Stevecorp Don't listen to the negative reviews

Konterr Brilliant and touching

BelSports This is a coming of age storyline that you've seen in one form or another for decades. It takes a truly unique voice to make yet another one worth watching.

Allison Davies The film never slows down or bores, plunging from one harrowing sequence to the next.

Luigi Di Pilla This part two sticks dramatically to the first one. The wonderful girl Emmanuelle Béart delivered an interesting performance. Yves Montand did a great job here showing all the repertoire of this psychological character profile. He was really a great actor, chapeau. But Daniel Auteuil was also very credibly in this role until the end. Bravo. Finally, Claude Berri directed again like a master. Thank you for these two very nice films. Don't expect a fast paced story because it has a slow but surprising countdown. For all that likes the surroundings South of France this is a rich experience to not miss. See also the other highlight La Fille du Pusatier from the same writer Marcel Pagnol. Vote: 8/10.

Sindre Kaspersen French actor, producer, screenwriter and director Claude Berri's thirteenth feature film which he co-wrote with French screenwriter Gèrard Brach (1927-2006) is an adaptation of a novel, "L'Eau des Collines - Jean de Florette and Manon des Sources" (1964) by French author, playwright and filmmaker Marcel Pagnol (1895-1974), which was inspired by true events. It was shot on numerous locations in the Vaucluse department of Provence in the southeast of France and is part of a duo logy which was preceded by "Jean De Florette" (1986). It tells the story about Manon Cadoret who still lives in the highlands of Provence ten years after her and her mother Aimeé had to sell their property to Cesar Le Papet Soubeyran and his nephew Ugolin Soubeyran. Manon has become a shepherd girl and lives a quiet life, but when she one summer day encounters Ugolin who now is a successful farmer, bad memories are awakened. Struck by the now grown up Manon who he has not seen since she was a little girl, Ugolin falls head over heels in love with her. But Manon still remembers what he and his uncle did to her family, and she has found a way to reveal their secret.Like the first part of this epic story, this continuation is subtly and acutely directed by French filmmaker Claude Berri (1934-2009) and with it's ardent milieu depictions and efficient narrative structure, it draws an incessantly engaging portrayal of a young French woman who has been waiting several years to get justice for what happened to her family a decade earlier in time. This reverent sequel from the mid-1980s, produced by French producers Pierre Grunstein and Alain Poiré (1917-2000), is a co-production between France, Italy and Switzerland and has a powerful score by French composer Jean-Claude Petit, based on Italian composer Giuseppe Verdi's Italian opera "The Force of Destiny" (1862), which reinforces the film's atmosphere.Notable for it's wonderful production design by production designer Bernard Vézat and cinematography by French director and cinematographer Bruno Nuytten which is as present here as in the first segment, this historical period drama becomes an in-depth study of character that examines themes such as family relations, faith, morality and love, and is impelled by Yves Montand, Emmanuelle Béart and Daniel Auteuil's compassionate acting performances. A memorable, moving and humane film which gained, among other awards, the César Award for best supporting actress Emmanuelle Béart at the 13th César Awards in 1987 and the KCFCC Award for Best Foreign Language Film at the Kansas City Film Critics Circle Awards in 1988.

brimon28 When this film was released in Australia, it preceded the release of 'Jean de Florette', the first episode in what really is a continuing tale. Therefore, viewers were mystified by the story, even if they were impressed by the performances. 'Jean de Florette' appeared some months later, too late for cineastes to see Manon again. Luckily, the two are now being presented as a package, giving filmgoers a chance to see the two in the correct order.The result is very impressive indeed. The French continue to give us lessons in movie-making, and this duo was a change from the New Wave that showed us all how movies can be made. Emotions are to the fore, and Manon has revenge imprinted on it. 'Jean de Florette' gave us a hint, as the young Manon listens - and sees. She doesn't say much, but her face tells us that she is thinking through a resolution.I'm reminded of Nicole Kidman, in 'Dogville'. The character, Grace, is put upon by the locals, just as is Manon. The American treatment of revenge is different, with a different kind of violence. Dogville's conclusion is shocking and heart-rending; Whether you regard Emmanuelle Beart's face as more expressive than Nicole Kidman's is probably a very personal thing. But Manon's cold fury is a cinematic masterpiece, and we are well-prepared for the finale. This movie is so good I've no desire to read the book!

TheLittleSongbird Having adored Jean De Florette, of which Manon of the Spring(or Manon Des Sources) follows on from, I found this film every bit as amazing. Once again the cinematography shimmers and the scenery is some of the best I have seen in any film. There is also a haunting score, a compelling story and a genuinely moving script, and Berri's direction is paced perfectly to suit life under the scorching sun. The performances are every bit as impressive, Emmanuelle Beart is alluring and very believable, and Yves Montand and Daniel Auteuil are once again outstanding, particularly Auteuil when he tries to atone. Overall, an amazing and I think poignant film. 10/10 Bethany Cox