Reviews (39)

What Goes Around.....Comes Around...in Spades!
This gorgeous film is the concluding story of Jean de Florette. That the two films aren't boxed together is ridiculous, because although they stand alone, taken together they become an unforgettable film experience and a devastating masterpiece.

In this film, the little daughter of Jean de Florette, who knows what was done to her father and by whom, has grown to become a stunningly beautiful young woman (Emmanuelle Beart). She is a free spirit, a shephardess, and so achingly gorgeous that one of the participants in her father's tragic downfall (Daniel Auteuil) can't help but fall hopelessly in love with her (no mystery there!). That his love is hopeless and will ruin him is just the begining of the reverberations from the sins commited in the first film that will befall the sinners in this concluding second film.

The other is what happens to the character played by Yves Montand. I will not spoil it for you, but what comes back on this cruelly calculating old man is something to behold. Montand capped a wonderful career with his brilliant and nuanced portrayal of this man. The role, which spans both films, is a beautifully deep performance, and you will be surprised by your different emotions about this character. It is a full-range performance, and shouldn't be missed by anyone who loves great acting.

Although each film is complete unto itself, it is together that the full artistry and power of the story is experienced. So if you get one, by all means get the other.

Directed with care and photographed beautifully in the countryside of Provence, this is a visual and emotional treat. A terrific story of human passions, each is a 4 star film, together they are a 5 star masterpiece.

Second film of a two part story.....
I love this film. Emmanuelle Beart made her debut in this film and she is breathtakingly beautiful. Her husband Daniel Auteuil also starred in the film. I don't know if they met on the set or not but it was certainly made at the beginning of their careers in film.

The story of Manon (Beart) continues in this film. In JEAN DE FLORETTE she was a little girl, who accompanied her parents to Provence where her father took up the cultivation of Carnations on the old family farm. Uncle (Yves Montand) and cousin (Daniel Auteuil) next door objected as there was only enough water to supply one farm. The result was a water war.

In MANON, the young Manon has grown into a young woman. She lives a relatively wild life on the old homestead, raising goats who follow her everywhere like children. Cousin (Auteuil) realizes one day that he is in love with her. But a dark secret hangs over his head and if Manon knew the secret she might hate him (has to do with water).

The rest of the plot consists of the resolution of problems, tensions, difficulties set up in JEAN DE FLORETTE. I can't imagine anyone buying one film and not the other. I am buying both DVDs. They are a set. The cinematography is wonderful, the actors are superb. If you love Provence you will want to own these DVDs so you can watch them on those cold rainy days when you aren't in France.

The sweet smell of revenge
In the first part of this sequel, Jean de Florette, there has been a murder. So remeber Emerson statement: Commit a crime , and the world is made of glass.
Emmanuelle Béart is one of the most beautiful actress in the world, his charm is so arresting that gives us the perfect role for this work. She made her debut in the screen in this one.
She knows more than Daniel Auteil believes, he falls in love with her but...
The second part of this work is extraordinary. You can miss the absence of Depardieu, that's why the director makes a clever less lineal with more surprises and even satirical approach. Remember the miracle water, for instance.
Yves Montand may well have done the best achievement of his long career in this role.
Watch this enjoyable film, and remember this is the second part of the story.

Make sure you see Jean de Florette first
This is the second part of a two part series, and picks up where Jean de Florette leaves off. If you do not see Jean de Florette, then you will be missing much of the background of this movie, and the context is important. For example, without viewing the first movie, the viewer will not know Manons background, what happened to her father, and their farm. The viewer will also not know the full relationship she has with the Soubeyran clan.

The quality of the DVD picture is avarage. The picture is fairly clean and clear.

