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{{short description|French dramatist (1831–1908)}}
{{Use dmy dates|date=January 2025}}
{{Infobox writer
| name = Victorien Sardou
| image = VictorienSardou (cropped).jpg
| alt = 
| caption = Sardou in 1880
| pseudonym = 
| birth_name = Victorien Léandre Sardou
| birth_date = {{birth date|1831|09|05|df=y}}
| birth_place = Paris, France
| death_date = {{death date and age|1908|11|08|1831|09|05|df=y}}
| death_place = Paris, France
| occupation = [[Playwright]]
| education = 
| alma_mater = 
| period = [[Nineteenth-century theatre|19th-century]]
| genre = [[Well-made play]]
| subject = 
| movement = 
| notableworks = 
| spouse = 
| partner = 
| children = 
| relatives = 
| influences = 
| influenced = 
| awards = 
| signature = Signature of Victorien Sardou (1831–1908).png
| website = 
| portaldisp = 
}}
'''Victorien Sardou''' ({{IPAc-en|s|ɑːr|ˈ|d|uː}} {{respell|sar|DOO}}, {{IPA|fr|viktɔʁjɛ̃ saʁdu|lang}}; 5 September 1831 – 8 November 1908) was a French [[dramatist]].<ref>{{cite magazine|title=Sardou, Victorien|magazine=Who's Who|year=1907|volume= 59|page=1556|url=https://books.google.com/books?id=yEcuAAAAYAAJ&pg=PA1556 |access-date=23 February 2024 |via=Google Books}}</ref> He is best remembered today for his development, along with [[Eugène Scribe]], of the [[well-made play]].<ref>McCormick (1998, 964).</ref> He also wrote several plays that were made into popular 19th-century operas such as ''[[La Tosca]]'' (1887) on which [[Giacomo Puccini]]'s opera ''[[Tosca]]'' (1900) is based, and ''[[Fédora]]'' (1882) and ''[[Madame Sans-Gêne (play)|Madame Sans-Gêne]]'' (1893) that provided the subjects for the lyrical dramas ''[[Fedora (opera)|Fedora]]'' (1898) and ''[[Madame Sans-Gêne (opera)|Madame Sans-Gêne]]'' (1915) by [[Umberto Giordano]]. His play ''[[Gismonda]]'', from 1894, was also adapted into an opera of the same name by [[Henry Février]].

==Early years==
[[File:Plaque_Victorien_Sardou,_16_rue_Beautreillis,_Paris_4.jpg|thumb|upright=1.2|Commemorative plaque at the house in the [[4th arrondissement of Paris]], where Sardou was born]]
Victorien Sardou was born at 16 [[rue Beautreillis]] ({{IPA|fr|ʁy bo.tʁɛ.ji|pron}}), Paris on 5 September 1831. The Sardous were settled at [[Le Cannet]], a village near [[Cannes]], where they owned an estate, planted with olive trees. A night's frost killed all the trees and the family was ruined. Victorien's father, Antoine Léandre Sardou, came to Paris in search of employment. He was in succession a book-keeper at a commercial establishment, a professor of book-keeping, the head of a provincial school, then a private tutor and a schoolmaster in Paris, besides editing grammars, dictionaries and treatises on various subjects. With all these occupations, he hardly succeeded in making a livelihood, and when he retired to his native country, Victorien was left on his own resources. He had begun studying medicine, but had to desist for want of funds. He taught French to foreign pupils: he also gave lessons in Latin, history and mathematics to students, and wrote articles for cheap encyclopaedias.<ref name="EB1911">{{EB1911|inline=y|wstitle=Sardou, Victorien|volume=24|pages=218–219}}</ref>

==Career==
At the same time, he was trying to make headway in the literary world. His talents had been encouraged by an old {{lang|fr|[[Bluestocking|bas-bleu]]}}, [[Sophie Bawr|Mme de Bawr]], who had published novels and enjoyed some reputation in the days of the [[Bourbon Restoration in France|Restoration]], but she could do little for her protégé.<ref>{{cite book |last=Claretie |first=Jules |author-link=Jules Arsène Arnaud Claretie |date=1883 |title=Victorien Sardou |url=https://books.google.com/books?id=3UIe2V4PsuYC |page=11 |language=fr |access-date=1 June 2025}}</ref> Victorien Sardou made efforts to attract the attention of [[Mlle Rachel]], and to win her support by submitting to her a drama, ''La Reine Ulfra'', founded on an old Swedish chronicle. A play of his, ''La Taverne des étudiants'', was produced at the [[Odéon]] on 1 April 1854, but met a stormy reception, owing to a rumour that the débutant had been instructed and commissioned by the government to insult the students. ''La Taverne'' was withdrawn after five nights. Another drama by Sardou, ''Bernard Palissy'', was accepted at the same theatre, but the arrangement was cancelled in consequence of a change in the management. A Canadian play, ''Fleur de Liane'', would have been produced at the [[Théâtre de l'Ambigu-Comique|Ambigu]] but for the death of the manager. ''Le Bossu'', which he wrote for [[Charles Albert Fechter]], did not satisfy the actor; and when the play was successfully produced, the nominal authorship, by some unfortunate arrangement, had been transferred to other men. Sardou submitted to [[Adolphe Lemoine]], manager of the [[Théâtre du Gymnase Marie Bell|Gymnase]], a play entitled ''Paris à l'envers'', which contained the love scene, afterwards so famous, in ''Nos Intimes''. Lemoine thought fit to consult [[Eugène Scribe]], who was revolted by the scene in question.<ref name="EB1911"/>

