| Photos (see all 22 | slideshow) | Videos (see all 2) |
| Omar Sharif | ... | Monsieur Ibrahim | |
| Pierre Boulanger | ... | Momo | |
| Gilbert Melki | ... | Le père de Momo | |
| Isabelle Renauld | ... | La mère de Momo | |
| Lola Naymark | ... | Myriam | |
| Anne Suarez | ... | Sylvie | |
| Mata Gabin | ... | Fatou | |
| Céline Samie | ... | Eva | |
| Isabelle Adjani | ... | La star | |
| Guillaume Gallienne | ... | Le vendeur voiture | |
| Guillaume Rannou | ... | Le realisateur | |
| Manuel Le Lièvre | ... | Le moniteur auto-école (as Manuel Lelièvre) | |
| Daniel Znyk | ... | Le gendarme | |
| Françoise Armelle | ... | La maitresse d'école | |
| Sylvie Herbert | ... | L'eximinateur | |
| Claude Merlin | ... | Le notaire | |
| Pascal Vincent | ... | Le bouquiniste | |
| Tessa Volkine | ... | Myriam's Mother | |
| Marie-Sophie Ahmadi | ... | Nadia | |
| Maryse Deol | ... | L'employer administrative #1 | |
| Gérard Bôle du Chaumont | ... | L'employer administrative #2 | |
| François Toumarkine | ... | L'employer administrative #3 | |
| Sylvie Debrun | ... | L'employer administrative #4 | |
| Önder K. Açikbas | ... | Motocycliste | |
| Jérémy Sitbon | ... | Momo 8 ans | |
| Eric Caravaca | ... | Momo 30 ans |
Réalisé par | |||
| François Dupeyron | |||
Scénaristes(in alphabetical order) | ||
| François Dupeyron | writer | |
| Eric-Emmanuel Schmitt | novel "Monsieur Ibrahim et les fleurs du Coran" | |
| Eric-Emmanuel Schmitt | screenplay "Coran" | |
Produit par | |||
| Laurent Pétin | .... | producer | |
| Michèle Pétin | .... | producer | |
Image | |||
| Rémy Chevrin | |||
Montage | |||
| Dominique Faysse | |||
Distribution des rôles | |||
| Brigitte Moidon | |||
Création des décors | |||
| Katia Wyszkop | |||
Décorateur de plateau | |||
| Sandrine Mauvezin | |||
Création des costumes | |||
| Catherine Bouchard | |||
Maquillage | |||
| Fabienne Bressan | .... | key hair stylist | |
| Cédric Chami | .... | hair stylist: Ms. Adjani | |
| Christophe Giraud | .... | assistant makeup artist | |
| Thierry Lécuyer | .... | makeup artist | |
| Muriel Martin | .... | hair stylist | |
Directeur de production | |||
| Philippe Baisadouli | .... | unit manager | |
| Francis Barrois | .... | production manager | |
| Loïc Jouanjan | .... | trainee unit manager | |
| Pierre Jouille | .... | assistant unit manager | |
| Annie France Kaempf | .... | post-production supervisor | |
| Damien Lutringer | .... | trainee unit manager | |
| Pierre Vaysse | .... | assistant unit manager | |
Assistant réalisateur | |||
| Inès de la Bévière | .... | second assistant director | |
| Patrick Delabrière | .... | first assistant director | |
| Marie-Pierre Vau | .... | trainee assistant director | |
Art Department | |||
| Didier Beauland | .... | carpenter | |
| Tristan Bivaud | .... | carpenter | |
| Thierry Champenois | .... | carpenter | |
| Marc Fivel | .... | carpenter | |
| Tristan Girault | .... | property master | |
| Alexandra Lassen | .... | assistant art director | |
| Guillaume Legrand | .... | painter | |
| Michel Masson | .... | painter | |
| Sandrine Mauvezin | .... | set dresser (as Alexandrine Mauvezin) | |
| Frank Morel | .... | painter | |
| Christine Rey | .... | plasterer | |
| Patricia Robin | .... | painter | |
| Marie Rossignol | .... | key painter | |
| Marc Rovere | .... | assistant set dresser | |
| Jean-François Sega | .... | key carpenter | |
| Didier Touvais | .... | carpenter | |
| Rimsky Vidal | .... | painter | |
Technicien du son | |||
| Katia Boutin | .... | assistant sound re-recording mixer | |
| Jean Dubreuil | .... | sound editor | |
| Judith Guittier | .... | assistant foley artist | |
| Gérard Lamps | .... | sound re-recording mixer | |
| Jean-Louis Lebras | .... | boom operator (as Jean-Louis Le Bras) | |
| Alain Lévy | .... | post-synchronisation | |
| Laurent Lévy | .... | foley artist | |
| Françoise Maulny | .... | assistant post-synchronization | |
| François Maurel | .... | sound | |
| Fred Messa | .... | boom operator | |
| François de Morant | .... | sound | |
| Francis Perrard | .... | stereo sound consultant: Dolby | |
| Isabelle Tat | .... | assistant post-synchronization | |
Visual Effects | |||
| Fabien Coupez | .... | digital compositor | |
Camera and Electrical Department | |||
| Roger Arpajou | .... | still photographer | |
| Franck Barrault | .... | gaffer | |
| Pierre Chevrin | .... | second assistant camera | |
| Antonin Gendre | .... | key grip | |
| Frederic Halbutier | .... | electrician (as Frédéric Halbutier) | |
| Julien Humeau | .... | additional grip | |
| Elin Kirschfink | .... | first assistant camera | |
| Stéphane Martin | .... | electrician | |
| Renaud Monziers | .... | grip trainee (as Renaud Monzies) | |
| Laurent Pauty | .... | second assistant camera | |
| Christian Petrucelli | .... | additional grip | |
| Yvan Quehec | .... | electrician | |
| Carlos Ribeiro | .... | additional grip | |
| Mathieu Ungaro | .... | grip | |
| François-Xavier Walter | .... | grip | |
Casting Department | |||
| Marie-Sylvie Caillierez | .... | extras casting | |
| Yvan-Scott Ducourau | .... | casting assistant | |
| Lofti Mokdad | .... | extras casting | |
| Yann Le Boucher | .... | extras casting assistant (uncredited) | |
Editorial Department | |||
| Elise Fievet | .... | assistant editor | |
| Hervé Gouband | .... | color timer | |
| Fabienne Morel | .... | assistant editor | |
Music Department | |||
| Valérie Lindon | .... | music producer | |
Divers | |||
| Christèle Bonnard | .... | production administrator | |
| Nicole Cobac | .... | production administrator | |
| Geneviève Dufour | .... | script supervisor | |
| Nana Otte | .... | production secretary | |
| Robert Polonia | .... | groupman | |
| Joëlle Rignault | .... | assistant production administrator | |
| Christian Thurot | .... | groupman | |
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| Porte des Lilas | La haine | L'accompagnatrice | L'auberge espagnole | Belle de jour |
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| Full cast and crew | Company credits | External reviews |
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"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.