Customer Reviews

Monsieur Ibrahim [VHS]

5 star:		(29)
4 star:		(16)
3 star:		(6)
2 star:		(2)
1 star:		(0)

 

 

"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.

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.

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.

A wonderful and warm hearted story about a neglected boy coming of age in 1960's Paris.

Pierre Boulanger plays Moises, a teenaged Jewish boy who was abandoned by his mother and is ignored by his father, who also soon runs out on him. Living on a dreary street, surrounded by prostitutes and spending too much time on his own, Moises is befriended by Ibrahim (Omar Sharif), a Turkish grocer who becomes the much needed father-figure for the boy. With his Sufi background Ibrahim teaches Moises (who he renames Momo) the necessity and divinity of love and the awesome beauty of this world.

The bonds that form between people are often unexplainable and seemingly unlikely. As unlikely as the bond that emerges between Moises and Ibrahim may seem, the audience later realizes that their relationship is a truly unconditional one. The profound impact the two have in the lives of the other is to some degree representative of what each person yearns for in a relationship. Together, they share an unconditional love, trust and understanding.
Although their friendship may seem ideal, it certainly is not, as no friendship is. This is observed at the very conception of their relationship. Moises meets Ibrahim when Moises goes into Ibrahim's grocery store to steal food to feed himself and his father. It is from this "imperfection" in Moises's character that the relationship develops. Ibrahim is encumbered in his ongoing grief for his dead wife. Although this is not directly stated in the movie, one can easily infer this to be true through observation of Ibrahim's emotional attachment to both his God and the Koran. Ibrahim's acceptance of the effects loneliness can have on life is somewhat a flaw possessed by Ibrahim. It is precisely the flaws in both Ibrahim's and Moises' nature that allows their chemistry and love to be so powerful. To love perfection is rather simple. I believe their ability to love each others' obvious imperfections allowed their love and chemistry to be genuine and special.
This act of stealing represents the start of their relationship. As Moises enters the store each day, Ibrahim gives him food. Although Ibrahim seems to be giving Moises only the food of "pate" (cat food) for his father, in many ways, Ibrahim is feeding him something far superior. Moises's soul is fed by Ibrahim's undying support, trust, and understanding. This is observed as Moises grows with Ibrahim. Given food to strengthen his once weakened soul, Moises is finally able to transform into a strong- willed young man, no longer suppressed and stifled under the wrath of hate bestowed by his father's abandonment and unjust expectations. Under the guidance of Ibrahim, Moises dichotomizes from a young man of little value and strength to one that is strong and capable in all areas of love and emotion. Ibrahim teaches Moises how to be generous and strong, and Moises teaches Ibrahim how to live and love again upon the death of his wife.
Prior to their relationship, both Moises and Ibrahim seemed to live in accordance with what life seemed to have in store for them. Moises was to support his ailing father and remain in his town and Ibrahim was to remain in his store. Together, the two find that their lives can be much more. Before Ibrahim's death, the two travel throughout Europe where they indulge in the rich culture and people. Moises gains a new perspective on life; he learns how to be happy. Ibrahim is able to revisit his past and teach Moises. In the other, they found the ability to have fun, share experiences, and exchange lessons. The ability to do so allows both Ibrahim and Moises to be happy.
Ibrahim and Moises share a bond so deep and unique that it becomes immortal. At the conclusion of this film, Moises is shown as an adult. A young boy, like his former self, comes into Moises's grocery store and attempts to steal food. Moises gives the young boy the food and tells him that he does not have to steal. Although Ibrahim is now dead, the bond he created with Moises is everlasting. This is symbolic of the old adage that love shared does indeed multiply.

This is a sweet story about a topic that is often ignored, how boys need stable men in their lives to become men themselves. It is also a positive portrayal of the religion of Islam. The sweet tale has such a positive message and sympathetic characters, that I ended up watching it several times. It's too bad it has an "R" rating, as that will prevent it's being seen by a wider audience.

Omar Sharif is the mentor, a lonely old man who befriends a neighborhood boy without a father figure, and saves him from the street life which is the boy would otherwise be destined. The young actor, Pierre Boulanger is an extremely attractive young man in the dazzling bloom of youth, whose contrast to Sharif as the grizzled, lonely old man provides a wonderful chemistry at the heart of his tale.

The fact that the young man is Jewish underlines the message about the nature of Islam as a positive forgiving religion.

This is a low budget film, but it's crafted so well, with such heart and taste, that it proves that big money is not necessary to make big movies. The only disappointment I have is the ending is little bit of a letdown, but otherwise this is a wonderful little film, and highly recommended, even for a young adult. (NOTE: the R rating is because of the portray of prostitution, the 'street life' that threatens the young man before the old man enters his life.)

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!

Really enjoyed this film. Omar Sharif is excellent in it. It's inspiring, really, to see him willing to play an aging Persian man, humble, wise, without grandeur, working in a shop far from his home country. For him, it must be far away from heady youthful the days of Lawrence of Arabia and Doctor Zhivago, and yet that's appropriate. We all age. We may develop bad teeth. But it doesn't mean we can't brilliantly contribute to art about the human drama. It's wonderful, also, to watch a Moslem and Jew interact as almost father and son, miles away from the current craziness in the news everyday.

I enjoyed the somewhat more familiar French boy coming of age story also. Actually, he's not so much coming of age as he is coming into his sexuality. Same thing, maybe, for some people. This material didn't seem entirely fresh, but balanced beside the relationship with Omar Sharif's character it creates a rich portrait of a time and place in France, and, later, of the wide open spaces of the Middle East. Highly recommended.

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.

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.