Tous les autres s'appellent Ali

This is the film which made the greatest impression on me ever. As a young serviceman stationed in West Germany throughout the 1970's & 80's I used to watch a great deal of German Television, to try and understand the German people and their culture.

One night,wife and children asleep, I happened upon: "Ein Film von Rainer Werner Fassbinder"

What a revelation!! Suddenly here was a film which showed all human life in its most passionate, desperate, vital but delicate form.

It certainly made a great impression on me and even now, 26 years later, I can still see, feel and react to each thought, idea aand feeling that coursed through me at that time.

Truly a wonderful film and a genius of a director.

It helped me understand love.

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.

First of all, this film has definitely the best (German) movie title ever. It loses much of its power when it's translated but in German it is absolutely fascinating.

On the other hand, Fassbinder's movies and especially this one are not untranslatable, which is positive. The story about a love (is it?) between two people of different age and origin is universal and, though set in a very xenophobe and intolerant Germany, should be understood by everybody all over the world. Fassbinder is a master in guiding his actors so they can they play naturally and believably without using a particular local accent or slang that is probably more realistic.

I do not completely agree with the film's utterly pessimistic view on practically all the characters in the movie; I think his portray of contemporary society is a little bit exaggerated (and it was even twenty-five years ago). However, I acknowledge that by means of exaggerating like this, Fassbinder makes his criticism clear and evokes a particularly bad feeling (of guilt?) in the viewer's belly. While the story is rather sad, it includes a lot of (sarcastic) side-swipes on society as it is.

Angst essen Seele auf (oh, this is a marvellous title!) is maybe a more silent version of Harold and Maude; more silent but not less interesting.

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.

Munich, in the mid-70s: She enters the exotic bar because it's raining and maybe because she's a little curious what this place with that strange music is like. He asks her for a dance because his friends tell him to do so. He accompanies her home. He stays for the night. The fall in love. They marry.

All that sounds like your average Hollywood romance. But that's only half the story of 'Fear Eats the Soul'. Here's the other half: She, Emmi Kurowski, is a 60 year old, widowed cleaner, mother of three married children. He, Ali, is a black foreign worker from Morocco, 20 years younger than her, speaking a rather bad German (a more faithful translation of the German original title 'Angst essen Seele auf', a quote from Ali, would be 'Fear Eat Soul'). This film is not a cheesy romance, it is the story of two people who love each other and struggle with the rest of the world to be accepted.

But the people around them have problems. The neighbors are talking about them, Emmi's colleagues ignore her, the merchant refuses to serve them, and Emmi's children don't want to understand it - her son Bruno even destroys the TV set in his anger.

Rainer Werner Fassbinder is arguably the greatest German director ever, and with more than 40 films, TV series, TV films plus 16 theater plays he wrote, directed and often also (co-)starred in in a career that lasted only a mere 15 years, he is certainly one of the most efficient directors in film history. His best films are a criticism of German society after World War II by simple, but memorable stories with very well observed characters. And 'Fear Eats the Soul' displays Fassbinder's qualities best. In very simple shots (facial expressions, the use doors to stress the loneliness of his characters), he makes this films very emotional.

The film is sometimes described as naive. That's wrong. Maybe it is naive to believe that a 60 year old widow and a black 40 year old worker will fall in love. But the rest is as well-observed as a film can be: The fact that people's reactions change when they realize that it's easier to accept them and take advantage of them. That Emmi eagerly joins her colleagues as soon as they have found a new victim. That Ali goes to the waitress of his bar to get the two things Emmi can't give him - sex and his favorite dish.

And then the film has some amazing acting. But from the entire cast, Brigitte Mira as Emmi Kurowski stands out. Actually a comedic actress, she shines in this drama as a woman who struggles for acceptance. Her speech outside a restaurant, when all the waiters stare at them but don't serve them, is heartbreaking, her entire performance is unforgettable.

At first sight, 'Fear Eats the Soul' is a small, simple romantic film. But look closer and you'll see it is so much more, it is a comment on subliminal prejudices and selfishness. It shows what a film can do, even if its budget is tiny, if it only believes in the power of its story.