User reviews

Manon of the Spring is the sequel to Jean de Florette, released the same year. By no means should Manon be rented without having first seen Jean. By no means, in either case, should one glance at the movie notes on the reverse side of the video box.

Almost nothing can be said safely about Manon without giving away the overall plot or this or that twist or turn. Suffice to explain that Jean concerns an urbanite hunchback who relocates to the Provencal countryside with his wife and daughter, intent on raising rabbits. Manon picks up some years after the Jean conclusion, with the daughter having grown to young womanhood. (More prudish prospective viewers need to know that this will be explicitly evident.)

This is superb movie-making. Other reviewers accurately call it a masterpiece. The story line dominates, not the acting. Even so, Yves Montand continues his excellent performance from Jean, and Daniel Auteuil as the unsightly nephew is more impressive after one sees him clean-cut and sophisticate in something like Un Coeur en Hiver (1992). Emmanuelle Beart and Hipployte Girardot say very little, yet it doesn't detract from their respective essential portrayals. Anyone who becomes a Beart fan is advised to rent Nelly & Monsieur Arnaud (1995).

The two movies, prequel and sequel, work as a team. By virtue of its powerful denouement, however, Manon of the Spring is the standout of the pair. For the same reason, in my opinion, it is one of the very best films of the 1980s.

Having adored Jean De Florette, of which Manon of the Spring(or Manon Des Sources) follows on from, I found this film every bit as amazing. Once again the cinematography shimmers and the scenery is some of the best I have seen in any film. There is also a haunting score, a compelling story and a genuinely moving script, and Berri's direction is paced perfectly to suit life under the scorching sun. The performances are every bit as impressive, Emmanuelle Beart is alluring and very believable, and Yves Montand and Daniel Auteuil are once again outstanding, particularly Auteuil when he tries to atone. Overall, an amazing and I think poignant film. 10/10 Bethany Cox

I always felt that the week I needed to show the two films was worth the time for the students: they heard other-than-Parisian accents and they saw truly fine films! I enjoyed watching them as well, but I always went to the front of the room toward the end of Manon so I could watch the reaction of the students at the "revealing" scene near the end. One year, a young lady whom I did not particularly like was glued to the TV closest to her: her eyes widened, her mouth gaped, and perfectly silent tears started to flow down her cheeks. Not a motion, not a sound...just tears. I decided I liked her quite a bit more than I previously had!

When I saw Jean de Florette, I thought that Yves Montand jumped at the chance to play the role of Cesar Soubeyran (aka "Le Papet"), but he actually refused the role when first offered and only took it when his wife died. I have to wonder if he got the scripts for both movies or the first one, since in Manon of the Spring his character actually deepens and might be even more interesting to play (albeit not quite as villainous, he really does have an arc here), but at the same time the story dips somewhat in quality. It's not for the entire running time of the film - mostly it's in the third act, when the film turns into an unbelievable yarn full of revelations and twists to make it into a happy story of the utmost redemption (with maybe a bit of tragedy in retrospect to be sure). But Manon of Spring shows why having a strong ending, especially when a story runs from first part to second almost four hours in length, is very important.

This time it's more about the 'legacy' of the Soubeyrans as it's 10 years later and, for reasons not made totally clear, the daughter of Jean (de Florette) is on her own as a shepherdess (her mother, also for reasons not totally clear, is singing opera again, which is odd since in the last film she said she couldn't do it anymore, but whatever). As she goes about her daily routine the Soubeyran nephew Ugel, played by Daniel Autreil, notices her going about her business (indeed, at one point, very nude and dancing around), and he falls in love with her. Of course falling in love is tantamount for him, even as his uncle demands that he marry and continue the family blood-line.

