No, that's what I mean.
46:08.712 --> 46:17.362
That's why people forget about the penises in a room with a view is because you don't think about it. No, but in this, you don't think about anything other than this.
46:17.436 --> 46:19.710
Yeah, this is pivotal.
46:19.710 --> 46:25.490
You've got incidental Dicks. You've got comedy Dicks. This is essential Dicks.
46:25.550 --> 46:41.926
Yes, this is essential. And I mean this in the essential part. Like, it is part of the story. It's not like your Boogie Night's Dick, which isn't even real. But we'll cover that when we do that episode on its own. But like, at no point that Boogie Night is just referencing Raging Bull at that point.
46:41.988 --> 46:42.946
What do you mean?
46:43.128 --> 46:49.478
The end of Raging Bull? Jake Lamar, uh, is like, revving himself up, uh, in the dressing room before he goes on stage.
46:49.574 --> 46:49.942
Right.
46:50.016 --> 46:51.982
That's basically what that seems like.
46:51.996 --> 46:53.194
You're a big, bright, shining star.
46:53.292 --> 47:03.350
Big, bright, shining star. That's basically what that is. It doesn't need to exist. It just happens to be there with this, though. It's a pivotal character review moment, and it's essential to the storytelling.
47:03.410 --> 47:18.442
That's another thing where you're like waiting and waiting and waiting and you're talking about it and talking about it, so you expect to see it. Which is why that is so different from this when you're not talking about it at all. Because it never existed until this moment.
47:18.516 --> 47:19.618
It'd be very hard.
47:19.704 --> 47:21.446
He even says it later in the movie.
47:21.578 --> 47:27.982
Yeah. Even says later on, he goes, you know, I wish you could go back to being a girl. And she's like, that's not fair.
47:28.116 --> 47:29.430
Yeah.
47:29.430 --> 47:55.454
Because he loves her. But when it finally comes out and dill undresses and Fergus is obviously shocked and had no idea what was going on. And she goes, you did? No, didn't you? And then, oh, my God, he had no idea that the Metro was a gay bar.
47:55.612 --> 48:03.790
Yeah. I mean, I would even go further to say it's more a trans bar than just a gay bar.
48:03.790 --> 48:04.922
For everybody bar.
48:04.996 --> 48:10.690
Yeah. It's obviously a hub for, uh. That subculture, right?
48:10.690 --> 48:12.590
Yeah, definitely a hub for the community.
48:12.700 --> 48:17.930
It's like it's a safe haven for people to go to. Like, that's just kind of how that is.
48:17.980 --> 48:21.758
He just didn't. I don't know. He just didn't think about it.
48:21.844 --> 48:53.110
No, I don't think any of it did. But then he's from a culture himself, very much rooted in conservatism. You know what I mean? It's not like, um, he's expecting to take that take off Dell dress and see a cock there. That's just not the way. Plus, they did a very good job in the casting, and that visually, Jay Davidson doesn't look like a dude.
48:53.290 --> 48:54.730
Very feminine features.
48:54.790 --> 48:56.014
Incredibly feminine.
48:56.122 --> 49:07.402
Yeah. I know when they were casting this movie, I think the production company, the studio or the executives or whoever wanted it to be a woman. Just cast a woman.
49:07.546 --> 49:28.730
Cast a woman and play the man because it would be too difficult. And there are certain times when it doesn't. You can't get away from. I mean, I talk about his hands. His hands are massive. Like, when they touch, either Steven has a tiny head or those fucking hands are huge.
49:28.730 --> 49:58.090
It's quite a sad moment where you have these people who. I mean, they mhm kind of, I don't know, fell into this romantic and sexual relationship, like, fairly quickly within days of meeting each other. And when this happens, uh, he just says, like, I'm going to be sick after just staring at that. Just fucking straight up vomit just runs past her and pushes her over and she's on the floor.
49:58.150 --> 49:59.010
Max are in the face.
49:59.060 --> 50:00.426
I don't think he meant to do that.
50:00.488 --> 50:10.858
No, I mean, our nose starts bleeding. Her whole world kind of, um, starts tumbling down. But it's just a clash of clash of cultures.
50:10.954 --> 50:11.322
Yeah.
50:11.396 --> 50:46.434
That's basically what happens there. And I guess he's kind of lulled into this kind of sense of security with the fact that they did kidnap a soldier, a British soldier. They just so happened to kidnap a soldier, mhm who's gay and leaning towards a male companion than a female companion. Yes, it's as simple as that. So I guess that's what kind of lulls, um, Ferguson to this false sense of security. But the thing is, he's not in love with Dill because of her body.
50:46.592 --> 50:47.202
Correct.
50:47.336 --> 50:49.278
He's in love with her as a person.
50:49.424 --> 50:50.094
Right.
