Generally portrayed accurately as the senior surviving officer focused on duty, though perhaps slightly idealized as the central heroic figure.

Depicted as competent but flawed, making crucial errors, which aligns with historical views but avoids making him seem totally incompetent.

Portrayed poignantly as the designer aware of the ship's fate, consistent with historical accounts of his actions during the sinking.

Portrayed (sometimes unnamed) escaping the ship, reflecting the controversy surrounding him, though his motives and actions remain debated.

Shown accurately taking charge in the lifeboat, reflecting her known actions and personality during the disaster.

Shown taking action during the collision and loading boats, but some actions (like launching Boat 1 underfilled) are simplified portrayals.

The central event initiating the disaster is accurately depicted as the cause of the sinking.

The film reflects the contemporary hubris and belief in the ship's invincibility due to its design.

The film accurately portrays the inadequate number of lifeboats as a major factor in the high death toll, meeting outdated regulations.

The film depicts multiple warnings being received but not given sufficient attention by the bridge officers.

The timeline of the collision (late April 14) and sinking (early April 15) is historically correct.

Portrays the controversial incident where the Californian was nearby, saw rockets, but failed to render aid, reflecting inquiries' findings.

The rescue efforts by the Carpathia are accurately shown as the means by which survivors were saved.

Depicts the ship sinking in one piece, which was a common belief based on conflicting accounts before the wreck was found in 1985 confirming it broke apart.

The film subtly shows how class barriers and deck locations influenced passengers' access to lifeboats.

Accurately depicts early lifeboats being launched without their full capacity due to confusion and crew uncertainty.

Represents the famous accounts of the musicians playing on deck to calm passengers as the ship sank.

The scene where officers receive revolvers to maintain order during the boat loading is based on historical accounts.

The opening montage shows a christening ceremony, but White Star Line did not traditionally christen their ships, including Titanic.

Lightoller's strict interpretation of the "women and children first" order on the port side is accurately shown.

Significant effort was made to recreate the ship's interiors and exteriors accurately using original plans, enhancing authenticity.

The costumes effectively capture the fashion of 1912, adding to the film's period atmosphere, especially for first-class passengers.

Officer uniforms, like Lightoller's, are shown with correct details such as rank insignia and style, reflecting regulations of the era.

The film captures the social stratification and general Edwardian "stiff upper lip" behavior described by survivors and historians.

Limited by the technology of 1958, the sinking effects are impressive for their time but less realistic than modern capabilities.

The film uses newsreel footage for context, but some clips (like the supposed launch) are from later periods (e.g., 1930s).

While sets were detailed, the overall sense of the ship's immense scale and opulence is perhaps less emphasized than in later, bigger-budget films.

While the danger is clear, the extreme, lethal nature of the cold water is perhaps underplayed compared to modern knowledge of hypothermia.