Some crowded Parisian atmosphere and the burnished presence of Omar Sharif make this coming-of-age tale a pleasure. It's the early 1960s, and an adolescent Jewish boy (Pierre Boulanger), mostly left to his own devices by an ineffectual father, makes friends with the worldly wise Persian man (Sharif) who runs a small neighborhood grocery. The kid's fumbling experiences with sexual curiosity are the reliable stuff of many a French movie, but the unlikely friendship of young Jew and old Muslim make for an offbeat through-line. Francois Dupeyron's film shifts gears in its final section, moving from its flavorful location and into the wide-open spaces, and it goes on too long with too many pieces of advice. But overall this is a warm and winning experience, with Omar Sharif holding an instructive class in the power of understated movie-star charisma.
--Robert Horton
1 En Enjoyable and Heart Warming Film
The story of an alienated youth discovering the lessons of life from an older mentor is a common plotline in both film and literature, and it's a plotline we seem to never tire of seeing or reading. The key is telling a story in an original way. This is probably why MONSEUR IBRAHIM succeeds. The film is set in 1960's France and it tells the story of a young Jewish teen named Moses, who is a lost soul of sorts. He had a distant father who abandons him and later dies in an apparent suicide. He has been deserted by his mother as well, and there is an ambiguous missing "Paulie" who is his brother. Moses is not living up to Paulie's status, though we never know if Paulie existed (keep in mind this is a French film). Moses is left to his own devises much of the time which leads him into petty thievery from a neighborhood grocery store and some hookups with the local prostitutes. He strikes up an unlikely friendship with the neighborhood "Arab" grocery store owner Ibrahim played by the legendary Omar Shariff. He is a Sufi Muslim who takes Moses under his wing and later adopts him, teaching him the lessons of his faith more by exposure and example rather than words. He is nurturing but this is all done in a rather unsentimental way.
The film is short (approx. 90 minutes) and its brevity may be the problem. The Paulie situation is never resolved and the ending is somewhat unsatisfying, but these flaws by no means ruin the story and it is an overall enjoyable film.
2 Sometimes No Answer is the "Answer"
Monsieur Ibrahim is a fine movie, full of subtle moments, dialog and meaning. The little hints that Monsieur Ibrahim gives to Momo, the Kid are full of infinite wisdom that captures the viewer. It compells the viewer to watch this movie over again and again to capture the words, the eye contact between a Father (like person) and a son....! Omar Sharif has outdone himself once again and Pierre Boulanger has delivered a great performance.
Watch this movie to learn something little about the art of living - as Monsieur Ibrahim says, "Sometimes no answer is The Answer"....
3 Growing up with Monsieur Ibrahim: One of Sharif's Best
After the critical and commercial debacle of '13 Warriors,' Omar Sharif made a public announcement to retire, disgusted with the meaningless roles he had to endure. But he came back -- well, many do after all -- but with a good reason this time, namely, to play Monsieur Ibrahim, a Turkish grocery store owner who teaches a few precious things about life to a Jewish boy living across the street.
Though the film is partly a parable about the relation between two peoples (as Timmy Thomas song 'Why Can't We Live Together' implies at the opening), it is basically about the two characters -- Ibrahim, an aged store owner who watches over a teenage boy 'Momo' played effectively by a newcomer Pierre Boulanger.
13-year-old Jewish boy Momo is living in Blue Street, Paris, in the early 60s, where many women stand in the street, waiting for their 'customers.' In there, Momo is rapidly growing, sexually or otherwise. But his father, not without love for him, is too busy about something else, and does not notice it.
But M. Ibrahim (Sharif, in great form) running a store across the street knows it, and even is aware that Momo is frequently shoplifting food from his shelves. Ibrahim seems to know everything about him, the boy starts to sense, and Momo begins to be interested in this old man.
The short film (about 95 mins) are too episodic, and not every element goes well together. The film often becomes sentimental especially the last chapter, and if you do not see carefully, you might miss the cameo of one French star (as ... the Star ... why not, anyway).
But the film has one great thing about it, the star presence of Omar Sharif, who literally shines like one. He becomes Ibarahim, immigrant from Turkey, and Monsieur's lessons on life, which in themselves are not specially new, begin to sound authentic with Sharif's voice. It is as if the real Sharif has become the teacher to the real Boulanger. and we are watching it.
Despite the sudden ending that I think need more tact, 'Monsieur Ibrahim' is still a little gem that does not need explanations. Watch this, see how the youth meets wisdom and experience, and follow the path where these two characters would travel.
4 eternal
an intensely thoughtful and touching story that completely envelopes the viewer into another time and place that seem so familiar.
A film filled with wonder, heartache, passion and hope.
Masterful story-telling through film.
