Der Schakal

Much like the novel from which it was based on, The Day of the Jackal is a detailed, compelling and cold thriller. Frederick Forsyth has never been an author who imbues his characters with much humanity or depth; he is much more adept with presenting technical and political aspects in fine detail. This served him very well in the case of The Day of the Jackal, a novel that not only was detailed in these ways, but also was primarily about a cold calculated professional killer, whose lack of depth or real identity was actually a positive for the story. In other words this story was perfectly suited to Forsyth's style.

For those who don't know, the film is set in 1963 and is about a French right-wing political group who want president Chares de Gaulle assassinated because of his decision to grant Algeria independence. They hire a professional killer with no ties to them to carry out the difficult task.

Edward Fox plays the titular character with the requisite cold efficiency required. He is very much an anti-hero, as while he does murder some innocent people he is also the only figure in the film to really get behind. The French authorities are shown to not be slow to use brutal methods on their enemies themselves, while the two policemen assigned to the case are so lacking in charisma that it's just very hard to get behind them in their pursuit of the villain. If there is a fault with the film it must surely be that we as viewers are drawn to the Jackal and his against-all-odds mission - I think most people want him to succeed – and I'm not entirely sure this is what the film-makers actually intended.

The period detail and French locations are lovely, so cinematically this is a very attractive looking film. It's well-paced and direct with no wastage. We never get into the Jackal character's head ourselves as viewers, there is a definite distance and we don't always immediately know why he does certain things. This only adds to the compelling voyeurism of watching him on his deadly mission. Despite the genre, there is a definite restraint shown in the depictions of violence. It's often implied or shown just off-screen. The focus of the film is very much on the way in which the assassin navigates through his mission via different methods of subterfuge. The film could not be further away in style from the laughable 90's remake The Jackal, a film that seems to do everything in an opposite way.

The Day of the Jackal is overall an excellent political thriller that combines intelligence with a gripping narrative. It shows how this kind of material should be presented on screen, where less can absolutely be more. The way that it always stays within the realm of the plausible is one of its strongest suits too. All this combined with its enigmatic central villain make it a superlative film.

The structure and pacing of this movie are exceptional and make the movie worth watching every few years. The coldness of the assassin, the unremitting persistence of the detective and the suspense of what will happen next all combine to make this a classic.

If there were an award for sheer single-mindedness, this film would win a lifetime- achievement. I don't think I've seen a movie more dedicated to following through on its premise. With near excruciating detail, the two and a-half hour narrative follows out a plot to assassinate French president Charles de Gaulle by disgruntled Algerian colonialists who hire a professional hit man known as the Jackal.

Now you might think 140-minutes would provide plenty of critical material to write about. But, in my little book, the sum-total doesn't. Instead, the screenplay consists entirely of following out the tactics of police pursuit and criminal evasion, producing results that are, nevertheless, riveting as heck. That's mainly because the screenplay shows the Jackal's painstaking preparation, though much is done in silence such that we don't know why he's doing what he's doing. We find out, however, as the chase unfolds and he puts those preparations into practice, allowing him to stay one-step ahead of the police pursuers. It amounts to an exquisite game of cat and mouse, and is about as well played as any thriller I've seen. But you have to stay alert since the Jackal operates mainly in silence.

If there's a downside, it's probably some seemingly pointless interludes where police functionaries walk along corridors to somewhere. I'm guessing these were included to give us a taste of the richly ornate interiors of high government offices since the walking itself doesn't advance the single-minded plot. Still, these scenes, along with the many sunny outdoor shots, do lend an eye-catching background to all the maneuvering.

Anyway, between the expert screenplay, fine acting, and colorful European locales, the movie is richly deserving of its first-rate reputation.

You watch the Bruce Willis version of the Jackal and you think that is so cool, but you don't know cool until you see Edward Fox do it.

Fox is the epitome of cool. The guy even wears an ascot, for god's sake! Most people today don't even know what an ascot is. He carefully plots his moves and is methodical in his precision. He kills with cool detachment. If he had Willis' assignment, he would have gotten it done.

But, he had to deal with the European versions of the CIA/FBI and they were not restrained in how they handled investigations. With just a thread, the French police inspector carefully puts together a case with as much precision as his prey. It was a game of cat and mouse that kept you on the edge of your seat for two and a half hours without noticing the time.

That is because of director Fred Zinnemann and the fact that he kept things moving along beautifully.

If you want to see how a thriller is done with craft and cunning and without special effects, then this is the film for you.

The opening five minutes of the film are a marvel. Almost completely devoid of dialogue the scenes portray visually more story than most modern thrillers can fit into two hours. This is about the best book-to-film conversion I've ever seen. The cuts, where they are made, are logical and some locations are combined. From Forsyth's first, and probably best book (written in less than 5 weeks) this film contains nothing that does not drive the story forward. The character of the Jackal is brilliantly finely drawn. He doesn't contain any of the cliches that you would expect to see in a film written in the last twenty years (he doesn't display mental instability, or have flashbacks to some event in his past). He never tries to justify his pernicious occupation to anyone yet, strangely, doesn't come across as an evil man. Simply as a professional doing his job. The French police inspector is wonderfully underplayed and is as far away from the he-breaks-the-rules-but-he-gets-the-job-done cliche as you can possibly imagine. He is first seen attending to his pigeons and upon being told he is being put on the case simply says "Oh God..."....

Zimmemann's direction is great and the scenes are beautifully photographed - particularly in Paris.

This is an all-time great film. Definitely in my top ten. I suppose I must put something in negative so it makes for a balanced review so errr.... I think the French minister is wearing a very bad wig. Beyond that -marvelous.