“They wanted me to cast a woman that was pretending to be a man. “I would have done it differently if I’d have done what the financiers wanted,” says Jordan. Given how things have moved on, would he do anything differently now? Now you can hardly get a film financed if you don't deal with those themes in some way. The fact the Disney and other major studios now prioritise diversity. I think it's amazing how the conversation on those things has moved on. "It was about political violence and terrorism.
"At the time nobody wanted to back it," says Jordan. It’s unbelievable when you think of how the industry is now.” Racial aspect “When we made it, it was the only film in production in England or Ireland. “It’s amazing it happened at all,” says the film’s star, Rea. There was a whole lot of chatter about a certain surprise revelation. There were rave notices from the New York Times ("efficient and ingenious"), Rolling Stone ("darkly funny and deeply affecting") and Roger Ebert (a film that "involves us deeply in the story, and then it reveals that the story is really about something else altogether"). It was only when the film was released in America that it became an enormous sleeper hit, earning more than $60 million at the US box office. But anytime you make a movie that's about something, anything, there's a reaction." "As they often are, especially dealing with the issues of political violence and race and gender. "People were slightly iffy about it," recalls Neil Jordan. It required our chums across the pond, and a clever Miramax marketing campaign, to turn the film into a major hit and cultural phenomenon before domestic audiences came around. It seems impossible now, but Neil Jordan's low-budget thriller The Crying Game was a box-office flop when it was initially released in the UK and Ireland 25 years ago.
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