Good film !
American friends,I am agree with you about Manon of the spring("Manon des sources" in french) so I can only add one thing.Because the action of the film is set in the south-east of France,the actors speak with the lovely accent of this part of the country.That contribute to "add sun" in the film. ... Read more

Amazon.com

Less a sequel than a seamless continuation of its predecessor, Jean de Florette, Manon of the Spring brings with it a more epic scope as it depicts the growth to womanhood of the daughter (Emmanuelle Béart) of the doomed farmer of the first film. As she discovers the truth of what happened to her father as a result of the scheming of their neighbor (Yves Montand), who took the land for himself, she vows revenge, realizing that the neighbor's deeds have irrevocably shaped the course of her life. Her moves toward avenging her father's demise provide an ironic twist to this harsh and thought-provoking saga, and French director Claude Berri perfectly illustrates the lasting consequences of deceit, greed, and revenge. Manon of the Spring is a very special foreign film choice, destined to be revered for years to come. --Robert Lane ... Read more

Reviews (39)

What Goes Around.....Comes Around...in Spades!
This gorgeous film is the concluding story of Jean de Florette. That the two films aren't boxed together is ridiculous, because although they stand alone, taken together they become an unforgettable film experience and a devastating masterpiece.

In this film, the little daughter of Jean de Florette, who knows what was done to her father and by whom, has grown to become a stunningly beautiful young woman (Emmanuelle Beart). She is a free spirit, a shephardess, and so achingly gorgeous that one of the participants in her father's tragic downfall (Daniel Auteuil) can't help but fall hopelessly in love with her (no mystery there!). That his love is hopeless and will ruin him is just the begining of the reverberations from the sins commited in the first film that will befall the sinners in this concluding second film.

The other is what happens to the character played by Yves Montand. I will not spoil it for you, but what comes back on this cruelly calculating old man is something to behold. Montand capped a wonderful career with his brilliant and nuanced portrayal of this man. The role, which spans both films, is a beautifully deep performance, and you will be surprised by your different emotions about this character. It is a full-range performance, and shouldn't be missed by anyone who loves great acting.

Although each film is complete unto itself, it is together that the full artistry and power of the story is experienced. So if you get one, by all means get the other.

Directed with care and photographed beautifully in the countryside of Provence, this is a visual and emotional treat. A terrific story of human passions, each is a 4 star film, together they are a 5 star masterpiece.

Second film of a two part story.....
I love this film. Emmanuelle Beart made her debut in this film and she is breathtakingly beautiful. Her husband Daniel Auteuil also starred in the film. I don't know if they met on the set or not but it was certainly made at the beginning of their careers in film.

The story of Manon (Beart) continues in this film. In JEAN DE FLORETTE she was a little girl, who accompanied her parents to Provence where her father took up the cultivation of Carnations on the old family farm. Uncle (Yves Montand) and cousin (Daniel Auteuil) next door objected as there was only enough water to supply one farm. The result was a water war.

In MANON, the young Manon has grown into a young woman. She lives a relatively wild life on the old homestead, raising goats who follow her everywhere like children. Cousin (Auteuil) realizes one day that he is in love with her. But a dark secret hangs over his head and if Manon knew the secret she might hate him (has to do with water).

The rest of the plot consists of the resolution of problems, tensions, difficulties set up in JEAN DE FLORETTE. I can't imagine anyone buying one film and not the other. I am buying both DVDs. They are a set. The cinematography is wonderful, the actors are superb. If you love Provence you will want to own these DVDs so you can watch them on those cold rainy days when you aren't in France.

The sweet smell of revenge
In the first part of this sequel, Jean de Florette, there has been a murder. So remeber Emerson statement: Commit a crime , and the world is made of glass.
Emmanuelle Béart is one of the most beautiful actress in the world, his charm is so arresting that gives us the perfect role for this work. She made her debut in the screen in this one.
She knows more than Daniel Auteil believes, he falls in love with her but...
The second part of this work is extraordinary. You can miss the absence of Depardieu, that's why the director makes a clever less lineal with more surprises and even satirical approach. Remember the miracle water, for instance.
Yves Montand may well have done the best achievement of his long career in this role.
Watch this enjoyable film, and remember this is the second part of the story.

Make sure you see Jean de Florette first
This is the second part of a two part series, and picks up where Jean de Florette leaves off. If you do not see Jean de Florette, then you will be missing much of the background of this movie, and the context is important. For example, without viewing the first movie, the viewer will not know Manons background, what happened to her father, and their farm. The viewer will also not know the full relationship she has with the Soubeyran clan.

