Manon of the Spring

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Aender S Even better than Jean de Florette, the film that precedes Manon des sources. Especially Yves Montand and Daniel Auteuil are at the top of their art showing strong emotions. Rated 5/5 Stars •  Rated 5 out of 5 stars 06/19/24 Full Review Leaburn O Somehow not quite as good as part one but ties everything up. What I initially considered a Greek tragedy plays out more as a Dickensian novel. A couple of excellent films and delighted to own them on DVD. Rated 3.5/5 Stars •  Rated 3.5 out of 5 stars 09/13/23 Full Review Matthew B If the viewer leaves Jean de Florette feeling dismayed at the injustice inflicted on the unfortunate Jean Cadoret, then Manon des Sources offers us the comfort of seeing justice finally served, and in the most poetic manner possible. Once again water is the source that moves the plot forward, as is reflected in the film's title, translated as ‘Manon of the Springs'. The action takes place several years after the events in the first part. This time the central character is Jean's daughter, Manon who has grown up into a young woman (Emmanuelle Béart). While rescuing one of her goats, Manon discovers a cave containing a spring that is the source for the entire village's water, including the Soubeyrans. Now it is her turn to block a spring, and it is the complacent villagers and the guilty Ugolin who will suffer as the water mysteriously stops. Before long Ugolin is desperately hauling buckets of water in an attempt to save his precious flowers. As for the villagers, they are forced to watch in dismay as everywhere the water dries up, even in the village fountain. At heart the film is about greed, but also the negative effects of pride and insular thinking. Papet and Ugolin are anti-intellectual, suspicious of book-reading, experts and new methods of farming. Most of all, they put their own family interests above those of their neighbours, and carry this to selfish levels. The villagers similarly look out for their own folk, and hold a bigoted attitude towards outsiders. However this attitude proves self-defeating. As I said earlier, the title of the first film, Jean de Florette is significant. As the son of a native of the village, Jean is intimately connected with the village, and even with Papet himself. What the film shows us is that we are all part of one large village, and when you discriminate against those from outside your own parochial area, you are in reality discriminating against your neighbour. Similarly, as the movie's final twist shows, the human race is all part of one big family, and when you promote the narrow interests of your own family at the expense of the happiness or lives of outsiders, you may discover that you are striking against your own kin. I wrote a fuller appreciation of Jean de Florette and Manon des Sources (with spoilers) on my blog page if you would like to read more: https://themoviescreenscene.wordpress.com/2018/08/09/jean-de-florette-manon-des-sources-1986/ Rated 5/5 Stars •  Rated 5 out of 5 stars 08/30/23 Full Review Audience Member A movie that is as beautiful as it is tragic. One of my all time favorites! Rated 5/5 Stars •  Rated 5 out of 5 stars 01/23/23 Full Review Audience Member Emmanuelle Beart is exquisite as the extension of the young Manon into the next chapter; Montand shows great heft as he rages against the truth and then succumbs Rated 5/5 Stars •  Rated 5 out of 5 stars 01/30/23 Full Review Audience Member Loved them both, superb. Rated 5/5 Stars •  Rated 5 out of 5 stars 01/16/23 Full Review Read all reviews

Manon of the Spring

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