Of course there is a lot of emotional baggage for the maybe 18 year old Manon (Emmanuele Beart, pretty much immaculate in beauty to the point I'm guessing that's why they hired her, some talent notwithstanding), and the question one asks is not so much if she'll take revenge on the wealthy people who drove her father to die and make her family sell the home via trickery with the spring, but when, and by what methods. This is also, of course, a PG movie and done in a classical style, so it would have to come from something much trickier. How she lays out her payback is really clever and makes for a compelling second half of the film (or maybe one quarter I should say) and it ends up involving most of the town itself.

I think that with this story this time what's so effective is Berri's direction as a contrast in style with the material; this could very well be like a (semi-romantic) western set in the French countryside, with a lot of wide landscapes and greenery and land that can be walked around on, and while it's shot with an eye for beauty and the music scoring compliments it, the emotions are rather dark and twisted underneath. Autiel is still the actor who still has some complex emotions to play, but here it's not really about deception of this Florette farm-owner but about whether or not (or how soon/what to say) to ask this woman to be his wife and have his kids... which seems pretty close to impossible. Autiel is still very good, but somehow the character isn't quite as complex this time as in the first film - rather the whole dynamic is hinged upon what Manon knows and what he doesn't.

It's not really Beart's fault that she doesn't get much to play here, but I wonder if Manon was better developed or had more to do in the book this is based on. Part of it is that she's supposed to be shy, but to this extent(?) I think this adds to what comes out as the over-wrought melodrama at times - she either looks concerned or cries through much of the film, maybe once or twice she has some joy to her - so it leaves her as kind of a not badly but slightly underwritten character. On the opposite side Montand does everything he can with what's he's given to do and makes this old man very sympathetic as he comes to grips with what he's done. A lot has to happen for that to really take place, but Montand is always there, even when (maybe especially when) the script lets him down with what amount, to me, to be soap opera revelations about lineage and who is really who in this story (if you can take a guess it might almost count as a spoiler... maybe).

Manon of the Spring carries a lot of terrific craftsmanship, natural and wonderful acting, and some colorful supporting characters (well, maybe the real suitor for Manon is kind of two-dimensional, if that). I just wish the last 20 minutes weren't so disappointing.

Whenever I'm tempted to give a movie that I liked a lot a "10" rating, I think of this and Jean de Florette (it's one long story arc). It's a rare film that comes up to this standard.

Strongly recommend that you rent them both at once; watch Jean de Florette on Friday or Saturday, and then watch Manon of the Spring the next day. Otherwise, Jean de Fleurette is just too damn depressing.

But whether apart or taken together, they are as fine a work of art as any of us can hope to ask for.

The second of two films based on Marcel Pagnol's novel , being perfectly adapted , including heartrending interpretations , superb photography and spectacular outdoors . This is a magnificent follow-up to Jean De Florette dealing with life a Provencal village in the 1920s , there two scheming countrymen planning their neighbour to fail his crop and ruin him by means of traps , as the city-born hunchback Jean (astonishing Gerard Depardieu who had his real-life wife Elisabeth Depardieu as screen-partner) chances for survival fade without water for his rabbits . As in drought-ridden Provence there is a single spring that is blocked by two nasty farmers . This sequel concerns on the adult daughter of the dead hunchback called Manon (Emmanuel Beart who subsequently married Daniel Auteuil) , as the action switches 10 years on , she plots vengeance on the two men , (a veteran Yves Montand and his rat-like nephew excellently played by Daniel Auteuil) , whose greedy conspiracy to acquire her her father's land caused his death years earlier. As there takes place as fight for a fertile piece of land. The vendetta proves greatest than she could ever imagine .

This devastating follow-up takes up the tale of envy , deception , ambition and jealousy in 1920s rural France . This following is almost as good as the original , though results to be a less involving effort than its predecessor . The first and second installment were simultaneously filmed at a cost of 17 million dollars , a real French record and was a successful box office . On the whole this picture turns out to be sensitive , colorful and with great dramatic effect thanks to interesting as well as thought-provoking script by Gerard Brach , Polanski's usual , helped by the same director Claude Berri . Very good acting for a French all-star cast , such as Yves Montand who gives a touching performance , Daniel Auteuil is once again extraordinary as the dim-witted farmer and a gorgeous Emmanuel Beart as beautiful but shy shepherdess . Enjoyable support cast such as Hippolyte Girardot as the local schoolmaster , Margarita Lozano , among others .

