The protagonist is entirely fictional, created for Lew Wallace's novel to explore themes of faith, betrayal, and redemption against a historical backdrop.

A fictional character representing Roman ambition and the conflict between Roman authority and Jewish identity; serves as Judah's primary antagonist.

While Arrius is a plausible Roman name and adoption existed, this specific character and his adoption of a galley slave are fictional plot devices.

Depicted respectfully (often without showing his face directly) during key moments (giving water, Sermon on the Mount, Crucifixion), generally aligning with New Testament accounts.

The actual Roman governor who presided over Judea during Jesus' ministry and crucifixion. His presence and role in the film are historically grounded.

The reigning Roman Emperor during the period; appears briefly when Judah is presented in Rome by Arrius.

The film accurately portrays the historical context of Judea as a province under Roman occupation during the 1st century AD.

This central plot point, driving Judah's enslavement and desire for revenge, is entirely fictional.

This is a major historical inaccuracy popularized by the film. Roman war galleys were primarily rowed by trained, free sailors and marines, not chained slaves.

A fictional event enabling Judah's return to prominence and path to the chariot race. Roman adoption existed, but not typically under these dramatic circumstances.

Chariot racing was immensely popular in the Roman world, often held in large circuses like the one depicted (set in Antioch, though sometimes mistaken for Rome's Circus Maximus).

While capturing the spectacle, the film includes inaccuracies like bladed wheels (a myth), the number of laps, and perhaps exaggerated violence compared to typical races (though crashes were common).

The film accurately places Judah's fictional story during the historical period of Jesus' ministry in Judea.

A fictional intersection between the protagonist and a historical/biblical event.

Another fictional intersection, used for dramatic and thematic effect as Judah's quest for vengeance gives way to forgiveness.

The portrayal aligns with New Testament descriptions of the event, including the atmosphere and key moments, though artistic choices (like nail placement) exist.

Leprosy (Hansen's disease) existed, and sufferers faced significant social stigma and isolation in antiquity, often being forced into colonies as depicted.

The healing of Judah's mother and sister from leprosy through divine intervention (rain during the Crucifixion) is a fictional event serving the film's religious themes.

The underlying tension and desire among some Jews for liberation from Roman occupation, which Judah initially shares, is historically accurate.

Sets and locations effectively evoke the atmosphere of 1st-century Judea under Roman control, blending historical styles with epic filmmaking scale.

Provides glimpses of Roman power, architecture (in Rome), and naval presence, creating a believable backdrop for the era, albeit through a Hollywood lens.

The film's grand sets showcase Roman architectural elements (columns, arches) and attempt to depict Judean domestic architecture, praised for its scale and detail.

Costumes effectively differentiate between Roman military/official attire (armor, togas) and Jewish civilian clothing, contributing significantly to the period feel.

Legionary armor, standards, and the overall look of Roman soldiers are depicted consistent with popular understanding and historical reconstructions of the time.

Visually striking but historically inaccurate due to the depiction of chained slaves as rowers.

The massive set successfully conveys the scale and grandeur of a major Roman circus designed for chariot racing.

Effectively portrays the isolation and grim conditions imposed on those suffering from leprosy, reflecting historical societal attitudes.

The Star of David is shown as a symbol of Judaism (e.g., on a pendant). This symbol did not adopt this specific meaning until the Middle Ages, making its use anachronistic.