Amoral men as killers are found in many motion pictures, perhaps none more so than a character known as the “Jackal” in the political assassination thriller “The Day Of The Jackal.” I’ve referenced the movie in numerous reviews, and it ranks as one of my favorites of all time.
The opportunity to see the masterful feature on the big screen is quite rare these days; however, that chance has arrived in Buffalo-Niagara through a cinematic event dubbed “Crime Week,” which unreels at the North Park Theatre. Another picture on the repertory schedule is director Martin Scorsese’s “Casino.”
“The Day Of The Jackal” is rooted in geopolitics. It is based on the 1971 novel of the same title, a classic police procedural written by Frederick Forsyth. The superbly written book is still in print. The film is directed by Fred Zinnemann from a screenplay by Kenneth Ross. Zinnemann, who earned directing Academy Awards for “From Here To Eternity” and “A Man For All Seasons,” was also nominated for direction for “High Noon.” He may not have won the Oscar then, but that movie, which plays out in real time, proved he could handle a story framed by the counting down of a theoretical clock, which is at the heart of “The Day Of The Jackal.”
There is a genuine Hitchcockian sensibility to the movie. Director Alfred Hitchcock made two films with dangerous Cold War politics at the center, “Torn Curtain” and “Topaz.” He also knew instinctively what was in the hearts of men who have no compunction whatsoever about murdering another person. Interestingly, Hitchcock’s “Rope,” which is about two young adult males killing a friend, also plays out in real time.
Forsyth’s framework is deeply rooted in the political life of France. “The Day Of The Jackal” is about the consequences of President Charles de Gaulle’s approval in 1962 of the French territory of Algeria becoming an independent nation. This action infuriated members of the secretive OAS, a paramilitary group that decided to assassinate de Gaulle. The OAS’s first attempt fails. Many members are arrested and executed. A core cadre goes into hiding in Austria and decides to continue their mission by hiring a lone assassin, code-named: Jackal.
We know from history that de Gaulle was never assassinated. Therefore, the lean, linear plot must succeed because of two things. First, everything in the movie must be believable. And it is thanks to Zinnemann’s ability to generate scene after scene that create narrative blocks of tension as the film progresses to an encounter between de Gaulle and the Jackal. Ross’ writing is an asset every step of the way. Secondly, the assassin must hold the audience’s interest in spite of the fact that he’s planning something monstrous. Moviegoers must follow the Jackal as he has the perfect rifle constructed for him, develops different identities, travels between countries, finds unique ways to disguise himself, and uses unsuspecting people, who find themselves drawn to his pleasant personality.
The Jackal is a ruthless man without a soul, but as perfectly played by Edward Fox, he uses his charm, handsomeness, and ability to hide in plain sight as he progresses toward his goal. Just like Hitchcock with many of his characters, Zinnemann cleverly gets the audience to willingly and appreciatively follow the villain. They want the Jackal to escape the traps set for him by the police, especially by Deputy Commissioner Claude Lebel, who is played wonderfully by Michel Lonsdale and is the veteran police officer given the task of finding the assassin before he can get to his target. For his part, de Gaulle refuses to cancel any plans. In every way, moviegoers are watching a story about a master of deception.
The film proceeds with the precision of a Swiss watch. Occasionally, the police feel as if the Jackal is a ghost that can’t be seen and will not be found. They know less about him than the audience does. It’s as if he is an actor playing a role. In the Jackal’s mind, his performance must have only one final curtain because he is determined to carry out the well-paying assignment in that strangely honorable way the greatest villains will always act. The investigative resolve of police and government officials is all-encompassing. The closer they get to the Jackal the more focused to succeed he becomes.
There have been two other filmed versions of the novel, which don’t fully honor the excellence of Forsyth’s book. “The Jackal,” from 1997 is a typical, overly violent action movie with Bruce Willis as the assassin. “The Day Of The Jackal” is a current, overextended 10-part streaming series starring Eddie Redmayne as the killer. Both actors misunderstand the part, and both versions play fast and loose with key aspects of the story, with absurd storylines added. Neither is essential viewing.
It may be fiction, but Zinnemann’s film feels like a great documentary. The cinematography by Jean Tournier and the editing by Ralph Kemplen are outstanding. There is a terrific cast of secondary characters, including a wealthy middle-aged woman acted by the legendary Delphine Seyrig, who believes a serious romance at her station in life is a possibility. “The Day Of The Jackal” unreels at the North Park, with its new 4K projection and enhanced sound, through Tuesday, July 15 with one show a day at various times. There is a terrific cinematic beauty to the movie’s foundational realism. If you’ve never seen it, take this opportunity to go. If, like me, you appreciate it for its clockwork precision and find it immensely satisfying, don’t miss the chance to again celebrate a great film in a classic theater setting.