Revenge, love, and the shocking irony of a hidden family relationship highlight this sequel to the acclaimed Jean de Florette. Although Manon des Sources can stand alone as a separate motion picture, viewers will gain a deeper understanding of it if they view Florette first. Both films, masterpieces of modern French cinema, owe their plots to Marcel Pagnol's novel L'Eau des Collines. In the earlier film, Provençal villager Cesar Soubeyran (Yves Montand) and his churlish nephew, Ugolin (Daniel Auteuil), secretly block the flow of spring water to land purchased by hunchback Jean Cadoret to grow vegetables and raise rabbits. The Soubeyrans hope to force Cadoret to sell the land so they can reopen the spring to grow and peddle carnations. Eventually they acquire the property after the hunchback works himself to death conveying water to his parched farm. Neighbors of the Soubeyrans remain silent even though they are aware of the wrongdoing. The second film resumes the tale a decade later, focusing on the hunchback's beautiful daughter, Manon (Emmanuelle Béart), a shepherdess with whom clodhopper Ugolin falls hopelessly in love but fails to win. When Manon eavesdrops on hunters and learns the truth about the Soubeyrans and their plot against her father, she stops up the water supply to the village at its source in a cave only she knows about. Pandemonium ensues as Manon's scheme exacts revenge. Though deeply tragic, the story unfolds with charm, wit, and high spirits. Then darkness and desperation rule after director Claude Berri unleashes irony and paradox to condemn, kill, and redeem. Montand and Auteuil are superb in their roles as conniving villains who pay a terrible price, and Béart is magnificent as Manon, not only because of her phenomenal beauty but also because of her wonderful acting. The cinematography, script, and inconceivable surprise ending further distinguish this extraordinary film.