All these communities may be called underbelly or marginalized representatives of modern society. In this respect, “The Crying Game” (1992) directed by Neil Jordan appears to be a striking example of outcasts’ life, as it portraits self-perception of transsexuals and their vision by other people with traditional views as well as their further overgrowth into more progressive ones.
To begin with it must be said that the whole story of “The Crying Game” is unfold around direct or indirect interaction of three main characters, namely: Jody, Fergus, and Dill. As a matter of fact, their involvement into international conflict of England and Ireland is not of a great importance for the plot, for every one of the three persons gets through a kind of individual change by the means of their destinies’ crossing. As there are difficult straits in their lives, Jody, Fergus and Dill display their true character features and feelings while mutual cooperation, which serves as a main trigger for their personal development. In practice, a statement of Jody at the beginning of the film, which has been doubled by Fergus at the end, happens to be a sort of Neil Jordan’s idea of the movie: “That is my nature” (Jordan). Moreover, this is a direct proof of interrelation between three main characters and true reflection of their inner condition. It is obvious, that this particular claim being said at first by Jody to Fergus and then by Fergus to Dill seems to unite all three persons in one coherent whole: love and care of Jody towards Dill represents itself through the same feelings of Fergus, who perceives some intrinsic relation with both Jody and Dill. As we can see, three main characters share their sincere feelings, which cannot be transformed even under the circumstances of revealing of such a truth that Dill is not a beloved girl of Jody and then Fergus or she is not just an ordinary girl in the broad sense of the word, as Dill is a