Eagle's Wing

Released in 1979, "Eagle's Wing" is an English Western about a white trapper (Martin Sheen) circa 1830 who steals a white mustang named Eagle's Wing from a laconic Kiowa Native (Sam Waterston). The Native then pursues him to get his horse back. Harvey Keitel, Stéphane Audran and Caroline Langrishe are also on hand.

This is a unique, professionally-made Western. The tone is thoroughly realistic, Waterston is impressive as the Native, the women are good-looking and the Mexican locations are magnificent, albeit thoroughly desolate. Unfortunately, the story isn't very absorbing. But the film's interesting in some ways and certainly worthy of your Western collection.

The movie runs 111 minutes.

GRADE: C+

"Eagle's Wing" is a pleasant surprise of a movie, & keeps the viewer interested. I didn't know anything about it being made by the British until I read the other viewer comments. I can understand why it won an award for cinematography, for it was brilliantly presented & must have looked magnificent on a vast theatre screen.

It seemed to be a lot more realistic than most westerns, in portraying how the West was more truly won. As well as the complexities of the characters it presents. The Indian-Sam Waterson character is particularly intriguing. He seems to be brutal in the savage environment he is conditioned to, but displays remarkable respect for the frailties he witnesses in the white men & women he encounters. He is not friendly or sensitive to these intruders in his lands, but he has a limit to his sense of vengeance, even a compassion when he is in a position of power & observing the wilting white man bent on revenge, as well as the girl he kidnaps after capturing a stagecoach. As such, his character seems complex but congruous to the harsh lands he lived in & which were threatened by these intruders he is not heartless in his dealings with.

The magnificent horse he rides is a critical link & it is interesting to note how this Indian handles it, compared with the Martin Sheen-character who has it in his possession & power for a time. "Eagle's Wing" is an unusual Western, a genre I am not drawn to, but I really appreciated this excellent offering, which I would rate second only to "A Man Called Horse".

After a slow first half, which seems to have suffered from some heavy-handed cutting, the second half of this striking Western is a fascinating struggle between Indian and white man for the possession of a magnificent horse (the "eagle's wing" of the title). The film's two main assets are Billy Williams' magnificent cinematography and a beautiful music score by Marc Wilkinson.

Watch out also for a moving and unexpected graveside poetry reading by Sheen. This was one of the last major films produced by England's Rank Organization.

8+ points for a take on a fresh and probably-kinda-maybe-perhaps-was look into back 'then'. American Indians quite probably stole more than killed (I doubt they were unusually bloodthirsty)...who really knows. Nice slower and somewhat uncommon pursuit... and the way things develop are not patterned which means it has a unique and lovely pace. I found this film to be most interesting. Thankfully not another mindless shoot em up. I thought this film would suck at first, but *wow* I wound up getting wrapped up and being entertained, this is why we have cinema... nice treasure... good job! I have hopes nobody dissects this film. When the entire movie unfolds I experienced many unique twists, impossible to determine what will be next. The characters are entirely human and have either honor or not... passion or not... forgiveness or not. Wound up loving the White Horse, the Indian, Sheen... even the damned desert was great. All good.

The whole thing seems like a very beautiful film school exercise, the rehearsal for a real film, or the cuttings from another film, picked up off the floor and edited into a... well, not a cohesive film, but certainly something.

Story is hardly there, or nonsense, and at one point has a couple of threads that I guess come together, to no particular purpose. Other threads are dramatically brought up then entirely dropped just as they reach their zenith.

The whole film is really like that. The most beautiful, well-scored, emotionally-moving, and generally sensible part of the film is the last few seconds, and the scene that plays out under the credits. No, not being insulting to say "credits were the best because it's over." I mean, there's a scene there, and it was the one time the movie really worked.

Too bad it took the better part of 2 hours to get there.

Also: Sam Waterston as an Indian. Sigh.