5 Wonderful! Deeply touching! Rated: 5 SMILES
I just finished watching this film and am deeply touched. In fact, I've difficulty getting my thoughts back on track for this review, I am just so overwhelmed. Yes I read the interesting reviews here, thus chose to rent it, but I did not expect it to be THAT good. But I need to write at least a few words so that I can give it my stamp of FIVE SMILES, and let you know what a wonderful, peaceful, colorful, cosmic, loving, movie this is... and as soon as I am finished writing about it, I shall go buy it because this one is definitely a keeper, a wondrous trip through time and space you want to experience more than once... like each time "tristesse" punches you in the gut and you need a little pick me up to reaffirm your faith in the goodness of the human heart.
Omar Sharif as Monsieur Ibrahim, gives a totally sincere, and great, performance. He has gracefully graduated from the handsome heartbreaker he was in Dr. Jhivago, to the elderly, wise, warm-hearted Turkish grocery store-owner, of the Sufi faith, living in Paris. If he is the product of Sufism, then, henceforth, I shall be a Sufi.... By the way, I noticed that some of the reviewers here thought he is a Persian. No! He is a Turk, from a remote village deep in Anatolia. Probably, the fact that he is of the Sufi branch of Islam, might have caused this assumption. His roots becomes very clear during his silently emotional and panoramic return to his home town in Turkey. Three wonderful scenes that go a long way in introducing the tolerant spirit of Turkey: when he brings his adopted son Momo, to visit the Orthodox Church, then the Catholic Church, and then aan Islamic mosque, in ISTANBUL.
Pierre Boulanger as the young "Momo", aka Moses Schmitt, a Jewish adolescent boy abandoned by his mom and later on in the movie, by his dad, gives a riveting performance. He is believable, even in how he holds back his emotions ... yes, even when his long-lost mom shows up unexpectedly, and he, remains outwardly cold, unaffected, and denies her the reunion she is seeking. But, somehow, I felt that I could hear his thumping heart, his will to steel himself against further heartbreak, and his determination to go on with his life.
There is more to write about Monsieur Ibrahim, and I hope to continue it tomorrow. But for now, while I am about to run back and hit the Play button on my dvd player for a second viewing, let me repeat: wonderful, deeply touching movie worthy of 5 SMILES. Enjoy!
6 Mysticism in the Movie
I think this was a great movie. First of all, in the movie Mr. Ibrahim was from Turkey, and they had a trip to Turkey: they have been to Istanbul, Kapadokya..
I believe that there is an important part in the movie, which I think none of the reviewers touched. The friendship of a Muslim and a Jewish is sth that may solve all the problems of Middle East now. The song at the end of the movie says sth like this: Why can't we be friends??...
From that perspective, this movie proves that when people are left by themselves (not manipulated by the governments or media), it doesn't matter being a Jewish or Muslim, they can live peacefully together anywhere anytime..
The other important point is the way that Mr. Ibrahim was looking at life.. 1) You can find happiness wherever you look (It doesn't matter where you are or what you are doing) 2) You shouldn't hang on life too strongly (such as desires to be rich or be a very important person), or you may miss the fun in it, you should take it slowly, and enjoy it every second possible 3) Never have prejudice to people with other religion, at the end they all come to the same place 4) Be kind and good!
I think this was a great movie, and they also mentioned the Sufism (a belief system in Islam, I don't know it very well but maybe you may have heard Mevlana, Celaleddin Rumi, he was the greatest Sufi).
The other things in the movie were just a storyline, from my perspective, and don't deserve to be commented on when there are more mystical things there.
gullo
7 Touching film, but questions abound
MONSIEUR IBRAHIM is a warm and tender coming-of-age film that, although it stakes out no new territory, is still worth watching.
Pierre Boulanger as the young "Momo" offers a good performance as a teenager who has been abandoned by everyone, even the father with whom he lives before the father's semi-tragic and not entirely unpredictable suicide. The only person who shows him any tenderness is "the Arab" across the street (who's actually Persian), and the two quickly become friends.
If this had been a Hollywood film, the moral questions of Momo's visits to the prostitutes would have been addressed, and that *may* have made for a stronger film. (How odd - saying that a Hollywood touch to a foreign film may have made it better. That's unusual.) After all, it's a rare 16 year old boy who doesn't feel some sense of compunction about visiting prostitutes - or else I'm entirely out of touch with morality. But in a way I'm glad those questions weren't addressed, because it allowed us to see other aspects of his character.
While watching the film I wasn't particularly troubled at the lack of emotion Momo displayed when his mother came to claim him (and he pretended he was someone else), but I am now. I'm not suggesting that he should have fallen apart, but all we see are his denials to her and never his emotions. There isn't a chance in the world that her visit didn't stir up some extremely powerful emotions in him. After all, he'd just seen his "girlfriend" cheating on him, his father walked out on him, and then learned of his father's suicide. These are moving events, to put it lightly. I feel he should have been more affected.
Other questions bother me. All those years at the storefront, and "the Arab" elects Momo to befriend and later adopt. Why? I suppose the easy answer is that opportunity hadn't presented itself before, but that's a little tough to swallow.
