Still, a few faint traces of that London captured on celluloid remain. In the quarter of a century since then, the city has transformed drastically due, primarily, to gentrification. As with Mike Leigh’s Naked (1993), another great time capsule of London in the early 90s, you can see how different the city looked two decades ago, before every street was lined with Starbucks, Prets and gluten-free restaurants. The majority of the film was shot in the capital, with just the opening scenes – the fair in Bettystown and the imprisonment of Whitaker’s British soldier in a country house – shot in Ireland. It’s a fascinating time capsule of London – east and west – in the early 1990s, with its favouring of real locations over studio sets. Watching it now, though, there’s something else that strikes you.
When most people remember Neil Jordan’s The Crying Game, which was released 25 years ago, they remember its daring plot twists, Forest Whitaker’s questionable British accent and the ambitious way in which it weaves sexuality, race and sectarianism into its love story about an IRA terrorist and a hairdresser from the East End.
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