The Dig (2021), directed by Simon Stone, is a historical drama that tells the story of one of the most significant archaeological discoveries of the 20th century. Based on the novel by John Preston, the film is set in 1939 and follows the excavation of the Sutton Hoo burial site in Suffolk, England, a discovery that would reveal an Anglo-Saxon ship burial and provide vital insights into early medieval history. At its heart, The Dig is a poignant exploration of human connection, legacy, and the intersection of personal lives with historical events, framed by a backdrop of impending war.

The film begins with Eddie Marsan‘s portrayal of Basil Brown, an unᴀssuming, self-taught archaeologist who is hired by Mrs. Edith Pretty (Carey Mulligan) to excavate the burial mounds on her estate. Edith, a widow who has inherited the estate and is dealing with her own personal grief and illness, is determined to unearth the history of her land before it’s lost. Despite the skepticism of more established archaeologists, particularly Charles Phillips (Ben Chaplin), who dismisses Brown as unqualified due to his lack of formal education, Edith places her trust in him.

Basil Brown, with his deep knowledge of the local landscape and pᴀssion for archaeology, begins his work in earnest. As the excavation unfolds, he unearths a mᴀssive ship burial, revealing treasures and artifacts that will ultimately reshape our understanding of Anglo-Saxon culture. While the discovery itself is of immense historical importance, The Dig is much more than a story about the unearthing of an ancient treasure. It is a meditation on the relationships between the characters involved in the excavation, and on the larger themes of mortality, legacy, and the pᴀssage of time.

Carey Mulligan delivers a sensitive and emotionally layered performance as Edith Pretty, capturing both her quiet strength and her vulnerability. Edith is a woman caught between the demands of her health and the legacy she wishes to leave behind for her young son, Robert (Archie Madekwe). She also forms a complex relationship with Basil Brown, one that goes beyond professional respect to one of mutual admiration and unspoken affection. Mulligan’s performance is understated yet powerful, reflecting Edith’s deep, often painful connection to the land, the history she hopes to uncover, and her struggle with her own mortality.

Eddie Marsan’s portrayal of Basil Brown is equally compelling. Marsan brings warmth and sincerity to the role of a man whose expertise is often overshadowed by his humble background and lack of formal recognition. Brown’s pᴀssion for the dig, and his quiet determination to prove the worth of his work, make him a deeply sympathetic character. His relationship with Edith, while never overtly romantic, is one of mutual respect and quiet camaraderie, as they both come to terms with their own personal struggles.

The film also introduces Ralph Fiennes as Godfrey (a fictionalized character inspired by some of the real figures involved in the Sutton Hoo discovery), a skilled and experienced archaeologist who is brought in to oversee the dig after Brown’s initial discovery. Fiennes gives a nuanced performance as a man who recognizes the importance of the find but struggles with his own insecurities and professional rivalries. His character’s internal conflict adds a layer of complexity to the story, highlighting the tension between scientific discovery and personal ego.

The cinematography by Mike Eley is beautifully sH๏τ, capturing the sweeping English countryside and the meticulous, patient process of archaeological work. The film’s pacing is deliberate, allowing the viewer to appreciate the care and attention to detail that goes into the excavation, as well as the quiet moments of reflection between the characters. The imagery of the dig itself, as Brown and his team slowly unearth the buried ship and its treasures, is both meditative and awe-inspiring, offering a sense of time stretching back thousands of years.

The historical backdrop of The Dig is significant as well. Set just before the outbreak of World War II, the impending war hangs over the story, giving the narrative an added sense of urgency and reflection. There is a constant awareness of how fragile human life and human history can be, with the discovery of the Sutton Hoo burial site offering a poignant counterpoint to the looming destruction of war. The film subtly underscores how both individuals and civilizations are shaped by the forces of time, war, and history.

At its core, The Dig is a story about legacy—both personal and historical. The characters are each seeking to leave something behind, whether it be the archaeological discoveries that will define their careers or the memories and stories they hope to pᴀss on to future generations. As Basil Brown, Edith Pretty, and the other characters grapple with their own challenges and desires, the excavation of Sutton Hoo becomes more than just a physical act; it is a metaphor for the way we search for meaning and connection in the face of impermanence.

The film’s understated beauty lies in its quiet reflections on life, love, and loss. The characters’ personal journeys intertwine with the discovery of the past, as they find themselves confronting their own mortality and the fleeting nature of time. The burial ship, with its treasures and artifacts, is not just a historical artifact, but a symbol of human endeavor, legacy, and the desire to leave something meaningful behind.