In 1857, Sardou felt the pangs of actual want, and his misfortunes culminated in an attack of [[typhoid]] fever. He was living in poverty and was dying in his [[garret]], surrounded by his rejected manuscripts. A lady who was living in the same house unexpectedly came to his assistance. Her name was [[Mlle de Brécourt]]. She had theatrical connections and was a special favourite of Mlle [[Déjazet]]. She nursed him, cured him, and, when he was well again, introduced him to her friend. Déjazet had just established the theatre named after her, and every show after ''La Taverne'' was put on at this theatre. Fortune began to smile on the author.<ref name="EB1911"/>

It is true that ''Candide'', the first play he wrote for Mlle Déjazet, was stopped by the censor, but ''Les Premières Armes de Figaro'', ''Monsieur Garat'', and ''Les Prés Saint Gervais'', produced almost in succession, had a splendid run. ''Garat'' and ''Gervais'' were done at Theatre des Varlétés and in English at [[Criterion Theatre]] in London. ''Les Pattes de mouche'' (1860, afterwards anglicized as ''A Scrap of Paper'') obtained a similar success at the Gymnase.<ref name="EB1911"/>

[[File:Sarah Bernhardt as Theodora by Nadar.jpg|thumb|left|upright=0.9|Sarah Bernhardt in the title role of Sardou's ''[[Theodora (6th century)|Théodora]]'' in 1884]]
[[File:Victorien Sardou in 1899.jpg|thumb|upright=0.9|A sketch of Sardou from 1899]]
''[[Fédora]]'' (1882), a work that popularized the [[fedora hat]] as well,<ref>Encarta Dictionary, Microsoft Encarta Premium Suite 2004.</ref> was written expressly for [[Sarah Bernhardt]], as were many of his later plays. This was later adapted by [[Umberto Giordano]], and he made an opera entitled [[Fedora (opera)|''Fedora'']]. The play dealt with [[nihilism]], which was coined from ''[[Fathers and Sons (novel)|Fathers and Sons]]'' by [[Ivan Turgenev]]. He struck a new vein by introducing a strong historic element in some of his dramatic romances. Thus he borrowed ''[[Theodora (6th century)|Théodora]] '' (1884) from [[Byzantine]] annals (which was also adapted into an opera by [[Xavier Leroux]]), ''[[La Haine (drama)|La Haine]]'' (1874) from Italian chronicles, ''La Duchesse d'Athénes'' from the forgotten records of medieval Greece. ''Patrie!'' (1869) is founded on the rising of the Dutch [[Geuzen]] at the end of the 16th century, and was made into a popular opera by [[Emile Paladilhe]] in 1886. The scene of ''La Sorcière'' (1904) was laid in Spain in the 16th century. The [[French Revolution]] furnished him three plays, ''Les Merveilleuses'', ''[[Thermidor (play)|Thermidor]]'' (1891) and ''Robespierre'' (1899). His play ''Gismonda'' (1894) was adapted into an opera by [[Henry Février]]. The last named was written expressly for [[Sir Henry Irving]], and produced at the [[Lyceum Theatre, London|Lyceum theatre]] in London, as was ''Dante'' (1903). The [[Napoleonic era]] was revived in ''[[La Tosca]]'' (1887).<ref name="EB1911"/>

[[File:Sardou Grave.JPG|thumb|left|upright=0.9|Sardou's grave in [[Marly-le-Roi]]]]

