““FIREFIRE”” ----- -----The Revisions of The Revisions of TraditionsTraditions

Amber, Cathy, Enga, Grace, Wendy, Amber, Cathy, Enga, Grace, Wendy,

Tiffany and ÆonTiffany and Æon

IntroductionIntroduction

Deepa MehtaDeepa Mehta FireFire The controversyThe controversy How Mehta sees How Mehta sees

the filmthe film Themes in FireThemes in Fire

Deepa MehtaDeepa Mehta1.1. Born in Born in AmritsarAmritsar, I, I

ndia in 1949ndia in 19492.2. Major Major PhilosophyPhilosophy i i

n the n the University of University of New DelhiNew Delhi

3.3. Married Married Paul SaltzmanPaul Saltzman4. Her father was a fil4. Her father was a fil

m m distributor distributor and and theater ownertheater owner

5. ”By the time I 5. ”By the time I was in university was in university I knew I wanted I knew I wanted to have nothing to have nothing to do with film.”to do with film.”

6. 6. Canadian Canadian or or IndianIndian??

What Mehta What Mehta wants to show in her wants to show in her film?film?

Challenge Challenge blind traditionblind tradition in India in India Break the stereotypes of India:Break the stereotypes of India:

a. The a. The exotic Indiaexotic India

b. b. MysticismMysticism

FIREFIRE

1.1996 Toronto 1.1996 Toronto InternationalInternational Film Festival Film Festival

2.2.New YorkNew York Film Festival. Film Festival.

3.3.VancouverVancouver International Film Festival International Film Festival

4.4.ChicagoChicago International Film Festival International Film Festival

5.5.ParisParis

FUSSFUSS

Shiv Sainiks: the movie isn’t worth watShiv Sainiks: the movie isn’t worth watchingching

“ “ I am going to shoot you, Madam.”I am going to shoot you, Madam.” ControversyControversy

How Mehta sees the How Mehta sees the filmfilm - "For me Fire is about... - "For me Fire is about... fighting tradition fighting tradition

when oppressedwhen oppressed. My favorite dialogue in . My favorite dialogue in the film is when Sita tells her sister-in-the film is when Sita tells her sister-in-law Radha that the concept of duty is law Radha that the concept of duty is over-rated."over-rated."

- "The film is about - "The film is about desire and control and desire and control and the choices we make in lifethe choices we make in life. And it's . And it's about about IndiaIndia. That is why I have used the . That is why I have used the colours of the Indian flag throughout the colours of the Indian flag throughout the movie." movie."

- ““I didn't make the film to do a I didn't make the film to do a thesis on lesbianism -- I am not thesis on lesbianism -- I am not interested in those things. interested in those things.

It is a film about It is a film about loneliness.loneliness. It is a film about theIt is a film about the hypocrisy hypocrisy of of

our society today. our society today. It is a film about how It is a film about how women don't women don't

have choices in a patriarchal set-have choices in a patriarchal set-upup.”.”

- - Tradition and RevisionTradition and Revision

Family TreeFamily Tree

Biji

Ashok Radha Sita Jatin

Mundu

+ +

Traditional figures in the FamilyTraditional figures in the Family:

Biji— voiceless, but possesses the great power over the family.

Ashok— patriarchal in sexuality and believes through celibacy, he

can be close to god.

Jatin—not able to break through tradition, but makes Sita as a

victim of it.

Radha—traditional wife in the family as well before the arrival of Sita.

Dysfunction of the Dysfunction of the FamilyFamilyBiji—is wizened, mute, Biji—is wizened, mute,

helpless, carefully helpless, carefully dressed and powered dressed and powered each day.each day.

— —carries around the carries around the room with a ridiculous room with a ridiculous little bell in her hand to little bell in her hand to indicate distress or indicate distress or need.need.

Biji Mundu: Biji Biji Mundu: Biji couldn’t show her feeling couldn’t show her feeling toward Mundu’s selfish toward Mundu’s selfish behavior.behavior.

