(This film review of “Where Hands Touch” appeared in the Australian Jewish News on 28 March 2019.)
Directed and written by Amma Asante; starring Amandla Stenberg, George MacKay, Abbie Cornish, Christopher Eccleston and Tom Sweet
Few film directors specialise in portraying inter-racial couples in historic contexts. British filmmaker Amma Asante – who is black and born in Ghana – has, first with the award-winning “Belle” (2013), which told the true story of an 18th century enslaved West Indian woman who married a British navy officer and entered high society. Asante followed with “United Kingdom” (2016), another true story of an inter-racial couple in the immediate post Second World War period: an heir to the throne of African country Bechuanaland meets and marries a white British woman.
In “Where Hands Touch” – Asante’s third inter-racial romantic outing – the director turns her attention away from her home territory of British race relations to one far more fraught: Germany in the last years of the Second World War. She has chosen a small but fascinating part of history: children of colour who were born and raised in Nazi Germany, counter-posing the story to the Holocaust and persecution of Jews.
The film is ambitious, well-produced, earnest, well-meaning and attempts a high degree of sensitivity to its subject. Location shooting in Belgium and the Ile of Man capture mid-20th century Germany. However, screening the Holocaust – even as a tangential theme – is fraught even when film-makers are steeped in knowledge, which Asante is not.
The film starts in 1944 Nazi Germany: 15 year old Leyna Shlegel (Amandla Stenberg, from “The Hate You Give”) has a German mother, Kerstin, played by Australian actress Abbie Cornish (“Candy”, “Somersault”). Her absent black African father was a French soldier, and Leyna has grown up – uncomfortably – in Germany with dark skin. Kerstin decides to move the family (including her fully German younger son) from their Rhineland provincial city to Berlin, thinking it will be easier for her bi-racial daughter.
Bad move. Berlin – as the headquarters of the German state – is, if anything worse, and Leyna is systematically excluded from school and almost all aspects of public life. Using family connections, Kerstin tries to ensure that Leyna is not jailed or sterilised (or both): the Nazi state has some awareness of not wanting to offend the German parents of “non Aryans”, but it’s not much.
Leyna is forced to start factory work with her mother. Through a series of coincidences, Leyna meets – and yes – falls in love with Lutz (British actor George MacKay), an active and rising member of the Hitler youth corps, whose father is a rising Nazi administrator. What future for these two young lovers?
To its credit, “Where Hands Touch” shows the ultimate destination of minorities in Nazi Germany: Leyna does end up in a concentration camp, dehumanised and abused. Director Asante has countered criticism of her film and been at pains to state that she has not tried to diminish the Jewish experience of the Holocaust, but to illustrate the experience of Romani people, disabled people and other outcasts under Nazi rule. In that purpose she achieves some success. The film tries to raise the questions: what exactly is identity, national and racial, and where do they cross over?
Historically, parts of “Where Hands Touch” don’t add up: it’s unlikely – as this film depicts – that Jews were still wandering around openly in Berlin in 1944 wearing yellow stars. The plot contains too many coincidences, and there’s an element of emotional “clunkiness” to how the story unfolds.
Dramatic acting – particularly by Stenberg and Cornish – is strong, but not enough to overcome an over-ambitious and underwritten film.