The Day of the Jackal is a 1973 political thriller film directed by Fred Zinnemann and starring Edward Fox and Michael Lonsdale. Based on the 1971 novel by Frederick Forsyth, the film is about a professional assassin known only as the "Jackal" who is hired to assassinate French president Charles de Gaulle in the summer of 1963. It stars Edward Fox as the title character, with Michael Lonsdale, Derek Jacobi, Terence Alexander, Michel Auclair, Alan Badel, Donald Sinden, Tony Britton, Cyril Cusack, Maurice Denham and Delphine Seyrig. The musical score was composed by Georges Delerue.
A co-production of the United Kingdom and France, The Day of the Jackal received positive reviews and went on to win the BAFTA Award for Best Editing (Ralph Kemplen), five additional nominations (including Best Film and Best Direction), two Golden Globe Award nominations, and one Oscar nomination. The film grossed $16,056,255 at the North American box office, returning $8,525,000 in rentals to the studio. In 1999, the British Film Institute ranked it the 74th greatest British film of the 20th century.
A remake of the film was released in 1997. A TV adaptation of the novel and film aired on Sky Atlantic in 2024.
The far-right Organisation armée secrète ("Secret Army Organisation") plots to assassinate President de Gaulle. The first attempt on 22 August fails, leaving de Gaulle and his entourage unharmed. Within six months, OAS leader Jean Bastien-Thiry and several members are captured, and Bastien-Thiry is executed.
With their initial plot foiled, the remaining OAS leaders, now hiding in Austria, hatch a new plan. They enlist the services of an apolitical British assassin given the code name "Jackal," a figure already credited with the assassinations of Patrice Lumumba and Rafael Trujillo. Aware that targeting de Gaulle is extremely risky and demanding a final retirement in anonymity, the Jackal insists on a fee of $500,000, half to be paid upfront into his Swiss bank account. To raise the money, the OAS uses its extensive network to execute a series of bank robberies.
Preparing for his mission, the Jackal travels to Genoa where he commissions a custom single-shot rifle from a skilled gunsmith and secures fake identity papers from a forgerâÂÂa man he later kills when the criminal attempts to extort him. In Paris, the Jackal duplicates a key to a sixth-floor flat overlooking a historically significant square, setting the stage for the planned assassination. Meanwhile, the OAS leadership has relocated to Rome, although their activities continue to draw the attention of French security forces.
French intelligence makes a breakthrough when they kidnap the OAS's chief clerk, Viktor Wolenski. Although Wolenski dies during interrogation, he reveals crucial details of the plot, including the term "Jackal". In response, the Interior Minister convenes a secret meeting with top security officials. Police Commissioner Berthier recommends his deputy, Claude Lebel, to lead the investigation under the constraints of secrecy with Lebel being granted special emergency powers despite de Gaulle's insistence on maintaining his public schedule.
Complicating matters further, Colonel St ClairâÂÂde Gaulle's personal military aide and a cabinet memberâÂÂdivulges classified details to his new mistress, Denise, an OAS agent. At the same time, Lebel is informed by Special Branch that a British national, Charles Harold Calthrop, might be connected to the assassination plot and travelling under the alias Paul Oliver Duggan.
Despite learning that his plot is compromised, and he can walk away keeping his down payment, the Jackal decides to stay in France and presses forward. While staying in a hotel in Nice, he meets and seduces the aristocratic Colette de Montpellier, but narrowly evades capture as Lebel and his team close in. After surviving a severe vehicular accident, the Jackal flees to Madame de Montpellier's country estate. There, when she reveals that the police have already questioned her and probes for more details from him, he kills her. Dyeing his blonde hair brown and donning spectacles, he assumed the identity of a Danish schoolteacher, Per Lundquist, then boards a train for Paris.
The discovery of Madame de Montpellier's murder allows Lebel to drop all secrecy constraints and launch a public manhunt. The Jackal temporarily hides at the flat of a man he picks up in a Turkish bath, killing him when the man learns of Montpellier's murder. At a subsequent cabinet meeting, Lebel predicts that the Jackal will try to shoot de Gaulle during the upcoming Liberation Day ceremony marking the commemoration of Paris's liberation during World War II. Despite Lebel's efficient and successful leadership of the investigation, he is dismissed from the case as the Minister assumes command directly for the final part, only to be reinstated less than 24 hours later when the Minister draws a blank and Lebel's expertise is recognised as indispensable.
On Liberation Day, the Jackal disguises himself as an elderly French veteran, André Martin, and conceals his rifle within crutches. Using the previously duplicated key, he accesses an upper story room of a building overlooking the ceremony. When de Gaulle unexpectedly leans forward while presenting a medal to a veteran, the Jackal's shot narrowly misses. While the Jackal is reloading for a second attempt, Lebel and a gendarme storm the room. The Jackal kills the policeman before being fatally shot by Lebel. Back in London, the real Charles Calthrop arrives at his flat, interrupting the policemen as they sift through his belongings. Ultimately, the assassin is interred in an unmarked grave, leaving the true identity behind his many disguises an enduring mystery.
The Day of the Jackal was originally part of a two-picture deal between John Woolf and Fred Zinnemann, the other being an adaptation of the play Abelard and Heloise by Ronald Millar.
