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"THE DIVINE SARAH"
The Great Bernhardt, Greatest of All Actresses, in "Jeanne Dore
(Universal) By H. H. VAN LOAN
Of the powerful influence the noted actors and actresses of the past exerted over their contemporaries, we have no direct nor persuasive r e c ^ -:^««. ord. Future ' generations will not be able to say this of the histrionic artists of o u r present day, for the films will be the means of perpetuation.
An actress whose facial expr e ssion and mode of gesture and pose f ascin a t e her audience is the famous Sarah Bernhardt. Her acting in the Universal picture, "J e a n n e Dore," from the play by Tristan Bernard, enables us to make a study of everything, except the voice, that appertains to the method
and fascination of the Rachel of her age. She herself has spoken of the power of the eye. ' ' The eye, ' ' she says, "is the mirror of the brain, and the
THE DEATH OF JEANNE S HUSBAND
cinema has given to eye-play an infinitely greater scope, power and importance. A true artist needs no audience to assist her art."
"J e a n n e Dore" was the play in which this great actress was appeari n g at the Sarah Bernhardt Theater in Paris when she was compelled to undergo her recent operat i o n. She considers this story her favorite of recent years, in that it offers her the fullest possible scope for the projection of her own individuality. In this picture can be studied t h e wonderf u 1 subtlety of expression which is her greatest attribute.
Cable advices from Europe state that the film was shown privately in Paris, simultaneously with the recent private exhibition in New York. "The Divine Sarah ' ' witnessed the Paris exhibition
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