The film was sumptuously shot. The insides of Momo's apartment were perfectly detailed, and leant enormous credibility to the story. Setting means much in film.
Questions aside, this was a good movie, and I would recommend it to anyone who enjoys coming-of-age stories (which seem to, at this point, require their own separate genre).
8 Other films have done it better...
"Monsieur Ibrahim" does have its moments, to be sure, and there are some charming similarities to the far superior "Les Quatre Cents Coups" of the French New Wave. But the film lost me a little with its sanitized view of sex (all the sex the boy has in the movie, and not once does he get a venereal disease, or get someone pregnant, or have any real regrets after visiting prostitutes{all of whom seem to have hearts of gold}). The film wraps up quickly with only a vague sense of growth in the boy turned man. A much better road movie (though different in many respects) is "Central Station." Better screenplay, better story, deeper meaning.
But, yes, it was great to see Omar again. Hope to see more of him soon.
9 Moses and the working girls
MONSIEUR IBRAHIM features a teenage boy growing up on a street lined with curbside hookers. Oh, to be young again!
Young Moses (Pierre Boulanger), aka "Momo", lives in a Parisian apartment in the 1960s with his emotionally distant father (Gilbert Melki). Though he does go to school, Momo's chief responsibility seems to be shopping, cooking, and keeping house for Ol' Dad while the latter is off at his 9 to 5. Moses doesn't remember his mother or an older brother, the former ostensibly dead and the latter off somewhere. Momo is left pretty much to himself, and, though he has a crush on the red-headed Myriam (Lola Naynmark), a girl his age who lives downstairs, the boy spends most of his time watching the prostitutes who solicit trade on the street outside his tenement. On his 16th birthday, Momo decides to do rather than watch, breaks open his piggy bank, and, using his life's savings plus some of his father's grocery money, is relieved of his virginity by Sylvie (Anne Suarez). Thirty-five francs well spent.
One day, Dad announces that he's lost his job, and subsequently abandons his son. The police eventually arrive to announce that they found the man's body on the railroad tracks, an apparent suicide. Momo continues to keep the apartment, but sells piecemeal all of a large family library to finance both his food needs and visits to the soiled doves. Nourishment he buys from a small grocery across the street run by an aging Muslim, Monsieur Ibrahim (Omar Sharif), who is himself alone. Ibrahim adopts the boy, buys a flashy red sports convertible, and takes driving lessons. Then, the two set off on a cross-country journey by car to Ibrahim's far off homeland, the Golden Crescent (between Turkey and Persia).
MONSIEUR IBRAHIM is both a coming-of-age and a road story that takes place in a more innocent time. Nowadays, an old geezer taking off with a teenage boy would bring out the Child Protection Squad. But the relationship between the two becomes the father-son bond that Momo never had with his real parent. And, by the film's conclusion, it's Ibrahim's wisdom from the Koran, his kindness, and his generosity that stamp Moses for life.
This film is a gentle tale with a low-key ending, but nothing extraordinary. I kept waiting for something clever or profound to happen. Since the road trip to Asia Minor seemed farfetched, perhaps it might have been a better story about Momo if the two had remained in Paris and Ibrahim had taught the lad to cope with life around him as it was rather than off in exotic locales, where it seemed more about Ibrahim than the other. Having said that, though, it was good to see Omar Sharif on the Big Screen again. Where has he been all these years since imparting the wisdom of the desert to Peter O'Toole in LAWRENCE OF ARABIA?
10 Charming
Gotta love Omar Shariff in this piece about an elderly Muslim Storekeeper who becomes a friend and father-figure to a Jewish teenager who is coping with a tough family life, raging hormones, and his own identity.
This film was nearly perfect up until the end, which I felt was a bit overdramatized. Still, this is a charmer, and a potential tear-jerker for all of you drama fans.
11 starmaking performance
"Monsieur Ibrahim" is a fine coming-of-age tale set in 1960's Paris. Young Pierre Boulanger gives a remarkably assured performance as Moses, a Jewish teen living with his cold, skinflint of a dad in a less-than-savory part of town. Abandoned by his mother and living in the shadow of a brother who has himself fled the scene, Moses leads an embittered existence, seeking surcease in the beds of the local prostitutes who ply their trade on the street where he lives. Moses is finally befriended by an aged shopkeeper named Ibrahim Demirdji, a Safi Muslim who, after Moses' father commits suicide, adopts the boy and instills in him valuable life lessons, gleaned from his religious training and his long years of experience.