''[[Madame Sans-Gêne (play)|Madame Sans-Gêne]]'' (1893) was written specifically for [[Gabrielle Réjane]] as the unreserved, good-hearted wife of Marshal Lefevre. It was translated into English and starred Irving and [[Ellen Terry]] at the Lyceum Theatre.<ref>{{Cite news |url=https://www.newspapers.com/article/the-philadelphia-inquirer-terry-as-madam/141919447/ |title=Terry as Madame Sans-Gene |newspaper=[[The Philadelphia Inquirer]] |page=2 |date=22 November 1901 |access-date=23 February 2024 |via=Newspapers.com}}</ref> Later plays were ''La Pisie'' (1905) and ''[[The Affair of the Poisons (play)|The Affair of the Poisons]]'' (1907). In many of these plays, however, it was too obvious that a thin varnish of historic learning, acquired for the purpose, had been artificially laid on to cover modern thoughts and feelings. But a few&nbsp;– ''Patrie!'' and ''La Haine'' (1874), for instance&nbsp;– exhibit a true insight into the strong passions of past ages.<ref name="EB1911"/> ''L'Affaire des Poisons'' (1907) was running at the [[Théâtre de la Porte Saint-Martin]] and was very successful at the time of his death. The play involved the poisoning [[camarilla]] under [[Louis XIV of France]].<ref name="nytimes1908">{{cite news| url=https://timesmachine.nytimes.com/timesmachine/1908/11/09/104767355.pdf | newspaper=The New York Times | title=Victorien Sardou, Dramatist, Dead; Dean of French Playwrights and Creator of Bernhardt's Famous Roles Leaves No Memoirs. First Play was Hissed; His Last, 'L'Affaire des Poisons,' He Saw Produced at 75 -- Still Running to Crowded Houses | date=9 November 1908 |access-date=23 February 2024}}</ref> Toward the end of his life, Sardou made several recordings of himself reading passages from his works, including a scene from ''Patrie!''<ref>[http://www.musicweb-international.com/classrev/2005/May05/Fonotipia_SYMP1261.htm Fonotipia  A Centenary Celebration 1904-2004 SYMPOSIUM 1261 [JW&#93;: Classical CD Reviews- May 2005 MusicWeb-International<!-- Bot generated title -->]</ref>

[[File:Victorien Sardou, Vanity Fair, 1891-05-02.jpg|thumb|upright=0.9|Caricature by [[Jean Baptiste Guth|Jean B. Guth]], published in ''[[Vanity Fair (UK magazine)|Vanity Fair]]'' (1891)]]

==Personal life and death==
Sardou married his benefactress, Mlle de Brécourt, but eight years later he became a widower, and soon after the [[Paris Commune|Revolution of 1870]] was married a second time, to Mlle Soulié on 17 June 1872, the daughter of the erudite [[Eudore Soulié]], who for many years superintended the [[Musée de Versailles]]. He was elected to the [[Académie française]] in the room of the poet [[Joseph Autran]] (1813–1877), and took his seat on 22 May 1878.<ref name="EB1911"/> He lived at [[Château de Marly]] for some time.

He was a fervent book collector who assembled an immense collection of 80,000 books.<ref>Dailey, Victoria. "The Marvellous Monsieur Sardou: Part 1." ''[[The Book Collector]]'' 72 (spring 2023): 21-40.</ref> The rooms at his home in Marly were devoted to housing his book and print collections. After his death his books were sold as described in the ''Catalogue de la bibliothèque de feu M. Victorien Sardou'' <ref>Dailey, Victoria. "The Marvellous Monsieur Sardou: Part 2." ''[[The Book Collector]]'' 72 (autumn, 2023):426-449.</ref>

He obtained the [[Légion d'honneur]] in 1863 and was elected a member of the Académie française in 1877.<ref name="nytimes1908"/> Sardou died on 8 November 1908 in Paris. He had been ill for a long time. The official cause of death was [[pulmonary congestion]].<ref name="nytimes1908"/>

[[File:Victorien Sardou in 1901.jpg|thumb|upright=0.9|Sardou in 1901]]

==Writing style==
Sardou modelled his work after [[Eugène Scribe]]. It was reported in Stephen Sadler Stanton's intro to ''Camille and Other Plays'' that Sardou would read the first act of one of Scribe's plays, rewrite the rest, and then compare the two. One of his first goals when writing was to devise a central conflict followed by a powerful climax. From there, he would work backwards to establish the action leading up to it. He believed conflict was the key to drama.<ref name="ebscohost1">{{Cite web|url=http://connection.ebscohost.com/c/articles/9704206400|title = EBSCO Connect}}</ref>

He was ranked with the two undisputed leaders of dramatic art at that time, [[Augier]] and [[Alexandre Dumas, fils|Dumas]]. He adhered to Scribe's constructive methods, which combined the three old kinds of comedy —the comedy of character, of manners and of intrigue— with the ''drame bourgeois'', and blended the heterogeneous elements into a compact body. He opened a wider field to social satire: He ridiculed the vulgar and selfish middle-class person in ''Nos Intimes'' (1861: anglicized as ''Peril''), the gay old bachelors in ''Les Vieux Garçons'' (1865), the modern Tartufes in ''Seraphine'' (1868), the rural element in ''Nos Bons Villageois'' (1866), old-fashioned customs and antiquated political beliefs in ''Les Ganaches'' (1862), the revolutionary spirit and those who thrive on it in ''Rabagas'' (1872) and ''Le Roi Carotte'' (1872), the then threatened divorce laws in ''[[Divorçons]]'' (1880).<ref name="EB1911"/>