Biji Radha & Sita: Biji Biji Radha & Sita: Biji knows nothing about their knows nothing about their relationship.relationship.

Ashok—has responsibility Ashok—has responsibility to carry on the family, to carry on the family, but very patriarchal in but very patriarchal in sexuality.sexuality.

Ashok Jatin: Ashok asks Ashok Jatin: Ashok asks Jatin to do his duty as a Jatin to do his duty as a husband.husband.

Ashok Radha: They Ashok Radha: They

never communicate in sex. never communicate in sex. Ashok celibates and Ashok celibates and oppresses the sexual desire oppresses the sexual desire of Radha. Only took having of Radha. Only took having sex with Radha as her duty.sex with Radha as her duty.

Jatin—victimized by tradition Jatin—victimized by tradition but also selfishly does the hbut also selfishly does the harm to Sita.arm to Sita.

Jatin Sita: No love exists Jatin Sita: No love exists between them.between them.

: arranged marriage involved n: arranged marriage involved no love between he and Sita. So love between he and Sita. Sita was also sacrificed in the rita was also sacrificed in the relationship.elationship.

: considered Sita as only a chil: considered Sita as only a child-making machine.d-making machine.

Jatin Julie: Love and excJatin Julie: Love and excitement make them together.itement make them together.

Places in the FamilyPlaces in the Family

Jatin’s roomJatin’s room--posters on the wall show --posters on the wall show

the personality of Jatinthe personality of Jatin--place for Sita release --place for Sita release

herselfherself

KitchenKitchen-- also a place Sita and -- also a place Sita and

Radha communicate Radha communicate their love. their love.

BalconyBalcony

Sita’s Influence on Sita’s Influence on Radha Radha

~by Grace Liu~by Grace Liu

Sita’s Sita’s anti-traditionalanti-traditional characte charactersrs

Radha’s changingRadha’s changing

Both women find Both women find a way out.a way out.

Open / Out-goingOpen / Out-going ex: Sita wears Jatin’s pants and dancex: Sita wears Jatin’s pants and danc

es with pop music.es with pop music.

Active in starting a relationship wiActive in starting a relationship with Radhath Radha

ex: Sita kisses Radha actively.ex: Sita kisses Radha actively.

Sita’s Inner Self--

Anti-traditional

Believe women is not subordinate Believe women is not subordinate to men to men

ex: Sita’s view toward the queen in tex: Sita’s view toward the queen in the mythology and women’s devotiohe mythology and women’s devotion-- women should find a way out insten-- women should find a way out instead of lacking choicesad of lacking choices

Fight for her dignity instead of Fight for her dignity instead of being mildbeing mild

ex: Sita calls Jatin a fool and slaps ex: Sita calls Jatin a fool and slaps him on his face.him on his face.

Sita’s Outside BehaviorSita’s Outside Behaviors--s--TraditionalTraditional

Play a Play a role well asrole well as a WIFE a WIFE

Sita’s Influence on Sita’s Influence on RadhaRadha Anti-traditional way of thinking aAnti-traditional way of thinking a

s a WOMANs a WOMAN Women should not be subordinaWomen should not be subordina

te to men.te to men. Women and men are equal.Women and men are equal.

Sita and Radha’s ISita and Radha’s Interactionsnteractions

Sita’s Influences Sita’s Influences

Sita kisses Radha actively.Sita kisses Radha actively. Radha rinses Sita’s hair with oil. Radha rinses Sita’s hair with oil.

=> intimacy=> intimacy Sita expresses her opinion toward Sita expresses her opinion toward

the queen in the mythology, whicthe queen in the mythology, which changes Radha’s traditional oh changes Radha’s traditional opinion.pinion.

Radha refuses to feed Bigi, and ask Radha refuses to feed Bigi, and ask Ashok to do.Ashok to do.

Both Sita and Radha refuse to makBoth Sita and Radha refuse to make love to their own husbands.e love to their own husbands.

Sita and Radha dress up well, and Sita and Radha dress up well, and dance with pop music.dance with pop music.

