It features an ensemble cast topbilled by Fernando Poe Jr.[1][2] Flashbacks encompass the history of the Philippines as well as the life story of the elderly Daniel Águila.

Daniel's experiences during World War II and with the American-controlled post-war government only increase his mounting disenchantment with life and society.

Among the reported incidents of tensions flaring up involved Eddie Romero's frequent butting of heads with Mel Chionglo.

[7] Eventually, the differences among the crew members got so unbearable for the film's cinematographer, Mike de Leon, that he walked out on the project altogether.

[7] The lone exception of Romero being angered by an actor on the set is when he threatened to renounce his niece, Chanda, if she could not do her kissing scene with Christopher de Leon right.

[5] Most notably, Amalia Fuentes refused to show age in the film despite portraying the mother of FPJ's character, Daniel.

[9] In addition, Bancom Audiovision also spent ₱100,000.00 for an hour-long made for television documentary film on the making of Águila and hired producer Jesse M. Ejército as advertising and marketing consultant.

[5] This is the second of Eddie Romero's epic historical film trilogy, wedged in between "Ganito Kami Noon, Paano Kayo Ngayon?"

II of the 1973 Constitution, the law in force at the time of the film's release, which not only recognizes the family as such but also endeavors to protect and strengthen the same.

[12] Being under the genre of historical drama, the film depicts how values, not only in the family but in the larger Philippine society, evolves.

[12] This is exemplified in the character arc of Mari, who, in entering the political arena becomes swept by its corruption and inevitably becomes part of the machinery that he once sought to change.

This is likewise shown in the arc of Raul, who is driven to suicide because of the realization that his hero and mentor, Margo, was willing to give up their cause for personal reasons, much like Cadio and Basilio before her.

Alienation again takes the spotlight as Daniel is driven into abandoning his family and choosing to live in both Cotabato and Bohol to escape a society that has become more and more unfamiliar to him.

[12] This pervasive problem is exemplified by the character of Simeon Garrido, who was willing to sell his loyalty insofar as the new colonial masters are willing serve his personal interests.

Similarly, the character arc of Margo shows how those claiming to fight for nationalism can be corrupted when personal interests is thrown into the picture.

It has become in recent years among film festival organizers' favorite of Eddie Romero's works and has consequently seen re-runs for the benefit and appreciation of newer and younger audience.