==Legacy==
Irish playwright and critic [[George Bernard Shaw]] said of ''La Tosca'': "Such an empty-headed ghost of a shocker... Oh, if it had but been an opera!"<ref name="ebscohost1"/> He also came up with the dismissive term "[[wiktionary:sardoodledom|Sardoodledom]]" in a review of Sardou plays (''The Saturday Review'', 1 June 1895). Shaw believed that Sardou's contrived dramatic machinery was creaky and that his plays were empty of ideas.{{citation needed|date=May 2023}}

After producer [[Sir Squire Bancroft]] saw the dress rehearsal for ''Fedora'', he said in his memoirs "In five minutes the audience was under a spell which did not once abate throughout the whole four acts. Never was treatment of a strange and dangerous subject more masterly, never was acting more superb than Sarah showed that day."<ref name="ebscohost1"/> [[William Winter (author)|William Winter]] said of ''Fedora'' that "the distinguishing characteristic of this drama is carnality."{{citation needed|date=May 2023}}

Sardou is mentioned in part two, chapter two of [[Proust]]'s ''The Guermantes Way'', the third volume of ''[[In Search of Lost Time]]''.<ref>[https://archive.org/details/in.ernet.dli.2015.149563/page/n167/mode/1up ''The Guermantes Way'', Part Two, p. 162.]</ref>

In New Orleans, during the period when much of its upper class still spoke French, Antoine Alciatore, founder of the famous old restaurant [[Antoine's]], invented a dish called [[Eggs Sardou]] in honor of the playwright's visit to the city.

The Rue Victorien Sardou and Square Victorien Sardou near the [[Parc Sainte-Périne]] in Paris are named after him. There are also streets named rue Victorien Sardou in [[Lyon]] and [[Saint-Omer]].

There are at least two dishes made in honor of Sardou: [[Lobster Thermidor]] in Paris and [[Eggs Sardou]] in Louisiana.

