Marcus is the fictional protagonist of the novel, created by Rosemary Sutcliff. He represents Roman officers serving in Britain and embodies themes of honor and duty.

Esca is a fictional character from the novel. He represents the native Britons subjugated by Rome and explores themes of loyalty, freedom, and cultural conflict through his relationship with Marcus.

A fictional character from the novel providing Marcus a home base and representing established Romano-British life south of the frontier.

A fictional character from the novel representing the idea of Roman soldiers lost or assimilated north of the Wall. His Roman identity is part of the fiction.

The primary antagonist representing the "wild" tribes of Caledonia. Both the character and the "Seal People" tribe are fictional creations of the novel/film.

A fictional character created by Sutcliff to provide Marcus's core motivation. The historical commander of the Ninth Legion at the time of its disappearance is unknown.

The film is accurately set in Roman Britain about two decades after the construction of Hadrian's Wall, depicting it as the northern frontier of the formal province.

The Ninth Legion does disappear from Roman records around 120 AD. However, whether it was destroyed in a single catastrophic campaign in Caledonia as the novel/film posits is heavily debated by historians.

The loss of an Aquila (Eagle standard) was considered a profound humiliation for the Roman legion and Rome itself. Efforts were sometimes made to recover lost standards.

Represents typical duties of a Roman officer on the frontier. While Marcus is fictional, such attacks by British tribes on Roman forts occurred, and the depiction of fort defense is plausible.

This event serves the fictional plot, enabling Marcus (a fictional character) to undertake his personal quest.

The central plot of Marcus and Esca's journey north to find the Eagle is entirely fictional, originating from Rosemary Sutcliff's novel.

While the quest is fictional, the film effectively portrays the rugged, challenging terrain north of Hadrian's Wall that travelers would have faced.

Romans did encounter various hostile tribes in Caledonia (basis in truth). The specific "Seal People" tribe, their customs, and their possession of the Eagle are fictional (fictional element).

Guern is a fictional character; there is no historical evidence of Ninth Legion survivors being found living among Caledonian tribes in this manner.

This sequence is entirely part of the fictional narrative derived from the novel.

The dramatic chase sequence is part of the fictional plot.

Explores themes of honor and loyalty within the fictional relationship between Marcus and Esca (who are fictional characters).

The climactic fight where Roman survivors join Marcus is fictional, serving as a resolution to the novel/film's plot.

The Eagle of the Ninth Legion was never historically recovered. The film's ending fulfills the fictional quest's objective.

The film accurately portrays the setting of northern Roman Britain, with Hadrian's Wall as a tangible, formidable border marking the edge of the empire.

The design of the Roman fort where Marcus serves appears consistent with archaeological evidence for auxiliary forts in Roman Britain (timber/earth construction typical).

Filmed largely in Scotland, the movie showcases the authentic rugged, misty, and challenging terrain that characterized Caledonia north of the Wall.

Since the Seal People are fictional, their specific appearance, language (using Gaelic), and settlement design are speculative, drawing on general Iron Age British/Celtic culture but not precisely historical.

Roman legionary/auxiliary equipment, including lorica segmentata and hamata armor, helmets, shields (scuta), swords (gladii), and javelins (pila), appears generally accurate for the period.

Depicts warriors with spears, shields, some swords, furs/simple clothing, and woad-like body paint. Chariots were used earlier by Britons but less likely by 140 AD deep in Caledonia; depiction is somewhat generic 'tribal'.

Effectively conveys the sense of isolation, discipline, constant vigilance, and cultural friction inherent in military life on the edge of the Roman Empire.

Realistically portrays the difficulties of travel on foot through challenging northern terrain, including weather and reliance on local knowledge (Esca).

Highlights the stark differences in culture, values, and worldview between the Roman occupiers/administrators and the indigenous tribal peoples of Britain and Caledonia.