Les Hommes libres (2011)
Directed by Ismaël Ferroukhi

Film Review

Ismaël Ferroukhi's follow-up to his acclaimed debut feature Le Grand Voyage (2004) lifts the lid on some unfamiliar aspects of the Nazi occupation of France, reminding us that it was not only patriotic French nationals who risked their necks by serving in the Resistance.  In his 2009 film L'Armée du crime, Robert Guédiguian gave a moving account of the participation of Jewish immigrants in the struggle against the Nazi occupier; in his similarly themed film, Ferroukhi focuses on the contribution made by Muslim immigrants hailing from Algeria and other countries in North Africa.  Les Hommes libres offers an interesting perspective on the Occupation, but it is somewhat biased as it downplays the extent to which the Nazis were supported by the Muslims (on the expectation that Germany would hasten the end of French colonialism in Africa).

On the plus side, the film is authentically designed and well photographed, in a way that vividly evokes the era in which it is set, palpably conveying the constant threat of betrayal and arrest which hung everyone living in the French capital at the time.  Having demonstrated his capacity to taken on ambiguous, multi-faceted roles in Jacques Audiard's Un prophète (2009), Tahar Rahim would seem to be the ideal casting choice for the central role of Younes Ben Daoud, and he doesn't disappoint.   Rahim's conflicted portrayal of young man torn between his natural instincts for survival and his compassion for others provides the film with the focus it desperately needs, although the actor is let down by a script which prevents us from getting close enough to the character to genuinely engage with him, let alone understand his motivations.

Michael Lonsdale proves to be a surprisingly effective choice for the role of the courageous Muslim leader Si Kaddour Ben Ghabrit, investing the part (as only an actor of his experience and calibre can) with the dignity and gravitas that it demands.  The charismatic Palestinian actor Mahmud Shalaby, recently revealed in Keren Yedaya's Jaffa (2009), has the most challenging role, that of the iconic Algerian cabaret singer Salim Halali.  In spite of the script weaknesses, Shalaby succeeds in bringing his character to life, subtly revealing singer's inner torments in a measured and enigmatic performance.  It is the arresting contributions from the three principals (in particular the intriguing rapport between Rahim and Shalaby) which helps to sustain our interest in the film, compensating for the lack of inspiration on both the writing and directing fronts.  Les Hommes libres may not be as riveting and balanced as Guédiguian's film, but it is engaging enough and offers another valuable insight into France's period of occupation.

Film Synopsis

1942, Paris under Nazi occupation.  Younes is a young Algerian immigrant who makes a living on the black market.  Arrested by the police, he agrees to work for them as a spy at the Paris mosque.  The police suspect that the senior clerics at the mosque are furnishing Jews and resistance members with forged papers.  At the mosque, Younes comes into contact with an Algerian singer, Salim Halali, with whom he develops an instant rapport.   Aware of the risks he is taking, Younes decides to renege on his arrangement with the police and instead allies himself with the resistance cause....