In terms of its storyline, "Monsieur Ibrahim" offers little that is new here (the idea of an older mentor figure raising an orphan child of a different religion goes at least as far back as "The Two of Us" in 1968 and probably much further) . Where it excels is in its tenderhearted view of daily life and in its subtle plea for understanding between Arab and Jew. Moses is an almost heartbreakingly ordinary kid, a fact which makes his story all the more compelling (he has much of the rough-and-tumble poignancy of the boy in "The 400 Blows"). We can identify with every emotion he is going through on his painful journey to adulthood: his fears, his insecurities, his need for acceptance, his appreciation of simple kindnesses. Moses lives in a world where life can sometimes be cruel, but where fellow human beings reach out to help one another in their moments of greatest need.
This is a beautiful, heartfelt film that doesn't stand on its head to try and impress us. It seeps into our hearts one scene at a time, until, by the end, we realize what a profound emotional impact it has had on us. Veteran actor Omar Sharif is wonderful as the solid and wise Monsieur Ibrahim, but it is Boulanger who is the real revelation here. This amazing young actor is the true heart and soul of the film, an absolute natural. He is very rarely off screen, and he rivets our attention on his character in a way that most highly paid movie actors can merely dream about doing. I hope he makes many more films in the future.
12 Monseiur Ibrahim
Great movie.The best out of France in a long time.Plot ,acting,directing TOPS !
13 Fantastique
This French film is a charming tale of a boy coming of age during the 1960's while living in Paris.
The story takes place on a busy little "blue" street in Paris during the 60's. A Jewish boy looks out his window each day awaiting his father's return from work and he sees the hustle and bustle of his neighborhood street come alive before his young eyes. He is on the verge of growing up and is fascinated by the street women and what they offer. Along the way he befriends an "Arab," the man who runs the corner grocery from Monday-Sunday. Together these two souls create a world as one, forgetting their age differences, religious differences and their placement in society. It is a lovely tale of growing up and finding true inspiration without the influence of anything but the heart.
Omar Sharif is marvelous as the older Arab man, he is allowed to look older and scruffy rather than all dolled up in this quiet role. His smile is ever present and he portrays his role with great character. Playing the young man is Pierre Boulanger; a brilliant young French actor who I predict is going places. Boulanger is the perfect blend of innocence and youthful desire, handsome enough to be attractive as a man but boyish enough to still be naively curious. Together these actors form a wonderful team of youth and wisdom beyond what is captured on the screen.
This film is relevant for today showing the perfect blend that can be found within cultural, religious and age differences when two people accept one another without prejudice. The message is clear, we are really one. This movie may be on the simple side but the idea is as complicated as growing up. With Paris as the backdrop of this striking tale it is impossible to fall short in the point it delivers.
14 My favorite film of 2003
I am not a great fan of French films but "Monsieur Ibrahim and the Flowers of the Koran" (the full title) is easily my favorite film of 2003. The English subtitles are nicely done and do not distract from the film. The story is one of relationship and mentoring, between and old Turk and a teenage Jewish boy. Not an overly verbose film, the conversation between the two is often beautiful.
Rather than go into detail about the storyline (after all, this is a review, not a synopsis) I suggest one take an hour and a half out of one's day and let the story reveal itself. A good DVD to purchase as the bonus commentary allowed me to really appreciate the work put into the film. Highly recommended!
15 Quite surprising little film with a charm that lingers after
I was drawn to this film by Omar Sharif who made my heart beat in Dr. Zhivago when I was in high school so many years ago. His performance is outstanding and the young boy is also very convincing. The film is very characteristically French and looks very much like Paris. The story is somewhat typical of French coming of age films, but the differences in religion between the boy and the older man make it somewhat different. The car trip taken to the 'Golden Horn' by the boy and M. Ibrahim ties up the film nicely as the older Muslim adopts the Jewish boy at his request, after he has been abandoned by both his mother and his father, whose suicide is only the most formala part of his earlier taken departure. The boy is able to con all the neighborhood 'putes' to giving him sexual favors though he is clearly not yet of age, and generally, he learns how to be happy and relate to others through his relationship with M. Ibrahim. Not to miss, gentle, very meaningful film
16 The film is not about religion. It is about relationships.
Set in the late 1950s, this 2003 French film tells the story of a lonely teenager and the elderly Turkish shopkeeper who befriends him. Pierre Boulanger, who plays the teenager is supposed to be Jewish, but there was nothing specifically Jewish about him. I think the writer made him Jewish only because of showing the contrast with the Muslim shopkeeper who is always reading the Koran.
However, this film is not about religion. It is about relationships. And, with Omar Sharif, now 71 years old, cast in the role of the shopkeeper, the audience is treated to some really fine acting and some very moving scenes. (As an aside here, I know it was silly of me but I was surprised that Omar Sharif spoke French.)
There is a sense of sadness throughout the film as we see the young boy living with his morose and uncaring father. Even his romantic experiences with the local prostitutes have pathos to it. And then when he is rejected by a local girl of his own age, we all feel his pain.
