The paper’s editorial continued in the same vein. “Imagine a society that added up all the prohibitions of different religions? Where would that leave freedom of thought, freedom of speech or the freedom to come and go? We know such societies all too well. Take, for example, Iran and its mullahs. Fanaticism is only able to feed itself through the capitulation of republicans and the secularists. And we already know what kind of defeats such a ‘spirit of Munich’ can lead to.”

Since their initial publication in Danish and Norwegian newspapers, the caricatures have drawn outrage from the Muslim world. Amir Moussa, the general secretary of the Arab League, accused the European press of having “a double standard — on the one hand it fears accusations of anti-Semitism, and on the other, it claims its freedom of speech when it wants to make caricatures of Islam.”

In the face of such strong reaction, France Soir’s Wednesday cover did come across as somewhat spiteful: “Yes, we have the right to caricature God,” read the headline above an illustration that featured Mohammed and other deities wearing turbaned bombs. But in contrast to Denmark and Norway, where the editors who originally ran the cartoons have faced little fallout or punishment, France Soir sent its editor in chief packing. The reasoning is simple: France has Europe’s largest population of Muslims — 5 million — and jokes about religion in the country, especially Islam, can be dangerous.

Sensitivity to religious issues didn’t arrive in France with the first appearance of Islamic fundamentalism. The origins of the sensitivities date back to a power struggle between the secular French government and the Catholic Church that ended a hundred years ago with the strict separation of church and state, and a deeply divided French society. The one side believed religion was a totally private issue and should be kept out of public life; the other saw religion as the foundation of a common society.

Most recently, as France debated whether to pass a law against people wearing “religious symbols” in French schools — a law clearly aimed at Muslim headscarves — secular French collided once again with Catholics, since the law would also ban people from wearing crucifixes ostentatiously.

This dichotomy over religious issues surfaced again this week in newspaper editorials about the Mohammed caricatures. The secularists cited freedom of the press to defend the caricatures, while the Catholics called on people to respect the creeds of others.

“Perhaps people must be reminded that freedom of speech applies to anything that is respective of the laws,” wrote the daily Republique des Pyrenées. “Every person in France has the right to criticize religion. “Blasphemy is officially permitted.” But other papers expressed fear of hurting the feelings of people from other cultures. “Didn’t anyone stop and think about the fact that in the indispensable Arab-Muslim civilization an act like this will be interpreted as a cruel provocation?” asked a commentator in Le Courrier Picard.

Conservative politicians also took part in the debate on Thursday, with many expressing their dismay over Lefranc’s firing at France Soir. “This Islamic fundamentalism and intolerance is extremely dangerous,” former French culture minister François Fillon said.

But others expressed their concern over the massive reaction against the cartoons in the Islamic world and also in the French Muslim community. The publication of the cartoons in Scandinavia caused so much anger that some Arab countries in the Gulf region are massively boycotting Danish products.

After the French publisher printed the caricatures in Paris on Wednesday, France also became a target of threats. Radical Palestinian groups in the Gaza Strip have threatened to attack French, Danish and Norwegian citizens if they do not leave the Palestinian-controlled area. In Tunisia, the government banned the sale of France Soir’s Wednesday edition, and a Moroccan newspaper demanded that the French paper be “punished.” Indeed, in making his decision to fire Lefranc, fears that the children and grandchildren of France’s Maghrebian immigrants might once again set fire to the streets of banlieus (roughly, “suburban ghettos”) over this journalistic blasphemy couldn’t have been far from publisher Lakah’s mind.

And that’s another reason why the sensitivities of the French Muslim community aren’t to be played with lightly. Most of France’s Muslims aren’t just co-religionists. They also belong to the same socioeconomic segment of society. “The question of Islam isn’t just a religious one. It’s also social and political. It’s also about discrimination and racism,” wrote the magazine Le Nouvel Observateur this week.

France’s Muslim community is predominantly made up of immigrants from North Africa and their children and grandchildren. They are the ones living in the banlieus across the country. “They are the most frequent victims of prejudice and racially motivated attacks in our country,” says French political analyst Nonna Mayer.

A study published in January suggested that religion alone did not make French Muslims any likelier to have extremist religious tendencies; however, Islam remained key to those people “looking for an identity.” And when Islam is attacked or ridiculed, those people already feeling shut out from society see it as an attack on their already injured self-esteem. Le Nouvel Observateur pointed to classic example of such thinking. One paper quoted a young man named Said from Nice. He said he considered himself to be an atheist, but “when the mayor rejects the building of a mosque, I suddenly become a Muslim.”

