La paura mangia l'anima

A touching, honest, and revealing great film from a great director. It's hard to explain why, but there is something really special about this movie and it is well worth seeing.

Although ostensibly an attack on prejudice in all its forms this movie is also a pessimistic comment on how Fassbinder saw all relationships as problematic. The couple in this survive society's disapproval and reach a point of co-existence with the world. At this point they are undone form within. Superb performances all round but particularly Briggite Mira as Emmi. Watch out for RWF as her repulsive son-in-law. A great film from a great director.

A thought experiment. You put Mike Leigh and Spike Lee together and ask them to remake Harold and Maude with even fewer laughs and without much music. Sounds awful?

This movie is actually strangely compelling. It is minimal in so many ways - in particular the minimal use of language. I only have "get by on a visit with occasional reference to phrase book" German and even less Arabic, yet I could have managed this movie without subtitles. So little is actually said in words. Yet so much is said.

This movie seemed so relevant today - when the gossipy women worry about bombs and terrorism because "Ali" is an "Arab" (actually he is a Berber) you think about our society some 30 years on and despair a little. The scene when the frau tells her family that she has married "Ali" will stick with me for some time.

It's hard to explain why, but there is something really special about this movie and it is well worth seeing.

The world can be a really cruel place. In this work by Fassbinder, we see the racism and intolerance of German society toward a Moroccan man. A sixty year old woman begins a relationship with a much younger man and he ends up sharing her bed. Of course, the gentleness is no match for the ugliness that transpires as the neighbors and the landlord begin to see him as a pig. He is a gentle, trusting soul. She is old and alone. Her children have left her alone and she works each day as a cleaning lady. There is an oppressive weight on these people who are still suffering from the angst of post World War II Germany. This is an intense film and very believable. The acting is superb and that's what really makes it cook. The sad thing is that those who oppress are not worth the time of day, yet they are able to hold forth with their hatred and intolerance.

Rainer Werner Fassbinder's quietly powerful film is a sort-of remake of Douglas Sirk's "All That Heaven Allows," a film and director greatly admired by Fassbinder, but it has a sharper edge than Sirk's film. In "Ali: Fear Eats the Soul," the couple fighting a society's prejudice and resentment of their unconventional love must fight some of their own prejudices as well. In Sirk's film, the only thing imposing on the complete happiness of Jane Wyman and Rock Hudson was the busy-body ostracism of family and friends who didn't approve of the relationship between a rich society widow and her working-class gardener. In "Ali," Fassbinder suggests that happiness isn't something that's gained from the approval of others, but rather is the responsibility of the individuals involved. One of the things I liked best about this film is that as the German society gets used to the unconventional romance and begins to accept our two protagonists, the couple themselves begin to struggle to maintain a grip on the happiness they thought would be their's by right.

Fassbinder's unconventional couple are a frumpy German widow and a Moroccan immigrant 10-15 years younger than her. I gather from this film that Moroccans (or Arabs in general) were about as hated and feared in Germany at the time of this film's release as blacks were in America during the worst of the civil rights movement. So you can imagine how the couple's initial courting and subsequent marriage is handled by their neighbors, friends and family. Fassbinder himself was gay, and many suggest that the film is an allegory for the way homosexuals were persecuted. Fassbinder's private life undoubtedly informed his film, but the movie is really more universal than that. It really applies to anyone who's ever suffered the judgement of a group of people over something that didn't even affect those people, and really, who can honestly say that they've never been subjected to that?

Fassbinder directs in a low-key, unfussy style, yet he creates images and scenes that linger in the head long after the film is over. It's a lovely film, very well acted, scripted and directed. It's not exactly sad, because it argues that societies are able eventually to adapt to new things and accept things they originally rejected. But it's not exactly happy either, because it suggests that relationships don't necessarily become easier just because external obstacles are removed.

Grade: A