As good as the First
- Manon des Sources review by CP Customer
This film is as good as the first in the duo. (Jean de Florette). I was concerned that it may not be as good because Gerard Depardieu did not feature in it as he did in the first, but that turned out to be no so. Although the plot seemed a bit predictable, it did not bother me as the film remained gripping
2 out of 2 members found this review helpful.
Superb, but do watch Jean de Florette first!
- Manon des Sources review by CP Customer
These are really two parts of the same story. Beautifully filmed, the two together have a timeless quality, something like Shakespeare or Greek tragedy. Tragedy yes, but hugely enjoyable and satisfying in its ultimate conclusion.
1 out of 1 members found this review helpful.
Cut Off at the Source
- Manon des Sources review by griggs
Sequel to the film that launched a thousand car ferries of Brits hunting for a second home in Provence, and somehow the follow-up is the one that worked on me.
Jean de Florette left me cold — gorgeous hills, precisely nothing happening. Manon des Sources fixes that by handing Manon a grudge and letting her run with it, cutting off the village's water at the source like a woman who's read the terms and conditions on revenge and decided she's fine with them.
The cast finally look like they're acting rather than modelling knitwear for a Provence tourist board. And that Verdi cue is still knocking about decades later, soundtracking every pint of Stella consumed in a beer garden the second the sun shows up.
Funnily enough, if you want a film about water, land and grudges that actually grips from the start, Dry Summer got there first and did it leaner and meaner. Marcel Pagnol's Provence is still a bit much for me — everyone's either cursed, furious, or weeping into a well.
A step up from its predecessor, even if that bar was on the floor.
1 out of 1 members found this review helpful.
Another Year in Provence.
- Manon des Sources review by Steve
After the tragedy of Jean de Florette (also 1986), part two is more like melodrama, with its revenge narrative and the heartbreaking but very literary dénouement. Both were filmed in a single production so there is no change in approach. We are back in the idyllic campagne of Provence with the sound of the solo harmonica and the cicadas...
Except it's ten years later. Jean's daughter has grown into a lowly- but lovely- goatherd who exacts poetic justice upon the landowners who destroyed her father, by blocking up the stream that serves their farms and the village. The locals are what is now called low information voters. It's dismaying to listen to their (familiar) ignorance and prejudice.
But the unknowable mystery of unintended consequences brings about an even more profound revenge. And the entire four hours ends in a complete emotional overload... Daniel Auteuil and Yves Montand return as the duplicitous villains who are deepened by ill-fortune. And '80s arthouse pinup Emmanuelle Béart makes a beautiful agent of retribution...
Which really makes the complex narrative function. Credit also to writer-director Claude Berri, who gets the elaborate final twist to unravel with exquisite precision. There may be tears! Then there is the understated but rather sweet love story. This period drama is still relevant to who we are now. And seems to have got better over the passing years.
0 out of 0 members found this review helpful.