and in the following year they organised filming of the uprising in Paris for the documentary La Libération de Paris. In the aftermath of the Liberation, Becker was among those who argued in support of Henri-Georges Clouzot and Robert Le Vigan when they were condemned for collaboration during the war. Becker made two further films, of markedly different character, during the Occupation: Goupi Mains Rouges was a story of greed and murder in a remote French farming community, and Falbalas depicted the (more or less contemporary) world of the Parisian fashion business. After the war Becker made several films in comic vein which showed the everyday lives of young people in present-day Paris: Antoine et Antoinette (1947), Rendezvous de juillet (1949), Édouard et Caroline (1951), and Rue de l'Estrapade (1953). In the middle of these he made Casque d'or (1952), a tragic romance set during the Belle Époque and loosely based on a true story among the criminal gangs of the Parisian underworld. The film was not well received at its initial appearance, but following acclaim abroad it became one of Becker's most admired works. Becker had a further success with Touchez pas au grisbi (1954) which relaunched the post-war career of Jean Gabin in the role of an aging gangster and introduced a distinctly French style of the gangster film which would become popular in the following years. Finding it nevertheless difficult to get financing for his projects, Becker next undertook a couple of commercial productions (and the only two films he made in colour) in which he found less scope to impose a personal touch. In 1958 Becker took over the filming of Montparnasse 19 from Max Ophuls who died while preparing the project about the last years of the painter Modigliani, but because of its hybrid origins it remained a troubled production. In Le Trou (1960), which recounted in almost documentary fashion the planning of a prison escape (based on a real event of 1947), Becker was able to return to a more personal and rigorous style. It was Becker's final film and he died shortly before its release, which then brought some of the warmest acclaim of his career. Becker was 53 when he died in February 1960, and he was interred in the Cimetière du Montparnasse in Paris. His children by his first marriage included Jean Becker, who also became a film director (and assisted