This duplicitous tale of moral double-dealing could be called Love: French Style. It starts simply enough when a wealthy tycoon is caught on camera with his leggy lover. He persuades his valet to pose as her boyfriend, thus saving the tycoon’s marriage and, more importantly, his business empire in which his wife is a major share holder. Thing is, she’s not so easily fooled and sets out to reveal the truth. Thing is, the valet’s girlfriend’s own marital mis-dealings threaten to tear the entire farce apart.

Directed with comic skill by Francis Veber (The Closet and more recently Tais Toi), The Valet is a skilful work that doesn’t place a foot wrong. Although it follows his own formula and leaves little to surprise, this is less about destination than about journey. His moral compass is firmly set, enabling us to cheer the valet’s wavering resolve and the wife’s brutal  intentions to set her philandering husband straight. Daniel Autieul, beset by a vengeful Kirsten Scott Thomas and supported by willowy Alice Taglioni (The Story of my Life), leads a lively cast who rise to the occasion.

Embrace largess and Veber will reward with an upbeat, undemanding thrashing of celebrity, jealousy and corrective punishment. He may lack the sting he displayed in The Dinner Game, yet Veber is upfront and unapologetic about his intentions. This is a concise, well crafted, delightfully acted and efficiently produced film that does all it sets out to do: make you laugh from start to end.

// COLIN FRASER