哭泣的游戏

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. An unlikely kind of friendship develops between Fergus, an Irish Republican Army volunteer, and Jody, a kidnapped British soldier lured into an IRA trap by Jude, another IRA member. When the hostage-taking ends up going horribly wrong, Fergus escapes and heads to London, where he seeks out Jody’s lover, a hairdresser named Dil. Fergus adopts the name “Jimmy” and gets a job as a day laborer. He also starts seeing Dil, who knows nothing about Fergus’s IRA background. But there are some things about Dil that Fergus doesn’t know, either. The Crying Game is really two plots in one, the plot with the IRA and the plot with Dil forming separate stories. It begins as a typical civil war thriller and transmutes into an alluring and strange love story. To me, this isn't really a love story in the typical sense. This story is more about loyalty and atonement than it is about anything else.

The black elements in the film:
A. Setting and Atmosphere:
The background of the film is during the British civil war. As we can easily see that violence, death, terrorist, and assassination are the primary mood of the film. In the same way, much of The Crying Game takes place around dingy London streets that are lined with loneliness rather than paved with gold. Dil drinks margheritas in The Metro where, in what is almost a parody of a seedy England, a second-rate singer intones The White Cliffs of Dover. Sexual identity becomes part of this scenario.

B. Character:
Jody: the black British soldier is lured by Jude into an IRA trap, stays in the mind not as a military presence but as a man with savored memories, and real fears of death, which suggest his sad, gloomy, and pessimistic mood.
Jude: the typical femme fatale, the IRA woman (in the second half of the film she resembles a gangster's moll), who uses her beauty to induce Jody in the bar at the very beginning of the film. In the whole story, as we can find that Jude’s brutal treatment towards Jody and her sudden appearance in London reflect her double-crossing, unloving, mysterious and desperate characteristic.
Fergus: the IRA Solider, whose kind natural is encourages by Jody. After the British troops’ attack, he escapes form the IRA in Ireland and ends up in London. He changes his name and wants to have nothing to do with the IRA, but found and asked to do another mission by Jude. Despite the alienation, his kind natural helps he to transform from dilemma to disenchantment.
Dil: Jody’s “girlfriend”, the only good woman is not a woman at all. He is a transvestite, and paranoia.

C. The Black humor in the film:
As the title indicates, music is important in the film as, indeed, it is an essential element in Jordan's work. The song from which The Crying Game takes its name was a Sixties’ hit. Other songs play a central role that becomes more apparent as the film goes on. They include “When A Man Loves A Woman and, in a neat touch at the end, Stand By Your Man . That last song leaves the audience laughing. The film has many other moments of humour and the script is often hilarious. One such moment occurs when Fergus helps Jody, whose hands are tied, to pee. Dil’s friends celebrated in the barber’s as Dil finds a boyfriend. Etc.

To sum up, this film is wonderful on so many levels. The storyline is heartbreaking and suspenseful, and it tugs at your heart too. Keep an open mind - there's a lot more to it than the "secret" that you probably already know about.

