Manon of the Spring (Manon des Sources)

Critics Consensus

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81%

TOMATOMETER

Total Count: 26

93%

Audience Score

User Ratings: 8,516
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Movie Info

Manon of the Spring (Manon des Sources) has also been released as Jean de Florette II in the US, as it is a sequel to Claude Berri's Jean de Florette. Both films are drawn from the same source: Filmmaker/novelist Marcel Pagnol's 1952 rural romance, also titled Jean de Florette. Manon (Emmanuelle Beart), now fully grown, is a shepherdess who prefers to keep her distance from the local villagers. She is determined to uncover the truth behind the death of her father (played by Gerard Depardieu in Jean de Florette) and to wreak vengeance on the men she holds responsible. The more sympathetic of the two men, Ugolin (Daniel Auteil), is in love with Manon, but this does not weaken her resolve. She causes the village's water supply to diminish, blaming this action upon Ugolin and his duplicitous co-conspirator Cesar (Yves Montand). The upshot of this vengeful behavior ends in tragedy for all concerned. The joint winners of eight French Cesar awards, Jean de Florette and Manon of the Spring were released to the U.S. in tandem in 1987.

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Critic Reviews for Manon of the Spring (Manon des Sources)

All Critics (26) | Top Critics (8)

Audience Reviews for Manon of the Spring (Manon des Sources)

  • Nov 25, 2017
    It is frustrating that Manon is such a weak and poorly-written character, which makes her "revenge" feel much less deserved, even though the film unfolds like a true Greek tragedy and is able to move us with a touching ending and the strength of Yves Montand's performance.
    Carlos M Super Reviewer
  • Jun 06, 2013
    Raves for the prior film, Jean de Florette. This film, however, is bizarre and unsettling. Story is nowhere near as brilliantly conceived or beautiful. Seems like a straight-to-video bit of billingsgate rushed to market by a slasher film director. I give it a "M'eh".
    Christian C Super Reviewer
  • Jan 31, 2012
    Simple story masterfully told, Manon is the sequel to Jean de Florette in which the reclusive daughter of the hunchback who was killed for the water on his land learns the truth and sets a course for revenge. These stories might comprise the best 2-part package in French cinema history; knowing the events of the first is required to understand the motivations in the second, and absolutely essential to experience the shocking revelation to its fullest. As with Jean de Florette, everything about this production is superlative, from the gorgeous countryside visuals to the rich orchestral soundtrack to the artistic compositional framing to the outstanding acting. Aged Yves Montand gives a towering performance of a character who ranks among the all-time greatest screen villains and pays an ultimate price of regret. Equally memorable is Daniel Auteuil who has never been better as Montand's nephew, bringing to life a pathetic simpleton who is both loathsome and pitiable. Another shining performance comes from the incomparably beautiful Emmanuelle Béart who shot to stardom as Manon the goat shepherdess. She doesn't have many lines in her solitude, instead reflecting her curiosity and distrust through her wondrous eyes, but when she does speak her outbursts carry that much more impact. Perhaps her finest achievement is racing up and down those precarious goat trails without tumbling into the emergency room! I watched this last night for the first time since sitting in a college theater 20 years ago and could still vividly recall the big revelation scene as it unfolded which again packed an emotional punch as momentous as Darth Vader's at the end of Empire. If I had to choose, I'm inclined to say Jean de Florette is slightly better because of Gerard Depardieu's galvanizing presence, but with Manon des Sources we get Béart and a resonating conclusion to this 2-part masterpiece.
    Doctor S Super Reviewer
  • Jan 16, 2012
    Out of the tragedy of Jean de Florette comes the redemption of the next generation in Manon of the Spring. This work is exquisite and the two films represent some of the best work of the French cinema.
    John B Super Reviewer

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