Pierre Mac Orlan

The son of an officer and orphaned at an early age, the future author of Quai des brumes soon abandoned his studies in Rouen for drawing and Paris. At the turn of the century, the young bohemian assiduously frequented Montmartre, like Francis Carco, and especially the cabaret Le Lapin à Gill. So much so that he married the owner's daughter-in-law (Marguerite de la nuit). After making a living by placing illustrated tales in the humoristic press, he sailed around various European ports, inspiring his later books, Le Chant de l'équipage, L'Ancre de miséricorde and Petit Manuel du parfait aventurier.

The importance of music (and the accordion) is evident in Mac Orlan's work. Many of his characters, both men and women, sing. But in real life, it was women who interpreted his texts: Germaine Montero, Monique Morelli, Juliette Gréco, Francesca Soleville, Catherine Sauvage. Pierre Mac Orlan's songs range from the sentimental ("La Fille de Londres", "La Chanson de Margaret") to the military picturesque ("Le Départ des joyeux", "Rose-des-bois", "Marie-Dominique", "Bel Abbès"), against a backdrop of cockroaches, impossible loves, bad boys, legionnaires, lost girls and soldiers' brothels. These texts were served up by talented musicians, including Georges Van Parys, accordionist Marceau and Philippe-Gérard.

The simplicity of his rhymes, the typical atmospheres, the ritornello-drama mix, the emphatic tone, the excess of feelings (good or bad): all this seems a little outdated in retrospect. The fact remains, however, that Mac Orlan's populist chanson has retained a certain perfume of authenticity and zest for life. Modern chanson owes more than it realizes to this adventurous songwriter.

P. L. F.