Universal Studios initially wanted to cast a major American actor as the Jackal, with Robert Redford and Jack Nicholson flown to Europe to audition. Although Universal favoured Nicholson, Zinnemann ultimately secured a production agreement stipulating that only European actors would be cast. Afterwards, British actors David McCallum, Ian Richardson and Michael York were considered, before Zinnemann cast Edward Fox. Jacqueline Bisset was offered the role of Denise, but had to decline due to scheduling conflicts.
The Day of the Jackal was filmed in studios and on location in France, Britain, Italy and Austria. Zinnemann was able to film in locations usually denied to filmmakers â such as inside the Ministry of the Interior âÂÂàdue in large part to French producer Julien Derode's skill in dealing with authorities. Nevertheless, the opening sequence was not shot in the ÃÂlysée Palace courtyard but at the Hôtel de Soubise, the main office of the French National Archives. The two palaces were both built at the beginning of the 18th century, but the Hôtel de Soubise is more accessible and has less security than the ÃÂlysée.
To lend a documentary-like authenticity to the final Liberation Day sequence, the film company obtained permission to use hand-held cameras inside police lines at the annual Fourteenth of July Bastille Day military parade down the Champs-ÃÂlysées. Viewers of The Day of the Jackal see extraordinary closeup footage of the massing of troops, tanks, and artillery. Since the Liberation Day sequence was filmed during a real parade, it led to confusion; the crowd (many of whom were unaware that a film was being shot) mistook the actors portraying police officers for real officers, and many tried to help them arrest the "suspects" they were apprehending in the crowd. Zinnemann wrote that Adrien Cayla-Legrand, the actor who played de Gaulle, was mistaken by several Parisians for the real de Gaulle â though the former French president had been dead for nearly two years prior to film production.
During the weekend of 15 August 1972, the Paris police cleared a very busy square of all traffic to film additional scenes.
Frederick Forsyth later wrote that for the film company to buy rights for his novel, he was offered two contract options: ã20,000 for outright sale of the novel in perpetuity, or ã17,500 plus a small percentage of the film's net profits. He took the ã20,000, noting that such a payment was already a massive sum to him at the time, but due to his naïveté about finances, he waived rights to considerably more money given the film's enduring success.
The film holds a 91% score on Rotten Tomatoes, based on 35 reviews with an average rating of 8.1/10. The critics consensus reads, "The Day of the Jackal is a meticulously constructed thriller with surprising irreverence and taut direction." Metacritic, which uses a weighted average, assigned the film a score of 80 out of 100, based on 8 critics, indicating "generally favorable" reviews
Critics of the period were generally impressed with the film. Among those was Roger Ebert of the Chicago Sun-Times, who gave it his highest rating of four stars:
Ebert concluded: "Zinnemann has mastered every detail ... There are some words you hesitate to use in a review, because they sound so much like advertising copy, but in this case I can truthfully say that the movie is spellbinding." Ebert included the film at No. 7 on his list of the Top 10 films of the year for 1973.
The Time film critic applauded the transition from novel to film:
The review continued, that due to the talents of director Fred Zinnemann, "what might have been just another expensive entertainment becomes, on a technical level, a textbook on reels in the near-forgotten subject of concise moviemaking. In short, as so often happens, a second-rate fiction has been transformed into a first-rate screen entertainment."
A few critics were less effusive. For example, William B. Collins wrote in The Philadelphia Inquirer:
In a MacLeans Magazine review, John Hofsess wrote: Hofsess added that it is "an authentically detailed suspense story with ingenious twists." Other critics used similar language, praising The Day of the Jackal as an intricate and detailed maze, entertaining and never tedious.
Critic Matt Brunson of Film Frenzy appreciated how the film did justice to the novel it was based on:
As Empire magazine observed, Forsyth's scrupulously researched "pulp thriller" provided "the perfect template for this exhaustive procedural. In many ways, this outstanding piece of filmmaking marks the apotheosis of a certain style of thriller that has since fallen out of fashionâÂÂthe mind game. [It is] built with the minutiae of a Swiss watch", without blandishments. The linear plot "is made infinitely complex by the portrayal of this empty vessel of a killer by Fox..." An irresistible force is pitted against an immovable object â a conflict facilitated by the script. TV Guide noted, "We watch his [the Jackal's] preparations which are so thorough we wonder how he could possibly fail even as we watch the French police attempt to pick up his trail."
Gannett news service critic Bernard Drew had both compliments and criticisms: "This is not a bad movie, it races by and entertains, after a fashion. It simply is not as good as it should have been. One wonders what Hitchcock or Costa-Gavras would have done with it. They would have cast it differently, cut down on the elaborate detailing, so much of which comes down to nothing, and the huge dramatis personae, and possibly might have made a better movieâÂÂmore humorous, passionate, and credibleâÂÂand then again, quite possibly not."
The Japanese filmmaker Akira Kurosawa named The Day of the Jackal as one of his 100 favourite films.
The movie grossed $16,056,255 at the box office, earning North American rentals of $8,525,000. Zinnemann was pleasantly surprised by the commercial results, telling an interviewer in 1993: "The idea that excited me was to make a suspense film where everybody knew the end - that de Gaulle was not killed. 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."
John Woolf later made another film from a Forsyth novel, The Odessa File.
The Day of the Jackal and the resultant Academy Award nomination were career milestones for Kenneth Ross, the Scottish-American screenwriter.