Tag Archives: Paris

Nous Sommes Tous Charlie

French chanteuse Edith Piaf singing the French national anthem, La Marseillaise, which is a call to arms against oppression

Let us honor those who fight and sometimes die for the causes of free speech and a free press.

Much of what French satirical magazine Charlie Hebdo publishes has been offensive to nearly everyone at one time or another; the quality or appeal or substance of their satire is not the point. The point is that an open marketplace of ideas is necessary for a free society. That includes the right of individuals to share ugly or objectionable ideas, the responsibility of governments to safeguard that right, and the responsibility of citizens to stand up for it.

In an open society, bad ideas get countered, challenged and, over time, often discarded, not despite but because of their publication. It is only when they are shared that enough people can speak for or against them and the general public can make informed decisions. When this right to free speech is attacked anywhere in the world, we are all diminished.

I do not seek to smear or harm those who happen to share the same faith as the terrorists who engaged in the brutal slaughter at Charlie Hebdo—that would be as nonsensical as the evil acts of the assassins. Remember that one of the two policemen killed by the assassins when they rushed to the site of the attack was Muslim police officer Ahmed Merabet, who was murdered while protecting the right of Charlie Hebdo to caricature and mock his own religion. No, this was a brutal act committed by a small group of sick-minded individuals, not by a religion.

The rallying cry around the world and among popular commentators like The Daily Show‘s Jon Stewart in the immediate aftermath of the attack has been Je suis Charlie: I am Charlie. In his essay in The New Yorker, Philip Gourevitch responds to this by writing, “But the truth is—for better and for worse—that, no, most of us, even in the most free of Western societies, are not Charlie. For better, because so many of us have the luxury of often feeling secure enough in our freedom to take it for granted. For worse, because in taking our freedom for granted, we are too often ready to trade it for a greater sense of security. We are not Charlie, in other words, because we risk so little for what we claim to value so much. We are not Charlie, too, because most of us are relatively inoffensive, whereas Charlie, like so many liberating pioneers of free expression—think not only of Lenny Bruce and Mad magazine but also of Gandhi and Martin Luther King—were always glad to give offense to what offended them. And we are not Charlie, today, because we are alive.”

It is true that we in the United States have many luxuries of expression that others around the world are denied, and that we regularly take them for granted. We forget that what we consider to be inherent and inalienable rights are seen as privileges at best in many places around the world. So it is incumbent upon us to show gratitude and recognition for our freedom, and to stand up for the right of others around the world to be offensive, outspoken, embarrassing or upsetting in what they say or publish, as long as they do not present a clear and present immediate physical danger to others while they do so (as would be the case if a speaker instigated a riot, or example). I do not seek to upset others and generally do my best to avoid offending with my writing, but I stand behind those who exercise their right to upset, disgust or enrage others (myself included) when they speak their minds, even in cases when I detest what they have to say. Let us remember those who face danger in their fight for the right to a free press. Let us prove with nonviolent but outspoken solidarity that, truly, nous sommes tous Charlie: we are all Charlie.

banksy

Above: London-based graphic designer Lucille Clerc’s response to the Charlie Hebdo murders, widely misattributed to Banksy

Monsieur Ibrahim

sharif

[Originally posted to Laura Grey’s Little Hopping Bird blog in 2005.]

I just watched the lovely 2003 French film “Monsieur Ibrahim et les Fleurs du Coran” (“Mr. Ibrahim and the Flowers of the Koran”) over the weekend, and I found it a real gem. It’s a story of a 16-year-old boy, Moise (known as Momo) living in a working-class Jewish district of Paris in the 1960s. He looks after his father, a selfish, depressive man who is never satisfied by anything Momo is or does. Abandoned by his mother as a small child, Momo has never known parental love or kindness, so he seeks womanly tenderness from the prostitutes who work the streets of his neighborhood, and he filches money from his father so he can afford to buy some pleasure. He’s rather sullen and quiet, with no real friends and no one to help him learn about life’s possibilities and love’s responsibilities.

Momo makes daily visits to the local grocery owned by Monsieur Ibrahim (Omar Sharif), a Turkish Sufi who seems to know more about what is in Momo’s heart than should be possible. The two strike up a friendship, and Monsieur Ibrahim teaches Momo about loving kindness, about how to make himself more appealing to others so he can get what he wants out of life, about enjoying the world and the people in it. It could have been a paint-by-numbers sort of coming-of-age story, but instead the interactions feel very real and subtle, and Sharif’s performance is extraordinary. He brings a real joie de vivre to the role, but in a quiet, understated fashion. Monsieur Ibrahim is a nonjudgmental, spiritual man who finds beauty in his Quran and keeps that beauty in his heart at all times, and his connection with this drifting young Jewish man gives Momo’s life meaning and roots while still broadening his horizons, both literally and figuratively.

The religions of the two characters impact the story very little. Momo and his father appear to be secular Jews, and Monsieur Ibrahim’s Sufi Muslim beliefs are important to him but are flexible and nonjudgmental enough to allow him to show kindness and appreciation for prostitutes, as well as a desire and willingness to understand the beauty in other religions’ houses of worship, to which he takes Momo on field trips. But some have chosen to read a lot more meaning into the fact that the characters are of differing religions than actually exists in the movie. There will always be those who cannot handle a story of kindness between people of differing beliefs.

There is some argument on the internet among a few viewers of the film who dislike the fact that Momo’s Jewish father is so unlikeable and careless about the boy, and that Momo’s true teacher and father figure is a Muslim. They have chosen to read anti-Jewish sentiment into the story which I do not believe exists. My take on the film is shared by the vast majority of people who have seen it, apparently, but a couple of outspoken critics find the idea that a film that shows a sympathetic Muslim and an unsympathetic Jew must therefore have a message of hidden hatred of Jews, as if art can never show people of one religion or another having unattractive characteristics without painting all of their ethnicity or religion as bad. This sort of sweeping condemnation has as its basis a sort of bigotry of its own, and assumes that viewers are too stupid to recognize that an individual character does not have to represent an entire ethnic group.

I had no idea that Omar Sharif could give a performance of such subtlety and beauty; he was perfectly cast in the role and he brought much of his own personal experience to it. I always think of Sharif in his blockbuster days, from “Lawrence of Arabia” and “Doctor Zhivago” and “Funny Girl,” in which he gave fine and capable performances, but none of which allowed him moments of introspection. His international playboy persona didn’t help me to believe him capable of the sort of intimate gestures and nuanced emotions that flash across his face in this role. The DVD commentary by Sharif is thoughtful and articulate as well. I love getting a whole new perspective on an artist after having my eyes opened to his talents and possibilities. This film was a very pleasing surprise.