50:50.252 --> 50:55.518
And that's kind of where the toing and throwing comes.
50:55.664 --> 51:03.138
Yeah. That's the conflict within him. Um, and you can say whatever you want about people falling in love over a span of a couple of days.
51:03.284 --> 51:03.774
Yeah.
51:03.872 --> 51:05.862
Because. Yeah, fair enough.
51:05.996 --> 51:07.434
It doesn't usually happen.
51:07.532 --> 51:11.602
No, it's a little bit silly, but I'm just going to take it in the terms in the context of the film.
51:11.626 --> 51:14.478
Because it was also a film as well. It's also a story.
51:14.564 --> 51:15.846
Let these babies fall in love.
51:15.908 --> 51:18.870
Yeah.
51:18.870 --> 51:20.650
I guess I love it for them.
51:20.760 --> 51:31.650
They fall out with each other, they get back together. All that. There's that great bit where she visits the building site and they've got like, that fucking the racist. Uh.
51:31.650 --> 51:36.350
Oh, my God. Yeah. Um, the owner of the building that they're constructing.
51:36.410 --> 52:13.930
Yeah, pretty much. Who says horribly racist things to mostly like horrible Irish slurs, which were probably not. Well, there is hints of the fact that obviously, uh, Jory, because he's black, he's getting called all sorts of things. There is a point where Ray, he goes, you ever pick your teeth up with broken fingers? And the guy goes, what do you mean? And I'm like, well, I love that. It means like he's going to break your fingers and then he's going to punch your mouth out with all your teeth and then he's going to tell you, pick him up.
52:14.100 --> 52:17.190
I like when he says that too, because he says that.
52:17.190 --> 52:18.166
I wish he did explain it.
52:18.168 --> 52:30.614
And then Ray goes, It's not a question. No, I don't know. He said something like that, but it made me laugh. He's a tough guy.
52:30.652 --> 52:32.100
What did you say?
52:32.100 --> 52:48.106
Uh, no, there's a thing that Dylan says in the movie which is Never Let the sun go down on, um, an argument. And I just want to bring up that Matt Dylan also said that in Wild Things when he was having that threesome.
52:48.298 --> 52:57.454
That's true. We were talking about the late racism and stuff like that. But everyone thinks all the Irish people in this movie are from Scotland.
52:57.622 --> 52:58.590
That is true.
52:58.700 --> 53:13.662
And I get that all the time here. And everyone thinks I'm Irish, or at least I feel like I have a kindred spirit. Celtic, if that's even a word. I'm quite happy to deal with that side of things. But, yes, either way.
53:13.856 --> 53:29.370
That was a really weird joke. And I feel like maybe I'm not a pig because Dill kept, um, thinking that he was, uh, Scottish. And I'm wondering, uh, if that's something that maybe Neil Jordan has dealt with in his life because he wrote the movie.
53:29.370 --> 53:35.938
But then, yeah, a whole bunch of shit goes down. We're not going to spoil any of it, so I think it's pretty cool. Plus, I don't need to explain.
53:35.964 --> 53:40.474
You spoiled it for me earlier because I had forgotten the movie. Either way, okay, I forgive you.
53:40.572 --> 53:45.820
Either way, the film closes with Stand By Your Man.
53:45.820 --> 53:53.394
Uh, yeah, which I thought was very nice, very interesting choices of songs.
53:53.442 --> 54:04.122
Yeah. Because there's also ending to this movie as well, where they try to make things a bit more light than they are, and it just kind of clashes. It's interesting, like, horribly with most of the film.
54:04.206 --> 54:17.438
It's one rare times where the ending that they didn't want was filmed first. They had to do it for the Studios because the studio is like, I don't like the ending that you wrote. And so they had to.
54:17.464 --> 54:19.270
Yeah, it was film four.
54:19.270 --> 54:30.318
So had to rewrite a whole other ending that was all cutesy and fake and bullshit that no one liked, everyone hated, but they filmed the whole thing and spent a ton of money on their zero budget.
54:30.414 --> 54:51.590
Well, it's just a desperate attempt to try and make this relatively unmarketable product marketable to some extent. But then what they find is that it just mhm ruins the film, so they end up having to shoot the original lending anyway. It just works overall. Yeah, that's The Crying Game.
54:51.700 --> 54:55.202
I have, um, quite a few things that I want to say.
54:55.276 --> 54:58.720
Oh, my God.
54:58.720 --> 55:04.446
Um, let me see. Maybe I should talk about the accolades first.
55:04.568 --> 55:06.905
Yeah, no, I've done my notes. You did? Uh.
55:06.905 --> 55:07.246
Oh, my gosh.
55:07.258 --> 55:12.486
I have so much weird stuff to say. Well, just give me the fucking hard.
55:12.608 --> 55:19.594
Okay. Here are the awards. So this one, Best Original Screenplay. Neil Jordan won that at the Oscars.
