performs a mock baptism of his nephew in the water of the spring. Cast Yves Montand as César Soubeyran / "Le Papet": In the local dialect "Papet" is an affectionate term for "grandfather". César is the proud patriarch of a dying family, and his only known relative is his nephew Ugolin. Eager to restore his family's position, he manipulates his nephew to do his bidding. For Yves Montand the filming experience was particularly trying because his wife of thirty-three years, Simone Signoret, died during filming. Montand himself died in 1991, and the two films were among the last of a cinematic career spanning forty-five years. Having grown up in nearby Marseilles, he visited the location before filming started, and endeared himself to the locals. Daniel Auteuil as Ugolin: Ugolin is César's "rat-faced sub-intelligent nephew". Somewhat more conscientious than his uncle, he is nevertheless persuaded to carry through with the diabolical plan. Auteuil used a prosthetic nose to make the character uglier. The role represented a great change for Auteuil. He had previously tended to play "smart, funny, urban hipster types", and the role as Ugolin – which earned him both a BAFTA and a César – was a great step forward in his career. Gérard Depardieu as Jean Cadoret / "Jean de Florette": Jean is a city man with a romantic idea of the countryside, yet obstinate and hard-working. Depardieu was well established as a versatile actor even before this role. Seemingly impervious to the great pressure on the film crew, he earned a reputation on the set for "fooling about, telling jokes, swearing at planes interrupting the shot and never knowing his lines until the camera was rolling". Élisabeth Depardieu (Gérard Dépardieu's wife) as Aimée Cadoret: Jean's beautiful wife is a former opera singer, who has named her daughter after her favourite role, Manon Lescaut. Ernestine Mazurowna as Manon, the daughter of Jean and Aimée. Production Marcel Pagnol's 1952 film Manon des Sources was four hours long, and subsequently cut by its distributor. The end result left Pagnol dissatisfied, and led him to retell the story as a novel. The first part of the novel, titled Jean de Florette, was an exploration of the background for the film; a prequel of sorts. Together the two volumes made up the work Pagnol called L'Eau des collines (The Water of the Hills). Berri came across Pagnol's book by chance in a