==Works==

===Stage works===
[[File:Victorien Sardou - A Divorce Cure.jpg|thumb|Poster for an 1897 production of ''A Divorce Cure'', adapted from Sardou's play ''Divorçons!'']]
[[File:Let's Get a Divorce poster.jpg|thumb|Poster for the 1918 film ''[[Let's Get a Divorce]]'', based on Sardou's ''Divorçons'']]
{{div col}}
*''La Taverne des étudiants'' (1854)
*''Les Premières Armes de Figaro'' (1859), with  Emile Vanderbuch
*''Les Gens nerveux'' (1859), with [[Théodore Barrière]]
*''Les Pattes de mouche'' (''A Scrap of Paper''; 1860)
*''Monsieur Garat'' (1860)
*''Les Femmes fortes'' (1860)
*''L'écureuil'' (1861)
*''L'Homme aux pigeons'' (1861), as Jules Pélissié
*''Onze Jours de siège'' (1861)
*''Piccolino'' (1861), comedy in 3 acts with songs<ref>[https://books.google.com/books?id=jFWd6nZ9wVYC&pg=PP3 ''Piccolino, comédie en trois actes'', 1861] at Google Books</ref>
*''Nos Intimes!'' (1861)
*''Chez Bonvalet'' (1861), as Jules Pélissié with Henri Lefebvre 
*''La Papillonne'' (1862)
*''La Perle Noire'' (''[[The Black Pearl (play)|The Black Pearl]]''; 1862)
*''Les Prés Saint-Gervais'' (1862), with [[Philippe Gille]] and music by [[Charles Lecocq]]
*''Les Ganaches'' (1862)
*''Bataille d'amour'' (1863), with Karl Daclin and music by [[Auguste Vaucorbeil]]
*''Les Diables noirs'' (1863)
*''Le Dégel'' (1864)
*''Don Quichotte'' (1864), rearranged by Sardou and [[Charles-Louis-Etienne Nuitter]] and music by Maurice Renaud
*''Les Pommes du voisin'' (1864)
*''Le Capitaine Henriot'' (1864), by Sardou and Gustave Vaez, music by [[François-Auguste Gevaert]]
*''Les Vieux Garçons'' (1865)
*''Les Ondines au Champagne'' (1865), as Jules Pélissié with Henri Lefebvre, music by Charles Lecocq
*''La Famille Benoîton'' (1865)
*''Les Cinq Francs d'un bourgeois de Paris'' (1866), with [[Dunan Mousseux]] and Jules Pélissié
*''Nos Bons Villageois'' (1866)
*''Maison neuve'' (1866)
*''Séraphine'' (1868)
*''Patrie!'' (''Fatherland'') (1869), adapted by Sardou in 1886 into a grand opera with music by [[Emile Paladilhe]]
*''Fernande'' (1870)
*''[[Le roi Carotte]]'' (1872), music by [[Jacques Offenbach]]
*''Les Vieilles Filles'' (1872), with [[Charles de Courcy]]
*''Andréa'' (1873; performed on [[Broadway theatre|Broadway]] as ''[[Anselma (play)|Anselma]]'' in 1885 in an English language adaptation by [[Leander Richardson]])<ref>{{cite book|title=American Theatre Companies, 1749-1887|year=1986|publisher=[[Bloomsbury Academic]]|author=Weldon B. Durham|page=326}}</ref>
*''L'Oncle Sam'' (''Uncle Sam''; 1873)
*''Les Merveilleuses'' (1873), music by Félix Hugo
*''Le Magot'' (1874)
*''[[La Haine (drama)|La Haine]]'' (''Hatred''; 1874), music by Jacques Offenbach
*''Ferréol'' (1875)
* ''Piccolino'' (1876), 3-act [[opéra-comique]], with [[Charles-Louis-Etienne Nuitter]] and with music by [[Ernest Guiraud]]<ref>[https://archive.org/details/piccolinoopracom00sard/page/n5 ''Piccolino, opéra-comique en trois actes'', 1876] at Internet Archive.</ref>
*''L'Hôtel Godelot'' (1876), with [[Henri Crisafulli]]
*''Dora'' (1877)
*''Les Exilés'' (1877), with Gregorij Lubomirski and Eugène Nus
*''Les Bourgeois de Pont-Arcy'' (1878)
*''Les Noces de Fernande'' (1878), with [[Émile de Najac]] and music by [[Louis Deffès|Louis-Pierre Deffès]]
*''Daniel Rochat'' (1880)
*''[[Divorçons]]'' (''Let's Get a Divorce''; 1880), with [[Émile de Najac]]
*''[[Odette (play)|Odette]]'' (1881)
*''[[Fédora]] '' (1882)
*''Théodora'' (1884), later revised in 1907 with [[Paul Ferrier]] and music by [[Xavier Leroux]]
*''Georgette'' (1885)
*''Le Crocodile'' (1886), with music by [[Jules Massenet]]
*''[[La Tosca]]'' (1887), with music by Louis Pister
*''Marquise'' (1889)
*''Belle-Maman'' (1889), with [[Raymond Deslandes]]
*''Cléopâtre'' (1890), with  [[Émile Moreau (playwright)|Émile Moreau]] and music by Xavier Leroux<ref>[https://timesmachine.nytimes.com/timesmachine/1890/10/24/103273629.pdf "The latest 'Cleopatra{{'"}}]. In: ''The New York Times'', 24 October 1890.</ref>
*''[[Thermidor (play)|Thermidor]]'' (1891)
*''[[Madame Sans-Gêne (play)|Madame Sans-Gêne]]'' (1893), with Émile Moreau
*''[[Gismonda]]'' (1894)
*''Marcelle'' (1895)
*''Spiritisme'' (1897)
*''Paméla'' (1898)
*''Robespierre'' (1899) with music by [[Georges Jacobi]]
*''La Fille de Tabarin'' (1901), with  Paul and music by [[Gabriel Pierné]]
*''[[Les Barbares]]'' (1901), opera libretto with [[Pierre-Barthélemy Gheusi]], music by [[Camille Saint-Saëns]]
*''Dante'' (1903), with Émile Moreau
*''La Sorcière'' (''The Sorceress''; 1903)
*''Fiorella'' (1905), with [[Pierre-Barthélemy Gheusi]] and music by Amherst Webber
*''L'Espionne'' (1906)
*''La Pisie'' (1906)
*''[[The Affair of the Poisons (play)|The Affair of the Poisons]]'' (1907), as Jules Pélissié <ref name="cooper1998">{{cite book |last=Cooper |first=Barbara T. |title=French Dramatists, 1789-1914 |year=1998 |publisher=Gale Research |location=[[Detroit, Michigan]] |isbn=978-0-7876-1847-6 |url-access=registration |url=https://archive.org/details/dictionaryoflite00barb_0 }}</ref>
{{div col end}}

===Books===
*''Rabàgas'' (1872)
*''Daniel Rochet'' (1880)<ref name="cooper1998"/>

==Adapted works==
===Translations of plays===
*''Nos Intimes!'' (1862), translated by [[Horace Wigan]] into ''Friends or Foes?''
*''La Papillonne'' (1864), translated by [[Augustin Daly]] into ''Taming of a Butterfly''
*''Le Degel'' (1864), translated by Vincent Amcotts into ''Adonis Vanquished''
*''Les Ganaches'' (1869) translated and adapted by [[Thomas William Robertson]] into ''Progress''
*''Nos Intimes!'' (1872), translated by George March into ''Our Friends''
*''Les Pres Saint-Gervais'' (1875), translated and adapted by [[Robert Reece]]
*''Dora'' (1877), translated and adapted into ''[[Diplomacy (play)|Diplomacy]]''
*''Divorçons!'' (1882), translated into ''Cyprienne''
*''Robespierre'', translated by [[Laurence Sydney Brodribb Irving|Laurence Irving]]