55:19.762 --> 55:20.125
Okay.
55:20.125 --> 55:33.642
Uh, and it was nominated for tons of other things. Like, Stephen Ray was nominated for Best Actor. Um, we have Supporting Actor Editing, Best Picture Director. It was nominated for all of the awards, a whole bunch, but didn't win.
55:33.776 --> 55:34.434
Okay.
55:34.592 --> 55:50.542
But it's interesting because when they did win for Best Original Screenplay, Neil Jordan was at the bar. I guess they changed the order or something, and he didn't know. And so they were, like, calling his name and he had a run from the bar all the way up to the front to get his award.
55:50.626 --> 55:53.998
I like Neil Jordan. Yeah, the Fun Lad.
55:54.094 --> 55:56.074
It did win BAFTA for Best Film.
55:56.182 --> 56:14.626
Yeah, see, that's fine. It's good, because it did eventually it did get picked up like it's an MGM release, The Crying Game. So, I mean, it did get picked up and it did get itself out there. And these awards and the nominations and stuff like that would have elevated and gave it something. What else is on your list, Laura?
56:14.698 --> 56:29.890
Okay, so Stephen Ray was talking in an interview, and he said that the title of the film in China is, oh, no, My Girlfriend Has a Penis. I'm not even kidding. Stephen Ray said that in an interview.
56:29.950 --> 56:33.950
Hey, look, I mean, at least then at least nothing's getting spoiled for anybody.
56:33.950 --> 56:34.698
Yeah, sure.
56:34.784 --> 56:38.810
You know what I mean? Straight up on Front Street.
56:38.810 --> 56:46.726
Stephen Ray's ex wife, who was, um, his wife at the time, was actually in the IRA, and she was put in prison.
56:46.858 --> 56:48.718
Well, that's not surprising.
56:48.874 --> 56:53.570
And she was involved in the car bombing at the Old Bailey.
56:53.570 --> 56:58.362
Fuck. Okay. Yeah, I did not expect to hear that today.
56:58.556 --> 56:59.238
Yes.
56:59.384 --> 57:00.558
Wow. Okay.
57:00.644 --> 57:17.986
She died maybe seven years ago. I think it was like 2015. She passed away in prison. No, she was released from prison. Um, and then they got divorced, of course. And I think I got divorced in 2008. Um, I might be getting my dates mixed up, but, yeah, they found her in her flat.
57:18.058 --> 57:25.578
But I think it's a sad, horrible, fucking, uh, chapter in British and Irish history.
57:25.724 --> 57:33.950
Yeah. Uh, one day, Jay Davidson was sick on, um, set, and the doctor came in and asked him if he might be pregnant. Um.
57:33.950 --> 57:34.710
Wow.
57:34.880 --> 57:37.010
Yes.
57:37.010 --> 57:40.610
What a fantastic dog, sir.
57:40.610 --> 57:51.710
It also, during the whole, um, time we were watching this movie, I go, I know Miranda Richardson. What is she from? What is she from? And then I remember she played Redis Keater in the Harry Potter movies.
57:51.710 --> 57:53.442
Yeah, she's also in.
57:53.516 --> 57:57.478
She's in tons of stuff. But specifically, I remember her, uh, as Redisketer.
57:57.634 --> 57:58.134
Okay.
57:58.232 --> 57:59.206
For Harry Potter.
57:59.278 --> 58:02.630
Yeah, that series of films.
58:02.630 --> 58:03.174
Yes.
58:03.272 --> 58:04.470
I can't stand.
58:04.640 --> 58:16.171
And we talked in the beginning of the movie about who would win the crying game if it was a game. Who cried the most? And the winner is dill Yay Jordy.
58:16.171 --> 58:17.206
Uh, does cry.
58:17.338 --> 58:19.130
Yes.
58:19.130 --> 58:36.510
He's going to get shot. Yeah. So we did play the crying Game ourselves. And I don't know, like, the both of us. Who do you think, uh, cries more? Probably me, right? Yeah, maybe you probably me because I'm fucked in the head.
58:36.510 --> 58:45.990
Okay, Ryan, here we are. We've come to it. I want to know your final ratings, visibility and context. Give me what you got.
58:45.990 --> 58:46.660
Five.
58:46.660 --> 58:50.070
Um, that is a, uh, correct answer.
58:50.070 --> 58:53.790
Of course.
58:53.790 --> 58:54.634
It wasn't a test.
58:54.672 --> 58:57.646
But she pulled out a fucking gun. Uh, and she was like.
58:57.768 --> 59:02.790
Yeah, pistol with you in the face. What's your answer?
