Deepa Metha’s ‘Fire’: An Indian Queer Tale
A 1996 queer drama set against the backdrop of Indian patriarchy.
“There is no word in our language that can describe what we are… how we feel for each other.” This line from Sita, in a moment of hushed intimacy with her sister-in-law Radha, perfectly encapsulates the unspoken yearning that forms the heart of Deepa Mehta’s ‘Fire’ and almost 28 years later, I believe, Sita would have still said the same thing. For them, not much would have changed.
‘Fire’ written and directed by Deepa Metha is a story rooted in the Indian patriarchy, highlighting the loneliness women in loveless marriages go through. The resonant comfort in each other’s situation is what opens doors for the women in the film to understand the awakening of their true desires, leading them to each other. ‘Bold,’ ‘brave,’ and ‘ahead of its time’ would probably be weak connotations to truly describe the vision the director actualized on screen in 1996 in India. However, the film undoubtedly is all these things and much more.
The writer-director paints a subtle picture of Radha and Sita, two women yearning for a connection which their marriages fail to provide by focusing on the theme of ‘Desire.’ But before we get into what these women desire, we are introduced to the patriarch, ‘Mundu’ — the house help, whose physical desire takes him to a place where he knows no shame. The display of his physical gratification in a shared space while a mute elder sits beside him is indeed uncomfortable to watch, however, the undertone situation highlights the plight of the class divide where individuals like ‘Mundu’ don’t even have their own space to fully access what pleases them.
On the other hand, the husbands who have all the space find themselves running away from it. Sita’s husband runs after a love who never approved of being married, and Radha’s husband runs after a Guru to achieve a desire of being at peace.
After all this, the deliberately designed screenplay finally reveals the desire of the leading ladies who are seemingly trapped in a household where everything comes before them. Sita, who deeply desires to see the ocean, shares that she still very much plans on watching it, highlighting her adventurous and flamboyant nature while Radha (who also once desired the same as a child) finds herself settling for what little she has, indicating acceptance to her given circumstances. The contrast between their personalities increases their fondness for each other. The abrupt late-night conversations on the balcony and terrace at times about almost anything allow them to truly feel seen, propelling them to form a connection that their marriages never could.
As the narrative moves forward with these characters, the film doesn’t solely focus on its romantic aspects. Even while navigating a complex social issue — a same-sex relationship in a patriarchal society, the film’s ability to incorporate conversations associated with class and prejudice subtly surfaces, acting as a constant reminder of the actual world these characters are in. Furthermore, moments of sheer joy and laughter while familiar Bollywood symphonies play in the background provide a sense of normalcy amidst the underlying tension making the experience way more wholesome.
The film title ‘Fire’ holds a multifaceted meaning throughout the narrative. At times, ‘Fire’ is the burning desire for passion, a burning romance between these women bounded by the relationship that challenges the social norms. On the other hand, the writing meticulously uses ‘Fire’ as a symbol of purification highlighted by a tale from ‘Ramayana’ where the goddess ‘Sita’ who was abducted by ‘Ravana’ had to go through fire (Agni-Pareeksha) to prove how pure she was after being rescued. This tale from a century ago strikingly touches upon relevant circumstances.
As the story reaches its climax, Radha played by Shabana Azmi finally confronts her husband, Azmi masterfully depicts a brewing silent storm with a level of calm, quietly yet effectively delivering these beautiful lines:
“Desire brings ruin. Does it?
Without desire I was dead. Without desire, there is no point in living… I didn’t know what else, I desired to live. I desire Sita, I desire her warmth, her companions, her body. “
Metha once mentioned in an interview how she intended to focus on the patriarchy and how the ripple effect of loneliness out of these loveless marriages turns these women to discover their sexuality. This particular thought complexly highlights the extreme nature of a society dominated by men where ignorance and neglect act as a stepping stone for women to truly discover themselves.
In totality, “Fire” sparked a firestorm upon its release, igniting social and political controversy in India. In the era when homosexuality wasn’t even a conversation, let alone depicted in films, the censor board passed the film twice as a testament to the power of artistic expression and the fight for freedom of speech, which somehow feels unsettled in recent years for the country.
