Sentiments VS Politics; in Fear Eats The Soul And All That Heaven Allows

Ali: Fear Eats the Soul, or Angst essen Seele auf in its mother tongue, is a poetic and emotive 1974 West German film. It is considered to be director Rainer Werner Fassbinder’s homage to Douglas Sirk’s 1955 melodrama All That Heaven Allows (ATHA) and it certainly carries the same emotional weight and deceptive simplicity as Sirk’s classic. With a similar story, ATHA follows the story of an older woman scandalously falling for a younger man, much to the shock and horror of those around her. Of course, it is far more sophisticated than it was originally given credit for and touches on issues of motherhood, age and romance in one’s golden years.

Similarly, Ali follows Emmi, who falls for a Moroccan immigrant Ali. Here, however, it is not so much the age difference that horrifies them, but the fact that a respectable woman like Emma could fall for a foreigner.

Having recently rewatched Ali, some questions came to mind. This is a delicate, poetic film. Its seemingly simple plot disguises in-depth, complex questions about love, age and society’s perception of the two. What struck me was the differences between Sirk’s and Fassbinder’s approaches to the same topic. There is a huge difference not only in cultures, but also in political context and I wondered is emotion enough to express or do we need to know the politics to understand and, moreover, appreciate this film?

A divided post-war Germany was picking up the pieces of what was left of its country and culture. This time of fracture and uncertainty was reflected in the arts. In cinema, the Heist film rose to popularity as a means of forgetting a dark and painful past. The film reflected on a simpler time and simpler life, but it was full of emotion, focusing on human or romantic relationships and often showcasing beautiful German landscapes.

East Germany saw itself as better than the West and incorporated this into its cinema. It very much wanted to condemn the past and near-erase it, hoping for a clean slate and

wishing to absolve themselves of any responsibility for Nazi crimes. This mindset led to what was considered to be anti-Nazi propaganda. The West Germans had a consumerist lifestyle and generally avoided the topic of war, but didn’t try to erase it from their history. It wasn’t until the 1970s, that Germans began facing up to their past.

ATHA is submerged in American culture. There is not even the slightest reference to politics. The film does, however, in its own way, challenge American culture, particularly the notion of motherhood, sacrifice, the nuclear family and romance at all ages. It questions the stereotypes of 50s America and its attitudes to women, but does so under the guise of a simplistic and stereotypical melodrama, or ‘woman’s film’, at least from a superficial viewpoint. On the surface, this is a romantic film; it draws you into the story of love and, once it has you, subtly raises deeper questions.

Ali is almost the opposite of this story. The dialogue is simple, as well as the acting, it is so matter of fact in its approach that it almost doesn’t feel like acting; it feels more like reciting. Everything is direct and to the point. Characters tell you what they are feeling and thinking. You never have to guess. It is hard to know if this is due to German culture or some kind of political statement. Ali uses interesting if at times confusing, cinematic techniques to convey its message.

Emmi and Ali are defiant in their love. They know that society, as well as Emmi’s family and friends, do not accept their marriage and never will, but they don’t care. His friends and family are disgusted by foreigners, resenting them for ‘taking jobs’ and getting promotions ahead of ‘real’ Germans. Emmi and Ali want to be in their own world, in love and away from the difficulties of reality that they face. That is until it starts to create separation, particularly for Emmi, who has lost her community.

Suffering from stress, the couple takes a holiday and Emmi claims that everything will be fixed as soon as they return, and it is, but only because those around Emmi realise that they need her for their own personal gains. As Emmi grows closer to her old circle, she grows further from Ali, going so far as to exclude a new Eastern European girl at their place of work. An upset Ali starts to stray from his wife. However, the two ultimately reconcile, realising that their love triumphs over all. This could just be seen as a great love story, but I believe that there is more to it and when you’re watching it, you feel that, but you can’t fully put your finger on what it is.

From a cinematic point of view, the film is very fascinating. Emmi and Ali are often on their own in large spaces, mostly being looked on by people like they are an exhibition. The camera feels as though it is always pulling away from the couple, never feeling intimate despite the intimate story. Emmi vocalises how she wants to be alone with Ali and the camera allows this, even if the world they are in does not. Some shots show a city still repairing from the fallout of war and there are references to Hitler’s opulent lifestyle, so the film does hint at the Second World War, but it isn’t an integral part of the plot.

Maybe it is not the war that’s important but what remains of it in a now divided Germany. There is a lot of selfishness from those around the couple and hostility to non-Germans. Why? Is this a barrier that they need in order to repair? Are they afraid to face any foreigners after what has happened? Is this some kind of self-preservation? Is everyone just out for themselves? As soon as Ali is accepted, he is resentful. Is this because he resents everyone using Emma or does he not want to be a part of this country and culture? Is Emmi’s wanting to be alone with Ali a reflection of the isolation created in a divided nation?

As I mentioned, in the 70s Germany was starting to confront its past and I think some of this is reflected in the film. The only people that don’t care about Emmi’s romance are people of authority, her landlord and the police; representatives of a new Germany, a tolerant one. Those in charge now are not like those of the past. Despite the difficulties Emmi and Ali face, the film ends on a romantic note. Emmi and Ali slow dance in the bar, as they did on the night they met. There is hope that the two can work it out together. So too is the hope for a brighter future after a dark past.

But when we're together, we must be nice to each other. Otherwise, life's not worth living