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ON FAITH & MEDIA View Comments

The Eagle

By
John Mulderig
Source: Catholic News Service


Jamie Bell and Channing Tatum star in "The Eagle."
The contradictions of imperialism and the relationship of a marginal culture to a temporarily dominant one are background themes that add some depth to the period action-adventure movie "The Eagle" (Focus).

Even so, adults and mature teens who approach this vigorous screen version of Rosemary Sutcliff's popular 1954 novel "The Eagle of the Ninth" looking for nothing more than a swords-and-sandals outing—or a toga-toting buddy movie—will likely come away satisfied as well.

Taking that outing and making for an unlikely pair of pals are Marcus Aquila (Channing Tatum), a young Roman soldier stationed in second-century Britain, and his native slave, Esca (Jamie Bell). Together they embark on a quest to recover the titular military symbol lost 20 years earlier when the legion Marcus' father, Flavius, commanded disappeared, under unexplained circumstances, in the wilds of modern-day Scotland.

Tormented since childhood by Flavius' ambiguous legacy—did Dad fight to the end or show cowardice by abandoning this gilded emblem of Rome's honor?—Marcus hopes to restore both national and familial pride by returning the totem to imperial custody.

But to achieve this, he will have to journey beyond Hadrian's Wall, the northern limit of the Empire, an undertaking considered impossibly reckless by the cautious uncle (Donald Sutherland) at whose villa Marcus has been recuperating from the battle wounds that put an end to his active military career.

In fact, once he enters this alien world populated by hostile Britons, Marcus will be wholly dependent on Esca as interpreter and guide. Yet, Esca himself is unsure of his loyalties.

As the enslaved son of a local chieftain killed by the occupier, Esca detests Rome and everything it represents. But his first encounter with his master ended with Marcus saving the lad's life, an act Esca —no stranger to the concept of honor himself -- feels duty-bound to repay with faithful service.

Their arduous journey sees the fraught relationship between these representatives of competing civilizations veer from friendship to hostility to mutual understanding, and displays the moral shadings present in both their communities.

Director Kevin Macdonald keeps the pace lively and the battles mostly gore-free while a sense of conflict-transcending human solidarity helps leaven the macho atmosphere that permeates Jeremy Brock's screenplay. (Not only is there no "love angle" in the story, there's nary a female character to be seen.)

Despite the elements listed below, the moral lessons awaiting attentive viewers of this historical expedition make it probably acceptable for older adolescents.

The film contains considerable but largely bloodless combat violence, brief distant images of unclothed corpses, a single use of the S-word and a couple of crass terms. The Catholic News Service classification is A-III—adults. The Motion Picture Association of America rating is PG-13—parents strongly cautioned. Some material may be inappropriate for children under 13.

*****
John Mulderig is on the staff of Catholic News Service.




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Visitation: This is a fairly late feast, going back only to the 13th or 14th century. It was established widely throughout the Church to pray for unity. The present date of celebration was set in 1969 in order to follow the Annunciation of the Lord (March 25) and precede the Nativity of John the Baptist (June 24). 
<p>Like most feasts of Mary, it is closely connected with Jesus and his saving work. The more visible actors in the visitation drama (see Luke 1:39-45) are Mary and Elizabeth. However, Jesus and John the Baptist steal the scene in a hidden way. Jesus makes John leap with joy—the joy of messianic salvation. Elizabeth, in turn, is filled with the Holy Spirit and addresses words of praise to Mary—words that echo down through the ages. </p><p>It is helpful to recall that we do not have a journalist’s account of this meeting. Rather, Luke, speaking for the Church, gives a prayerful poet’s rendition of the scene. Elizabeth’s praise of Mary as “the mother of my Lord” can be viewed as the earliest Church’s devotion to Mary. As with all authentic devotion to Mary, Elizabeth’s (the Church’s) words first praise God for what God has done to Mary. Only secondly does she praise Mary for trusting God’s words. </p><p>Then comes the Magnificat (Luke 1:46-55). Here Mary herself (like the Church) traces all her greatness to God.</p> American Catholic Blog Someone once told Pope Francis that his words had inspired him to give a lot more to the poor. Pope Francis’s response was to challenge the man not to just give money, but to roll up his sleeves, get his hands dirty, and actually reach out and help.

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