===Operas and musicals===
[[File:Georges Rochegrosse - Henry Février - Henri Cain and Louis Payen after Victorien Sardou - Gismonda.jpg|thumb|Poster for [[Henry Février]]'s ''[[Gismonda (Février)|Gismonda]]'']]
*''[[Patrie!]]'' (1886) an opera with music by [[Emile Paladihle]] and libretto by Sardou and [[Louis Gallet]]
*''[[Fedora (opera)|Fedora]]'' (1898) an opera by [[Umberto Giordano]]
*''[[Tosca]]'' (1900) an opera by [[Giacomo Puccini]]
*''Les Merveilleuses'' (1907), adapted by [[Basil Hood]] as the musical play ''[[The Merveilleuses]]''
*''Théodora'' (1907) an opera by [[Xavier Leroux]]
*''[[Madame Sans-Gêne (opera)|Madame Sans-Gêne]]'' (1915) an opera by Umberto Giordano 
*''[[Gismonda (Février)|Gismonda]]'' (1919) an opera by [[Henry Février]]<ref name="cooper1998"/>

===Film adaptations===
*''La Tosca'', directed by [[Andre Calmettes]] (1908, based on the play ''La Tosca''), starring  [[Sarah Bernhardt]]
*''[[Cleopatra (1912 film)|Cleopatra]]'', directed by {{Ill|Charles L. Gaskill|it}} (1912, based on the play ''Cléopâtre'')<!--13 November 1912-->
*''{{Ill|Princess Romanoff|it}}'', directed by [[Frank Powell]] (1915, based on the play ''Fédora'')<!--May 1915-->
*''[[The Song of Hate]]'', directed by [[J. Gordon Edwards (director)|J. Gordon Edwards]] (1915, based on the play ''La Tosca'')<!--September 1915-->
*''{{Ill|Marcella (1915 film)|it|3=Marcella (film 1915)|lt=Marcella}}'', directed by [[Baldassarre Negroni]] (Italy, 1915, based on the play ''Marcelle'')<!--December 1915-->
*''[[Odette (1916 film)|Odette]]'', directed by [[Giuseppe de Liguoro]] (Italy, 1916, based on the play ''Odette'')<!--10 January 1916-->
*''[[The Witch (1916 film)|The Witch]]'', directed by [[Frank Powell]] (1916, based on the play ''La Sorcière'')<!--27 February 1916-->
*''[[Diplomacy (1916 film)|Diplomacy]]'', directed by [[Sidney Olcott]] (1916, based on the play ''Dora'')<!--27 February 1916-->
*''Váljunk el!'' (Austria-Hungary, 1916, based on the play ''Divorçons'')<!--April 1916-->
*''[[The Chalice of Sorrow]]'', directed by [[Rex Ingram (director)|Rex Ingram]] (1916, based on the play ''La Tosca'' - uncredited)<!--9 October 1916-->
*''Ferréol'', directed by [[Edoardo Bencivenga]] (Italy, 1916, based on the play ''Ferréol'')<!--October 1916-->
*''[[Madame Guillotine (1916 film)|Madame Guillotine]]'', directed by [[Enrico Guazzoni]] and [[Mario Caserini]] (Italy, 1916, based on the play ''Madame Tallien'')<!--November 1916-->
*''{{Ill|Fedora (1916 film)|it|3=Fedora (film 1916)|lt=Fedora}}'', directed by [[Gustavo Serena]] (Italy, 1916, based on the play ''Fédora'')<!--December 1916-->
*''[[White Nights (1916 film)|White Nights]]'', directed by [[Alexander Korda]] (Austria-Hungary, 1916, based on the play ''Fédora'')<!--27 December 1916-->
*''[[Patrie (1917 film)|Patrie]]'', directed by [[Albert Capellani]] (France, 1917, based on the play ''Patrie'')<!--Shot: 1914, released: 1917-->
*''Andreina'', directed by Gustavo Serena (Italy, 1917, based on the play ''Andréa'')<!--24 January 1917-->
*''Fernanda'', directed by Gustavo Serena (Italy, 1917, based on the play ''Fernande'')<!--March 1917-->
*''[[Cleopatra (1917 film)|Cleopatra]]'', directed by [[J. Gordon Edwards (director)|J. Gordon Edwards]] (1917, based on the play ''Cléopâtre'', and other sources)<!--14 October 1917-->
*''Az anyaszív'', directed by Sándor Góth (Austria-Hungary, 1917, based on the play ''Odette'')<!--10 December 1917-->
*''{{Ill|Tosca (1918 Italian film)|it|3=Tosca (film 1918)|lt=Tosca}}'', directed by {{Ill|Alfredo De Antoni|it}} (Italy, 1918, based on the play ''La Tosca'')<!--18 February 1918-->
*''[[La Tosca (1918 film)|La Tosca]]'', directed by [[Edward José]] (1918, based on the play ''La Tosca'')<!--25 March 1918-->
*''[[Let's Get a Divorce]]'', directed by [[Charles Giblyn]] (1918, based on the play ''Divorçons'')<!--28 April 1918-->
*''[[Love's Conquest]]'', directed by Edward José (1918, based on the play ''Gismonda'')<!--21 May 1918-->
*''[[Fedora (1918 film)|Fedora]]'', directed by Edward José (1918, based on the play ''Fédora'')<!--4 August 1918-->
*''[[The Burden of Proof (1918 film)|The Burden of Proof]]'', directed by [[John G. Adolfi]] and {{Ill|Julius Steger|it}} (1918, based on the play ''Dora'')<!--21 September 1918-->
*''I nostri buoni villici'', directed by [[Camillo De Riso]] (Italy, 1918, based on the play ''Nos Bons Villageois'')<!--December 1918-->
*''Spiritismo'', directed by Camillo De Riso (Italy, 1919, based on the play ''Spiritisme'')<!--February 1919-->
*''Dora o Le spie'', directed by [[Roberto Roberti]] (Italy, 1919, based on the play ''Dora'')<!--April 1919-->
*''Three Green Eyes'', directed by [[Dell Henderson]] (1919, based on the play ''Les Pattes de mouche'')<!--28 April 1919-->
*''Giorgina'', directed by {{Ill|Ubaldo Pittei|it}} and Giuseppe Forti (Italy, 1919, based on the play ''Georgette'')<!--August 1919-->
*''Ferréol'', directed by [[Franz Hofer (director)|Franz Hofer]] (Germany, 1920, based on the play ''Ferréol'')<!--15 March 1920-->
