Dir: Kevin Macdonald, UK/USA, 2011, 114 mins
Cast: Channing Tatum, Jamie Bell, Mark Strong, Donald Sutherland
Review by Mark Byrnes
Oscar-winning director Kevin Macdonald puts Hollywood leading man Channing Tatum through his paces in his latest historical epic, The Eagle. In the second century AD, a young centurion, Marcus Aquila (Tatum), arrives in Britain to assume his first posting as commander of a Roman legion. Despite his inexperience, Aquila successfully leads his troops in repelling an attack from native tribesman but is injured in battle. He is informed by his uncle (Donald Sutherland) that he has been given an honourable discharge. But Aquila ignores his superiors and embarks upon a suicidal quest beyond Hadrian’s Wall into Scotland to solve the mysterious disappearance of the Ninth Legion, which was led by Aquila’s father twenty years earlier. Aided by a British slave, Esca (Jamie Bell), whose life Aquila spared, he seeks the return of the legion’s golden standard and with it to restore his father’s tarnished reputation.
An inevitable first point of comparison for The Eagle is undoubtedly Gladiator, though while the films share similarities they are different beasts. Adapted from Rosemary Sutcliff’s 1954 novel, The Eagle of The Ninth, the film has a grand scope and explores the familiar theme of a central protagonist seeking redemption and overcoming great odds in doing so. The rainswept and imposing landscape of Roman Britain gives The Eagle a different feel to Gladiator, one which is largely CGI-free though arguably more authentic than the sun-scorched, sword and sandal style Roman epics that audiences are accustomed to seeing.
Cinematographer Anthony Dod Mantle, reunited with director Kevin McDonald from The Last King of Scotland, creates a strong visual feel to the film. This is particularly effective in the dreamlike scenes where Aquila imagines what became of his father and the ninth legion as he ventures deep into the unwelcoming tribal areas of Scotland. Indeed you do feel that the actors, particularly Tatum and Bell, were made to work physically hard for their roles by Macdonald, which gives the film real credibility. Despite lacking the charisma of Russell Crowe, Tatum gives a surprisingly earnest performance as Aquila, while Bell is convincing as the conflicted Esca who is loyal to Aquila for saving his life but despises the Romans for having slaughtered his tribe.
Given that The Eagle explores the clash of two foreign cultures some may find it hard to take this film seriously when the actors playing Roman soldiers all speak American English and the native Britons speak to one another in Celtic. This is a deliberate choice by the filmmakers as audiences would be unlikely to sit through a two hour film in Latin. But that is less of an issue than some of the limp dialogue between the characters, and the outcome of Aquila and Esca’s journey, which is never really in doubt.
Despite its flaws The Eagle is ultimately an entertaining film with some good performances and interesting flourishes. It sheds light on a fascinating period of British history that is perhaps ripe for rediscovery in classrooms.
