Uma Amizade sem Fronteiras

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.

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.

I went to see the movie after reading very good reviews during last Venice Film Festival. It was generally described as a fairytale about tolerance and friendship - ant that's what it is. A fairytale Paris quarter, with fairytale 'putaines', a wise middle aged shopkeeper, a smart teenager - everyday life goes on with a little happiness, a little tragedy, nice period music, simple happy philosophy. The second half of the movie goes on-the-road - in a fairytale Turkey, though definitely more realistic than Paris. Omar Sharif is good, and Pierre Boulanger is even better. This film is perfect to spend a cheerful evening and it is a little joyful lesson on religious tolerance and friendship.

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