In conclusion, The Dig is a beautifully crafted, emotionally resonant film that combines historical drama with a tender exploration of human relationships. The performances, particularly by Carey Mulligan and Eddie Marsan, bring depth and nuance to the story, and the film’s visual style complements its meditative tone. It is a film about the uncovering of history, both ancient and personal, and about how the past shapes our understanding of who we are and what we leave behind.

A Farmer’s Misplaced Hammer Led to the Largest Roman Treasure in Britain

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November 16, 1992 was the day which changed Suffolk-resident Eric Lawes’ life in a huge way. What he thought would have been an innocent search for a hammer he had misplaced on his farm in Hoxne Village, Suffolk, England ended up bringing him much more than he had bargained for — namely, uncovering the hiding spot of a long-hidden treasure. Based on the Guardian’s coverage of the story, Eric Lawes had been previously gifted a metal detector upon his retirement as a parting token. He decided to put his retirement gift to good use in order to locate the hammer which he had had some trouble finding. According to a 2018 Smithsonian Magazine article, when the device started recording that there was a strong signal coming from the earth, he knew that he was about to discover something big. As he started digging, it soon became clear to him that he had unearthed a treasure trove.

The Guardian reports that, when Lawes saw that his preliminary digging had yielded a few gold coins and silver spoons, he immediately contacted both the local archaeological society and the police department. Archaeologists came to the property the following day and had the area of earth holding the treasure carefully sectioned-off and removed. Their hope was that at a later stage, in their laboratory, they could examined the items in order to identify both their age and how they were stored.

When all was said and done, close to 60 pounds of items made from silver and gold were found on the site. These included more than 15,000 Roman coins, 200 gold objects, and several silver spoons. For archaeologists, this find — which later became labeled as the Hoxne Hoard — was an incredible discovery. AP News reported that archaeologist Judith Plouviez was over-the-moon about the discovery, saying that it was “an incredibly exciting and amazing find.” What’s more, another archaeologist, Rachel Wilkinson, told Smithsonian Magazine that this discovery was “the largest and latest ever found in Britain.”

Ordinarily, archaeologists would use radiocarbon dating as a means of identifying the age of ancient relics. However, they couldn’t locate any suitable material from the haul. Consequently, they determined the age by examining writing on the coins, as well as the ruler carved into them, estimating that the treasure was probably buried in either 408 or 409 AD.

Roman-era archaeologist Peter Guest told Smithsonian Magazine that “if you look at them a little more carefully, then they should be dated to the period after the separation of Britain from the Roman Empire.” He offers as part of his evidence the fact that almost all of the coins found in the Hoxne Hoard were clipped – in other words, small chunks of their edges had been taken off. These clippings would have been used to create coins which were similar to the Roman coins of that era.

Guest has a logical reason for this, arguing that “The Roman Empire wasn’t supplying Britain with new gold and silver coins, and in light of that, the population tried to get over this sudden cutoff in the supply of their precious metals by making the existing supplies go further.”

Archaeologists also believe that the treasure belonged to a Romano-British family. During that time, considering that there was so much societal discord and upheaval, it was common for Romans who had settled in Britain to bury their most prized possessions.

That said, one archaeologist is of the belief that the hoard had a lot of sentimental value for the Romano-British family to whom it is believed to have belonged. In her book The Hoxne Late Roman Treasure: Gold Jewellery and Silver Plate, Catherine Johns claims that the manner in which the treasure was kept supported this claim. Some of the items which were recovered had been packaged in small, wooden boxes which were lined with leather. What’s more, pieces of wood, locks, and nails, among other things, surrounded the gold and silver pieces. This leads Catherine to assert that the package was carefully buried and not simply chucked away in a rush.

Interestingly enough, the items unearthed might shed some light on the identity of the family who owned them. They cite a gold bracelet bearing the inscription “UTERE FELIX DOMINA IULIANE,” which roughly translates to “use this happily Lady Juliane”. A second name “Aurelius Ursicinus” has also been discovered. This has consequently led some to believe that Juliane and Aurelius were the couple and the original owners of the treasure. That said, that has yet to be confirmed.

All in all, the discovery was a real treasure for archaeologists, and by extension, for Lawes. According to Smithsonian Magazine, in recognition of his discovery and willingness to contact authorities, the British government rewarded him with over £1.7 million, an amount which he shared with the farmer whose land was dug out in order to get the treasure. Funnily enough, apart from the treasure, Lawes also found his lost hammer — which now resides in the British Museum.