59:02.790 --> 59:28.250
No. I mean, yeah, no, I'd say five. It's like contextually. I think it's probably the most accurate one we've had thus far. Out of 18 something episode. It's probably the most. One of the most important ones. It's essential to the plot and it moves the story forward. So it has to be a five star film because it's not incidental in any way, shape or form. So there you go. That is my meat.
59:28.310 --> 59:58.054
Yeah. Well, five stars also for me in terms of visibility and context, because again, it changes everything. Maybe not everything, but in terms of full frontal male nudity in film, it's different. It is important and it's interesting and it's perfect. Um, so I'm going to say that about every film that we do, because every time there's male nudity, I'm like, it's perfect.
59:58.152 --> 00:00.658
Yeah. It does kind of sound a little bit like a broken record.
00:00.744 --> 00:20.914
Okay, well, you know, my bad. But it also changes things in terms of how penises are depicted and the male form of itself, how it's depicted in film. So I don't think that we've had anything quite like this in, uh, a film up until this point.
00:21.012 --> 00:21.382
No.
00:21.456 --> 00:23.614
Because it hasn't been depicted in this way.
00:23.712 --> 00:24.262
No.
00:24.396 --> 00:34.582
So it's usually Uber masculine or it's in there as a joke or. Yeah. Comic relief. This isn't any of those things.
00:34.716 --> 00:39.158
No, it's not funny. No, this film isn't very funny.
00:39.254 --> 00:50.150
No, it's the drama. Penis is this one, but it's still very important. Um, okay, so then give me your film rating.
00:50.270 --> 00:51.986
Five stars.
00:52.058 --> 00:56.370
Yeah, it might be your first five and five.
00:56.370 --> 01:04.930
Yeah, probably. Maybe the only one. Maybe we don't cover a lot of films that I like.
01:05.040 --> 01:08.426
That is so not true. That is so not true, Ryan.
01:08.558 --> 01:09.610
I don't know.
01:09.780 --> 01:22.850
I'm going to go back on the list because you're always surprised. And I remember when we started this podcast way back when you said, I think about the films that I like and I don't think there's any penises in it. But then boom, boom, time and time again, pulling out the bangers.
01:22.970 --> 01:23.458
Yeah, I know.
01:23.484 --> 01:24.530
You're always surprised.
01:24.650 --> 01:36.250
Quite literally pulling out the banger. Yeah. No, it's just because I'm not a fucking cockroach. I'm not like, wow, there it is right there. Like, I'm kind of engrossed in the story.
01:36.360 --> 01:41.130
Well, I hope that I'm changing things for you.
01:41.130 --> 01:51.450
That's not why I didn't call you that. I'm just saying it's not the Mr. Walldo.
01:51.450 --> 01:52.234
That's me, though.
01:52.272 --> 01:58.022
Searching. Yeah. It's not. Where Willy? Technically it's not. Where is Waldo? Back home. It's Where's Willy?
01:58.106 --> 01:58.642
Perfect.
01:58.776 --> 02:00.334
Yes, back home.
02:00.432 --> 02:00.898
That's me.
02:00.924 --> 02:05.830
Waldo. Waldo didn't translate over to the European Waldo is either.
02:05.940 --> 02:15.934
For me, I'm going back and forth. I gave it a five, but I'd given it a four before. And so I think I'm going to give it a four and a half.
02:16.092 --> 02:16.810
Okay.
02:16.980 --> 02:25.306
And I'll have to change it on letterbox because I keep going back and forth. I mean, these things are fluid. They change. But today I feel four and a half because I really like it.
02:25.488 --> 02:27.270
Gender fluid.
02:27.270 --> 02:31.378
Super interesting to revisit this film after so long.
02:31.464 --> 02:31.786
Okay.
02:31.848 --> 02:39.570
And I look forward to doing it again because I very much liked it. Yes, uh, very much enjoyed this film very much.
02:39.570 --> 02:42.470
Very. Mhm I'm going to go for a quick paint in the Crown.
02:42.590 --> 02:45.830
Maybe two I'll go for a quick paint at the Metro.
02:46.010 --> 02:49.418
Or a Margarita or a bottle of Guinness.
02:49.574 --> 02:50.218
There you go.
02:50.304 --> 02:51.270
Yeah.
02:51.270 --> 03:05.050
Well, thank you again for being here and sharing the crying game. One of the most important male nude movies that, uh, we've ever done and I'd like to do this episode again sometime. I liked it.
03:05.220 --> 03:08.770
Okay. Yeah, I don't think we need to, but that's fine.
03:08.820 --> 03:14.430
Okay. Great. Well, thanks again. I have been Laura.
03:14.430 --> 03:20.242
I'm, um, still. Ryan, nothing has changed in the last hour and 15 minutes.
03:20.316 --> 03:26.326
Jesus coming to you from the Metro. We'll see you again next time. Thanks, guys.
03:26.508 --> 03:34.210
Goodbye,
03:34.210 --> 03:34.460
you.