I alternated between being charmed and a bit put off by actor Daniel Auteuil's directorial debut -- a sweet (sometimes sticky sweet) re-make of Marcel Pagnol's 1940 film. The film is a bit odd tonally; alternating between occasional bathetic intense emotion (scored to opera at times no less), and being a slightly too convenient and cute comedy of manners. Some modest spoilers ahead.Auteuil plays a working-class paterfamilias with 5 daughters, including an 18 year old favorite he has seen only as a perfect angel. But now she has brought the family to shame by getting pregnant by a rich and handsome local boy, who promptly leaves to fight in WW I -- and her father turns on her and casts her out. The film seems to want to have it both ways – we're told to feel bad for the cruel banishment of the daughter, but not TOO bad, since in the end dad (now grandpa) has to prove to be a good guy at heart. Auteuil - an actor I usually really enjoy – gives a slightly hammy (if admittedly amusing) performance, bouncing a bit too far back and forth between near monster and adorable gruff old guy. Also slightly problematic; the young couple are beautiful, but there's not a ton of spark there either individually or as a duo. There are some very good scenes, and I was extremely taken by Kad Merad in a supporting role as an endearing 40ish friend/employee of the father who is hopelessly in love with the young daughter. For all the rough spots, I modestly enjoyed the film. It's just that there were hints of a terrific movie early on, so when it ended up as just a nice, old-fashioned and somewhat predictable one, there was a sense of disappointment.

This movie gave me the same elated, lighter than air feelings as Chaplin's "City Lights." It was amazing to see the film never dodge a single important factor in all the sordid repercussions of the titular woman's misdeeds. At the same time, I never felt like I was being dragged through emotional hell just for some theoretical catharsis. At times the film reminded me of a less block-headed and ham-fisted version of "Fiddler on the Roof" (also no singing Jews). Lastly, and most beautifully, the film offers up a shining example of the benign influence of a strong, loving father. It makes you remember the sort of picture of God that a father is supposed to be.

Superficially this is chocolate-box romance. It is set in beautiful countryside in a world of constant summer. Even though it takes place over a year there is continuous warm sunshine.The story centres on the well-digger, Pascal: the daughter, Patricia, is a cipher, without personality, with no voice, and seemingly incapable of independent action. Does anyone really want to see this kind of woman in fiction or in life? Pascal is well-drawn; he is self-centred, a martinet, a hypocrite, unwilling to listen to anyone, and actually rather stupid. He is also crude- he comments on his dead wife's sexuality to his employee.At the opening of the film the daughter is described as universally liked because of her kindness. Of course she is kind. She is looking for affection and love after being sent from her home and mother at a very young age. You can imagine Pascal forcing his wife to accept this- 'in the interests of the child' of course. If the baby had been a boy... The daughter is only allowed back because circumstances force her return.How to explain her easy seduction by an unsuitable youth after one brief meeting? Obviously she is looking for love at any cost.Pascal tries to reach a deal with the youth's parents. No chance. He immediately disowns her. He casts her out (Victorian tyrant!) and only pretends to kiss her goodbye to deceive his other daughters. Yet it would have been better for everyone is she had stayed at home.Months pass. Still summer though! He destroys unread a letter from her. Then he goes to visit her. The first thing he does is to pretend to drown the baby. What a joke! This terrifies her, but she says nothing, and he shows no shame at his cruel stupidity.He soon wants to take over the baby (because it is a longed-for boy, presumably). She accepts this. She is a doormat throughout.The youth has made only one very feeble attempt to find the girl. Yet they agree to get married. Only after he has been killed in a blazing plane and found alive unharmed. What a load of rubbish.At the altar he says he doesn't want to marry. Only a joke! She believes him, but no recrimination from her for his brutal insensitivity.There are equally daft subplots, for example with the second daughter having an unaccountable passion for the daughter's castoff. This reults in an off-on-off probably-on relationship.It is well acted throughout. And it is pretty.Incidentally there is a war on, but everyone ignores it.

The Well-Digger's Daughter is a french movie, remake of another famous french film of the 40's.If you don't know anything about french cinema, know that this remake features well known comedians such as Daniel Auteuil (it's also his first work as a director), Kad Merad, Nicolas Duvauchelle, Jean-Pierre Darroussin, Sabine Azema, and Marie-Anne Chazel.The original film was directed, written and produced by Marcel Pagnol, famous not only for his films but also for plays and novels that have become classics.The remake definitely honors the classic, and I can't find one single thing to criticize. The actors all deliver moving and natural compositions, from the loving and torn father (Auteuil) to the moody Mrs Mazel (Azema), from the benevolent Felipe (Merad) to the seductive Jacques (Duvauchelle). By the way, it certainly isn't hard to see why the heroine falls for him after just one encounter ;) The main character, Patricia, is played with tact and sweetness by Astrid Bergès-Frisbey, who somehow reminds me of Jane March. She was unknown before this role (even if it's not her first), but no doubt this is the year of her breakthrough, as she will soon be seen interpreting a mermaid in the next Pirates of the Caribbean.The direction is precise, careful, and manages to capture each small emotion of the characters. It really serves well the beautiful and moving plot. You're completely immersed into the story and can have your eyes wet more than once, even though the movie isn't a melodrama nor a tragedy. This story is timeless, and universal. I would recommend it to absolutely everyone. It's a 5-star film!