David O'ConnellMy Best Friend
September 11th 2008 04:00
Patrice Leconte’s comedies are always so perfectly pitched, and his 2006 film, Mon meilleur ami is no exception, balancing believable comedic scenarios with fleeting moments of pathos.
Daniel Auteuil has worked with Leconte before, most notably in the intriguing Girl on the Bridge, shot strikingly in black and white in 1999; here he plays Francois Coste, a single-minded art/antiques dealer who has a contacts book thicker than your arm but not a single true friend in the world.
He’s distrusted by everyone else in the business, known solely for his devotion to profit and stealing their clients. At a dinner one night with his business partner Catherine (Julie Gayet) and others, he’s made to reluctantly confront what seems obvious to those around him – anyone would be loathe to call him friend, and he’s stunned by their revelations.
Bear in mind he’s arrived late for dinner after attending the funeral of a client with the express purpose of negotiating the sale of a rare antique with the dead man’s mum whilst at the same time offering phony condolescences.
Francois is not a bad person, just a ruthless shark with little time for people other than the fringe benefits they can provide for him. He’s long divorced, has a girlfriend of convenience it seems who he mostly ignores and his grown-up daughter, though living with him, hardly registers on his radar either.
His partner gives him an ultimatum on behalf of the assembled group at dinner: present his best friend to them by the end of the month or hand over the recklessly bought vase he’s just purchased, putting the business in jeopardy.
Francois writes up a potential list but soon discovers the truth in his partner’s words – he really has no friends, no matter how hard he tries to convince a series of horrified acquaintances and business rivals.
François’ major problem is his lack of social skills, and his polar opposite is an annoying, trivia-spouting taxi driver he keeps running into, Bruno (Dany Boon). Francois decides to seize the opportunity to learn something from this character who has the gift of effortless social interaction with every person he meets.
There are some surprises in store for both men as the deadline nears and they learn something about what makes the other tick, Bruno attempting to impart his natural talents, taking Francois everywhere in Paris to brush up on his non-existant skills………….hilariously to no avail!
Leconte’s skillfully arranged plot is the perfect model of simplicity, with a deft light touch applied when necessary; he never overreaches or turns these men into caricatures - they resemble real people closely enough that we believe them even when he's transcending the bounds of drama and aiming solely for laughs.
Though not one of his landmark achievements, it’s almost the perfect light confection, and another example of how this masterly director never fails to at least entertain his audience; with the legendary Auteuil and the affable, infectious Boon along for the ride, this is yet another winner from Leconte.
Here's a child's drawing of the plot, possibly summarising it far more succinctly than me!
** Ironically, since I’ve reviewed films from both directors’ recently, it was announced yesterday that Wes Anderson has been commissioned by Universal to rewrite this film for an American remake and may consider directing it as well! Don’t do it Wes…………you’ve got too many strange ideas of your own to nurture!
Daniel Auteuil has worked with Leconte before, most notably in the intriguing Girl on the Bridge, shot strikingly in black and white in 1999; here he plays Francois Coste, a single-minded art/antiques dealer who has a contacts book thicker than your arm but not a single true friend in the world.
He’s distrusted by everyone else in the business, known solely for his devotion to profit and stealing their clients. At a dinner one night with his business partner Catherine (Julie Gayet) and others, he’s made to reluctantly confront what seems obvious to those around him – anyone would be loathe to call him friend, and he’s stunned by their revelations.
Bear in mind he’s arrived late for dinner after attending the funeral of a client with the express purpose of negotiating the sale of a rare antique with the dead man’s mum whilst at the same time offering phony condolescences.
Francois is not a bad person, just a ruthless shark with little time for people other than the fringe benefits they can provide for him. He’s long divorced, has a girlfriend of convenience it seems who he mostly ignores and his grown-up daughter, though living with him, hardly registers on his radar either.
Francois and his unhappy business partner Catherine (Julie Gayet)
His partner gives him an ultimatum on behalf of the assembled group at dinner: present his best friend to them by the end of the month or hand over the recklessly bought vase he’s just purchased, putting the business in jeopardy.
Francois writes up a potential list but soon discovers the truth in his partner’s words – he really has no friends, no matter how hard he tries to convince a series of horrified acquaintances and business rivals.
François’ major problem is his lack of social skills, and his polar opposite is an annoying, trivia-spouting taxi driver he keeps running into, Bruno (Dany Boon). Francois decides to seize the opportunity to learn something from this character who has the gift of effortless social interaction with every person he meets.
Bruno (Dany Boon) and Mission: Impossible - taking Francois around to brush up his social skills!
There are some surprises in store for both men as the deadline nears and they learn something about what makes the other tick, Bruno attempting to impart his natural talents, taking Francois everywhere in Paris to brush up on his non-existant skills………….hilariously to no avail!
Leconte’s skillfully arranged plot is the perfect model of simplicity, with a deft light touch applied when necessary; he never overreaches or turns these men into caricatures - they resemble real people closely enough that we believe them even when he's transcending the bounds of drama and aiming solely for laughs.
Though not one of his landmark achievements, it’s almost the perfect light confection, and another example of how this masterly director never fails to at least entertain his audience; with the legendary Auteuil and the affable, infectious Boon along for the ride, this is yet another winner from Leconte.
Here's a child's drawing of the plot, possibly summarising it far more succinctly than me!
** Ironically, since I’ve reviewed films from both directors’ recently, it was announced yesterday that Wes Anderson has been commissioned by Universal to rewrite this film for an American remake and may consider directing it as well! Don’t do it Wes…………you’ve got too many strange ideas of your own to nurture!
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