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Jean de Florette/Manon des Sources revisited
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Good novels with the proper treatment often can and do become good films. The 1986 BAFTA award winning Claude Berri French language two part film, Jean de Florette (Jean of Florette) and Manon des Sources (Manon of the Spring), are no exception to this rule. Berri and Gerard Brach adapted this family saga written by 20th century French novelist, Marcel Pagnol to the screen. As novel to screen films, such as E.M. Forester’s British ‘Brideshead Revisited’ are introduced to a new generation of moviegoers, it is only fitting 23 years later to revisit a classic French tale which brings universal truths and stands the test of time.
In the opening scene of the first film a haunting harmonica melody against the backdrop of an orchestra (composed by Jean-Claude Petit) betrays a sense of tragedy, loss and perhaps redemption which is to come. It is 1920’s rural Provence and Ugolin, a hapless and ultimately tortured creature, brilliantly portrayed by an almost method Daniel Auteuil, has just returned from the military to the countryside. Ugolin’s outwardly harmless demeanor thinly veils a foreboding sense of some dark and slightly disturbed soul within this young man which perhaps over emphasizes the unsymmetrical and almost “ugly” appearance of his face. He greets his only living relative, Cesar Soubeyran (Le Papet), an aged patriarchal uncle, who still has a commanding presence and a sharp mind behind his walking stick and worn blue eyes. A much older Yves Montand fills every inch of his role as Cesar Soubeyran much like Marlon Brando inhabited the godfather role. In what was to be one of his last films, it is evident that this popular Hollywood leading man to Marilyn Monroe in the 1960 film 'Let's Make Love' and beloved French actor was playing this role from a very deep and authentic place.
By all appearances, the two relatives seem like congenial and harmless French farmers with that trademark French politeness and subtly. Obviously, they are not formally educated intellectuals but they possess the timeless values of pride, common sense and purpose, hard work, and money motivation which have taken the well known Soubeyran family far in their land, community standing, and pocket books. The only problem is these two men are the last of their dynasty which clearly is a burden to Le Papet, a bachelor in his old age, who wants to see his blood line continue and return to its former glory. Ugolin does not share these same delusions of grandeur and fails to see the importance (even at Le Papet’s prompting) of settling down, marrying, and having children. He is content to “clear his mind” every once in a while for 15 francs a month at a brothel a town away.
Much like when one graduates from high school or college, Le Papet asks Ugolin of his plans for his farm and future. Instead of the traditional vegetable crop, Ugolin decides to plant of all things, carnations. Le Papet is at first skeptical until he sees the price Ugolin’s carnations fetch at a local floral vendor. Their plans for their field of dreams are interrupted by a stumbling block - water. For all the carnations Ugolin wants to plant, he needs an endless supply of water. And the closest source of water is located on a neighbor’s land, and for the record the Le Papet and this particular neighbor are not the best of friends. And so begins the slowly tragic and almost Biblical tale of how these two men methodically weave a web of lies, deception, and betrayal as they plot and plan to steal this water spring– all for greed’s sake- not knowing the catastrophic consequences and tragic heartbreak they will ultimately inflict on others and even moreso on themselves.
In Part I (Jean de Florette) a Gerard Depardieu in his late thirties brings much range and intensity to his passionate and emotional portrayal as the tragic title character with a physical disability, high intellect, and a big heart. Younger American audiences who are more accustomed to his comedic roles will have a newfound respect for his take as a dramatic actor. His then real life wife, Elisabeth Depardieu, also gives a sensitive loving performance as his supportive wife, Aimee, who helps her husband pursue his dream. Their young daughter, Manon, played by Ernestine Mazurowna, completes the family as a child who is wise beyond her years and who will be heard from fiercely in the future.
Part II (Manon des Sources) brings a just and stunning conclusion to this drama. That wise tiny daughter, Manon, is a now a grown woman and holds the key to two men and even a whole town paying for sins against her father. Luminous French actress Emmanuelle Béart is Manon and portrays her with the silent strength and wild beauty who speaks more with her eyes than her words. On top of the justice being served, a stunning revelation at the end of this film brings a heartbreaking and almost Shakespearean irony to this story.
There is not fast paced action, extreme sexuality, or bloodshed but this film shows those components are not always needed to effectively tell a story. Jean de Florette is rated PG and for the whole family to enjoy. Manon des Sources is also rated PG but has one scene of nudity, therefore parents are strongly cautioned.
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