The quality of the DVD picture is avarage. The picture is fairly clean and clear.

Good film !
American friends,I am agree with you about Manon of the spring("Manon des sources" in french) so I can only add one thing.Because the action of the film is set in the south-east of France,the actors speak with the lovely accent of this part of the country.That contribute to "add sun" in the film. ... Read more

Reviews (20)

Grim and surrealistic staging destroyed enjoyment of music.
If you have enjoyed the romantic settings and colorful costumes of other production of Tales of Hoffmann, this version is not for you. The whole opera is set in a grim, grey insane asylum of some sort with drab costumes and no furnishings beyond a few chairs and a ubiquitous rolling cart. The vocal perfromances are quite good, and the use of black artists very appropriate and interesting, but you may find yourself distracted by questions such as: why are so many of the characters bald, or why do they keep exchanging coats? If you enjoy really avaunt guarde productions, you may like this. Myself, I'm going to look for a more traditional staging.

A Fascinating Experiment
Most of the viewers comments have their own truth about them. I blame some of the problem on "sheer" shock, since the producers of the Video decided to share very little with the viewer. Indeed,anybody might have easily missed the change of title, or not fully comprehend the brief "blurb" on the back of the cover. This production should have been explained, as it undoubtedly would have been were it a CD with booklet with libretto.

Obviously, this production has its flaws, but it appears an honest effort to reproduce the almost unknown world of German romanticism, often mad and desperately insane. Setting the tales in an asylum is brilliant,although it hardly is a Tales of Hoffman immortalized by the Offenbach opera most of us know. Nor was anybody warned that it represents the opera score in a different phase of its development. There has to have been some competition between production and music director. This item does not reproduce the tales but captures the spirit of them; it works marvellously, in the end. The traditional version is too romantic, but nobody outside of Germany understood that original and frightening sense of much of German romanticism.

Last evening I saw a production of Berg's Wozzeck, composed in 1925 to a play that premiered in 1837. This awe-inspiring and modern play (to our minds) was perfectly captured almost a century later by Alban Berg. The original Woyzeck is almost post Freudian and post Marxist. Thank God nobody in the nineteenth century attempted to set it to music. It contained a vision that romanticism in any other country couldn't conceive of.

In a similar way the world of E.T.A. Hoffmann was in advance of its times and probably his tales would better be turned into an opera a century later, like Wozzeck. Jacques Offenbach got there ahead of time, and even in the version we are used to, captured much of that insane dream, but, ultimately it was literally "dolled" up.

Would that somebody recomposed the opera to suit its sheer modernity. What apparently is the original score by Offenbach probably works better for this interpretation. Once you penetrate at least the mystery,the production deserves a good "A" for its singularity. It is entirely enthralling, and I need not comment about the singing which everybody agrees is mostly wonderful.

There is more to German Romanticism than the world of Nietzsche and Wagner.

To those who are shocked, for the wrong reasons, their's be the loss.

Somewhere, somebody mentioned the controversial production by the Kirov people of Prokoviev's Fiery Angel. In this case, not knowing any competition, I loved every moment of it. I suspected some perverse originality but did not know the interpretation was a source of controversy.