We smile when the old man buys a sports car. We smile even more when he has to learn to drive. And we are enchanted as the boy and the old man take a motor trip to the old man's native Turkey. Again, I was reminded how it is actually possible to transverse Europe by car and I yearned for the open road myself in those scenes, which basically just showed the sky and the voice of the old man describing the countries they passed through.
Sometimes I found the film a bit slow but I was able to relax and get into it. Often I found it sad. There was a mood throughout that made the ending inevitable. And there were pieces of the back-story that seemed to be missing. However, I did enjoy this slice of life as created by a good director and actors. But this is not a film for everyone and so I recommend it for those film buffs who can appreciate a good mood piece.
17 "They spin around their hearts."
A young, motherless Jewish boy, Moses "Momo" Schmitt lives with his dour, unpleasant father in a Parisian slum. Moses is left to his own devices for most of the time and as an ex-facto housekeeper, he's expected to clean the apartment, buy all the food and cook and serve the meals. Evenings begin with Mr. Schmitt arriving home, and turning off whatever music Moses is listening to. After Mr. Schmitt tersely diminishes Moses by some comment, the rest of the time is spent in silence.
Moses shops at the local corner shop owned by, Ibrahim Deneji (Omar Sharif). There's an air of negative mystique to Ibrahim. Mr. Schmitt refers to him as "the Arab", and that's how Moses sees him too until Ibrahim one day makes a startling comment. Moses and Ibrahim form a bond, and Ibrahim assumes the male role model that Moses never had.
If this film sounds corny, it isn't. Somehow it manages to avoid all the old tired cliches, and the film's message is fresh and sincere. Many films would stress the Jewish/Arab friendship, and while that element exists, the story transcends to a much higher level. Ibrahim and Moses are two humans cast out into loneliness who find each other and connect. Formal religion is largely overlooked--although Moses is attracted to the Koran as Ibrahim states that the reason he is so content with life is thanks to the Koran. Ibrahim explains his beliefs, but he's not pushy about it. Ibrahim is Muslim, and he's also a Sufi. He's managed to reach the rare state of contentment, and Moses is attracted to Ibrahim's spirituality as much as anything else.
"Monsieur Ibrahim" is Omar Sharif's film. He delivers an extraordinary performance as the aging shopkeeper. He possesses depths of character which are explored as the film progresses, and Sharif plays with role with exquisite grace and containment. The film begins as a fairly standard coming-of-age story replete with Moses ogling Parisian streetwalkers. But once the film shifts into the relationship between Moses and Ibrahim, the story is at once solid and meaningful. I don't think you have to be a foreign film fan to find this film's appeal--displacedhuman
18 about saints who dare to be normal
Don't get me wrong this is not a religious movie but the undercurrent of religion flows through out the movie. This is the true depiction of Islam as not taught by the Baptist church. Islam has a very soft side and we fail to see it but the movie does a wonderful depiction of Sufism. Omar Sharif does wonders with his role - you has seen the young Omar Sharif and now it is time for the old Omar Sharif. He has a class which puts him heads and shoulders above rest of the actors and this movie is no different. Pierre Boulanger has also given us an extremely mature performance. Photography is excellent. The back ground music just binds all these together. Omar Sharif reminds me of the characters from Naguid Mahfouze?s books.
this is about a French Jewish boy and his adopted father (notice not adopted son) Ibrahim - from inner city Paris to rural Turkey everything is in the palatte and they mix seamlessly. I just loved it. If you have liked Cinema Paradiso then you will love this movie.
19 Tres belle- Perfect Antidote to Summer Blockbusters
"This is the first time I've seen you rent a foreign language film on your own", said my wife, knowing I usually need heckling to watch something without frequent explosions or some sci-fi "high concept". I think that after recently reviewing I, Robot, Harry Potter III and The Day After Tomorrow I needed a change of pace and watching this beautiful film was a thoroughly pleasant way to spend a Sunday evening.
This is a coming-of-age movie set in 1960s Paris about a young Jewish boy, Moses (Momo), with a rapidly-dwindling immediate family and his burgeoning friendship with local Sufi Muslim corner shop keeper, the titular Monsieur Ibrahim. The kid is charming but probably won't be changing any of your prejudices about French teenagers when he becomes the local prostitutes' favourite and romances the girl next door.
Sharif shines as Ibrahim, coming on like the friendly uncle you never had, dispensing sage advice to young Momo just when he needs it most. And although there is tragedy lurking behind both protagonists' lives, the film is never maudlin and raises your spirits at the most unlikely times. There are also many gently comic moments such as the menu Momo and Ibrahim put together for Momo's vindictive father or trying to buy a new car with cash. People in the film tend to receive their karmic comeuppance without it seeming too forced or far-fetched.
This is a moving, gentle film about the importance of friendship and spirituality. Although set some forty years ago, the message you get at the end is that these things are just as important today and the cyclic nature of history. I thoroughly recommend this film who feels they've overdosed on Hollywood lately and wants a different kind of escapism and assurance on human nature.
