Manons Rache

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

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

"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.

This (and Jean de Florette) is the most moving, well thought out film I have ever watched. The countryside makes me long to go to France, to where it was filmed, to see "Les Romarins" and "Les Bastides". The music is like an eerie prayer that reminds my soul of "pauvre Galinette et ses rouges oeillets, et Papet Soubeyrans, et Manon Cadoret". The red carnations are a haunting image...

Both books are as good as the movies; I recommend anybody who likes this film to buy them (if you can read French, that is!). I would give everyone, Marcel Pagnol, Claude Berri, etc etc a gold medal for these works- well done!

By the way, have a look at the earlier version of "Manon des Sources". An actress called Jaqueline Pagnol is in it -she is the wife of Marcel Pagnol who wrote both books!

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.