The Day of the Jackal

Tags

1970's, Alan Badel, Cyril Cusack, Delphine Seyrig, Derek Jacobi, Edward Fox, Fred Zinnemann, Michael Lonsdale, Political Thriller, Ronald Pickup, The Day of the Jackal, Thriller

Director

Fred Zinnemann

Starring

• Edward Fox as The Jackal
• Michael Lonsdale as Claude Lebel
• Cyril Cusack as Gunsmith
• Ronald Pickup as the Forger
• Derek Jacobi as Caron
• Delphine Seyrig as Colette

A superbly crafted and tense political thriller based on the renowned novel by Frederick Forsyth , The Day of the Jackal has fine precision and the ability to make you sit up and concentrate.

It is 1963.  An underground group known as OAS in France is outraged by President Charles de Gaulle’s decision to award independence to Algeria. Various attempts are made on his life, yet none are fruitful or successful. After one such attempt, many members of the group are apprehended, arrested and the leader is executed via firing squad. In anger, the remaining members of OAS enlist the services of The Jackal. He is a mysterious assassin with no background but immense skill at his job. Around the time of hiring him to kill de Gaulle, the police learn after some interrogation of a OAS member of The Jackal and an assassination, but nothing further. The Jackal meticulously plans the assassination, getting what he needs from a number of people and often killing them when they cross him. Meanwhile, Deputy Commissioner Claude Lebel is brought in to head the investigation by the Interior Minister. He is to uncover when the assassination will take place and hopefully prevent it. Lebel is a fastidious man who doubts he is cut out for this enormous job at first, but shows his worth and sharp mind in searching for the assassin. And so begins a cat and mouse game as both head towards their goals, each with the idea for a different outcome.

Fred Zinnemann is the shining star of The Day of the Jackal; his understanding of pace  and how to sustain a high level of unease is admirable and dexterous. The film may run for two and a half hours, but it sure doesn’t feel like it due to his handsome and taut handling of the material. Which isn’t to say that the film is rushed, instead its methodical and enthralling with how painstakingly it documents The Jackal’s planning of his job and Lebel’s analytical mind. You see it’s not about the main action of the piece; it’s all about the planning of it all. By cutting between the Jackal and Lebel, immediacy is created and used to spellbinding effect . You see how carefully and fastidiously both parties go about their business and objective. There’s real efficiency and uncertainty created in the viewers mind as Lebel closes in on the Jackal, but finds him most elusive at nearly every step. The editing is the second star of Jackal for how it combines the two characters in their fields of work and the inevitable confrontation between them. Add to that voice overs that carry over to other scenes and it’s a seamless way of telling a story  This is a thriller that is about intellect and plotting rather than over the top violence and blood. Granted, there is violence but most of it is hinted at rather than show, giving it a more chilling quality. The murders committed by The Jackal are skilled and briefly brutal, much like the man doing them. He is a man who is coldly ruthless and immensely determined, which is a deadly combination.  much like Jackal is a movie that demands your undivided attention as so much goes on. It’s largely compelling and there are only a few things that may have benefited from more explanation. But the vast majority of things are coolly and compulsively rendered for us to view and appreciate. Any little languors can be ignored because of how skilfully The Day of the Jackal tell it’s story and patiently but rewardingly pulls you in.

This movie features a wide cast, but there are those who really stand out. Heading things is Edward Fox as the eponymous killer. His boyish looks are employed with ruthless charm here, making him a charismatic but very dangerous fellow. This coupled with an icy stare and cool efficiency is perfect for the part. Seriously, I can’t imagine anyone bringing the menace and suaveness to the role that Fox does. Michael Lonsdale plays his part of detective with a sense of savvy and intellect. There’s a doubting quality there, but an immense dignity and steadfastness too. All of that compliments things greatly. In support there is Alan Badel as the hassled Interior Minister and look out for Cyril Cusack and Ronald Pickup as two men who aid The Jackal. Also a young Derek Jacobi makes an appearance as Lebel’s assistant and a tragic Delphine Seyrig as a woman romanced by the Jackal are worth praising.

A skillfully executed thriller with immense suspense and a keen eye for showing how the legwork of investigation can be, The Day of the Jackal is rightfully held in high regard.

The Nun’s Story

Tags

1950's, Audrey Hepburn, Beatrice Straight, Colleen Dewhurst, Dean Jagger, Drama, Edith Evans, Fred Zinnemann, Mildred Dunnock, Peggy Ashcroft, Peter Finch, The Nun's Story

Film Title

The Nun’s Story

Director

Fred Zinnemann

Starring

• Audrey Hepburn as Gabrielle van der Mal / Sister Luke
• Peter Finch as Dr. Fortunati
• Edith Evans as Reverend Mother Emmanuel
• Peggy Ashcroft as Mother Mathilde
• Mildred Dunnock as Sister Margharita
• Beatrice Straight as Mother Christophe
• Dean Jagger as Dr. van der Mal
• Colleen Dewhurst as Archangel Gabriel

A beautifully restrained yet quietly revealing look at the struggles of one nun and the personal battle with her spirited nature, The Nun’s Story is impressively moving and evocative in what it accomplishes. It holds your interest in how it delves into the life of a nun and owing to thoughtful direction from Fred Zinnemann and a simply luminous performance from Audrey Hepburn.

