The echoes of last year’s screenwriters’ strike continue to reverberate loudly through Hollywood—and television, in particular. In the absence of fresh ideas, streaming service Peacock and channel Sky have decided to play it safe by producing yet another version of “The Day of the Jackal,” based on the 1971 novel of the same name by Frederick Forsyth. In the original source material, an elusive assassin attempts to assassinate French President Charles de Gaulle; in the modern adaptation, historical figures are only indirectly referenced. What remains is a watered-down, monotonous, and simplistic story about a cat-and-mouse game set against the backdrop of an impending doomsday.
Eddie Redmayne as the Jackal in a still from “The Day of the Jackal” series
A mercenary known as the Jackal (Redmayne) accepts a risky proposition: to track down and kill billionaire entrepreneur Ule Daga Charles (Khalid Abdalla). Charles is about to release innovative software that will make all global financial transactions transparent. This technology is not at all to the liking of the world’s power players, led by Timothy Untorp (Charles Dance). Simultaneously, the Jackal tries to conceal his professional activities from his wife, Nuria (Úrsula Corberó), and young son, who live in blissful ignorance in Spain. To top it all off, MI6 agent Bianca (Lashana Lynch) is on the Jackal’s trail, her desire to catch the criminal bordering on obsession.
Eddie Redmayne as the Jackal in a still from “The Day of the Jackal” series
“The Day of the Jackal” has been adapted twice before: the most faithful is considered to be Fred Zinnemann’s 1973 version, while the most far-fetched is the 1997 rip-off starring Bruce Willis. This new version resides somewhere in the middle of this unofficial spectrum. There is no reason to believe that the series will achieve the status of a modern classic or become an obvious failure. Despite intriguing premises and the coordinated work of the film crew, “The Jackal” leaves the impression of a straight-A student’s report, devoid of imagination. Creator Ronan Bennett (“Top Boy”) has memorized the material for the lesson, drawn parallels with the modern world (the object of the Jackal’s hunt is a messianic Elon Musk type), and lulled the grateful audience into a lethargic sleep—far more action is provided by “Slow Horses” on the neighboring Apple TV+ or the countless adaptations of the master of the spy genre, John le Carré. The ten episodes could have been condensed into a decent hour-and-a-half action film for the same streaming service. The desire to expand and deepen the plot harms “The Jackal.” The protagonist, without any particular need, constantly demands if not compassion, then understanding: according to the authors’ intention, the Jackal’s tenderness towards his son, his passion for collecting, and his suede moccasins are sure to evoke an emotional response, and the military flashbacks from Afghanistan will explain why the man’s fate turned out so sadly and how PTSD affected his mental state.
Eddie Redmayne as the Jackal in a still from “The Day of the Jackal” series
Redmayne’s Performance and the Supporting Cast
In the 10 years since winning an Oscar for “The Theory of Everything,” Redmayne has managed to be in one relatively successful franchise (“Fantastic Beasts”), receive a Golden Raspberry for “Jupiter Ascending” (which, according to him, was well-deserved), and earn a reputation as an overly diligent, mannered, and often overacting actor (for example, the Netflix thriller “The Good Nurse”). In “The Jackal,” his first major series in his career, the Brit surprises with an unusual restraint and cold detachment. Redmayne navigates the typical script traps that the authors place the hero in (such as having a family in the dark) with dignity. Lynch, who sparked a flurry of negative reactions for her participation in the “Bond” franchise, proves her combat superiority. Her Bianca, like the Jackal, unsuccessfully tries to combine work and relationships with loved ones, which only exacerbates the situation.
Final Thoughts
Narratively, “The Day of the Jackal” is unremarkable, except for regular references to “Mr. and Mrs. Smith” or “Mission: Impossible” (Ethan Hunt isn’t the only one who wears masks!). All professions are needed and important, but here even the a priori exciting setting looks pale and drawn out, just like the treacherous month of November outside the window. Hints of a second season are already depressing.