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Pagnol's two-part novel, L'Eau des collines ( 1962), was inspired by his own films, Manon des sources and Ugolin, released ten years before (1952). Much better known are Berri's 1986 films bearing the novel's titles Jean de Florette and Manon des sources.

In this essay I want to examine the architectural and thematic transformations between the three types of "texts:'

I will show that each piece is referring to a different diegetic universe. Pagnol's film is a celebration of provencal verbal activity, ` joie de vivre," and of the Christian notions of redemption and forgiveness. The musical motif of L'Arlesienne by Bizet is a direct reference to the Christian Epiphany. The overwhelming, pervasive theme in Pagnol's novel is the unalterable life of the seamless feminine goddess whose multiple body flows in all women, in the earth, and in the water. Her special dwelling is in the hills where the priestess Manon operates. In Berri's films, the emphasis is clearly on fate and on the blindness of the tragic hero(es), and the soundtrack includes Verdi's Forza Del Destino as a haunting motif. [excerpt]

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