In light of the explosive mood in the suburbs, people are on edge. An overwhelming 86 percent of the French said in a survey released on Monday that the violence in the country’s ghettos could reignite at any moment.

The journalist group Reporters Without Borders called for moderation and dialogue. “The political and religious authorities in the Islamic states and the press in the Arab world should calm tempers,” the group said in a statement. But it may come too late.

In Iraq Danish flags are being stepped on and burned, and Egyptian President Hosni Mubarak warned if the publication of such cartoons continues, “it will have dangerous consequences by incensing the feelings of both the Islamic world and Muslims in Europe.”

- – - – - – - – - – - -

This article has been provided by Der Spiegel through a special arrangement with Salon. For more from Europe’s most-read newsmagazine, please visit Spiegel Online at http://www.spiegel.de/international or subscribe to the daily newsletter.

But beyond the business headlines, what’s really fascinating about “The Intouchables” is the way it exposes the gulf in racial attitudes between France and the United States, along with another gulf that’s just as wide, the one that has film critics and cinephiles on one side and popular audiences on the other. Viewers in numerous countries have eagerly devoured this feel-good fable about two men of different races and classes who forge an improbable friendship (dubbed by some wags “Driving Monsieur Daisy”). While the audience for foreign-language film is inherently limited in America, there’s no reason to believe it won’t do well here also. At the same time, heated transatlantic debate has erupted over whether “The Intouchables” traffics in offensive racial stereotypes, with Variety critic Jay Weissberg writing an uncharacteristically angry review that accused the film of “Uncle Tom racism” and compared the Senegalese caretaker character to a “performing monkey.”

When Harvey Weinstein first acquired “The Intouchables” in the wake of its smash success in France, he clearly imagined another dark-horse Oscar contender, in the wake of “The Artist.” The film has racked up audience awards at film festival after film festival, and currently stands at No. 93 on IMDb’s user-generated “Top 250″ list. Omar Sy, the charismatic Afro-French actor who plays Driss, the caretaker, won this year’s César award (the French Oscar equivalent) for best actor, beating out actual Oscar winner Jean Dujardin. But with the looming possibility that “The Intouchables” could spark a divisive, soul-searching racial debate — which was precisely what squelched the Oscar hopes of “The Help” — those expectations have been downplayed. (That isn’t why “The Intouchables” is being released this week, with Weinstein and most of the film-biz aristocracy in Cannes, but the coincidence is oddly useful.)

Let me come clean right now and tell you that I enjoyed “The Intouchables” quite a bit. If you’re looking for a lightweight summer change of pace, with just a smidgen of Continental flair, here it is. Both Sy and co-star François Cluzet (of the hit thriller “Tell No One”) are marvelous, the former playing a guy who’s constantly in motion, both physically and psychologically, and the latter playing a depressed and repressed guy who literally can’t move, but whose real imprisonment has more to do with his spirit than his spinal cord. Don’t go expecting serious French art cinema, please; those who have described this movie as something like a mid-’80s Eddie Murphy comedy dressed up with classy Parisian settings are correct. But here’s the question, and I can’t answer it for you: Is that such a bad thing, in itself?

Once is not enough for a movie that’s made this much money, of course, and Weinstein already has an American remake in the works, possibly to star Colin Firth as stick-up-butt wheelchair dude. The real Eddie Murphy has gotten too old to play the loosey-goosey, pot-smoking sidekick, but there’s no shortage of guys who could do it: Jamie Foxx is the default setting these days, but I’d go for the suddenly hot Kevin Hart from “Think Like a Man.” I’m not claiming it’s aesthetically or sociologically valid to remake a French movie that already feels like a reheated Hollywood throwback, by the way. I’m saying it’s a cruel reality, like Dutch elm disease or Adam Sandler, and there’s no way to stop it.

To get back to the case at hand, I do understand what the haters find so offensive about “The Intouchables.” (The infelicitous English title, by the way, reflects the fact that they couldn’t really get away with calling it “The Untouchables,” could they?) I was pretty taken aback by Weissberg’s vituperative review, and I tend to believe that “Uncle Tom” is one of those expressions that white people should pretty much never use. On the other hand, I can only applaud him for abandoning the balanced, analytical mode of trade-magazine criticism and saying exactly what he damn well thinks. (As for comparing a black man to a monkey — well, I understand what Weissberg was getting at, but it’s an error of rhetoric, the sort of comment that makes nuance and context disappear.) And I know for sure, from hearing friends and acquaintances in and around the movie business complain about this film, that Weissberg is not alone.

