MisterWhiplash 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.

runamokprods Two part film, that was 1st released as two separate features. Terrific telling of a complex story of intertwined farming families in rural France in the early part of the 20th century. The acting is mostly of the highest order. Yves Montand, one of the most suave men in history is completely believable as a rough hewn, self-centered farmer, Gerard Depardieu, also cast against type, as a gentle, educated city born man trying to make it as a farmer also is astounding. Almost as good is Daniel Auteuil as Montand's not-very-bright son. Only Emmanuelle Beart, gorgeous though she may be, doesn't quite convince me as the wild woman of the fields. Some of it is performance, some of it is how perfect she looks. The story is wonderful in a Dickensian sort of way, with clues and character elements showing up early, only to pay off three hours later. I love the first part even more, somehow it feels more truly tragic and dense, the 2nd part just a bit too neat by the end. But still a grand, intelligent, great looking entertainment.

Red-Barracuda Manon des Sources is the second part of Jean de Florette. It's important to point out that it is a continuation of the story not a sequel. It takes on the narrative ten years down the line where Papet and Ugolin are reaping the benefits of cheating Jean from his land. Meanwhile Jean's daughter Manon (the beautiful Emmanuele Béart) roams the surrounding hills with her herd of goats - a constant reminder to the two men of the terrible injustice they committed against her and her family. To make matters a little more complicated Ugolin falls in love with this now gorgeous young woman, while she in turn falls for a local teacher. Manon still understandably holds a huge grudge against the men who she knows were indirectly responsible for her father's death, and the villagers too who she discovers knew of the scheming but did nothing. When she discovers the source of the water that feeds the village her revenge is set into motion...As a pair of movies Jean de Florette and Manon des Sources are a terrific example of the French heritage film. These movies play upon notions of nostalgia for a bygone era in France. The rural setting is beautifully evoked but more importantly the storyline is consistently strong and compelling, with great performances from all actors across both movies. If anything Manon des Sources is the greater of the two films, as it essentially satisfyingly concludes the storyline and gives the closure that we the audience want. The villains meet suitable ends and Manon herself finds true happiness. This summary may seem very hackneyed to anyone who has not seen them but these movies are handled with such a beautiful touch that their traditional narratives seem perfect. That said, the ending does provide us with a great little twist in a magnificent scene between Papet and a blind woman called Delphine. This revelatory scene in a graveyard offers a whole new dimension to the film and adds to the overall whole immeasurably.Jean de Florette and Manos des Sources are I suppose old fashioned movies in many respects. But they are old fashioned in the best ways. They offer quality cinema without patronising the viewer and have enough twists and turns and emotional involvement to satisfy the most jaded of cinema fans. A definite treat.

Claudio Carvalho Ten years after the death of Jean Cadoret, his wife has returned to the life of opera singer and his daughter Manon (Emmanuelle Béart) has grown up and become a gorgeous lonely shepherdess. Ugolin (Daniel Auteuil) is now a thirty year-old wealthy bachelor planting carnations. His grandfather Cesar Soubeyran (Yves Montand) presses him to get married to carry the name of their family since he is the last man alive. When Ugolin sees Manon on the fields, he falls in love with her, but the shy Manon is infatuated with the school teacher Bernard Olivier (Hippolyte Girardot). One day, Manon overhears the conversation of two locals about the vile action of Ugolin and Cesar and she plots revenge against the two scoundrels blocking the spring of the whole town. While the farmers and the dwellers despair and the mayor summons a water specialist from the city, the priest organizes a precession. Later Cesar has a conversation with the blind Delphine (Yvonne Gamy) that discloses a secret about his beloved Florette.Definitely "Jean de Florette" and "Manon des Sources" are among the best films I have ever seen. The revelation in the end of the story is unpredictable and closes this engaging story with golden key. The beauty of Emmanuelle Béart and the haunting music score are mesmerizing. I only regret that the Brazilian title is actually a spoiler. My vote is nine.Title (Brazil): "A Vingança de Manon" ("Manon's Revenge")