看到戴尔的第一眼其实我就已经知道“她”不是个女人。不是扮演戴尔的那个演员不够女人的娇媚，亦不是扮演戴尔的那个演员没有女性的柔婉，只是一种直觉。“她”身上有着一般女性梦寐以求的东西，娇美的面孔，姣好的身段甚至是赛雪的肌肤，然而“她”的身上亦有着一般女性所没有的那种气质，说不清道不明，只知道“她”若是女人，必是女人中的极品，无怪乎朱迪在临死前还对“她”心心念念，无怪乎弗格斯不由自主地被“她”吸引；“她”若是男人，亦有所有男人所不能企及的魅力。扮演戴尔的这个演员真是迷人，无论做女人妆的柔媚还是剪短头发后清秀小男生状，都显得那么的水到渠成，让人不觉得有一丝的别扭和恶心。虽然暴露真身的那一刻还是觉得有些震撼，然那也只是一种生理上的不适。是谁说只有女人才会痴情、坚强、脆弱、敏感、寂寞，是谁说泪水是女人的专利？当戴尔跟踪弗格斯，然后对着他说嫉妒，当迪尔拿着枪在房间里走动，对被绑在床上挣扎的弗格斯说（也是自言自语）：...我喜欢对我好的人;再对我好点，我就是你的了...别打迪尔，她就会感动；对她好，她便永远是你的...当戴尔一次又一次地向弗格斯求证爱情；我们还能些什么，不过都是等待爱情、索要希望的“可怜人”...管是他还是她呢？爱情，无关性别，无关风月，爱上了便是爱上了，没有什么特别的原因，亦没有什么不特别的原因，只是因为爱上了，那便就是爱上了。
   《哭泣游戏》从开始到结束都在倾唱着同一首歌，都在诉说着同一个故事，关于蝎子，关于青蛙，关于本性。相对于同为北爱尔兰共和军组织中的成员们，影片的男主角弗格斯缺少了那种决绝和刚烈的“革命斗志”，内心对杀戮和战争感到迷失和无奈。看守乔迪时产生的恻隐之心、好感和友情，只是他发现自己、正视现实的开始，隐隐中不可回避不能改变的，是“It's Nature”，是内心真正的愿望和期待的生活。当他眼睁睁地看着朱迪在自己眼前被坦克压死，他内心的歉疚已经无可复加。他唯一能做的就是代替乔迪去堪萨尔高地的米莉发屋找他心目中的爱人，然后带她到托特哈姆公园看一场板球比赛，告诉她乔迪一直在想她。当他见到戴尔，这个迷人的、与众不同的女人，她有着迷人的曲发，性感的红唇，妖娆的身段，那样随意的谈吐，可是已经可以吸引弗格斯，而他也不由自主地深陷其中。其实一开始我并不清楚弗格斯到底是不是真的喜欢戴尔，我觉得他只是把自己当成了朱迪，因为朱迪爱着戴尔，因为朱迪要保护戴尔，所以弗格斯也爱着戴尔，他也想要保护戴尔。于是当一切暴露在弗格斯眼前，他只能呕吐，只能逃避。然而戴尔知道：“你吐的时候我知道，你还是关心我。”这是一种本性，已经爱上了，许多事情便已经改变不了，即使眼前的这个人并不是女人，然而已经爱上了，那么即使再逃避，善良、关心、爱护，仍然是他的本性。
不要试图想去解释或是理解，自己突然不顾一切的做了的那些事。不愿意承认，却无法抹杀，到最后，被本能控制了行动，那一刻，你真是个善良的人以及真诚的爱人。出于爱的本能，或者说一种无法描述的感情的催使，自己的生活扩展出更多的可能性，有些自己都难以启齿。那些不加修饰，出自本能的感情，都是美好的。那些使他迷惑和逃避的，这一切，都只是一种本能。
    我喜欢影片最后将结局处理得异常轻松，在缓缓的音乐声中，那个关于蝎子，关于青蛙，关于本性的故事又一次地被弗格森所讲述。那样的随性自然仿佛让我看到了一些奇妙的的幻想的情景。镜头的不断后移，我似乎看到了那些作为人的可能性的拓展，那些人性中的明亮好像在不断的延展、延展。
关于爱情，我们从一开始就不知道它会从何处来，又会去往何处，然而爱上了，那便就是爱情了。

