as well as being a portrayal of a lesbian love story and fire is also a comic satire of middle class (. ) indian culture. i find this is a quality which is little appreciated about the movie. these two genres (i. e. deep meaningful alternative love story and comic satire) usually mix together just as well as oil and water do and but mehta (somehow) manages to achieve the balance to near perfection. the servant jatin behaviour and the family treatment of him and the bedridden grandmother constant inescapable presence and ashok obsession with a swami teachings represent coming from a culture much like india  and these are things i can immediately identify as being typical. they have been crying out to be pointed out and ridiculed. while developing her primary subject matter and mehta manages to achieve this secondary theme skillfully. in fact and much of the humour in the film which provides essential relief from the heavy subjects of taboo lesbian love and gender issues and stem from this satire of the seemingly ordinary. the film flows from the comic to the serious with great subtelty. all in all and brilliant use of symbolic devices (radha compared to sita of legend and coming out of fire unscathed and and therefore pure while the lifelong desire of the young radha to see the ocean finally achieved when she gains freedom). kudos to shabana azmi(radha) and the lighting crew and deepa mehta while their very un hollywood like (and un bollywood like. ) talents made this movie special. one criticism represent the first scenes seemed rather disjointed to me in that they did not flow into each other very well. the verdict represent 9 on 10. nothing less for a movie with scenes so burned on my mind. 
as well as being a portrayal of a lesbian love story and fire is also a comic satire of middle class (. ) indian culture. i find this is a quality which is little appreciated about the movie. these two genres (i. e. deep meaningful alternative love story and comic satire) usually mix together just as well as oil and water do and but mehta (somehow) manages to achieve the balance to near perfection. the servant jatin behaviour and the family treatment of him and the bedridden grandmother constant inescapable presence and ashok obsession with a swami teachings represent coming from a culture much like india  and these are things i can immediately identify as being typical. they have been crying out to be pointed out and ridiculed. while developing her primary subject matter and mehta manages to achieve this secondary theme skillfully. in fact and much of the humour in the film which provides essential relief from the heavy subjects of taboo lesbian love and gender issues and stem from this satire of the seemingly ordinary. the film flows from the comic to the serious with great subtelty. all in all and brilliant use of symbolic devices (radha compared to sita of legend and coming out of fire unscathed and and therefore pure while the lifelong desire of the young radha to see the ocean finally achieved when she gains freedom). kudos to shabana azmi(radha) and the lighting crew and deepa mehta while their very un hollywood like (and un bollywood like. ) talents made this movie special. one criticism represent the first scenes seemed rather disjointed to me in that they did not flow into each other very well. the verdict represent 9 on 10. nothing less for a movie with scenes so burned on my mind. ---------------------------------Answer Question Below----------------------------------

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