Gabrielle van der Mal is a vivacious young Belgian woman from a middle class family in the 1930’s. Her father is a prominent surgeon and Gabrielle hopes to one day be serving in the Congo. We meet her as she enters a Catholic Convent to become a nun. We witness the various facets of extensive training to be a nun over a couple of months, with each challenging Gabrielle more and more with her personal feelings. Eventually, she is made a nun and given the name Sister Luke. Yet she faces disappointments and disillusionment in many duties, and yearns to fulfill her dream of helping in the Congo. Although she distinguishes herself in the medical field, she is not allowed to feel pride for doing so as it is considered selfish rather than selfless. Despite this and spiritual as well as personal conflict, Sister Luke perseveres. She is briefly assigned to assist in a mental hospital, where she is nearly killed by a violently schizophrenic patient. Eventually she is rewarded with an assignment in the Congo, yet finds that she is treating the European patients rather than the natives. She assists the no-nonsense and atheist Dr. Fortunati in surgery, and they develop an at first strained but eventually respectful friendship. Fortunati can see that she is struggling with her religious turmoil and that he believes she is more cut out to be a nurse, rather than a nun. Yet desperate to prove herself, she excels but works herself too hard, contracting tuberculosis in the process. After getting better, she still has many questions about what her true calling is. But as her internal tribulation escalates and World War II nears, Sister Luke must ultimately decide whether she is really cut our to be a nun or whether she should leave.

Fred Zinnemann subtly yet with observant eyes directs this take of the complexities of oneself and the question of religion. His direction isn’t overly flashy but in keeping with the story, beautifully elegant and probing. That isn’t to say that the film isn’t beautifully shot( in fact, the juxtaposition between the cold confines of the convent and the supposed freedom of the Congo are gorgeously envisioned), but the main focus is on the human soul. It’s a drama but not one of overt and histrionic heights; more one of elegantly composed dilemmas and poignant questions. The Nun’s Story is endlessly fascinating in how it explores a world that is unseen by many and only really hinted at in other material. You feel like a fly on the wall watching as Sister Luke undergoes the tests that prove difficult in order to becoming a nun, with all the rituals and ceremonial acts ( the cutting of ones hair, the long periods of silence and shedding of the past) displayed in great detail for us to view. Many films are centred on nuns, but The Nun’s Story, with clear-eyed and objective execution, really finds both a strangeness and uniqueness in how these women dedicate their whole lives to religious servitude. It functions into how it might prove extremely trying for someone spirited and uncertain, like the major dilemma that Sister Luke finds herself in as she attempts to do good, but is ironically halted by her vows. Some movie fans may just believe that a film like this would be boring of just religious propaganda, but nothing could be further from the truth. If anything, The Nun’s Story offers up much food for thought on issues of personal freedom, obedience and the many factions of religion. It doesn’t take sides and favour one thing over the other, resulting in a rewarding and challenging film. And for a film that runs for two and a half hours, it is largely enthralling to watch. A few minor lulls can be forgotten due to the impactful power and grace of The Nun’s Story. Franz Waxman composes a beautiful score that is driven by emotion and soulfulness, that fits with both the revealing personal side of the film and the spiritual context.

One of the best things that The Nuns Story boasts is a touching performance by Audrey Hepburn. With a passion and desire to do well, we understand why Sister Luke would want to be a nun. But on the flip side, we witness her intense battle with adhering to obedience and the rigid vows she must live by, that is imbued with poise and expressive turmoil by Hepburn. Her performance is often one of quiet and thoughtful moments; but one where you can observe all the hardship, longing and fight of a woman attempting to fathom her way in what she wants to be her calling. Such luminous and subtle emotion come through powerfully from Audrey Hepburn in a moving performance that stands as one of her best. While everyone else is ideally cast in their parts, it is Audrey Hepburn you will remember the most for her emotion and clarity. Peter Finch excellently portrays the talented doctor in the Congo, who lends his thoughts to Sister Luke while gaining a new level of respect for her, despite their wide differences. Fleshing out the main supporting cast are a fine group of actresses as nuns of different authorities and temperaments that Sister Luke encounters. There is Edith Evans as the stern Reverend Mother who isn’t above feelings of care, Peggy Ashcroft as the largely content and experienced guide, Mildred Dunnock as one of the nuns who acts as the first teacher and Beatrice Straight as the kindest and most understanding of religious women. All of these actresses, regardless of how long they are on screen for, contribute nicely nuanced work, showing the different aspects of religious faith and devotion. The same excellence is also present with Dean Jagger as the devastated father who wants his daughter to succeed, but knows that she will find the life of a nun turbulent. And not forgetting Colleen Dewhurst, the embodiment of menace when playing a schizophrenic patient at the sanitarium.

Stirring and subtly powerful, The Nun’s Story is a film to treasure for how it deals with the dilemma of ones calling and for what is to me, one of Audrey Hepburn’s greatest performances.