Rich cinematography by Bruno Nuytten , plenty of color with the warmth of a French countryside in summer . Emotive and sensitive score Jean-Claude Petit , including Giuseppe Verdi music . This well lauded and awarded motion picture was compellingly written and directed by Claude Berri , along the first part he creates an imposing achievement ; together they make up a dramatic masterpiece . It was showered with prizes , as British Academy : the best adaptation , screenplay and actor Daniel Auteuil ; and French Cesar to actress , Emmanuel Beart , and actor , Daniel Auteuil . Rating : Essential and indispensable watching . Well worth seeing .

"Manon des Sources" finishes where its previous film, "Jean de Florette," left off. It takes up the tale of Manon, the beautiful young daughter whose father is gone due to the evil deeds of their neighbors.

It is 10 years past "Jean de Florette," and Manon is reduced to being a lone shepherdess in the hills for a small goat herd. Meanwhile, Ugolin, one of the men who wronged her family, has fallen in love with her.

As the movie progresses, the dark secret from "Jean" is fully revealed to all. The crime involves not only the two Soubeyrans behind the plot of the first film, but it even extends to implicate the entire town. As more is uncovered, Manon is driven to consider dark plans of a fitting revenge on them all.

The film binds all the people in town in a wonderfully spun knot of love, hate, crime, guilt, vengeance, repentance, and the possibility of forgiveness. And just when you think you've seen the completion of a superb story, there is one rich twist at the end that ties it all up into a perfect masterpiece.

Besides the wonderful story, the scenery is again gorgeously photographed. The acting is wonderful -- you end up feeling deep sympathy for all the characters in the film, no matter what their wrongs.

The first film was a solid 8, but this is definitely a rare 10.

Rating: 7 out of 10. Directed by Claude Berri. In this sequel to `Jean de Florette', ten years have passed. Jean's daughter, Manon, has been living in the area near where her father died, she has been tending goats, has a dog, but has been living in poverty.

At the end of ‘Jean de Florette', we see Manon realizing that the Soubeyran's had blocked off her father's water supply, the movie ended with a horrified Manon. Early on in this concluding installment to the story, Manon realizes that the people in the nearby village knew about the water spring on their land but did not say anything. Some of these people were even distant cousins to Jean, but only the Soubeyran's knew this at the time and did not share this information.

Near the halfway point in this movie, Manon discovers the source of the water for the whole village, she has her revenge by cutting off the water of those who killed her father. A bold and brazen move, but one that sends a strong message. This all seems very sensational and theatric, but the director's message of philosophical justice comes across in a satisfying way.

The climax of the movie contains surprises that I won't mention here. While shocking, the viewers will find themselves thinking that they should have realized these plot points during the first movie.

While this is a great movie, I thought the first installment was better, therefore, `Manon of the Spring' gets a 7 out of 10. I think the two movies should have been released as one long epic, it would have had a greater impact.

A wonderful cast, it is Emmanuelle that makes the movie. Every second she is on the screen, she takes your breath away. Just like every guy in the movie, they are taken by her beauty. though the sub titles were poorly done on the video copy that I had rented, the movie was a surprise. Even for a PG rating, the story kept your interested in what was going to happen. Though the story doesn't pick up its draw until the conversation takes place. Done poorly in my opinion, I felt the explanation could have come in pieces during the movie instead of having it all come during the conversation with the blond woman. It seemed rushed to me. Still, once the truth is known, the film takes on a entirely different feel. A truer grit. But like I said before, it's Emmanuelle keeps you watching.