I believe that Olivier Nakache and Eric Toledano, the writing-directing duo who made “The Intouchables,” are innocent of any bad intentions. In fact, “innocent” isn’t a bad word overall, for this movie and the worldview it represents. The French may pride themselves on being the most worldly and sophisticated of all people, but the debate in France about race and immigration and multiculturalism — which ramped up sharply after the suburban riots of 2005 — can sometimes sound strikingly naive to American ears. Until very recently, mainstream French opinion has resisted thinking about the nation in anything except homogeneous terms, despite growing Arab and black minorities (both immigrant and native-born) and evident social problems with segregation and discrimination. (The French census, for instance, is prohibited from collecting data on race or religion, so no one really knows how many French people are black or Islamic.)

There can be no question that the characters in “The Intouchables” are stereotypes, in the broad sense. Cluzet’s character, Philippe, is an aristocratic zillionaire who lives in an astonishingly luxurious flat in central Paris. Since being injured in a paragliding accident, he’s lived inside a cocoon of money and privilege, surrounded by antiques and modern art and a bevy of assistants. Sy’s character, Driss, is easygoing, good-hearted, lustful and uncultured, and his passions run toward pretty girls, getting high and vintage American R&B. Philippe hires Driss specifically because Driss doesn’t particularly want the job — he only shows up to get a signature for his benefits card — and feels no pity for Philippe.

Which is actually a pretty good reason. You get where this is going, most likely: Driss is a pretty inept caretaker, at least at first, but is the only person Philippe knows who will relate to him man to man. There’s a bit of borderline-homophobic humor about their enforced intimacy; there are interludes with hookers and fast cars and late-night conversations fueled by booze and marijuana. Driss learns to like Mozart and modern art; Philippe learns to get down with Earth Wind & Fire and gets some valuable tips about chicks. It’s probably fair to summarize this movie as being the story of a paralyzed white man who needs the help of a younger, stronger, more virile black man to reconnect with his own masculinity, and if you want to say that narrative reflects an underlying latticework of racist attitudes, I won’t argue with you. Then there’s the complicating factor that in the real-life story on which “The Intouchables” is based, the caretaker was of Algerian origin, and hence Arab rather than black. (The filmmakers have said they wanted to cast Sy, and built the story around him, but it’s certainly possible to render other interpretations.)

But one can concede all of that while still agreeing with French historian and multicultural activist François Durpaire, who has responded to Weissberg by arguing that the huge success of “The Intouchables” is likely to have positive effects in Europe’s emerging discussion of race and culture, even if the movie relies on crude generalizations. (Durpaire adds that if “The Intouchables” is offensive, so were the “Beverly Hills Cop” movies.) Movies are not meant to be seminars in sociology, after all, and most viewers will receive “The Intouchables” as an upbeat story about two guys from vastly different circumstances who turn out to have a lot in common and help each other, etc., rather than a lesson in racial semiotics.

Perhaps the strongest endorsement for “The Intouchables” has come from aging French ultra-nationalist Jean-Marie Le Pen, who has described it as an allegory about how the future of his nation depends on disenfranchised young immigrants from the suburbs. He thinks that’s a “dreadful” vision, mind you — but, seriously, who knew that guy was so smart?

“The Intouchables” opens this week in New York and Los Angeles, with wider national release to follow.

Now the two have finally met face-to-face and the encounter seemed cordial if hardly warm. Following the ceremonial reviewing of the guard of honor – during which Merkel had to gently nudge Hollande in the right direction on the red carpet – the two held an hour -long meeting. They then addressed the throng of international journalists in a joint press conference during which Merkel remained stony-faced during much of Hollande’s comments, interspersed with the odd smile.

The pair did seek to downplay their differences and strike a friendly tone with Merkel even joking that the lightning that had struck Hollande’s plane on his way to Berlin was perhaps a “good omen.”

“I’m not sure whether there is sometimes more divergence perceived in the public realm than there really is,” the chancellor told the press conference. “We are aware of our responsibility, as Germany and France, for a positive development in Europe. Carried by this spirit I believe we will of course find solutions for the different problems.”

Both tried to show a united front on Greece, which risks ejection from the euro zone if it backs anti-austerity parties in the fresh elections likely after the parties failed to form a government. “Just like Frau Merkel,” Hollande said, he wanted Greece to remain in the euro zone while insisting that Athens meet the terms of the bailout agreement.

Yet when it came to the crux of the differences between the two, on austerity versus growth, it was obvious that the only thing that had been agreed so far was that they disagree.

