The great French actor Jean-Louis Trintignant has long been well-respected both in his homeland and abroad for his acclaimed turns in films such as Z, The Great Silence and Amour. Lesser known is his two directorial turns in the 1970s that unfortunately did not make much of a splash. His feature directorial debut A Full Day’s Work (with an additional subtitle roughly translated to Nine Unusual Murders Committed In The Same Day By A Solitary Man For Whom This Is Not A Profession) was released in 1973 where it soundly rejected and mostly left to be a curiosity of cinema history for the most ardent film fanatics. This was an unfortunate development for a creative who injected a Jacques Tati-esque sensibility to the revenge/serial killer genre. As you can possibly tell by the unwieldy subtitle, the effort was a pitch black comedy that took a delightfully acerbic and whimsical look at a man who carries out a dark plan.
The first image we see is a car driving down a country road as the credits roll until it creeps up enough to push away the on-screen font. It is the most subtle indication of the heightened reality of the film. As the motorist slows to a stop for an unseen impediment, we see a sudden sight of a crane appearing over his car, grabbing ahold of it, and hoisting it into the air with driver included as it shaken about like a good martini until it is eventually dropped and crushed. The only indication behind the motives of this murder is the picture that is shown of a young boy to the victim by the perpetrator dressed in all black before finishing his execution. It is a deliriously over-the-top commencement of a film that revels in being more than a bit offbeat. We soon learn that the perpetrator is Jean Rousseau (Jacques Dufilho), a mild-mannered country baker who has chosen this day to enact revenge on the nine jurors who sent his murdering son Fernand to the guillotine.
What takes place over the next ninety minutes is an increasingly inventive series of murders carried out by Jean along with his mother (decked out appropriately in funeral-shroud black) next to him in his motorcycle sidecar. While this may seem mean-spirited or nasty, you find yourself almost rooting for the seemingly kind Jean. It is telling that he accompanies each death with a picture of his son from a much earlier age than when he lost him – when he was actually innocent. You empathize with this man who is in pain and wants to lash out. It also helps the deaths go down easy by the fantastical tone established early on. Whether or not the victims are dispatched by an exploding car or while performing Shakespeare – this one especially gets points for its combination crossbow and fishing rod approach – there are moments of lightness from the staging of these moments that release some of the tension. It is impressive to see how the construction of this film keeps this almost vignette approach to the narrative compelling throughout.
Proper credit must be given to Trintignant, who excels within his script as well as the directorial flourishes he uses in the film. The filmmaker keeps the audience delightfully off balance with some minor but impactful choices. Take for instance the clever editing beats he employs such as the quick cuts from pallbearers toppling over to a scene in which figures are jumping into a swimming pool. The same goes for the decision to replace the sound an audience would normally expect for a gunshot with a sound similar to a cardboard tube dropping to the floor. You almost do not comprehend what is happening at first, but it’s all part of the film’s charm. Even on a basic aesthetic level the film features gorgeous shots of the countryside as Jean and his mother travel from victim to victim. This feature has a unique identity all of its own, and it is worthy of having a larger audience. The film does not often elicit tear-inducing laughter, but clever chuckles of approval are a common occurrence while watching this one. A Full Day’s Work is a bit of a looney time, but it is a strong effort from a director who likely could have contributed even greater efforts to cinema if given the right support.
Video Quality
A Full Day’s Work comes to Blu-Ray with a new digital AVC encoded 1080p transfer in its original OAR derived from a 4K restoration of the original camera negative. The new restoration looks really excellent throughout most of the runtime in a way which you could almost say was pristine. There are occasional minor specks of print damage, but overall clarity and detail is very impressive. There are interior shots that are packed with little details in the production design that are easily noticeable thanks to this transfer. The picture tends to run the slightest bit soft in long shots, likely to be contributed to the source material, but colors are well saturated in a visually splendid way. Skin tones are natural and consistent with subtle facial features easily noticeable in closeup. Black levels hold up well with very little in the way of crush. Digital noise does not present as an issue here. This new presentation is gorgeous and likely looks better than it ever has before. Kino Classics has done a marvelous job with this one.
Audio Quality
The Blu-Ray disc comes with a very pleasing DTS-HD 2.0 Master Audio track in the original French with optional English subtitles. The music sounds great throughout the duration of the film as it establishes a unique atmosphere for the story. There is never a moment where it threatens to overwhelm the dialogue, as the track maintains a good balance so that dialogue comes through clearly. Environmental sounds such as engine noises or nature effects are rendered well alongside everything else. There does not seem to be any majorly noticeable instances of age-related wear and tear. Kino Classics has given this film the perfectly preserved, faithful audio presentation it deserves.
Special Features
- Audio Commentary: Film Critic and Author Simon Abrams offers a thoughtful and entertaining commentary track in which he delves into the music utilized in the film, the approach of Jean-Louis Trintignant, the reception from the audience, the cameo of the director, the disorienting way the film plays with our perceptions and more.
- Trailers: There are trailers provided for The Hunter Will Get You, Un Flic, And Hope To Die, Max and the Junkman and The Sicilian Clan.
Final Thoughts
A Full Day’s Work is a tale of vengeance executed with a light, comedic touch. The feature directorial debut from Jean-Louis Trintignant features some impressive feats of artistic expression and a strong lead performance from Jacques Dufilho. If you like your crime tales a bit on the zany side of the spectrum, you should find much to appreciate here. Kino Classics has delivered a Blu-Ray featuring a top-notch A/V presentation and a worthy commentary track. This one has not been the most widely accessible film, so now is your chance to catch this unique film. Recommended
A Full Day’s Work will be available to purchase on Blu-Ray and DVD on September 28, 2021.
Note: Images presented in this review are not reflective of the image quality of the Blu-Ray.
Disclaimer: Kino Classics has supplied a copy of this disc free of charge for review purposes. All opinions in this review are the honest reactions of the author.
Dillon is most comfortable sitting around in a theatre all day watching both big budget and independent movies.
