ABSTRACT
This chapter addresses how the "secret"—the secret of sexual difference—is constructed as the film's center, both in The Crying Game's narrative and visual structure and in its popular readings. Sexual difference appears as the "secret" that operates as the film's center, both within its own narrative and visual structures and in its popular readings. The sexual difference revealed also produces a moment that presents itself as a definitive, critical cut. Continually begging the question of Fergus's sexuality, the film grounds him as heterosexual by sheer juxtaposition against Jody and Dil, who together do the work of embodying and stabilizing homosexuality. For Alex Ross, The Crying Game's treatment of Jody's sexuality constitutes a prolonged, and profitable, disavowal. A number of critical and popular discussions foreground a fascination with Jaye Davidson's gender ambiguity, yet they follow the film in not recognizing his homosexuality.
