Monsieur Ibrahim und die Blumen des Koran

In a street called Blue in a very poor neighborhood in Paris, Monsieur Ibrahim (Omar Shariff) is an old Muslin Turkish owner of a small market. He becomes friend of the teenager Jewish Moises, tenderly nicknamed Momo (Pierre Boulanger), who lives with his father in a small apartment on the other side of the street. Monsieur Ibrahim gives paternal love and teaches the knowledge of the Koran to the boy, receiving in return love and respect.

"Monsieur Ibrahim et les Fleurs du Coran" is a wonderful and sensitive tale of friendship. Omar Shariff gives one of his best performances in the role of an experienced and very good man that follows the teaching of his sacred book as his principle of life. Pierre Boulanger has also a great acting in the role of a needy teenager that finds the father he has never had in Monsieur Ibrahim. This delicate and sweet movie deserves to be watched many times, especially in those days that the viewer is down and sorrow, to enlighten his or her life. My vote is eight.

Title (Brazil): "Uma Amizade Sem Fronteiras" ("A Friendship Without Boundaries")

"Monsieur Ibrahim"

I'd read some user comments and external reviews; the view of some that it's anti-Semitic almost made me skip it. However, unless you'd see the sympathetic portrayal of a Muslim man (Ibrahim/Sharif) as being anti-Semitic, it's unlikely you'll be bothered.

I don't know what the thrust of the book is, but movies rarely literally translate books; the book may suggest but the film moves in its own direction -- even, at times, contrarily.

This film reminded me a great deal of "Le mari de la coiffeuse/The Hair Dresser's Husband") directed and co-written by Patrice Leconte. That film also has a coming of age boy; getting haircuts, he's enthralled at having his head pressed against the bosom of his female barber. When his father questions his son about what he wishes to do when he's grown up and is displeased with the answer, he sends him to bed without his supper. The rest of the film (without any clear transition) deals with the boy's fantasy about someday marrying a lady barber and what their life would be like. It's a realistic portrayal of an adolescent boy's fantasy.

On the surface this film recounts the development of a mutually satisfying father-son type relationship that develops between a Turkish shopkeeper and a coming of age boy (MoMO/Boulanger) who is Jewish, by the way.

I say "on the surface" because most films try to tell a story in a way that we experience, see and live the story from a fly on the wall perspective.

Ahh-h, but not THIS film.

While you COULD view it that way, it's really far better understood if viewed from a different perspective.

Let's say you wandered in to the shop on this Parisian street one afternoon and heard the owner called "the Arab." You wonder why and also how he got into this particular trade. You start asking and he starts telling you the story of his life.

And that's what this movie tells us -- HIS version of HIS story as experienced through HIS eyes and ears growing up. So it's a realistic portrayal of that collection of childhood memories, assumptions, distortions, and causes.

As a child, do we see things the way we'd see them as an adult? Never, and so it is with this version. Everything is somewhat overdrawn, not quite a caricature but somewhat that way. All the streetwalkers are attractive, 21-31 years old, well dressed, and kind. None middle-aged, trashy, disturbed, or predatory. As we recount the story of our lives, we frequently expand the highs and lows and are liberal in delegating blame to those who disappoint us as well as credit to those who serve as heroes. And that's what this movie does.

Seen from this frame of reference, not all events make logical sense. So we never know for sure what happened to his father, or mother, or brother. We have his sometimes conflicting memories and versions, his suppositions that substitute for reality and which leave us wondering, "Golly, I wonder what really happened?"

Some things, of course, we'll never know. But it was fun finding out what we did. We had an interesting afternoon with the guy and he had a remarkable story to tell.

One of the best pictures of all time? No. But a thoroughly entertaining one most especially for those of us interested in family dynamics.

Seldom do I buy the book because I saw the movie. I did this time around and the book is even better than the movie albeit a bit too short, although throughout the book, you will always see Omar Sharif as Ibrahim.

I went to see this without knowing too much about it and from the very beginning it succeeded in drawing me right into Rue Bleu, it was as if I could almost smell it, feel it, touch it. Why? Because we care for the characters, we feel with them, through them. Omar Sharif is just stellar as Monsieur Ibrahim and carries the story with such an ease that it is a delight to watch.

One of the most powerful scenes for me was when Ibrahim confronts Momo about the stealing. There are more but I do not want to spoil it for you. "Ibrahim" is an emotional journey that you have to be willing to make. If you do you will be well rewarded.

Highly recommendable. 9/10

It's a smooth tender story of a boy who tries to find the real meaning of life which he hadn't experienced yet. A Jewish boy, who didn't know any thing about his religion, with a miserable family life, all his aim from the beginning just to enjoy his a life as much as possible. He has been led to know Ibrahim and to recognize his special method in living, his concepts, his past and aims... I guess that Quran in this film is not meant to be "the Muslims holy book", but to be "the missing wisdom" that's must be found in one's life to live his time in a comfortable correct way, and that you must have a concept for your life style. As we see, the boy begins to sip this culture and he found the lost peace and love that he was badly needing them. After the death of Ibrahim, he vividly took his place in the store adopting his way of thinking and his life style. Omar Sharif (which has an Egyptian origin) was superb, also Pierre Boulanger was marvelous especially his way in expressing his inner feelings. The directing technique helps the feeling of 'involving' in the film atmosphere. One of the best movies at all.

Paris, France. Late 50's/early 60's. Momo is a teenager who lives alone with his father in some poor and decadent neighborhood, full of prostitutes and where people of any race and religion live together. He's a jew but he doesn't care that much about religion and what it means. In fact, he can only think about girls and sex; but he girls of his same age wouldn't have sex with him; so he hires a prostitute (and he gets keen of that -so much that he'll become close friends of some of the hookers of his street-). However, his life ain't easy at all: her mother went away years ago, his father doesn't love him ... and it's getting harder everyday; but he finds comfort and friendship in Ibrahim, a Turkish shopkeeper that will become the most relevant figure in Momo's life.

"Monsieur Ibrahim" is a movie about tolerance, about friendship, about real commitment. Every sentence that Ibrahim says to Momo is full of wisdom and simplicity; they're just like darts to be stick in the eye of every single fanatic, racist, and intolerant person in this world. It's a movie about kicking out prejudices. A Jew and a Muslim who love each other, who respect each other, who listen each other. Too wonderful to be true.

The story is constructed in two parts: the inner/initiative trip of Momo, his discovering of sex and love, his discovering of the huge wisdom that Ibrahim and wants to share with the young boy; and the car trip to Turkey together with Monsieur Ibrahim in which he'll learn about different cultures, and religions, and the different ways of life here and there, all along Europe till they get to Ibrahim's birthplace: some little village in the mountains of Turkey.

The film it's been filmed with the same simplicity that Ibrahim shows in his personal philosophy, with a sober and rather neo-realistic style. Young Pierre Boulanger (Momo) gives the perfect reply to Omar Sharif (Ibrahim), an outstanding actor in state of grace. It's a pity that Mr. Sharif had made too many bad films in the last 30 years. His talent has no limits, and this calm serene and tender Ibrahim proves it. I dare to say this is his best performance (and maybe his best film) since Doctor Zhivago.

My rate: 8/10