Les Grosses Têtes: LE COUP DE FIL DU JOUR - Édith Piaf à l'honneur

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Louis Leplay was murdered in his apartment in the future of the Grand Armée.

4 men shot him with a bullet in his head.

And it was on April 6th, 1936.

He took 4 bullets in his head.

Yes, there were 4 men, in any case.

At his place that day.

And on April 4th, there was one who shot him with a bullet in his head.

And it was actually...

He was 53 years old, Louis Leplay in 1936.

When he was killed in his apartment in the future of the Grand Armée.

But who was Louis Leplay?

It's his real name, Louis Leplay.

Yes, it's his real name, Louis Leplay.

There won't be a show on him, but on someone who has a lot to say.

Obviously, or rather, he has a lot to say for this person who is,

let's say, the center of the show that we're going to talk about.

A friend of Mozart?

A friend of Mozart.

Really, you see, it's relevant to psychosis.

It's not even ignorance.

No, it's not.

He has a house in Barcelona.

No, but because you said a musical show, I thought of the opera Mozart.

Yes, okay, but no, it has nothing to do with it.

So, is this Mr. Leplay?

Leplay, not Leplay.

He was a politician.

Not at all, no, no.

I'll help you.

He was in the show with Mr. Leplay.

He was homosexual, by the way.

He was someone, he was someone's producer.

And we imagine, maybe, by the way, that it's because, of course,

of homosexual practices, a little defiant.

When I say defiant, I'm not talking about homosexual practices.

But I'm talking about the fact that maybe,

he was attached to Bayonne or things like that.

Yes, like...

That he found himself, that it was badly finished.

And that, in any case, that day,

we found him dead in his apartment in the future of the great army.

And the one who is the object of the show,

which we're going to talk about, was interviewed by the Judiciary Police

because we suspected the bad boys of his entourage

to be, perhaps, those who had murdered Louis Leplay.

So it's 1936, so it can be Mr. Inget?

Mr. Inget, no, no, no.

I mean, the person we know,

he was the producer of a famous woman, right?

Exactly, bravo, you were all right.

Sarah Berna was well ahead.

But we're at the beginning, at the beginning.

Edith Piaf.

Edith Piaf, good answer.

There you go.

Well, there you go.

And yes, Louis Leplay is the man who made Edith Piaf debut

after having heard it in the street.

It's even him who gave his stage name.

Piaf.

La Môme Piaf.

And in the famous film where Marion Cotillard plays Piaf,

it's actually Gérard Depardieu who played the role of Louis Leplay.

Hello, Sergio.

Hello.

Obviously, you would have found the answer

much more quickly than my comrades.

But I don't think we see Louis Leplay in your show.

No, we don't see him, but we see him in an exhibition

that surrounds our theatre on the walls outside the theatre in the village

where we see a whole story in one,

a tableau of Piaf by the great dessinatrice Cattel.

We don't see him, but he's very important.

He's the one who's going to give it to him.

You're right, his name.

He tells him, as I found you in the can,

we're going to call you La Môme Piaf.

La Môme Piaf,

which is at the display of the hall of the song.

You say hall or hall, by the way?

The hall of the song is said because we remember

that the word music hall was created not in the United States,

but in France, in Paris.

And it's at the villa that we celebrate the 60 years

of the disappearance of the Piaf names,

like, by the way, Jean Cocteau's.

Jean Cocteau, who was also the most important one.

The same day.

At a close date, because we know that Piaf

has been brought back from the province,

we said it 18 times here in the big city to Paris.

We're not going to see it together.

No, no, no, he wasn't together.

But anyway, he knew himself.

Cocteau wrote about La Môme Piaf.

It surpasses us.

The soul of the street penetrates in all the rooms of the city.

It's no longer Madame Edith Piaf who sings.

It's the rain that falls.

It's the wind that blows.

It's the light of the moon that sets its wing.

The dark mouth.

The term seems to have been invented

for this oraculous mouth.

That's what Cocteau had written at the time

about La Môme Piaf.

They are three to sing Piaf in your show.

That's good.

Three different age groups who are remarkable,

who come out of very large schools of theater

or music and three men.

And we called Edith the little daughter of the Closest house.

Because what we have held is this moment of Piaf's life

or the age of two years to eight years old.

She will live with her grandmother,

except that her grandmother holds a house in Bern.

By the way, on the birthday of October 10,

we will not play in our theater, but in Bern in the hour.

And it's really surprising because what interested us

is what she kept from this childhood

where she saw prostitutes.

First, a love, an affection for incredible prostitutes.

And then, of course, she sang the realistic songs

that always tell stories.

The heroine of a realistic song is a prostitute

generally written by men.

First couple meets a guy not bad.

Second couple, he has no work, he drinks.

Third couple, he hits a little.

Fourth couple, he puts her on the sidewalk

and then she dies.

So we took some of these songs,

but we took the others.

The one Piaf sang where she talks about her desire,

which is incredible.

Piaf is a woman who had a lot of men

to whom she learned to become a singer,

by the way.

The guys who were around her, it's incredible.

The singers' companions, they come up,

Charles Aznavour and we pass.

Exactly those who slept or didn't sleep,

she brought them something incredible.

It was a pygmalion.

But she had pygmalions, she liked it,

she liked it less.

But this woman, who suddenly reversed the game,

and she's the one who supports people,

she's the one who supports them.

It's her, for example, who's going to support George Moustaki.

Moustaki, who's going to write it, Milord.

Exactly.

I chose her because she's in the show.

This song, there are songs by Piaf,

others who aren't from Piaf,

but who are still interpreted because

they have a link with your story,

the story you tell around Piaf.

It's also the case with this song,

which she was interpreted by my Piaf.

I don't care.

I don't care.

Who can come and kill me?

I don't care.

I have my Sunday, which is for me,

this banal head.

But what people think of you,

it's equal to me.

I don't care.

Edith, the little daughter of the Closest house,

it's all of the song at the village

to celebrate the 60 years of the disappearance of Piaf.

I had forgotten that the famous brothel,

held by her grandmother,

it was indeed in Normandy, in Bernet,

in their...

How is it called?

Do you know how it's called?

I don't know.

Does it exist today?

It was the name of his family.

It was the name of his family.

His grandmother had been a hairdresser,

and then he said,

I'm going to sell something else.

In Bernet,

they called their theater

the theater Piaf,

since 1971.

They assume in depth.

And so it will be the same day

of the birthday to Bernet.

Then we come back to our theater until October 19.

At the village?

At the village.

It's the role of the song,

easy, the role.com

or the role of the song.com.

It's Pierre Lagrange,

Manon Landowski and Mathilde Martinez

who plays the Piaf,

accompanied by a guitarist,

a bassist and an accordionist.

You are the director with Olivier Husnet.

Thank you, Sir Juro,

for talking to us about the love of Piaf.

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Machine-generated transcript that may contain inaccuracies.