
DATE: Wednesday, November 19, 1997          TAG: 9711190049

SECTION: DAILY BREAK             PAGE: E4   EDITION: FINAL 

TYPE: MOVIE REVIEW

SOURCE: BY MAL VINCENT, MOVIE CRITIC 

                                            LENGTH:   70 lines

NON-RIVETING MOVIE LACKS SUSPENSE

AS IT TURNS OUT, it is quite appropriate that the title of this movie has been abbreviated from ``The Day of the Jackal'' to ``The Jackal.''

Everything else about the complex 1973 film, based on Frederick Forsyth's engrossing novel, has also been shortened, simplified and cartooned. Little is left in this new version.

``The Jackal'' is no more than an ultra-simple manhunt of good vs. evil - minus the political intrigue that sparked the original.

Bruce Willis, done up in a variety of hairpieces, is never convincing as an international genius who is hired, at a whopping fee of $70 million, to assassinate a world-famous personage.

The 1973 film was directed by Fred Zinnemann, one of the greats (``From Here to Eternity,'' ``A Man for All Seasons'') who created genuine tension from the international chase.

Michael Caton-Jones, the present director, seems interested only in the usual noise and movement, with no attention to pesky detail. By taking the focus away from the attempted assassination and making it no more than a manhunt, the film removes all semblance of involvement.

Willis, supposedly to be an ingenious master of disguise, is easily identifiable in all his garbs. Richard Gere is a weak choice for the criminal who is let out of jail in order to help the FBI in the search. To the detriment of the plot, he is apparently allowed to take over the case. Sidney Poitier, as the head of the FBI faction, is wasted.

The suggestion is that the FBI, Interpol, and all manner of official law enforcement have no idea how to do their job - and are quite willing to give a convicted criminal free rein to take over the investigation. It's a silly excuse for yet-another star turn.

In any tiff between Willis and Gere, it would be an uneven match. We'd bet on Willis for three falls out of three.

The one acting standout is Diane Venora's always-interesting characterization of a bitter Russian officer who is so gung ho that she's willing to give every ounce of energy, even her life if need be, for the chase. The conviction of her character shows. She's a bright spot in the midst of indifference.

Willis, indeed, is an individualist screen persona. He suggest some of the don't-care ease of the late Robert Mitchum. Without a plot, though, this looks more like a personal appearance than an actual performance.

If there is any interest at all in this film, it will probably be as a travelogue. The setting switches from Moscow to Helsinki to London, Washington and Virginia. The interior portions of the film were shot at Pinewood Studios in London and Carolco Studios in Wilmington, N.C. There is obviously no worry about expense. But you can never be sure if the locales are authentic. The real Helsinki represents Moscow and, in one brief scene, Richmond represents Washington.

During filming, the moviemakers reportedly got in a war of words with television cameramen and criticized crowd control in Richmond - endangering future filming projects in the state.

The fact that we had time to spend guessing the locations suggests the uninvolvement of the plot itself. As suspense, it's suspenseless. ILLUSTRATION: ELI REED

Bruce Willis is an assassin trying to outsmart the FBI in ``The

Jackal.''

MOVIE REVIEW

The Jackal''

Cast: Bruce Willis, Richard Gere, Sidney Poitier, Diane Venora,

Mathilda May, Tess Harper, Stephen Spinella

Director: Michael Caton-Jones

MPAA rating: R (scene in which an arm is blown off, language)

Mal's rating: **