In the first scene of the film, 12-year-old Moïse walks down the hot backstreets of Paris on Rue Bleue, summer sizzling in the background, and loses his virginity to a pretty prostitute. The same-titled novel by François Dupeyron opens also on this bold note, setting the blunt no-nonsense tone and approach for the story. It explores the friendship between young Moïse and old Monsieur Ibrahim "the Arab on the corner" and unlike the majority of French cinema, it makes no pretense about it. It is merely a gentle look at how two people cultivate an unlikely father-and-son relationship.
Because Moïse is a Jew and Monsieur Ibrahim (Omar Shariff) is a Muslim, the film pins cultural contrasts and issues of tolerance somewhere in between them, juxtaposing their different personalities through the use of insightful dialogue (the observation about trashcans in different districts comes to mind). Yet for a film primarily about beliefs and outlooks, it never preaches or falls prey to moral messages, which is endlessly refreshing. It does, however, feature a lot of religious undertones throughout and by the time Ibrahim starts teaching Moïse about the Coran, you know the film is about to take a standpoint.
Omar Shariff allegedly came back from retirement to do this low-key film and his dedication to the content shines through in his wonderfully charismatic performance; he is a Morgan Freeman buddy type character and he manages this good-natured persona with effortless conviction. Pierre Boulanger who plays the young boy Moïse is certainly less convincing not quite capturing the inherent loneliness or idealism of his character that explain why he seeks out prostitutes or befriends the "local Arab". Thankfully, Shariff more than makes up for the latter's lack of skill by being the propelling force behind their dynamic friendship.
Although Monsieur Ibrahim et les fleurs du Coran is largely a character-driven little film, its style and cinematography are elegantly expressed clear-eyed and blunt at the same time as it manages to convey the dreamy steamy atmosphere of a hot summer day in Paris. Upon shifting to Middle Eastern setting, it features gorgeously striking dusty plains and mountains. A device for the dreamy tone is the consistent use of a particular 1960's song (the film takes place during the 1960's) which invests the whole film in an almost lyrical flow.
There is little wrong with the film and I greatly appreciate the direct approach to story (only a few introspective moments), but it is so low-key that it becomes forgettable. It does not claim to be important, and therefore isn't. It isn't a memorable product and it does not always manage touching, which renders it unremarkable.
7 out 10
Because Moïse is a Jew and Monsieur Ibrahim (Omar Shariff) is a Muslim, the film pins cultural contrasts and issues of tolerance somewhere in between them, juxtaposing their different personalities through the use of insightful dialogue (the observation about trashcans in different districts comes to mind). Yet for a film primarily about beliefs and outlooks, it never preaches or falls prey to moral messages, which is endlessly refreshing. It does, however, feature a lot of religious undertones throughout and by the time Ibrahim starts teaching Moïse about the Coran, you know the film is about to take a standpoint.
Omar Shariff allegedly came back from retirement to do this low-key film and his dedication to the content shines through in his wonderfully charismatic performance; he is a Morgan Freeman buddy type character and he manages this good-natured persona with effortless conviction. Pierre Boulanger who plays the young boy Moïse is certainly less convincing not quite capturing the inherent loneliness or idealism of his character that explain why he seeks out prostitutes or befriends the "local Arab". Thankfully, Shariff more than makes up for the latter's lack of skill by being the propelling force behind their dynamic friendship.
Although Monsieur Ibrahim et les fleurs du Coran is largely a character-driven little film, its style and cinematography are elegantly expressed clear-eyed and blunt at the same time as it manages to convey the dreamy steamy atmosphere of a hot summer day in Paris. Upon shifting to Middle Eastern setting, it features gorgeously striking dusty plains and mountains. A device for the dreamy tone is the consistent use of a particular 1960's song (the film takes place during the 1960's) which invests the whole film in an almost lyrical flow.
There is little wrong with the film and I greatly appreciate the direct approach to story (only a few introspective moments), but it is so low-key that it becomes forgettable. It does not claim to be important, and therefore isn't. It isn't a memorable product and it does not always manage touching, which renders it unremarkable.
7 out 10