Oh no, not another winsome human comedy about life-lessons and friendship. Buy a movie ticket or the DVD anyway. In the hands of director Patrice Leconte and actors Daniel Auteuil and Dany Boon, My Best Friend turns out to be not just a charming, sweet-natured fable, but a well-told and well-acted one. Francois Coste (Auteuil) co-owns a Paris gallery, has a great- looking apartment, seems estranged from his college-going daughter, knows many people in the business and has just impulsively bought at auction a very expensive Greek vase. One thing Coste lacks are any friends. Oh, he has plenty of business acquaintances, is reasonably cordial most of the time, but also, we notice, is somewhat distant to everyone he knows. He can talk antiques engagingly but he doesn't seem to really notice much about the people he talks to. When he gets in over his head financially with the purchase of the vase, his smart, good-looking partner is irritated. Francois has never even noticed that she likes women and has a partner of her own. She makes a bet with him. He has ten days to prove he has a best friend...or she gets the vase. Francois is smugly confident, until the people he adds to his list of friends begin telling him the truth. And then he meets a cabdriver, Bruno Bouley (Boon). Bruno likes people, listens to them, talks to them and has a great passion for odd facts. He wants to be on a television quiz program. People seem naturally to like Bruno. When Francois realizes he has no friends, real friends, the kind you can call up at 3 a.m. or who will do whatever it takes to come to your assistance if you need help, he decides to have Bruno teach him how to make friends. It doesn't work out quite the way Francois expects, or the way we expect, at least not till the very end of the movie.

Sweet-natured the movie is. Both Francois and Bruno learn some lessons that hurt, Bruno first and then Francois. That the story eventually works out for all concerned is no spoiler. We've smiled some, teared up a little, and left the movie house feeling well pleased and satisfied. We also ask ourselves, this is a Patrice Leconte film, from the man who has given us such exceptional movies as Mr. Hire (1989), Man on the Train (2002), Ridicule 1996) and The Widow of Saint-Pierre (2000)? It is, and My Best Friend is an amusing vacation from angst and irony and drama. It's a thoroughly enjoyable movie.

The two actors who make it work so well, of course, are Auteuil and Boon. They play off each other with great skill and authenticity. Auteuil is practically a French national treasure. Along with his contemporary Gerard Depardieu, the two have just about dominated French acting by male leads. Neither of them has conventional leading man looks, but both can play anything, from tragedy to comedy, from fools to heroes, and both can either dominate a movie or fade back into being one of the cast. Compare the versatility of Auteuil: Contemporary high drama in Cache (2005) and La Separation (1994), rollicking sword-play and romance in Le Bossu (1997), tragedy in The Widow of Saint Pierre (1994) and hopeless, dull-witted ineptitude in Jean de Florette and, especially, Manon of the Spring (both 1986).

Mon Meilleur Ami is an easy-going, charming movie about friendship and even love. "There is no love, just the tests for love;" no, "There are no tests for love, just love." Both make sense. That's why this movie works.

I actually watched this film on a crappy bus going from Rosario to Buenos Aires.

The screen was really little and flickering. But the film was so good it actually caught my attention and I really liked it.

One thing I could say was not too good is that you actually know how it's going to develop within the first minutes. It is quite predictable, but its point of view about friendship is really nice and makes you think about it too.

It's something you can watch in family or of course, with your best friend.

I really recommend this movie.

Catherine (Julie Gayet) and François (Daniel Auteuil) are partners in a Paris antique business. He has just paid so much at auction for a large Greek vase--itself a symbol of a friend's loyalty--that he's put the firm at risk. Catherine, who accuses François of having no friends, makes him accept a bet. Within ten days he must either come up with a "best friend" or forfeit the vase. François's self esteem now being as much at risk as the firm's finances, he bends to the task.

In the course of telling its story this film glances at some searching questions about friendship. What IS a friend? How many TRUE friends does anyone have? But as a comedy—certainly a very dry one—it ends by being neither revelatory nor funny. Sometimes it doesn't even feel like a comedy, and director Patrice Lecante and his writers may not have quite made up their minds what they were doing in the first place.

Certainly the raw material of comedy is here. All François' bustling efforts to dredge up any real chums, let alone a "best friend," are ludicrous failures. He has a daughter, Louise (Julie Durand), and business associates: no friends there. A high school classmate he thinks was a pal despises him. Everyone says he's an odious fellow, a "con"—an asshole. Along the way François meets a companionable and chatty taxi driver named Bruno (Dany Boon) who takes him around, keeps him company, and gives him tips. Bruno comes up with a "three-S" rule for "friend"-making: be Sociable, Smiling and Sincere. The trouble is that for all his chattiness—he's a wannabe quiz show contestant who compulsively feeds factoids to his fares—Bruno is a misfit with no friends himself. His sociability and smile don't mean he knows how to relate to people: the trivia recitations get in the way of that. As for François, he's clearly a person too wrapped up in himself ever to have connected with others. He goes to a lecture by the author of a self-help book on friendship, but the homely myopic man who befriends him afterward, he quickly abandons.

It's no great secret that this will develop into an offbeat buddy picture featuring François and Bruno. Somehow they will betray, abandon, and find each other again. If a friend is somebody you can call on in your most need, they've turned out to be true pals. Or have they? This, like various other key points, is an issue that's flirted with only to be left hanging.

Director Patrice Leconte, who made 'Monsieur Hire,' 'The Man on the Train,' and by now three films starring Auteuil including 'The Widow of Saint Pierre,' is doing something less ambitious here—but there are haunting, dark elements. We are all alone—as Mrs. Mulwray says in 'Chinatown,' "Isn't everybody?"—and Bruno says so too. Auteuil, who played the angst-ridden TV intellectual in Michael Haneke's 'Caché' recently, and once played the frozen soul of Claude Sautet's 'Un Coeur en hiver,' steps easily into the role of an urbane individual whom nobody likes. But though Auteuil is convincing, he isn't really droll. And the film is full of gaps and puzzles. If François is so odious, why is a good-looking woman wanting to spend her nights with him, and why are all those colleagues so willing to dine with him? Where are THEIR friends? A late sequence in which Bruno finally gets his wish and appears on a French version of "So You Want to Be a Millionaire?" provides a welcome change of scene and mood; but it's also painfully drawn out, and its payoff is obvious.

The principals are good and the package is glossy and attractive. But Leconte has failed to achieve effective comedy or resolved his subject satisfactorily. At the end, when we see his associates and partner celebrating François' birthday a year later, are we to believe he's now well-liked? Excuse me, but what happened? Hasn't the film failed to show the main action it was looking for, François' transformation? Doubtless these questions are not supposed to occur to us; but 'Mon Meilleur ami' is the victim of its own Parisian cleverness. It's too cool and elegant ever to fall into sentimentality. But it provides no credible examples of friendship or of persons who're whole and deeply connected. Catherine has a lesbian girlfriend in her bed at home, but there's no information about this relationship. Bruno's parents are nice little nonentities. Most other characters are mere walk-ons. The well-oiled hinges of this film's scenery move too smoothly and efficiently to allow for ordinariness, specificity, or warmth. Bruno's cheer is obviously fragile. He suffers from a lost relationship, as does François. Though it makes you think, in the end this film like its protagonist seems more manipulative than humane. "I no longer want to do overly serious movies," Leconte has said. He's achieved that goal. But unfortunately what he's made instead is one that's merely empty and a little sad.