Starring: Sandrine Kiberlain, Laurent Lafitte, Amira Casar.
Distributor: Rialto Distribution
Runtime: 98 mins. Reviewed in Jul 2025
Reviewer: Fr Peter Malone MSC
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Sarah Bernhardt, dubbed ‘La Divine’, became the first global celebrity. The actress broke social conventions through her bold character and dramatic performances.
Sandrine Kiberlain, Laurent Lafitte, Amira Casar. Directed by Guillaume Nicloux. 98 minutes. Rated MA (Strong self-harm and references to sexual violence).
Sarah Bernhardt was a French national treasure, acclaimed in the 19th century as a great actress. And this film suggests that when asked about a word to describe her, she suggested ‘Divine’. This reputation flourished in France but with many tours of the US and other countries, including Australia and New Zealand, she was considered divine all around the world.
Born in 1844, this film which selects episodes in her life and in her relationships as well as in performances. It provides background to the costumes and décor of the world of theatre, of affluence, and to Paris.
The film opens with Sarah (Kiberlain) performing the dying scene from Camille, then moves to 1916 during World War I. She is in hospital having her leg amputated – a consequence of injuries sustained during performances, especially when cushions and matting were not in position for a fall sequence. She is cheerful, stoic, visitors from many friends. One of the friends is the young Sacha Guitry whom she has known since he was a boy. She has been in a long relationship with his father, Lucien, and there is a history of alienation. She proceeds to tell Sacha the story.
This takes the audience back to different time periods and this film makes demands on the audience as they have to pay attention as to which time era is being dramatised. We see a younger Sarah with her imperious and confident style (demanding on publicists, directors, theatre owners). There are relationships, especially with Lucien Guitry (Lafitte), with Edmond Rostand, author of Cyrano, and her love but exasperation for her son who is not a good manager, as well as being a problem gambler.
Most of the scenes are set in the 19th century. However, there are some scenes in the 20th century, especially those in 1916, but also her being persuaded about emerging cinema, her appearing in silent films, and her dying in 1923 only four years before the introduction of sound.
Kiberlaine gives her all to this impersonation and dramatisation of the divine Sarah. (Some audiences may have seen Glenda Jackson as Sarah Bernhardt in 1976, this time The Incredible Sarah.)
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