I think the film <The crying game > tells a story about human nature. It may hide deep inside one’s soul for a life time silently until the day he dies. But it is always ready to show up as long as there are proper induction factors. And the result is, we never know when a man who just lives around and waves friendly to us at a distance everyday, who loves whistling and telling jokes, who behaves as a gentleman turns out to be a real devil. And we’re never wise enough to tell the kind-hearted by nature from the wicked until something terrible happens on us some day. These suffocating feelings tangled all the way when I was watching the film.
The whole story took place at the time when Irish requested independence from the United Kingdom of Britain and can be divided into three sections.
The first part shows that a black soldier Jody who was kidnapped by the Irish Revolutionary Army (IRA) was imprisoned at their secret base in Irish where he met Fergus, the hero of the film who was actually supposed to kill him. During the watching, they gradually became sort of friends, prattling and laughing happily with no notice of their true identities. And finally, Jody died because of his own fellows and Fergus escaped to Britain pretending as a Scottish. In the second section, Fergus visited Jody’s girlfriend Dil and fell in love with her. When finding out that Dil was a false lady, Fergus felt teased and disgusted. Then Fergus’s former fellowmen traced him and threatened Fergus to finish a murder or they would kill Dil. To protect Dil from risk, Fergus accepted the task reluctantly but found himself tied in Dil’s bed on the exact morning while Peter, the boss, who couldn’t wait any longer took action, got shot and died. Jude took revenge on Fergus only to be shot to death by Dil in his house. Finally, Fergus was caught and sentenced instead of Dil.
To promote the plot, the editor set a series of comparisons and conflicts of which the “scorpion and frog” story plays an extremely important role. It was the story first told to Fergus by Jody and at that time, the mercy sleeping in Fergus’s subconsciousness began to wake up although he himself might pay no attention to it partly on account of his indecisive character. And it drops a hint that Fergus couldn’t make up his mind to break up with his organization at last. At the end of the movie, the story was told again by Fergus to Dil. We could find the intense comparison between the two scenes. Jody was sad and despairing when telling the story but he still believed Fergus had a heart to let him run away, so there was kind of hope in his words. And Fergus had been behind bars when he repeated the story to Dil in an exaggerating voice with laughter around. He was in a tranquil mood after so many tragedies. It seemed that everything had come to an end. To some extent, he realized that he had completed an atonement to Jody be accepting the sentence with good cheer which made him perfectly happy and peaceful in his heart of hearts.
Besides, strong conflicts between the roles are also spotlights of the film which mainly appear in the way of love. The love between Fergus and Jude at the beginning of the film is physical to a large extent. Meanwhile, Fergus couldn’t accept Dil as a gay and transvestist, but still tried his best to cater to him when he decided to protect Dil. On the other hand, Dil loved Fergus with all his heart and soul and promised to do anything for him even cutting down his curly hair while paying no attention to Fergus’s averseness to the pet name “honey”. And I guess this kind of love mixes with feelings some of dependence, closer to spiritual request. And Fergus’s affection to Dil may mostly be clemency. Yet, boy’s love has always been a sensitive subject which glamourizes the movie here.
Like Waiter Col said: Who knows the secret of the human’s heart? Can we simply justify that Peter is totally wicked and Fergus is absolutely kind in nature? We human beings ourselves are affected by our surroundings easily. Life itself is like a cruel game filled with so many changeable factors and accidents. And men may never get what they deserve. That may be what the film tries to tell us: The society is unjust in itself.

还是被震撼了，绵密的感动如水纹漾开，如同某次在影院看《中央车站》下泪一样。爱情，政治，所谓人高贵的本性。北爱独立和易装癖牵连在一起，但被导演表达得如此诗意而深刻。如果你是如假包换的直男，你会爱上一个比女子还妩媚的男孩吗？超越性的爱在世间是罕见的，只有高贵无私的心灵才可能做到。

    尽管对《哭泣游戏》中存在无可否认的对人性的刻画，但依然淋漓地体现出了从种族主义出发的优越感。虽然那个讲述着“天性”与等待的结局看似充满温情与希望，也不过是以一种救世主的姿态进行的施舍。不管是针对北爱共和军的成员或者那些在社会底层为生活所驱驰的人们，导演都没有从意识形态哪怕中立的视角去塑造，更甚者，将影片的男主角之一——本来陷于北爱自由运动中的异性恋者——与异族恋相联结，其本身便是由白人优越感乔装而成。通篇对情爱关系的突出，将政治权利压在潜文本层次，在所谓诗学与政治之间把玩，是典型西方殖民书写的公式。

