Uma Amizade sem Fronteiras

Every once in a while, a movie comes along that's so simple in nature, so kind in its intentions that it can't be American. One of those select movies is Monsieur Ibrahim, a simplistic, realistic story that takes place in a lower-income area in Paris, where prostitutes roam the street, the streets are overcrowded so much that it's quicker to walk than drive, and two unlikely people meet to form an unlikely but lasting friendship.

Moses (Pierre Boulanger) is a sixteen year old boy who uses the previously mentioned prostitutes often, as his father is too busy making ends meet to really have an impact in Moses's life. When he's caught shoplifting in Ibrahim's (Omar Sharif) store, they soon bond and become friends. Ibrahim teaches Moses many things about life, the universe, and everything. Soon, Moses is basically forced to flee from his home, so the two of them go off on a road trip.

The one thing that sold me about Monsieur Ibrahim was the genuine relationship that seemed to be shared between the two characters. It wasn't anything that seems to be prevalent in cinema now, such as pedophilia or loneliness or the young person teaching life lessons to the older person. It's just like the relationship that many people have with their friends. There were a few times where I felt that it was a little too close for comfort, but other than that, it's just a simple friendship, nothing more.

Ibrahim always had something to say about one thing or another. I especially agreed with his views on money, although some of the dance sequences (and his mediations on dance) seemed a little too heavy (and untrue) for a movie like this. A movie like this switches successfully between comedy and drama (I especially love the piggy-bank analogy), and works. At the end, though, it was predictable, but the final turn worked well. Overall, Monsieur Ibrahim works very well overall, and is one of the most surprising movies I've seen so far this year.

My rating: 8/10

Rated R for some sexual content.

This film is a wonderful example of how one can choose to be a victim or a hero in life! The abrupt start to the movie lets one see the boy's situation immediately. Using the grocery money given to him by his father, he goes searching for his first sexual experience among the prostitutes he observes from the window of his apartment. He is unsupervised, self-sufficient, curious and in desperate need of guidance. The shopkeeper who has been in this boy's life longer than the boy realizes, steps in to be the uplifting and guiding force for him. Initially, I felt a little troubled by the use of the two religions and putting one in a less-kind light. However, I realized that the viewpoint had nothing to do with the religion, rather with the person and how they chose to deal with their life. I will recommend this movie to many people!

"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.

This is a reply to a couple of rather rash and inconsiderate comments above, done by people who apparently not only live in a world of hatred and mistrust but cannot even assess the obvious messages in an easy-going, unambiguous and outspoken story.

This movie has nothing to do with RELIGIOUS PROPAGANDA! Mr Ibrahim does NOT at any point try to proselytize Moise. Moise does NOT change his name, does NOT change religion and does NOT deny his roots. He was adopted for personal, and not confessional reasons.

The author of the novel upon which the movie is based is a French Jew by the same name as the main character. This quite easily explains why the boy had to be Jewish and not, let's say, Christian, for that matter. To see propaganda here is a proof of bad taste.

Momo was poor and an obviously bad student - he had no bright future which to sacrifice, that is why he settled himself with the grocery store, not because he was proselytized to adopt Arab ways.

Mr Ibrahim made it quite clear that his wisdom does not come from the Koran, but from life, he was a half-literate man, he led a secluded life, he attended no prayers, he did not speak of the Prophet or whoever. He quoted the Koran only on matters of love because this is what interested him. What Mr Ibrahim knew "was in his Koran", which apparently escaped the attention of the paranoic Muslim-haters above, were the two flowers (hey, they are part of the title of the movie!), a remembrance of his long-dead wife and love of his life.

This was a movie about how religious messages may be perceived in a spirit of love and harmony with the world and not in terms of self-seclusion, mutual suspicion and hatred. Yes, the visits to the churches and mosques were a little too naively funny to be convincing, but the message was easy to grasp - there is A LEVEL OF PERSONAL RECEPTION of religious messages, the "inner religion" about which young Moise was wondering what it meant, which is equally easy to approach by all adepts to all confessions.

I actually did not like the movie that much - the plot was partly lame and too fairy-tale-like for such a "show-life-as-it-is" kind of movie. But I felt obliged to write this comment in order to defend it against undeserved xenophobic slanders.

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")