During the Nazi occupation of France Simone Signoret—born Simone Kaminker to a patrilineal Polish‑Jewish father and a French Catholic mother—found herself in an impossible moral bind. With her father having fled in 1940 to join Charles de Gaulle in England and the family dependent on her earnings, Signoret took a job as a typist for Les nouveaux temps, the collaborationist newspaper run by Jean Luchaire. To shield herself from antisemitic scrutiny she adopted her mother’s maiden name, Signoret, as her professional identity. The episode captures the wrenching compromises made by many in occupied France: earning a living at morally compromised institutions while simultaneously hiding a Jewish background and supporting relatives. Though the bare facts are straightforward—the employer, the wartime pressures, and her name change—the story has continued to complicate later readings of her biography, emblematic of the fraught moral landscape French artists navigated under occupation.
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