By Robert Gottlieb
Every thing approximately Sarah Bernhardt is attention-grabbing, from her vague delivery to her excellent career—redefining the very nature of her art—to her impressive (and hugely public) romantic lifestyles to her indomitable spirit. good into her seventies, after the amputation of her leg, she was once acting below bombardment for infantrymen in the course of global conflict I, in addition to crisscrossing the US on her 9th American tour.
Her kinfolk used to be additionally a resource of interest: the mum she loved and who scorned her; her half-sisters, who died younger after lives of dissipation; and such a lot of all, her son, Maurice, whom she worshiped and raised as an aristocrat, within the kind acceptable to his presumed father, the Belgian Prince de Ligne. just once did they quarrel—over the Dreyfus Affair. Maurice was once a right-wing snob; Sarah, constantly pleased with her Jewish historical past, used to be a passionate Dreyfusard and Zolaist.
Though the Bernhardt literature is mammoth, Gottlieb’s Sarah is the 1st English-language biography to seem in a long time. Brilliantly, it tracks the trajectory by which an illegitimate—and scandalous—daughter of a courtesan reworked herself into the main recognized actress who ever lived, and right into a nationwide icon, a logo of France.
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Additional info for Sarah: The Life of Sarah Bernhardt
Example text
And she was totally trusted. ) Sarah was to say that Mme Guérard’s death, in 1900, was the worst blow she ever suffered, and you can understand why. Not only was she eternally supportive and unjudgmental, but she was witness to Sarah’s life well into her fifties. When Guérard died, Sarah’s youth, her struggles to achieve success, her greatest triumphs, her affairs of the heart, went with her. She was the good mother Sarah had never had. Yet she was so discreet we don’t even know her first name.
Over the next months she acted a variety of roles, mostly classical ingénues, and it wasn’t until she had worked for almost a year that she scored her first success, in Racine’s Athalie. She was playing the ten-year-old boy Zacharie, and some students from the Conservatoire were to recite the choruses. At rehearsal they were doing such a terrible job that Chilly interrupted: “Let the little one speak all the choruses. ” It did work. Everyone applauded, Duquesnel hid his smile, and “the first performance was a veritable small triumph for me!
Besides, a family council of these proportions to ponder the fate of a troublesome adolescent? The only thing that seems genuine about the story is Sarah’s lifelong need to create scenes of which she was the center of attention—the more supporting actors, the better. A far more believable scenario comes from Louis Verneuil, the confidant to whom Sarah seems to have spoken with the least concealment or embroidery. At seventy-eight, what did she have to lose by telling the simple truth? First, she reveals that Youle was the long-running and final mistress of Morny, who took an interest in her welfare and that of her children.