brilliant actors, brilliant editing

In truth, there is barely enough story here to make a film.

This is a gorgeous movie made by a gorgeous spirit.

All of these films share one commonality, that being a kind of emotional center that humanizes a cast of monsters.

This mildly diverting film is based on an odd couple of two friendless men; one a successful businessman, who doesn't even realise that none of his acquaintances are true friends until it's pointed out to him, and an amiable but eccentric taxi driver who can pass the time of day with any one but knows no-one close. In some ways its a refreshing movie; there are so many films about people without sexual partners, but in a way, to have no friends is even sadder, to have failed to form even a relationship that does not require exclusive reciprocity. It could, in fact, be argued that friendship is less transactional than sexual partnership; in any event, there's comedy and sympathy in the film's portrait of two men who are fundamentally alone. On the minus side, the lack of self-awareness of Daniel Autiel's character is painful but not especially believable; and the use of the game show, 'Who Wants to Be a Millionaire', to provide tension to the plot is a little corny (it's been done elsewhere, of course) and seemingly confesses to a lack of intrinsic tension in the film's own story. Still, it's miles better than a generic romcom, and keeps itself light and brief: a successful film, though a modest one.

"Mon Meilleur Ami" combines the exploration of innocence and gregariousness of "Amelie" with the depiction of obsessive/compulsive behaviour as exhibited in "Rain Man" and tries to present the result as a light Gallic comedy,but,unfortunately,it doesn't quite bring it off. Taxi driver Bouley and antiques dealer Lacoste are at opposite ends of the spectrum,one cynical,misanthropic,money-oriented,the other naive, a free spirit who lives across the road from his parents - maybe a contradiction but not an impossibility - and obsessed with "facts" to the extent that he is apt to turn every conversation into a one man seminar.The plot device that brings these men together comprises of telling the audience directly that Lacoste has no friends and allowing the audience to realise that for all his affability and apparent outgoing personality,Bouley has no friends either. The movie concerns itself with charting their relationship in a "Boy meets boy,boy loses boy,boy gets back with boy" sort of way. Unfortunately,for a film that clearly wants to appear sophisticated it is rather too transparent and the last 20 minutes or so drag it down to TV soap level,negating the good work done by messrs Auteil and Boon. Because of the charm of the principals I wanted to like "Mon Meilleur Ami",from the start but I'm afraid it failed to live up to its credentials.

This film is about a wealthy antique dealer who does not know what friendship is. Due to a bet, he has to find a best friend in 10 days."Mon Meilleur Ami" is a beautiful film. The portrayal of François Coste is realistically unlikable. His social inaptness is very funny, and his search for friendship is hilarious. The humour is subtle but it works well. Bruno, a normally bright and sociable guy, has moments that he becomes paralysed by anxiety. Dany Boon plays his part very well, especially towards the end when he is on stage. He is likable, giving off a positive and almost irresistible charm. I feel so sorry for him as I feel he could have achieved so much more with his knowledge.The friendship between them is portrayed in a realistic and humane manner, which viewers will have no problems relating to. For the ending, everything falls into place and I feel very touched by it. To see all the closure and forgiveness is very satisfying. I enjoyed watching "Mon Meilleur Ami" a lot.

MON MEILLEUR AMI (MY BEST FRIEND) is a gift from France to movie lovers. Though it can be considered a 'comedy' in the French tradition, it is also a fine examination of the importance of friendship in a world too cluttered with 'acquaintances' passing as friends. Just what a 'friend' means is only one important message of this lovely film: the manner through which we identify meaningful relationships is the other.Writer/Director Patrice Laconte (Intimate Strangers, The Man on the Train, The Widow of Saint-Pierre, The Girl on the Bridge, Tango, The Hairdresser's Husband, Monsieur Hire, etc) knows how to take an idea and allow it to blossom without distortion or preaching. He understands the intimacy of friendships and knows how to draw superlative performances from his actors - an obvious extension of the concept of friendship! François Coste (Daniel Auteuil) is an antiquities dealer with his lesbian partner Catherine (Julie Gayet), and while François is a successful businessman, he is a self-centered isolationist who has never been able to make or retain friends, a fact that is put before him at the scantily attended funeral of an associate. François and Catherine attend an auction where François pays a high price for an antique Greek vase, a receptacle for the tears of an ancient man's friend. This purchases encourages Catherine to challenge François to a bet: François must introduce to Catherine a 'best friend' within ten days or the vase belongs to her. François, oblivious to the fact that he is completely without friends (including his own daughter Louise - Julie Durand), accepts the challenge and so the search for friends begins. François exhausts his possibilities, all the while being driven about Paris by a loquacious taxi driver 'Balanchine'/Bruno Bouley (Dany Boon) who has his own problems: he has worked all his life to prepare for a fact-answering position on a television game show, but suffers from a severe case of nerves when before a crowd. Very gradually the two men bond and François realizes Bruno is the closest thing he has to a friend. A plan is hatched which will apparently benefit both men's weaknesses, but as life often does, surprises alter the plans. How the film ends is so tender that sharing it would destroy the fluid progression of Leconte's storytelling.Both Auteuil and Boon are superb in the leading roles and yet every minor role is in the hands of the cream of France's crop of supporting actors. The pacing of the film, the cinematography, the musical score, and the script are perfectly melded. Yet it is the magic hand of Patrice Laconte that makes this movie understated and wholly credible, allowing the audience to relate to the sensitive weaknesses of the two men and grow into their tenuous relationship. It is a joy to watch and remember. Grady Harp