Free Men

Free Men (Les Hommes libres)

Movie · 2011 · 15 people

French war drama Free Men (original title Les Hommes libres) dates from 2011. It tells of the part that Muslims of North African origin played in the Resistance and in sheltering Jews in Paris under the German occupation, a chapter of history rarely filmed. It was produced by Pyramide Productions. In Turkey it was released as Özgür Adamlar on 20 July 2012.

At its heart is Younes, a young Algerian immigrant who gets by on the black market. After an arrest he agrees to keep watch on the Grand Mosque of Paris, but his meeting with the Algerian Jewish singer Salim Halali, and the secret network run by the mosque’s rector Si Kaddour Benghabrit, which supplied Jews with false Muslim identity papers, slowly turn him into a resister. Younes is fictional; the other two were real. Tahar Rahim plays the young immigrant and Michael Lonsdale the rector, with Lubna Azabal, Mahmud Shalaby, Slimane Dazi and Karim Leklou among the cast.

Ismaël Ferroukhi directed and co-wrote the script with Alain-Michel Blanc. It is his second feature, arriving eight years after Le grand voyage, and its Moroccan and Parisian scenes rebuild the mood of the war years. A Turkish review rated it “average” but praised its universal, non-propagandist take on a Muslim viewpoint.

DirectorIsmaël Ferroukhi
Production companyPyramide Productions
Free Men (Les Hommes libres)

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Cast

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Lubna Azabal Lubna Azabal Actor · 53 years old Michael Lonsdale Michael Lonsdale Actor · died at 89 Tahar Rahim Stéphane Rideau Blandine Pélissier Bruno Fleury Christopher Buchholz Farid Larbi Jean-Pierre Becker Jean-Pol Brissart Karim Leklou Mahmoud Shalaby Marie Berto Noureddine Souli Slimane Dazi

Through different eyes

History & Society Lens Asks about the period, the social background and what the work reflects.

Free Men turns to a subject cinema has rarely tackled: the part Muslims of North African origin played in the Resistance and in protecting Jews in occupied Paris. The rector of the Grand Mosque of Paris, Si Kaddour Benghabrit, and the singer Salim Halali were real people, which turns the film into a reminder of solidarity in Muslim–Jewish relations, so often discussed today in terms of tension. It matters to know that Younes, at the centre, is invented: history is told through the eyes of a fictional immigrant. A film that prompts thought about migration, identity and conscience, and still speaks to the present.

Cinephile Looks at script, editing and directing choices; keeps a distance from formula films.

Ismaël Ferroukhi's second feature carries the weight of its subject without sliding into propaganda; as one Turkish review pointed out, it tells a Muslim perspective in a universal language. Yet the same review's verdict of "average" is understandable. Placing a fictional hero inside real history gives viewers a way in, but in my view Younes's path from informer to resister runs along too straight a line, with the dramatic turns arriving exactly where you expect them. The production design that rebuilds the mood of the war years in the Moroccan and Parisian scenes is the film's strongest suit. In the end, its subject is braver than its filmmaking.

Family Viewer Asks whether the whole household can watch it; cares about humour and heart.

A story of solidarity that history lessons rarely cover, and a good chance to watch and talk with high-school-age teens. But there's war, occupation, arrest and a constant sense of danger, which is too heavy for young children. The message is simple and strong: whatever their faith, people can choose to protect others in hard times. If the family watches, do it with the older kids and talk it over afterwards.

These are not reader reviews: they are short editorial takes written from different viewer perspectives with AI assistance. Reader reviews are below.

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