He is best remembered for several large-scale historical productions, including the silent films Le Miracle des loups (The Miracle of the Wolves) and Le Joueur d'échecs (The Chess Player) and in the 1930s Les Croix de bois (Wooden Crosses) and a highly regarded adaptation of Les Misérables.

He began his career as an actor appearing on stage in plays written by his father, including Jeanne Doré (1913) alongside Sarah Bernhardt (also filmed in 1916).

[1] In 1917, Bernard began to work behind the camera as assistant to Jacques Feyder at Gaumont and then continued as a director, principally adapting plays by his father.

[3] In 1924, Bernard embarked upon a new style of film, the historical spectacle, with Le Miracle des loups set in 15th-century France in the reign of Louis XI.

[4] Bernard's ability to combine dramatic narrative with spacious settings and large numbers of performers was utilised in the two remaining productions of his silent film career, Le Joueur d'échecs (1927) and Tarakanova (1930).