20 A well-told tale
A beautiful story, well-told without revealing all. The viewer is offered the opportunity to be as curious as the characters.
21 Awesome
Monsieur Ibraham is an enjoyable coming of age movie. It's the French version of Cinema Paradiso. The acting is superb, especially Sharif (I didnt know he jnew French) An awesome film that will put a smile on your face.
22 SHARIF STILL HAS IT IN SPADES..
Monsieur Ibrahim could have so easily been played out as a timid father-son buddy flick, but while it is not a singularly unusual tale, it does carry a decent measure of frolic and sentiment.
Sharif as an elderly Muslim immigrant grocer in Paris knocks one out of the park with his bravura performance. His charisma is infectious as he spews aphorisms left and right. And his counterpart, a young boy going astray, does a poignant turn of coming of age. As he explores his budding sexuality and navigates the trials of his first love, he comes into the sphere of the elderly grocer's friendship and some interesting interactions ensue.
The first 60% of the movie contains several small pleasures, including the boy's interaction with "worker" women , the way he and the grocer play trivial tricks on his father, his infatuation with a local girl, and his trip to buy a new car. Unfortunately, the movie pretty much loses its way after that, as the two protagonists take to the road for a trip to Turkey.
The ending is ambiguous in an unsatisfying way, and, although there is a definitive denouement, I left the film not seeming to care as much about the fates of the protagonists as I would have liked to.
Yet, for its enthralling views of Turkey and the fun histrionics of Sharif, I'd surely recommend this as a decent rental. One wonders if it would stand to a second viewing though.
23 Quiet Wisdom
MONSIEUR IBRAHIM AND THE FLOWERS OF THE KORAN is an exquisite little film. The story is rather simple on the surface: a 16 year old Jewish boy (Moses Schmitt in an extraordinary portrayal by Pierre Boulanger) is coming of age on Blue Street in Paris (a street that features prostitutes plying their wares) in the late 1950s - early 1960s. His mother deserted both his distant and damaged father (Gilbert Melki) and Moses very early in life and Moses must find his way into adulthood on his own - until he gets to know the 'Arab' (actually an elder Muslim) at the corner grocery (Monsieur Ibrahim brilliantly brought to glowing life by Omar Sharif). To survive, Moses 'shoplifts' food until M. Ibrahim tells him to take what he wants, knowing that his father deprives him of nearly everything. The old man is as gentle and calm and serene ("I know what is in my Koran") as Moses is angry and eager to taste life. Moses uses saved pennies to buy his first sexual encounter with one of the prostitutes and is gradually befriended by many of the 'heart of gold' streetwalkers. Slowly Moses and M. Ibrahim are bond and when Moses' father deserts him and commits suicide, M. Ibrahim adopts him, buys a sporty little car and the two are off on a road trip to Turkey (Ibrahim's Persian home). As the two bond the boy learns much from the spiritually aware old man and we, as the observers, learn much about the differences and similarities of Judaism, Islam, pantheism, and all manifestations of spirtuality. The ending is somewhat predictable but that doesn't diminish the impact of the film. This burnished atmosphere of trust and love is magic in the hands of Director Francois Dupeyron and the performances by Sharif and Boulanger are beautifully nuanced and understated. Even the prostitutes are individuals, not archetypes, and are allowed to deliver tender portrayals of the Oldest Profession. The only problems with this movie are in the apparently important threads, such as the father's constant mention of 'Paulie' (Moses' brother) who by the end of the story never existed, and in the development of the road trip which veers a bit too far off course to maintain the otherwise perfect momentum. But small tarnishes, these, and not important enough to prevent this movie as being placed among the more important films of the past year or so. Highly Recommended.
24 Sweet and engaging, but a bit too short and sketchy...
The coming-of-age movie is a really tricky thing to pull off. Most of them are either raunchy and vapid, and then others are too introspective and just cloying. Well, this lightweight of a French film, which has gotten rave reviews for Sharif's justifiably great performance, is a little bit of both and - in the end - neither. Ibrahim begins with a toe-tapping, swingin' 60's soundtrack as Moses Schmitt (Pierre Boulanger) practices pickup lines for hookers, and for a while it does seem like a New Wave-inspired flick complete with handheld camera angles and a negletive father. Schmitt, a Jew, soon picks up with the local grocer (Sharif, the title character) who happens to be a Muslim, and as their strange friendship develops, director Duperyon's adaptation reaches high for themes of clashing religion and the shared experiences of the young and old. And for the most part, Ibrahim is an enjoyable ride. I enjoyed its light feel, Boulanger's breakout performance, and the fact that the kid is the uptight cynic and Sharif's Ibrahim turns out to be the wide-eyed life-lover.
