The Day of the Jackal is a compulsive but conventional watch
As someone who’s seen their fair share of assassins, political thrillers, and British TV shows, I must say that “The Day of the Jackal” (2024) has certainly piqued my interest. The fact that it’s a 10-part Sky TV show, with Eddie Redmayne and Lashana Lynch in lead roles, is already a promising start.
It seems that after the 1973 movie adaptation of Frederick Forsyth’s novel “The Day of the Jackal,” there were two films, “August 1” in the 80s and “The Jackal” in the 90s, which were loosely based on the same source material. Given these adaptations, one might think that this story had been overused and shouldn’t be adapted further.
But what a foolish thought! With decent IP, there’s always room for more, so says the C-suite of TV nowadays. We managed to go a couple of decades without touching it, but now have The Day of the Jackal (2024) to add to the book’s adaptation tab on Wikipedia.
This particular production stands out as it is a 10-episode television series on Sky, written by Top Boy showrunner Ronan Bennett, featuring Eddie Redmayne and Lashana Lynch in the main roles.
Instead of French President Charles de Gaulle, our current target for assassination remains undisclosed. If this doesn’t pique your curiosity, I don’t know what will!
Michael Fassbender’s character in “The Killer” considers himself to be a meticulous and relentless assassin, much like Patrick Bateman with his morning rituals, but the assassin known as The Jackal always hits his mark without fail.
Following his recent high-profile assassination of a popular politician, MI6 agent Bianca, portrayed by Lashana Lynch, becomes the hunter to her quarry as she now sets her sights on a fresh target – the Jackal’s next mark.
As a devoted admirer, I found myself initially perceiving Bianca as an exceptional professional, yet somewhat falling short in her role as a parent. However, as events unfolded, it became evident that she, much like the Jackal, possesses an uncanny ability to numb one’s senses to everything but the task at hand – a quality that eventually became more apparent in both her personal and professional life.
The show delves into the intricate details of a professional assassin, allowing us to infer the ways in which the Jackal’s actions contribute to his strategy for being at the right place at the right time to make the kill. Those who are easily startled will be amazed by his quick-thinking abilities.
At the end of the initial episode, the Jackal’s cold demeanor softens as he steps into an opulent Spanish villa, embraced by a caring spouse portrayed by Úrsula Corberó. The lavish set suggests a sky-high budget was spent on it. This scene finale echoes the surprising twist at the end of ‘Mad Men’s pilot episode: even the most ruthless characters can harbor kindness. This series seems to have a penchant for unexpected finale twists.
In a different phrasing, we can say: Lynch and Redmayne deliver excellent performances, with Lynch pursuing Redmayne through several stylish European city backdrops. The performance of Lynch is exceptional in a role that requires less dramatic flair compared to her co-star’s part. It lacks the lavish surroundings and captivating mysteries that typically enrich scenes.
For those acquainted with Redmayne’s character Newt Scamander, who is bookish, neurodivergent-coded, and somewhat fidgety and bashful, yet endearingly kind-hearted on the Graham Norton show, this role as a real-life nurse serial killer in The Good Nurse is a departure that feels more in line with his true-life persona.
In a fresh take, the novel “The Day of the Jackal” bears strong resemblances to “Killing Eve.” The influence of Phoebe Waller-Bridge’s brilliant initial season can be felt throughout numerous scenes. The head of MI6, for instance, is a tough, witty character with a pixie cut, short, husky voice, and the name Isabel (played by Lia Williams) instead of Carolyn.
This too exhibits a stylishly ruthless demeanor, starting with a scene that may not match the charm of Villanelle’s ice cream shop encounter, but it serves a similar purpose by swiftly revealing the character’s nature. Reminiscent of Eve’s early intuition about Villanelle, Bianca promptly deduces that the assassin employed a unique sniper rifle and is likely British.
The primary distinction lies in the absence of unexpected twists on traditional spy genre tropes, except for featuring a Black woman as the lead agent. This is notable following Daniel Craig’s role in ‘No Time To Die’. (The opening credits are quite Bond-inspired, with vocals reminiscent of Adele, so there’s an awareness of that influence.)
The feminist credentials are the most disappointing part of what is a taut, tight script with sublimely-placed thrills. Bianca is a mum constantly disappointing her teenager and every time we’re reminded, it’s in scenes that are bordering on hackneyed. This part only becomes more interesting in later episodes, when her fixation on catching the Jackal shows her family she can be just as cold-blooded.
In the meantime, Nuria Corberó finds herself in a situation similar to Carmela Soprano, with little concern regarding her husband’s frequent absences and his work that provides their lifestyle, until his most recent job.
In other words, even with all its familiarity, The Day of the Jackal remains incredibly hard to look away from. This could be the ideal situation in our current IP-based media environment: a fresh take on a well-known subject that’s exceptionally well executed.
It may not be massively original, but it’s a hell of a thrill while you’re there.
The Day of the Jackal premieres on Thursday, November 7 on Sky Atlantic and NOW.
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2024-11-01 11:19