Miller is a fictional character, though potentially inspired by the actions of various Westerners who remained in Nanjing during the massacre.

Mo is a central character from the novel the film is based on, representing a group but not a specific historical individual.

Shu represents the innocent victims of the massacre, particularly the students trapped in the city, but is fictional.

George is a fictional character serving as Miller's helper and translator, representing Chinese civilians caught in the conflict.

Major Li represents the Chinese soldiers who fought against the Japanese invasion, but he is a fictional creation.

Hasegawa is a fictional antagonist representing the Japanese military command responsible for atrocities in Nanjing.

The film is set during the historical Rape of Nanjing (Nanking Massacre) following the city's capture by the Japanese Imperial Army.

The Japanese army invaded and captured Nanjing in December 1937 after fierce fighting.

Historical accounts confirm mass killings, widespread rape, looting, and arson committed by Japanese soldiers against soldiers and civilians.

Figures like John Rabe and Minnie Vautrin established safety zones and tried to protect civilians; the film reflects this foreign presence.

Many Chinese civilians sought safety in designated zones, often centered around foreign properties like churches and universities.

This central plot point, where prostitutes pose as schoolgirls to save them from the Japanese, originates from the novel and is not a documented historical event.

The character John Miller and his impersonation of a priest are fictional elements created for the story.

Represents the documented targeting and abduction of women for sexual slavery ('comfort women') and assault, though this specific incident is fictional.

Pockets of Chinese soldiers continued to resist the Japanese advance even as the city fell, often fighting against overwhelming odds.

While the specific escape depicted is fictional, many individuals did attempt perilous escapes from the city during the massacre.

The film effectively portrays the horrific violence, fear, and chaos that characterized the Nanjing Massacre, aligning with historical descriptions.

The specific interactions and evolving relationships between Miller, the prostitutes, and the schoolgirls are fictional narrative devices.

The film effectively recreates the look of Nanjing under siege, including destroyed buildings and streets filled with debris and bodies.

While the specific cathedral is fictional, the set design realistically portrays a large Western-style church providing refuge.

The clothing worn by the schoolgirls and other Chinese civilians appears appropriate for the time period and circumstances.

The qipaos and makeup, while perhaps stylized for the film, generally reflect common attire for such women in that era's urban China.

The uniforms, helmets, weapons, and vehicles used by the Japanese soldiers appear historically accurate for the period.

The portrayal of the Chinese soldiers' uniforms and gear, often less standardized than the Japanese, seems accurate for the KMT forces of 1937.

The film successfully conveys the terrifying atmosphere within Nanjing during the massacre through sound design, visuals, and acting.

The dialogue includes Mandarin, English, Japanese, and the Nanjing dialect, reflecting the diverse groups present in the city at the time.