Channing Tatum (G.I. Joe) stars as Marcus Aquila, a Roman
centurion in command of a regiment in occupied Briton. When Marcus hears
something in the darkness beyond the fort’s walls, he orders all the Roman
soldiers to full alert. The new commander is young and untested, and this alert
is seen by the men as a silly stunt from a grandstanding officer--until the fort
abruptly comes under full attack by the Druids. Ably leading his men in fighting
off the nighttime attack, Marcus further impresses the boys when he sets up a
rescue mission for the captured Roman soldiers who are being executed by the
Druids right outside the fort’s walls.
Marcus is gravely injured in this second battle and is sent to the home of his Uncle Aquila (well-played by Donald Sutherland) to heal. He’s given a commendation by Rome for holding the fort, as well as an honorable discharge--which is a far worse wound for Marcus than anything he’s received in battle. Marcus’ father was part of the Ninth Legion, a Roman military unit that vanished without a trace in the wilds of Scotland twenty years ago. The Eagle, the golden standard of that lost legion, had been spotted being used by the native inhabitants of the region in a ritual. Marcus had been hoping to honor his father’s memory by serving in the army of Rome. But now, he’s got another idea.
He will slip into the unknown lands north of Hadrian’s Wall and bring back the
lost Eagle of the Ninth Legion. With only a hostile slave, Esca (Jamie Bell), as
his guide, Marcus’ warrior skills will be severely tested. The Eagle is a
marvelous adaptation of Rosemary Sutcliff’s book
Tatum is superb as Marcus, a man who is so haunted by the loss of his father that
he would do anything for closure, no matter how small or insignificant it may be.
Bell is also commendable as Esca; he’s got the audience worrying about his
character’s intentions, all the while making him sympathetic at the same time.
Mark Strong (Kick Ass; Robin Hood) is a welcome addition in a role that’s a very nice change of pace from his usual big screen villains. The era is suitably presented in a gritty fashion, which makes the ending--where the filmmakers look like they’re setting up a sequel--appear falsely up beat, as if it were tacked on to appease popcorn movie audiences. But despite this false moment, The Eagle is still highly recommended as being a grand entertainment. --SF
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