Vaguely Hoffmann
I was relieved (it's not so bizarre, grotesque as these other reviewers say) and mildly entertained. Though the music is sublime, beautiful, this version makes even less sense than the original. And if I hadn't known the original, I would have been hopelessly lost. I was anyway. It had some effective moments, particularly the draping of the corpse of Antonia's mother over Antonia's shoulders, in fact that whole story was wonderful I thought. The story of Olympia who in this version was called a mechanical doll but was actually a girl in braces who when she first stood could barely walk was, frankly, I thought, in very poor taste. Guilietta's part made no sense at all, it doesn't in the original to me either, but particularly not in this nonsense. The stories are arranged Olympia, Antonia, Guilietta. I won't give away the ending which I didn't understand anyway, I disliked the "modern" vocal sound effects that showed up towards the end, and the last words of the opera were inaudible, but fortunately there were subtitles, for all the good they did. There were no sets at all, it ran 2 hours with no intermission, the costumes were contemporary dress, I have only the reviewers here to assure me that it all happened in a mental hospital, it was a trip, kept my interest, but like most "modern art," was more of a curiosity than something to care about. It had no feeling whatsoever. But the music was grand. By the way, the reviewer who lambasts the old (old is new to someone) and calls it in bad grammar and all lower case "conservative," said nothing I remember about the opera at hand. And no one in his right mind who knows me would ever call me "conservative." I don't even like to say the word. But being old doesn't make a thing bad, just as being new doesn't ipso facto make it good. Look at "modern verse." But like the lower case reviewer who relishes all things new and despises all things old, I also think art is about dead, but not through want of novelty. Through want of genius. But that always was rare. And there has been a lot of it in Western music since Bach. Oh. I almost forgot. I for one did not think the tenor who sang Hoffmann was that outstanding. He was almost good enough, but I thought his loves were better.

attn: classical fundamentalists!
the classical fundamentalists are as annoying and as harmful as christian fundamentalists.
why?
because, like the religious fundamentalists the 'classical crowd'
has become so conservative, so insistent on the 'sacred word' that they are, in affect, killing the future of artmusic.
and that, is what classical music and jazz really is; artmusic.
interpetation is an art within itself.
the plague that was toscanini had devestating affects that we are still struggling to recover from today.

and the result is that classical music is in its death throes.
where are the current composers?
oh, we have knussen, salonen, saaarhio making small dents, but that is all.
it was less than a mere hundred years ago that debussy, ravel, stravinsky, milhuad, bartok, shoenberg, berg, and webern caught our attention.
but, that is past.
no one today can make that type of impact and the fault lies at the very feet of the medium's 'fans'.
in film and theatre we have seen new retellings of hamlet, midsummers nights dream and etc, but even that group's conservative adherents pale in comparison to the plethora of conservatives in classical music.
numerous complaints spring up every time a leonard bernstein or pierre boulez type interpets a piece in a subjective light, although even karajan,despite what is claimed, was a subjectivist.
today it seems only the incresingly dull levine is 'acceptable'.
mahler, kubelik, and klmeperer all attached themselves to new music and all met obstacles in the toscanini corrupted states.
and the recording industry is replete with play it safe thinkers as well.
do we need another beethoven cycle?
even boulez is now recording much recorded music.
peter sellars and group did some innovative films of the mozart duponte operas years ago. those have long been out of circulation and its doubtful that they will be seeing the light of day any time soon.
barenboim and kupfer did a superb, abstract parsifal and ring cycle that have inexplicably vanished.
barenboim and chereau did a (by all accounts) startling wozzeck that has never made its way to the states.
yet we can find any levine la boheme or magic flute on dvd, vhs, laser disc, etc in any tower records.
and still, the sales, even on levines output is miniscule.
mainly because theyre dull, flat, and unimaginative.
if the recording industry and 'fans' could find it within themsleves to take a chance on new music and new interpetations on the old chestnuts, then perhaps the death of artmusic would not be so imminent.
but, from the reactions i have seen on amazon towards innovative interpetations (like this one), i am not optimistic.

Interesting but it's not Offenbach
If you think that you are getting Offenbach's opera, think again. This modernistic production which seems to be set in a madhouse bears only the faintest relationship to Les Contes D'Hoffman. (Hence the title Des Contes.) If I didn't hear the music I would think I was watching a staging of The Cabinet of Dr. Caligari or Marat/Sade. It remined me of a production of Rienzi I saw where everyone was clad in camoflauge? Where were the visuals to go with the grand music? And where in this version of Offenbach is the charm, the beauty, and the humor that goes with this music? Is it really doing composers a service to mask their intentions and create incongruous crap in the name of invention and eschew convention? I felt as one who sits down to dine on Beef Wellington on fine china and is served hamburger on paper plates. ... Read more