This is my favourite French movie of all time. The cycle of life and death, as symbolized at the wedding at the end while one of the characters visits the cemetary, is so poetically portrayed in this movie. Nobody is crudely and simply drawn here--you understand motivation, human nature, and the capacity for both good and evil that exists in all of us. The film would also be an excellent travelogue of Provence, and its slow, deliberate pacing enables you to envelop yourself in a story that unveils itself in its own sweet time. Even though Daniel Auteil's character was supposed to be evil, his love for Manon was so heartbreakingly portrayed you couldn't help but feel for him. And of course what can be said about Yves Montand--he can say more with one raised eyebrow on that great wrinkled face than Bruce Willis can mumble in an entire movie...the highest recommendation for both Jean de Florette and Manon of the Spring

When this movie ends, you will be devastated - and haunted forever by it. Here are the tragic consequences of pettiness, jealousy and evil scheming - graphically presented in a stunning two-part movie (Gerard Depardieu delivers a tour de force performance in Part 1, the movie Jean de Florette, which you need to see before seeing this movie, Manon Of The Spring). This brilliant French opus has been largely ignored and/or forgotten here in America but it sets a standard few American films of its time came close to achieving. I loved it so much I went out and bought the VCRs and recently (with great difficulty), the DVDs (which are hard to find, sadly). Few American movies come close to the greatness of this film duo and their memorable impact.

A superb movie that works on so many levels....I first saw this and jean de florette as a teenager and was satisfied by the "happy ending" I thought it was then but now older, wiser and much more experienced in life,I have watched it again and was brought to tears by the tragedy of the ending I never truly appreciated or realised before in my youth.

I like this movie manon and jean de florette for tapping into the humanity of us all, how easy it to make wrong choices and actions not seeing the consequences to others and to ourselves, only seeing the immediate goal. How many things I would change now if I could.....

a 10 for a truly human movie and of course for great acting, beautiful countryside and music that only serve to compliment it.

I decided to do my review/praising of Jean De Florette here on the Manon Des Sources board. After all, it is not a sequel, but a continuation of the same story.

Being made at the same time, the beauty captured in Jean De Florette flowed effortlessly into Manon Des Sources. I just find these two films so entrancing in every way. It's drama and tragedy of the highest order without a single ounce of melodrama to spoil its earthy and honest depiction of rural life in France. It is, as a friend on IMDb said, "the ultimate Greek tragedy, but in France". It is true that I have never seen tragic irony done so well as as at the end of this film. It's pure film-making at its very best set against the most rustic scenery and music one could hope for.

I am here speaking on behalf of both films, which at this late stage of the calender year, are currently my favourites this year. The effectiveness of the ending of Manon is owed in huge part to the way the character of Cesar is built throughout Jean De Florette, and so together I give these films a resounding 10/10

This, along with its other half Jean de Florette, has to be one of the best movies ever made. The great storyline is really brought to life by excellent photography and some very solid and believable performances by a pretty much flawless cast (I thought Manon was used a little too much for just looking pretty, but I can hardly blame the director for it). It was aired here in the uk with each part a week apart, which spoiled the flow somewhat but it's testament to the quality of the film that I made a point of seeing the second part. A few hints here about some secrets coming out helped ;0). It's great to see characters that aren't 'black and white' (I *felt* for Cesar during his talk with the old, blind woman even after all he'd caused) and I only wish more films were made like this. I only wish my French was better so that I could have spent more time watching the great actors rather than reading the subtitles, but dubbing would never do. And Manon herself; I can well see how she would drive someone mad with love. You don't need subtitles for that. I registered just to vote for this film and I gave it 10/10. This, along with Taxi, have really shown me that French cinema can be so good I'm apprehensive about seeing any more; nothing could ever come as close, surely? It's one of those few films I've seen where after seeing it you want to see it all over again right away, even knowing what happens, as the atmosphere and acting really draw you in. It was aired here in the early hours of the morning, which means fewer people might have had a chance to encounter it but the stillness of the early hours definitely helped the film take me away to rural france for a few hours...

