A very cursory appraisal of the film would term it as a tale of a true murderer and rapist who killed, raped and sodomized over a dozen shepherd women in rural France before being captured and guillotined. The film is much more than that. The film is more about the respected, educated judges of France who sit in judgement of the evils of less privileged evil-doers, while they are more evil in their actions and scoff at the writings of Emile Zola, that strikes a chord with the average French citizens. One judge is called "Judas" by prisoner who has been tricked, another commits suicide as he reflects on his own past actions that mirror the actions of another. Religion plays a major but discrete role--free lunches for the poor and illiterate are free only if petitions that serve the rich are signed. A judge helps a sibling of an Asian he has condemned to death by ensuring the sibling becomes a Christian and serves him for the rest of his life. Anti-Jewish posters are pasted on outer church walls. Social comments include unwritten restrictions of a Frenchwoman being allowed to marry an Asian. A judge's mother of higher classes, providing cherries in brandy to a lower-class worker but not readily approving her to be the daughter-in-law marked by a silent disapproval when she is brought home. A judge avoids visiting his girlfriend's daughter in hospital but brings flowers for the sick person. The film is less about the "assassin" and more about real life judges and other rich individuals who "judge" the less privileged.

The film is top-notch French cinema, with notable direction and casting, a superb screenplay, good cinematography and fine performances. Tavernier and Noiret made a great team, ever since Tavernier's debut film "The Clockworker of St Paul." It is a pity that this work of Tavernier is rarely discussed and appreciated.