Search Best French Films website for keyword s Two films, one set about fifteen years after the other telling a wonderful story, full of period and regional detail, that takes your emotions on a roller coaster ride. The story is set in Provence in the South of France in the early twentieth century, and centres on a farm with a "source" a natural spring on it - a valuable commodity in this region.
Beginning with the fifth paragraph, this review reveals details about key plot points and the endings of both Jean de Florette and Manon des Sources. Proceed at your own risk. Although released with a three month separation in France and a four month gap in the United States, Jean de Florette and Manon des Sources sometimes called Manon of the Springform a single, unbroken narrative.
Now, with both readily available on DVD, it makes little sense to view one without the other. The natural "intermission" at the end of the first film allows the experience to be spread over two nights, but it's hard to imagine anyone watching Jean de Florette and not moving on to Manon des Sources, and under no circumstances should the second movie be seen first.
In this case, the order isn't just important, it's paramount. Yet it should be noted that re-watching Jean de Florette after seeing the ending of Manon des Sources adds a layer of poignancy to the proceedings that are not there on the initial viewing.
The two films are inextricably bound, and were planned and filmed at the same time with most of the same cast and crew. Thematically and narratively, it is impossible to grasp the scope of what Claude Berri is attempting without seeing the entire project.
The contemporary analogy would be The Lord of the Rings. Watching an individual chapter of Peter Jackson's masterpiece gives a sense of greatness, but, for the full impact, one cannot simply watch a single film.
Few films develop characters as deep and multi-dimensional as those represented here. Rather than taking the easy and less satisfying route of relying upon stereotypes to form the background of his movie's population, Berri expends the necessary time for the lost art of characterization.
There are certainly protagonists and antagonists, but simplistic labels like "hero," "villain," "good," and "evil" become irrelevant. There's a karmic sense of justice in the way things evolve, but this isn't one of those movies where the bad guys get their comeuppance in the final reel.
Things play out more subtly, and with a much grander sense of tragedy. Technically, the film couldn't be better. From a visual standpoint, it is perfect or, if not, close to it. The cinematography by Bruno Nuytten captures the beauty of the countryside and the difficulties encountered by the inhabitants.
Jean-Claude Petit's score, which borrows liberally from Verdi's "La Forza del Destino," is orchestrated in such a way that it enhances the film's emotional impact, rather than existing as a pleasant background distraction. The first film begins by introducing us to the two characters around which the entire story revolves.
Since Cesar never fathered any children or so he believesUgolin is the last of the Soubeyrans, and, more than anything else, Cesar is devoted to the continuation of his proud bloodline. So, even though Ugolin is ugly, tentative, and slow on the uptake, Cesar aids and mentors him, intending to set him up financially so that he can attract a healthy wife who will bear him many children.
Ugolin has his heart set on developing a carnation farm rather than raising animals or foodand, when Cesar learns how much the flowers are worth, he wholeheartedly supports the endeavor. But there is a problem. Carnations require copious amounts of water during the withering heat of the long, hot summer - far more than Ugolin's well can provide.
There is a nearby spring, but it is on Ugolin's next-door neighbor's property, and he refuses to sell.
After the man's "sudden" death, Cesar feels certain that Ugolin will be able to buy the property from the heirs, but, to be sure, the two of them block up the spring, making the property next-to-useless for farming purposes.
Nevertheless, the new owner of the property, Jean Cadoret Gerard Depardieuthe son of Florette, an old flame of Cesar's, has dreams of living off the land and raising rabbits.
So, despite the paucity of water, he brings his wife, Aimee Elisabeth Depardieuand daughter, Manon Ernestine Mazurownato live there.
Seeking to find ways to encourage Jean to leave and sell him the land, Ugolin befriends the former city-dweller, but stands by and says nothing as Jean's quest for water ultimately results in his death. The second movie begins ten years after the first ends.
Ugolin is a prosperous man, but Cesar is worried that he is still unmarried. One day, Ugolin spies her bathing nude and is instantly lovestruck. He begins an inept courtship, but Manon finds him repulsive.
Simultaneously, she is attracted to a newcomer to the town, Bernard Olivier Hippolyte Girardot. Then the past returns to haunt Cesar and Ugolin, as it is revealed that the two conspired to hide the spring's existence from Jean, causing his death.
Learning of this, Manon embarks upon a course of revenge. By the end of the film, Ugolin has hanged himself and Cesar has had the most bitter shock imaginable. Jean Cadoret, the man he worked so assiduously to destroy, was his son by Florette. The Soubeyran line thus ends because of his own actions.
One noteworthy difference between the two films is the variance in tones. The first movie is lighter, due in large part to the boundless optimism displayed by Jean.
There are times when it seems that he might succeed despite the obstacles thrown in his way by Cesar and Ugolin. Ugolin, meanwhile is deeply conflicted about his actions.Un article de Wikipédia, l'encyclopédie libre.
Ugolin Soubeyran prospère sur la terre de Jean de Florette, les Romarins, acquise grâce à des manœuvres immorales par lui-même et son oncle César, dit le Papet. Manon, la fille de Jean de Florette, est devenue bergère et vit dans les collines.
Jean de Florette/Manon des Source Anyone who has not seen these two wonderful films, well really just one film, should do so. They are great entertainment and also a fascinating study in human behaviour and the consequences of our actions and the choices that we make over attheheels.coms: Ugolin a réussi.
Les oeillets qu'il cultive sont splendides, grâce à la source des Romarins. Mais il est bourrelé de remords. N'a-t-il pas tué, voici dix ans, son ami Jean de Florette.
CengageNOW is an online teaching and learning resource that provides more control in less time and delivers better student outcomes - NOW! Daniel Auteuil, Astrid Bergès-Frisbey Interview 2: La Fille du puisatier, Jean de Florette, Manon des Sources.
Belle de Jour is a well-crafted, surreal, and taut film. Severine loves her husband, a doctor, but cannot bring herself to have sex with him.