The story of “The Day of the Jackal” was first unveiled in Frederick Forsyth’s 1971 novel, which follows a mysterious assassin; Fred Zinnemann then adapted it for the big screen in his 1973 film. Now, “Top Boy” creator Ronan Bennett has put his spin on the thriller as a 10-part Peacock series (airing on Sky in the U.K.) starring Eddie Redmayne and Lashana Lynch. With the 86-year-old Forsyth working as a consulting producer, Bennett has created a dynamic drama that’s a cat-and-mouse game between an impeccable chameleon and the law enforcement agent determined to stop him.
The series opens in Munich with an elderly man muttering to himself. The viewer soon discovers the man is the Jackal (Redmayne) in disguise, set to embark on a bloody task. Sometime later in London, at MI6 headquarters, arms specialist Bianca Pullman (Lynch) hears about the shocking assassination of a German politician. After learning the trigger was pulled at a distance of more than two miles, finding the killer becomes a compulsion for her.
Here, Bennett offers something different from the usual action thriller. The Jackal works alone, but he is not an island or a man void of compassion. In the first episode, we are introduced to Nuria (an impressive Úrsula Corberó), whom the Jackal holds in the highest regard. He has shrouded his occupation from her to maintain the facade he wants to present. Still, his deception causes chaos for them both as the story progresses.
Likewise, though Bianca’s husband, Paul (Saul Rimi), and teenage daughter, Jasmine (Florisa Kamara), are aware of her involvement in MI6, they are not privy to the dangers of the job. In “The Day of the Jackal,” the role of a British intelligence officer isn’t flashy. Rising in the ranks and completing an assignment requires agents to neglect their personal lives and to doggedly pursue their mission. This single-mindedness is a quality Bianca and Jackal share.
In addition to the phenomenal cinematography and gasp-worthy action sequences, the characters drive this series. Neither Bianca nor the Jackal is a decent person. Bianca is relentless in her work, often treating her family like an afterthought. Lynch is fierce and hyperfocused in her portrayal. Meanwhile, callousness is a trait the Jackal has long demonstrated. Redmayne’s calm demeanor is predatory, drawing in the audience as well as his prey. It’s therefore shocking each time he strikes.
The Jackal also makes mistakes. He spends much time correcting errors and switching things up on the fly. Bennett showcases the cracks in the mastermind’s veneer, adding to the show’s realism and enabling Redmayne to present glimmers of the Jackal’s humanity. He kills quickly and without remorse. Yet, in a few instances, he’s pained by his work, but not enough to stop.
As gripping as “The Day of the Jackal” is, it’s not flawless. Though most of the series is absorbing and layered, Episode 6 is a puzzle piece that doesn’t quite fit the bigger picture. Despite some critical turning points, the plot slogs forward before taking off at a rip-roaring pace in the final four episodes.
Despite the midseason speed bump, “The Day of the Jackal” is a truly engaging drama. With Forsyth’s beloved novel as a foundation, Bennett’s modern retelling encompasses a complex web of espionage and a story about two goal-obsessed people. The Jackal and Bianca’s occupations remain central, but they are fully realized human beings with personal lives, obligations and a resolve to win. Meticulously presented and beautifully detailed, the series is a breathless adventure until the very end.
The first five episodes of “The Day of the Jackal” premiere Nov. 14 on Peacock. New episodes drop weekly on Thursdays.