Unfortunately, though, Ibrahim just can't juggle all of its plot strands and be a truly meaningful film in the end - the neglectful father leaves and Ibrahim adopts, Schmitt's mother drops in, the new father and son take a (lazily edited) road trip...and then the movie ends in a tragedy that you'll see coming a mile away. The movie's short and harmless, by all means, but the movie just doesn't make sense in an emotional way; we never see enough of the developing friendship of Schmitt and Boulanger. And the final tragedy? Well, the dialogue is so ham-handed it seems ripped straight from a novel (which it probably was). As much as I admired and enjoyed the light tone of Ibrahim, intelligently laced with a current of sadness beneath, it never can let the two coexist and just ends up being disappointing. GRADE: B-
25 Wonderful film.
I believe that this is the best film of the year. It was just recently released into the main theater run, but before that it was in the art theater circle for a few weeks. Omar Sharif is fantastic, and Pierre Boulanger who was introduced in this movie is sure to have a future ahead of him.
While it is rated R, I don't believe that gives the film justice. There are some sexual references early in the movie, but barely any language and no violence, and there is a wonderful message that can be understood equally by children and adults. The ending, however, is a bit sad and may be too much for some kids.
26 A tale of acceptance vs. yearning
"Monsieur Ibrahim" is a film where the two main subjects absolutely ponder one all-important question: "Would I rather be poor and happy, or would I prefer to be poor and unhappy?". This question is built around the central storyline of the movie, as well as the above subjects striving toward attaining any sort of purpose for their existence. As we find out, the elder subject, Monsieur Ibrahim (Omar Sharif), is quite content with his existence, getting satisfaction in running a small "grocery" shop while helping out "...Ibrahim"'s other main subject, Moses (or "Momo", as certain elders refer to him), who, in the movie, is 14 years of age when Momo's and Ibrahim's paths first cross. Momo (Pierre Boulanger), while living with & helping out his father, finds a valuable friend & confidant in Ibrahim, and finds out there's more to life than monetary posessions (& fast women!). Ibrahim's grand wisdom and religious belief(s) hopes to get his newfound young friend to see the big picture, and to help Momo gain a valuable insight on the philosophical side of life, traits Ibrahim believes which will carry a person further than anything else in life, beyond fame & money. Momo, precarious, vibrant youngster that he is, would really rather experience the world through his own vaguely wandering eyes, through images of sexual lust and a desire to be popular. These images enable our inquisitive charge to become the ultimate teenage Casanova (to the delight of wanderlust hookers on the mean streets of Paris), although, on the other hand, Momo's father sees himself as a failure who hasn't lived up to his own expectations of what a father should be to his own son, in his own exact words. Also along this journey, some other answers are hidden amogst the clouds in this vast, Euro-Asian sky, as our two protagonists become tighter & tighter with each country they travel through. As for the movie's socio-political, religious and cultural implications, these teach us that no two people have to be of the same religious background, nor be of the same ethnic race or social class to live in absolute perfect harmony (as the Turkish-Arab & French-Jewish subjects featured here would otherwise suggest as a unified whole). It is films like this whose educable value (& purpose) is to allow various opposing factions who may be at war, to take a closer look at themselves in the mirror, and realize that the actions both sides are carrying out are nothing more than acts of vain stupidity. If those religious & ethnic groups who have committed such acts of cowardice took an extremely close & careful look at "Monsieur Ibrahim", then they will have come to realize that they've also wasted a large group of human lives in the tumultuous process, causing them to say to themselves: "Gosh, golly gee, we went through all of this for nothing, and caused many a human death in the process". So, whatever definition of acceptance and yearning one is apt to take with them long after "Monsieur Ibrahim"'s effects have subsided, it is one film that will leave a large amount of satisfaction, not to mention an overabundance of smiles & tears to millions of faces around the globe. It's all happening at your local theater now, and is sure to be a must-own title to have in that all-important video/DVD library. A Sony Classics Production, featuring English subtitles.
27 "When you want to learn something, you don't open a book."
"You talk to someone."
'Monsieur Ibrahim' is filled with all sorts of wonderful, pithy little lines like that, delivered with elegance and serenity by the incomparable Omar Sharif. Seeing him in the title role of this sweet, enjoyable movie is like a gift. He has picked the perfect project to lure himself out of retirement.
Word is Sharif handpicked director Fran¨ois Dupeyron. If so, it was a coup. Dupeyron's light touch here is pitch-perfect throughout. One of Dupeyron's master strokes is the soundtrack he's assembled - it seems a perfect distallation of the era and the listening audience at the time. It's the early sixties and the listener is 16-year-old Momo. Your hear the soundtrack through his ears - picked up via scratchy AM-quality transistor radio. The feel of authenticity that adds to the movie is indescribable. For those interested, the soundtrack hasn't been released in either the US or UK, but can be tracked down on amazon's France-based site (amazon.fr). The look and feel of that site is what you're accustomed to with amazon.com, so you can order it there even if your French language skills are lacking or non-existent.
