Woman in the Mirror Issue with Identity in The Crying Game
The obvious identity issue in the film centers around the concept of gender roles. There are numerous studies identifying key periods in a persons life that dictate gender characteristics. The most prevalent force for gender formation are those occurring in the brain, resulting possibly from prenatal hormonal and genetic effects (Heath, 2006). Dil represents individuals born with no direct sense of male identity. Physically, though, Dil has the genetics of a male, but mentally her make-up is female. As the sex of a baby develops in the differentiation process there are key events that occur to create clear gender identity. For males there are typically two important periods in which they are exposed to greater levels of testosterone than are females (Heath, 2006). In spite of genetics serving as a possible precursor of brain sexuality differentiation, the genetic basis for transsexuality, when compared with other intersex conditions, is especially scant (Heath, 2006). There still remain no definitive causes for such gender-role identity issues. Despite the lack of genetic research available, Dil and many other transgender individuals identify themselves as the opposite sex from their birth.
Although, transgender individuals view of themselves in the world is that of the opposite sex, many other people, due to ignorance and lack of understanding, still view them as their original sex. In addition to this, they view them as peculiar and hard to understand. In the film, after Fergus finds out about the true identity of Dil as a transgender male he says, The thing is, Dil, youre not a girl, but Dil simply replies, Details, baby, details (Jordan, 1992). Through her perspective, Dil is a women through her acceptance of that identity, she takes on the weaker characteristics associated with being a female. However, the males that she has relationships with view her differently causing many issues with Dil and her interpersonal relationships with others. The only completely positive relationship Dil is able to grasp onto is that with her dead boyfriend, Jody. This relationship is still skewed, though, because Jody is introduced to viewers while he is trying to have a connection with Jude, one of the IRA secret agents plotting to kidnap him. Only after his set-up, capture, and impending death is his love for Dil acknowledged.
The challenge with interpersonal relationships is directly linked to the identity issues Dil has with role within relationships. This link is not always positive, and, in many ways reflects a disparaging cycle of abuse. As a result of her need to have a man in her life, Dil is put into many precarious situations that eventually lead to her having to face the old self she has worked so hard to leave behind. Throughout the entire film, Dil does not stand alone at any particular moment. We first are introduced to Dil through her relationship with Jody, a British soldier who was kidnapped by the IRA. After Jody is killed, Fergus tries to find Jodys lost love to help him deal with the grief and guilt he feels because of the loss of his victim, turned friend. Dil appears to be a confident hairdresser however, soon viewers can see that Dil currently has an unscrupulous relationship with an abusive man. Their relationship is far from healthy, but Dil refuses to do anything until Fergus threatens and beats up the man. She then says, Break his neck, no dont as if she held the power in the situation however, the frame before shows a helpless damsel in distress waiting to be saved by her knight is shining armor (Jordan, 1992). The confidence and the demise that Dil assumes comes from the men around her.
Dils faade of confidence in tested as the story unfolds. After building a somewhat volatile and deceptive relationship with Dil under the name Jimmy, Fergus past comes back to haunt him as Jude comes to try to make him answer for the mistake he made back in Ireland. In a desperate attempt to protect her life, Fergus forces Dil to cut of all her hair and resume life as a male. This causes a breakdown within Dil, but surges enough force to cause Dil to stand up for herself and the love of her life, Jody. At first, as demonstrated by his female persona, Dil simply does not question anything. At the bar she is trying to get more information about Fergus and she uses the bartender as a buffer. Finally, the bartender tells her to ask the questions herself (Jordan, 1992). Dil constantly is the weaker individual whenever she is having interaction with a male. However, when she is forced to return to a male identity, she is able to not only save herself, but Fergus as well.
Since identity roles are an ever-changing aspect of society, there are many changes that need to be made to help educate people about true multicultural relationships. There are many other facets to multicultural relationships at this point, beyond racial differences. However, people typically focus on groups they know and understand. Throughout history, women in many cultural groups have to deal with the emotional toll of abuse and depression. Dil, despite her transgender association, is dealing with these same issues. Dil comes into contact with numerous relationships that depict this abuse and depression cycle. Despite her beauty and poise, she knows far too much about The Crying Game (Jordan, 1992). Dill has the classic symptoms of a person that is stuck in the cycle of abusive relationships. This abuse starts within, though, as Dil tries to disconnect completely with all aspects of herself associated with strength and male dominance. According to the tension-reduction theory, there are three distinct phases associated with a recurring battering cycle Tension building, the acute battering incident, and loving contrition which provides the positive reinforcement for remaining in the relationship for the woman (Walker, 1999). Dill needs some intense interpersonal counseling to attempt to reconcile her abusive relationships, but more importantly her abusive view of herself.
In Dynamics and Risk of Partner Violence, Jana Jasinski and Linda Williams evaluate the dynamic effects of partner violence in a community. There are many misconceptions about partner violence. One of the main fallacies is that the fighting is on an equal battle field (1998). Dil says to Jimmy after he hits her in a rage, I can take it Jimmy, just not in the face (Jordan, 1992). Dils face is the part of her that society sees everyday. However, she has taken enough abuse to scar her for life. The fact remains that even with relationships involving a transgender individual, abuse is not acceptable, and Dil should realize that and not accept it in her life. She would rather a man stay and hit her than to be alone.
The sociocultural theories behind partner violence discusses the issue of wife abuse as the structure of relationships in a male-dominated culture, power, and gender, thusly, leaving Dil with the mental mindset that she is weaker and in a submissive role. Some studies suggest that both modeling of previously learned aggressive behavior and responses, as well as rigid traditional sex role stereotypes would create a greater potential or vulnerability for a man or woman to remain in a battering relationship (Walker, 1999). Dil desperately lives the life of a woman assuming the traditional sex role is a way of life for her. There are other explanations available regarding the cognitive condition of battered women which states that battered women develop a positive sense of self from having survived in a violent relationship and that causes them to believe they are equal to or better than others, at least in the ability to manage a complex and difficult partnered relationship (Walker, 1999). Possibly, by allowing a man to dominate her, Dil feels more like a woman. She also says she is tired and emotional indicating that going through these things connects her with the stereotypical emotional state that women experience in life (Jordan, 1992).
There are others with alternative suggestions about the mindset of abused women as they are linked to a high risk for a depressive disorder (Walker 1999). Dil has true feelings of grief because of Jodys death, but she also allows herself to be in unhealthy relationships currently as a manifestation of her grief and depression. Some recent research has demonstrated that depression is a frequent mental health problem for women (Walker, 1999). These instances are more prevalent with women who are married, separated, or divorced (Walker, 1999). Since Dil is dealing with grief and depression, she falls into the same cycle of trying to remain with the constant companionship of a man. Seligman refers to this tendency as learned helplessness which is the kind of human depression that has cognitive, motivational, and behavioral components, that distorts ones ability to predict the success of ones actions (Walker, 1999). The role of identity is extremely important to understand measures that can be taken to stop destructive cycles.
Some things that can be done to alleviate some of these abusive relationships and endless cycles of victimization among people with interpersonal deficiencies is to create an empowerment group to help them understand their role in society and in relationships. For Dil, this form of intervention would have given her the strength to be strong. Also, some identity training, to assist with understanding her identity in the world in which we live. To connect this issue with society, there can be measures made to inform and educate people about these identity issues and how to accept them for who they are.
As identity is examined in The Crying Game, it should be in society also. Dil represents far more than just a character in a movie she represents a changing face in society that needs to be addressed. Without understanding true aspects of being a woman rather than stereotypical roles, abuse will continue to plague women, including the transgender population.
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