On the sixth floor of a Parisian mansion live a cluster of Spanish women, housemaids mostly, who are the immigrant working class of France, circa 1960. Downstairs in a sprawling apartment lives well healed Jean-Louis (Fabrice Luchini), his starchy wife Suzanne and, when they’re not attending a well-healed boarding school, his patronising sons. On the ground lives Mme Triboulet, the mansion’s grouchy concierge who, as a French native, pegs herself somewhere below Monsieur but far above the chattering, troublesome foreigners. While Suzanne spends her days in the airless world of Paris’s social elite, Jean-Louis takes an interest in the life of his new maid Maria and by extension, all the women on the sixth floor. Their lively, caring and carefree ways appeal to a man looking to unbutton his sheltered life. Naturally Triboulet is horrified at such improper mingling, so too Suzanne who suspects infidelity, as a whimsical farce unfolds.

Luchini’s fussy sensitivity is a natural fit for this franco-frolic. A pleasure to watch in films like Potiche or Moliere, he is quite delightful here as the women go to work on Jean-Louis, at first letting him into their lives, then shunning him with equal enthusiasm when philanthropic intentions are misread. He brings the conflict to convincing life while keeping a firm hand on both comedic and dramatic elements. He’s given excellent support by Almodovar favourites Carmen Maura and Lola Duenas who stand up for the Spaniards, and Sandrine Kiberlain and Annie Mercier rounding out the French opposition.

There’s a sound argument that says Women On The 6th Floor wants for more satire, more social bite. It’s true that Le Guay didn’t stray especially far from the recipe when he was baking this soufflé, and the story could certainly benefit from a little more heft. However it’s cheery disposition and acute lack of cynicism is a welcome break from a raft of films that regularly sink under the weight of heavy cargo. It's an enjoyable romp that warms with gentle laughter and makes uncomplicated points with an uncomplicated clarity. The effect is like wearing a well loved jumper: soft, warm and delightfully cosy.

// COLIN FRASER
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