THE DAY OF THE
JACKAL (1973)
In 1971 Frederick Forsyth had a huge bestseller with his
political suspense novel THE DAY OF THE JACKAL, so it was inevitable that a Hollywood
studio would want to make a film of it. It focuses on a fictional police hunt
for an anonymous assassin, the Jackal in 1963 as he plots to kill French
President Charles De Gaulle, employed by the secret militant faction OAS, who
saw De Gaulle as betraying France over granting independence to Algeria. It was perfect material for a Universal
thriller movie.
The celebrated director Fred Zinnemann (HIGH NOON, FROM HERE
TO ETERNITY, A MAN FOR ALL SEASONS) was hired and with the real locations used
such as Vienna, Rome, Genoa, Nice, Paris and London, he assembled a truly
European cast to bring the book’s plot to vivid life. The role of the Jackal
himself was an interesting challenge. Zinnemann said: “I feel he had to be a man who could be unobtrusive…Something
aristocratic about him, very English, upper-class”. Oscar-winning Edward
Fox fulfilled those criteria well. He balances a ruthless precision with an
affable, breezy top-drawer Englishman’s charm
The rest of the cast is led by the pleasingly contrasting double-act
of Parisian Michel Lonsdale (Drax in the Bond film MOONRAKER) and a very young Derek
Jacobi. Together respectively they team up like a forlorn blood-hound coupled with
a nervy, energetic terrier. In Lonsdale’s case, this makes him easy to
under-estimate, as he proves when his suspicions about a mole within the smug,
complacent French Cabinet are proved accurate. When asked how he could have
known which ‘phone to bug, he dead-pans: “I didn’t, so I tapped all of them”.
There’s also a highly-impressive gallery of British character
actors on hand: Ronald Pickup as the scheming forger, Cyril Cusack as the gentle
gunsmith, Tony Britten (or Tony ‘Birmingham’ as his accent denotes here),
Donald Sinden (who amusingly keeps pronouncing Jackal as the vaguely
fithy-sounding ‘Jack-all’), Timothy West, Maurice Denham, Eric Porter and Anton
Rogers and more. The European contingent is rounded out to include among others
Delphine Seyrig, Vernon Dobtcheff and the lovely Olga Georges-Picot (who Woody
Allen fans might recognise from LOVE AND DEATH).
THE DAY OF THE JACKAL has other strengths aside from its
superb cast. Unusually it allows the assassin to be followed as a central character
rather than a mysterious background shadowy figure. Any functional killings he
does along the way are handled with impeccable taste by Zinnemann, either being
dispatched by blows where the impact is off-screen or in the case of Seyrig a subtle
darkness-obscured strangulation.
Since we know that the Jackal fails in his
mission, like ALL THE PRESIDENT’S MEN the script opts to show the plot as a
how-dunnit not a who-dunnit. Fox is shown in vicariously enjoyable detail going
about his disguises, forged passport, customised gun purchasing and
track-covering murders as if he were a dashing, posh international businessman.
Zinnemann was concerned going in: “In
spite of knowing the end, would the audience sit still? And it turned out that
they did, just as the readers of the book did”. That’s a tribute to his
work and that of the screenplay and cast in unfolding the narrative so
compellingly.
During the shooting, trivia fans might like to know that the
likeness of Adrian Cayla Legrand to the real De Gaulle was so close that some
French people in the slightly overlong climactic real parade footage mistook
him for the real thing; disconcerting when you consider the President had been
dead for two years. Also, not everyone knew the police pursuers were actors and
there were cases of members of the public getting involved to help catch them catch
suspected criminals in the crowd scenes.
At the end of the film, after the Jackal is blown away by
Lonsdale as he attempts a second shot at De Gaulle, we learn that even in death
he was still in a sense one step beyond the French authorities. The identity
they think is really him after the myriad false ones turns out to be another
sleight-of-hand giving the film that almost documentary-like flavour. (Indeed,
until I checked this time, I’d always thought THE DAY OF THE JACKAL was based on a
true story, such is its carefully-constructed believability). The story’s intriguing
connection to reality was further heightened when the terrorist Carlos the
Jackal was finally caught. He was so named because a copy of the Forsyth novel
was found in his apartment when captured.
Fans of the Forsyth novel and this film may recall that one
of the suggested assassins before choosing the Jackal is a member of the ex-Nazi
clandestine group ODESSA, subsequently part of Forsyth’s next book in 1972 and
a subsequent film (which I will review later).
THE DAY OF THE JACKAL is a thumping good cat-and-mouse procedural thriller.
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