I was so compelled by the soundtrack, I just went ahead and ordered the CD as I've described above. Please note that the full name of the movie (and the original book) is "Monsieur Ibrahim et les Fleurs du Coran." I'll leave it to another reviewer to comment on why the US distributors of this neat little film decided they were better off leaving "...and the Flowers of the Koran" off the title here. Curious.
28 Those who have hears let them hear
This is a beautiful movie about the path of initiation and discipleship in the tradition of the heart found in many mystical ways and in this case in Sufism.
This movie is in the class of the "Conference of the Birds" by Attar. It is done in the tradition of great story telling that can please all, those only interested in a cute story between an old man and a young boy and for those who can read between the lines.
The initiatique transmission of wisdom is described in such a way that it will inspire those in search of their higher self. It is well indicated that true knowledge is not to be found in the books (in this case the Koran and all the books rejected by the boy in opposition to the father who is a book worm but has no knowledge of heart). The Sufi teacher keep repeating that he knows his Koran because it is in his heart.
The simplicity of the message of heart seems a lullaly for those who cannot hear as Mary Magdalene indicated in her gospel (Those who have hears, let them hear). For others they will see how the transmission is passed from teacher to disciple, helping the boy develop confidence even certitude, concentration, compassion and love.
In this movie, the teacher is all for the development of his pupil potential, for his higher self realization, beyond moral (with the good choice of the protitutes and the neighborhood in Paris) as the lotus is born of the mud (in the Budhist tradition). So the teacher respects his pupil and encourages him to experiment with his sexuality elsewhere. There is no judgment of morality, the pupil is encouraged to find himself and the goodness from his heart.
The boy is open, receptive, responsive and absorbs the wisdom. He becomes the master after walking in his footsteps.
There is a lot of wisdom packed in this movie for those pulled by their soul.
This movie is a must see.
29 Socratic Sunshine
No one can tell me the last 15 years haven't produced a profusion of films about bonds between men and male adolescents. Ever since 1990's "Iron John" identified "Father Hunger" as a national crisis, cinema has making these man/boy valentines. Their strengths and their flaws are usually the same. They present a rich bond marked by humor and an exchange of wisdom for energy, which refreshes the older party and redirects the younger. So far, so wonderful. This is the plot of "Sling Blade," "Good Will Hunting," "Treasure Planet," "Hearts in Atlantis," "Cinema Paradisio," "Second Best," "Finding Forrester," "The Adventures of Huck Finn," and many other recent films.
Whereas a film like "Man Without a Face" destroys its man/boy bond with suspicion and fears of molestation, "Monsieur Ibrahim" sails above and beyond sex, never having stopped there in the first place, except to poke gentle fun at Momo's longing for the colorful prostitutes in the Paris streets beneath his window. A world without the pesky itch of sex and the ungovernable energies it turns loose is indeed an appealing idea to anyone who has seen its dark side. The asexual avuncular bond between man and boy in this film dodges sticky questions in favor of a world of 60s music and situational humor, of sun and smiles, but in doing so has condemned itself to a certain shallowness and directionlessness.
The film is a humanist bonbon, blurring the differences between a Jewish teen and a Sufi Moslem elder in the way that is heartening and utopian. Two lonely souls find each other in "Monsieur Ibrahim," and you're likely to leave the theater kited away by the sheer joy of this. But in the real world sex and spirituality are endlessly messy and fascinating topics. They make us feel guilty as quickly as blissed out, dejected as easily as flush with hope. And sometimes it rains.
30 "A smile can work wonders."
Directed by Francois Dupeyron, MONSIEUR IBRAHIM is a delightful poignant film about friendship between two unlikely individuals. Set in Paris during the 1960's with beautiful cinematography and a soundtrack that enhances the film greatly, watching this film was a truly wonderful experience. Young Moses (nicknamed Momo) is in the prime of his adolescence. His life rarely travels outside of his neighborhood and he constantly gazes at the world from his bedroom window. His emotionally absent father is a jerk and his mother and older brother abandoned them when he was a child. Momo's life gains much significance when he befriends Ibrahim, the neighborhood shopkeeper across the street. They become unlikely friends crossing both generational and religious boundaries. Ibrahim enlightens Momo on many philosophical and religious topics. As the film progresses, Ibrahim has become both a friend and a father figure to Momo. There are many delightful and funny scenes in this film, including Ibrahim's adventures of learning how to drive and Momo's relationship with the local prostitutes. These scenes are successfully balanced with the more dire circumstances that Momo has endured throughout his young life. While watching MONSIEUR IBRAHIM the audience is easily taken through a variety of emotions, and this is a clear attribute of good filmmaking. This film's authenticity, honesty and brilliant acting took me by surprise, as I surely wasn't prepared to enjoy this film as much as I did. In the current world political climate it's wonderful to watch a film where characters that are at opposite ends of religious strife look past their differences and embrace each other. Bravo to Omar Sharif and all others who were involved in making this film. Highly recommended.
