A riveting historical speculation regarding a hired assassin's calculated bid to kill French President Charles De Gaulle in the early '60s, Fred Zinnemann's adaptation of The Day of the Jackal (1973) was one of the most popular suspense films to come out of the early '70s. Utilizing a staggering array of European locations and a more than capable international cast, the veteran filmmaker spun his story with precision and care, creating a gripping and disquieting portrait of an ingenious killer at work and a desperate chase to derail his objective.

Onetime BBC reporter Frederick Forsyth drew upon his years spent covering the Gallic leader's administration to concoct a suspense story that enjoyed a long stint atop the best-seller charts. The novel took its impetus from the failed attempt upon De Gaulle's life taken in 1962 by the OAS, an extremist faction of the French military that deemed the Old General's grant of autonomy to Algeria to be the greatest of betrayals. In Forsyth's scenario, the cabal decided that it would place the matter in the hands of a professional; a contract killer purported to be responsible for the Trujillo and Lumumba assassinations. The triggerman (Edward Fox)--a natty young Briton answering only to the code name "Jackal"-- agrees to a half-million dollar fee for carrying out the OAS' lethal agenda.

Unsurprisingly, the ranking members of OAS were subjected to constant surveillance by the French authorities; the government learns of their intent to carry out another assassination attempt, but precious few particulars. The ungodly burden of divining the when, where and how is unceremoniously dumped on the man deemed by Paris' police commissioner to be his best detective, an unassuming middle-aged cop named Lebel (Michel Lonsdale). For the course of the film, the viewer follows the Jackal as he criss-crosses the continent in search of the implements for his deadly mission; forged ID and passports, disguises, and a custom-crafted, cannily disguised single-shot rifle. In the parallel plotline, Lebel doggedly interrogates authorities in London and Washington for what crumbs he can about his prey's identity and whereabouts.

Since history tells us that De Gaulle was never assassinated, the ultimate outcome is never in doubt. Regardless, The Day of the Jackal is a compelling watch from start to finish, as the viewer becomes completely absorbed in the killer's methodical machinations to the point where the fact that he failed becomes secondary to discovering the reasons why. This was Zinnemann's first feature in seven years, since the completion of A Man for All Seasons (1966). The director had made his first professional inroads with documentary filmmaking, and he brought a documentarian's eye to this project, with the meticulous, newsreel-like locale shooting in Paris, Britain, Vienna, Rome, Genoa and the Riviera enhancing the verite feel.

In assembling his talented international cast, Zinnemann knew that he didn't want the project to be star-driven, and resisted studio pressure to cast a marquee name as the Jackal. In the patrician mien of Fox, the director found exactly what he was looking for, according to his autobiography A Life in the Movies (Robert Stewart). "He had everything the part needed: he could look starchy and somewhat inbred, with excellent manners--an unlikely type for a hired killer; he could be unobtrusive and lose himself in a crowd; and, best of all, he was hardly known to film audiences; this would help to enhance a feeling of realism," Zinnemann wrote.

The supporting players turn in sturdy vignettes as well, particularly Lonsdale as the initially overwhelmed cop who is entrusted with a crucial, potentially deadly mission. Also noteworthy are Cyril Cusack as the chillingly matter-of-fact gunsmith who constructs the murder weapon; Olga Georges-Picot, as an Algerian War widow recruited by the OAS to seduce a French cabinet minister and serve as a leak for De Gaulle's activities; and Delphine Seyrig as a wealthy aristocrat who comes to regret a sexual dalliance with the cunning killer.

Zinnemann recalled an amusing anecdote regarding Adrien Cayla-Legrand, the De Gaulle impersonator who bore a striking resemblance to the General, particularly in physical gestures and behavior. "One scene called for Cayla to be driven to the Arc de Triomphe," the director reminisced. "When he emerged from his car and started to walk, there was a large gasp from the bystanders and one of them, who was not quite sober, crossed himself and passed out, convinced he had seen De Gaulle's ghost." While afforded a popular reception by audiences, The Day of the Jackal would only earn a single Academy Award® nomination, for Ralph Kemplen's editing.

Producer: Julien Derode, David Deutsch, John Woolf
Director: Fred Zinnemann
Screenplay: Kenneth Ross, Frederick Forsyth (novel)
Cinematography: Jean Tournier
Film Editing: Ralph Kemplen
Art Direction: Robert Cartwright, Pierre Charron
Music: Georges Delerue
Cast: Edward Fox (The Jackal), Terence Alexander (Lloyd), Michel Auclair (Colonel Rolland), Alan Badel (The Minister), Tony Britton (Inspector Thomas), Denis Carey (Casson).
C-143m. Letterboxed. Closed captioning.

by Jay S. Steinberg