*''{{Ill|I borghesi di Pontarcy|it}}'', directed by {{Ill|Umberto Mozzato|it}} (Italy, 1920, based on the play ''Les Bourgeois de Pont-Arcy'')<!--August 1920-->
*''[[Napoleon and the Little Washerwoman]]'', directed by [[Adolf Gärtner]] (Germany, 1920, based on the play ''Madame Sans-Gêne'')<!--1 December 1920-->
*''[[Theodora (1921 film)|Theodora]]'', directed by {{Ill|Leopoldo Carlucci|fr}} (Italy, 1921, based on the play ''Théodora'')<!--14 October 1921-->
*''Rabagas'', directed by [[Gaston Ravel]] (Italy, 1922, based on the novel ''Rabàgas'')<!--14 October 1921-->
*''{{Ill|L'Espionne|fr}}'', directed by [[Henri Desfontaines]] (France, 1923, based on the play ''L'Espionne'')<!--11 September 1923-->
*''[[Madame Sans-Gêne (1925 film)|Madame Sans-Gêne]]'', directed by [[Léonce Perret]] (1925, based on the play ''Madame Sans-Gêne'')<!--20 April 1925-->
*''[[Kiss Me Again (1925 film)|Kiss Me Again]]'', directed by [[Ernst Lubitsch]] (1925, based on the play ''Divorçons'')<!--1 August 1925-->
*''[[Fedora (1926 film)|Fedora]]'', directed by [[Jean Manoussi]] (Germany, 1926, based on the play ''Fédora'')<!--6 May 1926-->
*''[[Diplomacy (1926 film)|Diplomacy]]'', directed by [[Marshall Neilan]] (1926, based on the play ''Dora'')<!--20 September 1926-->
*''[[Don't Tell the Wife (1927 film)|Don't Tell the Wife]]'', directed by [[Paul L. Stein]] (1927, based on the play ''Divorçons'')<!--22 January 1927-->
*''[[Odette (1928 film)|Odette]]'', directed by [[Luitz-Morat]] (Germany, 1928, based on the play ''Odette'')<!--23 March 1928-->
*''[[A Night of Mystery]]'', directed by [[Lothar Mendes]] (1928, based on the play ''Ferréol'')<!--7 April 1928-->
*''[[The Woman from Moscow]]'', directed by [[Ludwig Berger (director)|Ludwig Berger]] (1928, based on the play ''Fédora'')<!--3 November 1928-->
*''L'Évadée'', directed by [[Henri Ménessier]] (France, 1929, based on the play ''Le Secret de Délia'')<!--16 August 1929-->
*''[[Fedora (1934 film)|Fedora]]'', directed by [[Louis J. Gasnier]] (France, 1934, based on the play ''Fédora'')<!--23 March 1934-->
*''[[Odette (1934 film)|Odette]]'', directed by [[Jacques Houssin]] and Giorgio Zambon (France/Italy, 1934, based on the play ''Odette'')<!--1934/35-->
*''{{Ill|Les Pattes de mouche|fr}}'', directed by [[Jean Grémillon]] (France, 1936, based on the play ''Les Pattes de mouche'')<!--20 March 1936-->
*''{{Ill|Marcella (1937 film)|it|3=Marcella (film 1937)|lt=Marcella}}'', directed by [[Guido Brignone]] (Italy, 1937, based on the play ''Marcelle'')
*''[[Tosca (1941 film)|Tosca]]'', directed by [[Carl Koch (director)|Carl Koch]] and [[Jean Renoir]] (Italy, 1941, based on the opera ''Tosca'')<!--27 January 1941-->
*''[[That Uncertain Feeling (film)|That Uncertain Feeling]]'', directed by [[Ernst Lubitsch]] (1941, based on the play ''Divorçons'')<!--20 April 1941-->
*''[[Madame Sans-Gêne (1941 film)|Madame Sans-Gêne]]'', directed by [[Roger Richebé]] (France, 1941, based on the play ''Madame Sans-Gêne'')<!--7 October 1941-->
*''[[Fedora (1942 film)|Fedora]]'', directed by [[Camillo Mastrocinque]] (Italy, 1942, based on the opera ''Fedora'')<!--7 October 1941-->
*''{{Ill|Dora, la espía|it}}'', directed by [[Raffaello Matarazzo]] (Italy, 1943, based on the play ''Dora'')
*''[[Madame Sans-Gêne (1945 film)|Madame Sans-Gêne]]'', directed by [[Luis César Amadori]] (Argentina, 1945, based on the play ''Madame Sans-Gêne'')<!--15 March 1945-->
*''[[Pamela (film)|Pamela]]'', directed by [[Pierre de Hérain]] (France, 1945, based on the play ''Paméla'')<!--2 May 1945-->
*''{{Ill|La señora de Pérez se divorcia|es}}'', directed by [[Carlos Hugo Christensen]] (Argentina, 1945, based on the play ''Divorçons'')<!--19 July 1945-->
*''En tiempos de la inquisición'', directed by [[Juan Bustillo Oro]] (Mexico, 1946, based on the play ''La Sorcière'')<!--25 July 1946-->
*''[[Patrie (1946 film)|Patrie]]'', directed by [[Louis Daquin]] (France, 1946, based on the play ''Patrie'')<!--September 1946-->
*''[[Distress (1946 film)|Distress]]'', directed by {{Interlanguage link|Robert-Paul Dagan|fr}} (France, 1946, based on the play ''Odette'')<!--22 November 1946-->
*''{{Ill|El precio de una vida|es}}'', directed by [[Adelqui Migliar]] (Argentina, 1947, based on the play ''Fédora'')<!--23 October 1947-->
* ''[[The Affair of the Poisons (film)|The Affair of the Poisons]]'', directed by [[Henri Decoin]] (1955, based on the play ''[[The Affair of the Poisons (play)|The Affair of the Poisons]]'')
*''[[Tosca (1956 film)|Tosca]]'', directed by [[Carmine Gallone]] (Italy, 1956, based on the opera ''Tosca'')<!--26 August 1956-->
*''{{Ill|Amor para Três|pt}}'', directed by [[Carlos Hugo Christensen]] (Brazil, 1960, based on the play ''Divorçons'')
*''[[Madame (1961 film)|Madame]]'', directed by [[Christian-Jaque]] (France/Italy, 1961, based on the play ''Madame Sans-Gêne'')<!--22 December 1961-->
*''[[La Tosca (1973 film)|La Tosca]]'', directed by [[Luigi Magni]] (Italy, 1973, based on the play ''La Tosca'')<!--23 March 1973-->
*''[[Tosca (2001 film)|Tosca]]'', directed by [[Benoît Jacquot]] (France, 2001, based on the opera ''Tosca'')<!--14 November 2001-->

