American Fable is ambitious, maybe too much so sometimes, but there's an intense pleasure in the boldness of the film's style.
Fred Zinnemann’s “The Day of the Jackal” is one hell of an exciting movie. I wasn’t prepared for how good it really is: it’s not just a suspense classic, but a beautifully executed example of filmmaking. It’s put together like a fine watch. The screenplay meticulously assembles an incredible array of material, and then Zinnemann choreographs it so that the story--complicated as it is--unfolds in almost documentary starkness.
The “jackal” of the title is the code name for a man who may (or may not) be a British citizen specializing in professional assassinations. He allegedly killed Trujillo of the Dominican Republic in 1961 and, now, two years later, he has been hired by a group of Frenchmen who want de Gaulle assassinated. His price is $500,000; he says, “and considering that I’m handing you France, I wouldn’t call that expensive.” Zinnemann, working from Frederick Forsyth’s bestseller, tells both sides of the story that unfolds during the summer of 1963. The jackal prepares two disguises and three identities, gets a legal passport by applying in the name of a child who died in 1931, and calls on European experts for his materials.
An old gunsmith hand-makes a weird-looking lightweight rifle with silencer, sniper scope, and explosive bullets. A forger provides French identity papers and a driver’s license (and comes to an unexpected end). And then the jackal enters France.
Meanwhile, the government has received information that an attempt will be made on de Gaulle’s life. The general absolutely insists that he will make no changes in his public schedule, and that any attempt to prevent an assassination must be made in secret. The French police cooperate “unofficially” with the top police forces of other nations in attempting an apprehension. But they don’t even know who the jackal is.