After all, it remains to be seen how Merkel’s strict stance on rapidly reducing budget deficits can be married with Hollande’s plea for some kind of stimulus package to boost growth.

Hollande reiterated his promise to reopen talks about the fiscal pact, the agreement on strict budget discipline which he has said France will not ratify unless a growth element is also adopted.

“I said in the campaign, and I repeat today, that I want to renegotiate what was established at a certain moment,” Hollande told reporters. “Everything that can contribute to growth must be put on the table. I don’t want growth to be just a word, but tangible measures.”

He mentioned boosting competitiveness, as well as Euro bonds – essentially pooling the debt of euro zone members – something Merkel has so far flatly rejected.

He did not, however, mention tinkering with the European Central Bank’s mandate, surely a red line if ever there was one in Berlin.

For all the inauspicious beginnings, observers predict that the two will eventually hit it off. Both play on their modest, down- to-earth style and exude an air of pragmatism rather than charisma. Hollande depicts himself as “Mr Normal” in contrast to the Bling Bling of his predecessor Sarkozy, while the unassuming Merkel is often seen doing her own grocery shopping. And both are said to have a wry sense of humor in private.

Furthermore, Hollande’s gesture of appointing Germanophile Jean-Marc Ayrault as his prime minister will have gone down well in Berlin.

Yet, it is hardly a meeting of equals. Merkel is an old hand in European politics now, in her seventh year in office, while Hollande’s previous executive experience has been confined to serving as mayor of the small town of Tulle.

Furthermore Germany is the EU’s economic powerhouse, with its export-driven economy keeping the rest of the euro zone out of recession, according to figures released on Tuesday. And Berlin has long been calling the political shots in Europe, with the fiscal compact being dreamed up by Merkel, as a way of preventing EU states from getting into deeper debt in the future.

At the same time Merkel is increasingly isolated in Europe, as there is a growing realization that austerity is choking off growth. Hollande knows that other leaders, including conservatives like Italy’s Mario Monti, also want Berlin to budge on its debt reduction fixation.

Hollande came to Berlin straight from his inauguration ceremony in Paris. After beating Sarkozy on May 6 he will feel he has a mandate from the French people to push for a change of direction in Europe. Yet he also faces a tough economic situation back home, with just 0.1 percent growth in the first quarter and growing unemployment, now at a 13-year high of 10 percent. If the economy were to contract even further, it could make it very difficult to fulfill many of his campaign pledges, such as reversing Sarkozy’s pension reforms.

Merkel has her own problems, despite the strong economy. Her party, the conservative CDU, has just suffered a bruising defeat in the state of North Rhine-Westphalia. Her coalition is increasingly fractious, with Bavaria’s CSU leader Horst Seehofer publicly slamming the CDU candidate in North Rhine-Westphalia Norbert Roettgen on TV for his campaign, while the FDP is unpredictable due to an ongoing leadership crisis.

The fact that she needs a two-thirds majority in the Bundestag to ratify the fiscal compact means she is dependent on the opposition SPD. And while the party has broadly backed her euro policy, it has been emboldened by Hollande’s victory and the strong showing in NRW. On Tuesday the party’s leaders said that they would delay the vote on the fiscal pact, originally scheduled for late May, saying it wanted to see concrete growth measures as well as austerity.

That would leave time for Merkel and Hollande to agree to some sort of compromise solution.

The pair said they will seek an agreement ahead of the next big summit of EU leaders in June. “It will be very important that Germany and France present their ideas together at this summit, and we have talked about the preparation,” Merkel said.

They will see each other before that, meeting at an informal dinner of EU leaders on May 23, as well as at the forthcoming NATO and G8 summits.

However, Hollande is unlikely to show much willingness for compromise with Berlin just yet. After all his party is facing legislative elections in mid June and he will want to make sure he is not seen to be backsliding on campaign pledges.

Hollande wants his five-year term to start with his Socialist Party securing control of the National Assembly so that he can push through his agenda. Otherwise he faces a frustrating period of “cohabitation” with a prime minister from the opposing camp, such as occurred when conservative Jacques Chirac’s presidency coincided with the premiership of Socialist Lionel Jospin from 1997 to 2002.

As such Merkel cannot expect Hollande to veer from his insistence on growth measures. And for all his unassuming manner, he could well prove to be a more difficult partner than Sarkozy in the long run.

Nevertheless Merkel is also likely to stand firm on many issues. Asked on Tuesday night if she feared Hollande’s campaign promises she replied coolly: “I am seldom afraid, as fear is not a good counselor in politics.”