==References==
{{Reflist}}

==Further reading==
*[[Blanche Roosevelt]] (2009) ''Victorien Sardou'' BiblioLife {{ISBN|1-110-54130-9}}
*Stephen Sadler Stanton (1990) ''Camille and Other Plays: A Peculiar Position; The Glass of Water; La Dame aux Camelias; Olympe's Marriage; A Scrap of Paper'' [[Hill and Wang]] {{ISBN|0-8090-0706-1}}
* McCormick, John. 1998. "Sardou, Victorien." In ''The Cambridge Guide to Theatre.'' Ed. Martin Banham. Cambridge: Cambridge UP. 964. {{ISBN|0-521-43437-8}}.
* Lacour, L. 1880. ''Trois théâtres''.
* [[Brander Matthews|Matthews, Brander]]. 1881. ''French Dramatists''. New York.
* Doumic, R. 1895. ''Écrivains d'aujourd'hui''. Paris.
* Sarcey, F. 1901. ''Quarante ans de théâtre''. Vol. 6.

==External links==
{{Wiktionary|sardoodledom}}
{{Commons category|Victorien Sardou}}
* {{Gutenberg author | id=8731}}
* {{Internet Archive author |sname=Victorien Sardou}}
* {{IBDB name|8957}}

{{Victorien Sardou}}
{{Académie française Seat 9}}
{{La Tosca}}

{{Authority control}}

{{DEFAULTSORT:Sardou, Victorien}}
[[Category:1831 births]]
[[Category:1908 deaths]]
[[Category:Writers from Paris]]
[[Category:19th-century French dramatists and playwrights]]
[[Category:20th-century French dramatists and playwrights]]
[[Category:Members of the Académie Française]]
[[Category:19th-century French male writers]]
[[Category:20th-century French male writers]]
[[Category:French bibliophiles]]