The full title of this film is "Manon des Sources. Part II of Jean de Florette". The original version of "Manon des Sources" in 1951 was directed by Marcel Pagnol and told the story in one four hour long marathon. Later Pagnol elaborated the story in his novel "L'eau des Collines". In 1986 this was made into the two-part film under the faultless direction of Claude Berri. The two films were made in succession so they can quite rightly be regarded as two parts of the same film. Unfortunately hints and clues abound in part I making part II little more than a perfunctory exercise, albeit admirably performed by masters of the art, with an inevitable unfolding of events. After the death of Jean the teenage Manon (Emannuelle Beart) tends a herd of mountain goats in the hills above César's farm whilst her absent mother is a member of an opera company in Marseilles. As she grows up Manon gradually pieces together bits of village gossip until she realises how the villagers have remained silent while César connived to get the piece of land and spring from her parents' farm. She then accidentally stumbles on a way of getting her own back but with unexpected consequences. By the end of the first hour the film drags due to the slow telling of the story and also the sparsity of characters. Suddenly it comes to life as we meet many of the other villagers including the mayor and the priest. There is so little to tell that it pales in comparison with Jean de Florette despite possessing many of the qualities of that film i.e. superb acting, direction and photography. It is little more than an ending tacked on. As even the twist at the end was signalled in Part I, I would have preferred a single but longer film telling the whole story at one viewing. I was surprised at the large number of reviewers who found the final twist unexpected; I can only conclude that today's cinema audience, having been weaned on films in which everything is explicitly stated, is unable to read messages hidden in the film.

I am glad to report that the problems with subtitling I commented on in J de F have are no longer apparent apart from the intrusion of "orology"; also the occupation of Jean's father is now satisfactorily rendered as "blacksmith" in place of the previous cryptic "farrier".

I have not seen the 1951 version but critics consider it better than J de F and M des S. Let's not forget that Pagnol was The Master so perhaps his way was the right way? I wish they would put his version on TV one day then we can tell for ourselves.

This was the first French film I ever saw! It wasn't the last - I came to appreciate the cinema of Jean-Luc Godard, Jean-Pierre Jeunet & Marc Caro, Claude Berri, Claude Sautet, Jacques Rivette, etc. through watching this fabulous film.

Emmanuelle Beart is divine.

Yves Montand is now sorely missed.

And Daniel Auteuil is on the form of his life here.

If YOU want to get into European films, this is a cracking way to start. Magnifique!

A beautiful but shy shepherdess (Emmanuelle Béart) plots vengeance on the men whose greedy conspiracy to acquire her father's land caused his death years earlier.

Directed by Claude Berri, it is the second of two films adapted from the 1966 two-volume novel by Marcel Pagnol, who wrote it based on his own earlier film of the same title. It is the sequel to "Jean de Florette".

I wish I could say I got into this film, but I just did not. This was probably my fault and not the fault of the film, just not being in the right mood for it. So my middle-level rating should only be seen as preliminary. Most likely it would go up upon a second viewing.

This is the sequel to 'Jean de Florette', which distressed me so much that I found it very difficult to watch.

There are many, many uglier things on this planet than the stupid, filthy minded people in these two movies but this story of diseased and greedy mindsets seems to encapsulate the entire issue of human stupidity and crass, base unkindness. It is the sheer premeditated narrow and infantile view of peasants and human pettiness worldwide and because of it, it seems to have attracted rave reviews for its story of eventual vengeance and victory. But in reality, no one wins. Least of all the beautiful, gifted wife of a mistreated and genuine man and the glorious daughter they raised.

I have not enjoyed these films. I grew to hate, with a passion, every face in it other than Emannualle, what a beauty and what power she emits with her face, and I will never be able to think of carnations in the same way.

I think to many, my response may seem extreme. Only when you've been battered and bruised by this side of human degradation do you really understand the phenomenal impact it is having, right now, on our entire world.

Watch it if you like buffoons destroying joy for others. I wouldn't watch it again if I were paid.