Radha refuses to make love to AshRadha refuses to make love to Ashok.ok.

Radha’s Changes

BackgroundBackground

Migration to India, Calcutta Migration to India, Calcutta 1949 – Communist 1949 – Communist

victoryvictory– landowners, merchants landowners, merchants

and intellectualsand intellectuals Sino-Indian WarSino-Indian War Caste SystemCaste System EconomyEconomy ((sourcesource) )

Revised TraditionRevised Tradition

Ashok and Jatin’s conversationAshok and Jatin’s conversation

Dinner SceneDinner Scene

Julie’s father’s attitudeJulie’s father’s attitude Julie playing many rolesJulie playing many roles Jatin’s responseJatin’s response

Symbols:Symbols:Taj MahaTaj Maha

Sea Sea

BalconyBalcony

FireFire

Taj Maha:Taj Maha:

The symbol of eternal loveThe symbol of eternal love Sita’s expectation toward Sita’s expectation toward

marriagemarriage

Sea/ocean Sea/ocean

If you can’t see, don’t be sad, you If you can’t see, don’t be sad, you can just to see without lookingcan just to see without looking

Hope and happiness Hope and happiness

BalconyBalcony

An escape from realityAn escape from reality Get touch with the living worldGet touch with the living world Place to share and communicatePlace to share and communicate

Fire Fire

The title of the filmThe title of the film Human desireHuman desire Trails of fireTrails of fire

Mythological Background (1) Mythological Background (1) RamayanaRamayana

The Hindu epic: “RaThe Hindu epic: “Ramayana”– a sagamayana”– a saga Rama – the avatar (thRama – the avatar (the seventh incarnation oe seventh incarnation of Vishnu)f Vishnu)Sita, wife of Rama, is dSita, wife of Rama, is doubted by Rama of her oubted by Rama of her loyalty and undergoes loyalty and undergoes “agnipariksha” (fire o“agnipariksha” (fire ordeal) to prove her chasrdeal) to prove her chastity.tity.

The Representations of the “AgniparikshaThe Representations of the “Agnipariksha””

The representation of Sita's Trial by Fire (from Ramayana) is being reproduced and emphasized by different means – the folk play, the telecast, and the poster of the restaurant

Mythological Background (2)Mythological Background (2)Immortal Love Legend of Immortal Love Legend of Radha - KrishnaRadha - Krishna

Krishna –the eighth incarnation of Vishnu – symbolizes the soul’s intense longing and willingness for the ultimate unification with God

Radha – Krishna’s mistress; a typical figure whose waiting for Krishna is well-known and worshiped.

Radha-Krishna – a perfect union of feminine and masculine

Revision of the Hindu Revision of the Hindu mythologymythology

Sita and Radha Sita and Radha (two Hindu (two Hindu goddesses) goddesses) become “lovers” become “lovers”

Radha undergoes Radha undergoes the fire trial in the the fire trial in the end of the film. end of the film.

Traditional PracticeTraditional Practice

Fast Ritual of the family: stillFast Ritual of the family: still

emphasizes on “a model of emphasizes on “a model of loyalloyal

wife to her husband.”wife to her husband.”

Mundu’s revision of this legend in his fantasy

Sita and Radha’s revision pf the legend in reality

Color and FramesColor and Frames

Contrast to the display of the color

Parallel between the display of the frame

Color : Radha Color : Radha

A Transition (blank) from night to day

Radha is also transitional from a passive wife to an active lover

Colors : Radha & SitaColors : Radha & SitaPassionate and warm colours: the quality of fire

What do the color and the location What do the color and the location in the end suggest?in the end suggest?

Conclusion Conclusion

The women’s relationship represents modern The women’s relationship represents modern India itself. Radha is tradition-bound and just India itself. Radha is tradition-bound and just waiting to blossom…Sita is modern India, waiting to blossom…Sita is modern India, desiring independence over tradition (Beyond desiring independence over tradition (Beyond Bollywood 162)Bollywood 162)..