    在故事层面上，影片着力塑造的主体—-共和军成员弗格斯——实际上是周旋于两个“男人”：乔迪与异装癖者迪尔之间，更确切地说，他是通过其中一个——乔迪唤起了他心底对美好安和生活的怀念——而找到了另一个——“每个男人都渴望”的迪尔。然而，通过调情与相互勾引，一旦弗格斯与“她”之间出于本能而建立起一种情愫时，尤其是当他发现迪尔其实有着与自己一样的身体构造以后，弗格斯——这个北爱尔兰的自由战士/伦理世界一贯正确的白种人/自认性取向正常的异性恋者，作为白人的优越感与使命感便伴随生理反应油然而生。此时的他，堂而皇之的回到主流意识形态的文本之上：他不仅不必再对如梦魇一般的乔迪感到愧疚，不再是一个爱上黑人男性，尤其这个男性还是其朋友的爱人的异族恋者，反而摇身一变成为拯救者：作为一个正常的，有着为民族奋斗的崇高理想的白人男性，他需要以拒绝的姿态来维护自己的正统，继而帮助迪尔这只迷途的羔羊回到上帝的身边。于是，洗刷了离轨者嫌疑的弗格斯，至多是作为被诱惑者的形象，暗合了白人世界中对于自身误入“歧途”所作的内心宽恕。而真正离轨者的形象，便不可避免的落在了迪尔身上。

    戴锦华老师说过，在当代西方社会，正是作为少数人群体的同行恋者充当了世俗道德与意识形态的被唾弃者和离轨者，成为压低的耳语、富于暗示的目光中传递的肮脏的秘密。此处迪尔的形象，成为了一个执著的反叛，甚至带有着几分疯狂。而这一切的动机，指向的却是人类最为纯粹美好情感——爱。无论是对死去的乔迪，还是所谓的“吉米”。值得注意的是，迪尔的这份爱其实是建立在一种安全感的缺乏之上的，是其男儿身对父权的膜拜，“你对迪尔好，迪尔就是你的"。

    根据福柯的说法，任何社会都存在一种处于边缘、颠覆位置而同时又具有折射社会文化功能的 “异类空间”。这个空间虽游离于主流价值观之外，却能够投射出人类文明表面繁盛之外的另类内容，也能勾画出人类生活的生死信仰、文化艺术、历史观念、政治权力、法制思想等内容。因此，存在于发廊、同性恋酒吧这些异类空间之中的迪尔，便是影片离轨者的最佳人选。正是这些离轨者的存在，才能使卫道士们得以确立自己的纯洁与神圣。

    与此同时我们看到，虽然最后弗格斯不再抗拒与迪尔的感情，但弗格斯从头至尾都没有接受过同性恋者这一定语降临在自己头上。与之相对的，迪尔显然是被放置在一个受摆布者的地位上，为了挚爱可以做出任何牺牲，不论是外形的颠覆乃至生命。所以，尽管该片名义上名列“十大同性恋影片”，却是一个不折不扣的反同性恋题材。而弗格斯为迪尔所做出的牺牲，一则可以看作是出于对乔迪的死的亏欠，从乔迪身上传承了对迪尔的感情，二则则可视为对自己的救赎。何况爱尔兰是欧洲最保守的天主教国家，“爱”即为其神旨的所在。导演在描述福格斯对迪尔的爱，亦可看作美化与掩饰其优越感被窥见。

    我们甚至可以试着剥去结尾处温情主义的外衣。尤为明显的是，虽然这个颇为浪漫的场景感动了不少观者，但它的地点的选择却在监狱——并非自由的海阔天空，而是弗格斯所抗争政权的冰冷的国家机器。于是这份表面的温情，也便成了虚妄。那个所谓的天性，只是一个注意力转移的手段。此时英国绅士们可以舒一口气了，北爱共和军/陷入异族恋与同性恋的迷途羔羊已经被政府投入了监狱，而迪尔的社会身份，随着对弗格斯的爱与坚持，也一并入了监狱。