When Ugolin (Daniel Auteuil) returns from his military service between the two world wars he has a dream of growing carnations a scheme that his uncle Cesar/Le Papey (Yves Montard) quickly understands. However they soon realise that they need a great deal more water, a problem that can be solved by a spring that has long been forgotten in a neighbour's field. The neighbour dies and it is left to a hunchbacked tax collector Jean (Gerard Depardieu), who also has a dream to live as a farmer. As their dreams are not compatible, Ugolin and Cesar block up the spring and plot to rid themselves of their unwanted neighbour.
Director Claude Berri shows great skill in bringing the classic Marcel Pagnol novel to the big screen and does it without losing any of the integrity of the source material, making a masterpiece of cinema in the process. Having seen it for the first time some years ago as part of French class at school, it has not disappointed on repeated viewings.
The acting from all the cast is impeccable, especially the three leads, Yves Montard, Gerard Depardieu and Daniel Auteuil, whose names are not among the most famous in the history of French cinema for nothing. Casting Elisabeth Depardieu (at the time the wife of Gerard) in the role of Jean's wife adds something to the realism and Ernestine Mazurowna acquits herself admirably in her only film role to date as Jean's daughter.
The film acts as a beautifully observed study in human nature and morality. What I love about the book is that unlike the majority of fiction that labels actions in black or white, all through both parts of this drama there are shades of grey. Despicable though the actions of Papet are, he is working for the benefit of Ugolin rather than himself. Also, though most of the villagers appear to suspect that Papet and Ugolin have blocked up the spring, none seem willing to do anything about it and they just watch Jean on his way to his inevitable destruction, so the whole blame can not be left at the doorstep of the Soubeyrans. It is interesting how different the characters of the three leads are. Simple-minded Ugolin gradually loses patience and is corrupted by the far more intelligent and hard-hearted Papet into following his greed. Jean remains steadfast despite all the setbacks he faces, remaining good and ever optimistic despite his increasing troubles.
The decision to use Giuseppe Verdi's 'The Force of Destiny' as the title music is entirely apt, though makes more sense after the viewing of 'Manon des Sources.' The cinematography is also superb, making a stunning backdrop to the film and capturing the mood of the story perfectly. Though it is debatable as to whether or not this film or the sequel is superior, I prefer to think of them as two halves of a whole rather than two separate entities. Manon des Sources is pretty much required viewing for anyone who wants to get a fuller appreciation of 'Jean de Florette.' Cinema at its best.
Director Claude Berri shows great skill in bringing the classic Marcel Pagnol novel to the big screen and does it without losing any of the integrity of the source material, making a masterpiece of cinema in the process. Having seen it for the first time some years ago as part of French class at school, it has not disappointed on repeated viewings.
The acting from all the cast is impeccable, especially the three leads, Yves Montard, Gerard Depardieu and Daniel Auteuil, whose names are not among the most famous in the history of French cinema for nothing. Casting Elisabeth Depardieu (at the time the wife of Gerard) in the role of Jean's wife adds something to the realism and Ernestine Mazurowna acquits herself admirably in her only film role to date as Jean's daughter.
The film acts as a beautifully observed study in human nature and morality. What I love about the book is that unlike the majority of fiction that labels actions in black or white, all through both parts of this drama there are shades of grey. Despicable though the actions of Papet are, he is working for the benefit of Ugolin rather than himself. Also, though most of the villagers appear to suspect that Papet and Ugolin have blocked up the spring, none seem willing to do anything about it and they just watch Jean on his way to his inevitable destruction, so the whole blame can not be left at the doorstep of the Soubeyrans. It is interesting how different the characters of the three leads are. Simple-minded Ugolin gradually loses patience and is corrupted by the far more intelligent and hard-hearted Papet into following his greed. Jean remains steadfast despite all the setbacks he faces, remaining good and ever optimistic despite his increasing troubles.
The decision to use Giuseppe Verdi's 'The Force of Destiny' as the title music is entirely apt, though makes more sense after the viewing of 'Manon des Sources.' The cinematography is also superb, making a stunning backdrop to the film and capturing the mood of the story perfectly. Though it is debatable as to whether or not this film or the sequel is superior, I prefer to think of them as two halves of a whole rather than two separate entities. Manon des Sources is pretty much required viewing for anyone who wants to get a fuller appreciation of 'Jean de Florette.' Cinema at its best.