Fire is the revision of tradition on the Fire is the revision of tradition on the aspects of the awareness of women, the aspects of the awareness of women, the invasion of western culture and divine story. invasion of western culture and divine story.

Change from Western CultureChange from Western Culture I. India is a tight community, but Julie’s father remains I. India is a tight community, but Julie’s father remains

proud and tough as a foreigner in the solid proud and tough as a foreigner in the solid community. (clip)community. (clip)

II. Julie wants to have American-accented English and II. Julie wants to have American-accented English and she wants to travel to Hong Kong.she wants to travel to Hong Kong.

III. Social privilege of India women has transferred -III. Social privilege of India women has transferred -Indian middle-class women do not only consume western products bIndian middle-class women do not only consume western products b

ut also westernization ut also westernization A.. Sita dances in male costume A.. Sita dances in male costume a. Sita dances along the music in the room (clip)a. Sita dances along the music in the room (clip) 1.. Wearing pants as a way of modern liberating 1.. Wearing pants as a way of modern liberating 2.. The combination of masculinity and femininity 2.. The combination of masculinity and femininity b. Sita dances with Radha in the living room (clip)b. Sita dances with Radha in the living room (clip) 1. The combination of traditional vamp and married 1. The combination of traditional vamp and married women women B. Indian women’s desire to break trough tradition and the B. Indian women’s desire to break trough tradition and the

servant’s (Mundu ) incapability of changing (clip)servant’s (Mundu ) incapability of changing (clip)

Sita and Radha manage to find break Sita and Radha manage to find break through tradition strain by finding through tradition strain by finding consolation from each other consolation from each other

I. The role of family used to provide I. The role of family used to provide responsibility. responsibility. FireFire has given it another has given it another function, desire.function, desire.

II.II. FireFire is different from lesbian movies because the is different from lesbian movies because the relationship develops from domestic workrelationship develops from domestic work

III. Sita becomes more independent through the III. Sita becomes more independent through the relationship between her and Radha (Clip)relationship between her and Radha (Clip)

Fire adopts the original divine and maFire adopts the original divine and make adaptation ke adaptation

I. The switch of roles of Radha and Sita---I. The switch of roles of Radha and Sita--- Radha, instead of Sita, goes through theRadha, instead of Sita, goes through the trial of fire trial of fire

II. Radha is proved innocent to AshokII. Radha is proved innocent to Ashok

Works CitedWorks Cited Chinese in IndiaChinese in India

– http://huaren.org/diaspora/asia/india/0593-01.htmlhttp://huaren.org/diaspora/asia/india/0593-01.html Sino-Indian WarSino-Indian War

– http://www.onwar.com/aced/nation/ink/india/findiachina1962.htmhttp://www.onwar.com/aced/nation/ink/india/findiachina1962.htm Desai, Jigna. Beyond Bollywood: The Cultural Politics of South Asian DiaspDesai, Jigna. Beyond Bollywood: The Cultural Politics of South Asian Diasp

oric Film New York: Routledge, 2004.oric Film New York: Routledge, 2004. RamayanaRamayana -- -- http://www.maxwell.syr.edu/maxpages/special/ramayana/http://www.maxwell.syr.edu/maxpages/special/ramayana/

-- -- http://www.ramayana.com/http://www.ramayana.com/ Radha-Krishna Radha-Krishna

-- -- http://http://www.dollsofindia.com/radhakrishna.htmwww.dollsofindia.com/radhakrishna.htm

Woman of visionWoman of vision -- -- http://www.hinduismtoday.com/archives/1998/11/1998-11-16.shtmlhttp://www.hinduismtoday.com/archives/1998/11/1998-11-16.shtml

FireFire-- -- http://www.indiastar.com/closepet4.htmlhttp://www.indiastar.com/closepet4.html-- http://www.wsws.org/articles/2000/may2000/fire-m02_prn.shtml-- http://www.wsws.org/articles/2000/may2000/fire-m02_prn.shtml