Jackson's deep religious faith, military skill (especially flank marches), and some eccentricities are historical. However, the film is often criticized for overly romanticizing him, downplaying harsher aspects, and presenting a near-hagiographic portrayal aligned with "Lost Cause" mythology.

Duvall's portrayal physically resembles Lee more than Sheen's in Gettysburg. The film depicts his early war command and relationship with Jackson, but like Jackson, his portrayal is often seen through a sympathetic, "Lost Cause" lens, minimizing the centrality of slavery.

Chamberlain was a real figure. The film accurately depicts his presence at the Battle of Fredericksburg and his role commanding the 20th Maine, setting up his story for Gettysburg. His character provides a key Union perspective.

Longstreet appears, accurately portrayed as one of Lee's key corps commanders during this period. His role is less central than Jackson's but consistent with his historical position.

Hancock is accurately shown as a capable Union division/corps commander, particularly highlighted during the Battle of Fredericksburg. His friendship with Confederate Gen. Armistead is referenced.

Anna was Jackson's real second wife. The film depicts their affectionate relationship and shared piety, based on historical accounts and letters, though dialogue is dramatized.

The film accurately tells the story of Jackson's campaigns and rise to prominence from First Manassas/Bull Run (earning his nickname) through Fredericksburg to his death after Chancellorsville.

The film is widely criticized for heavily promoting a "Lost Cause" interpretation, emphasizing states' rights and homeland defense while downplaying or ignoring slavery as the primary cause of secession and war. Dialogue often reflects this disputed viewpoint.

Often criticized for portraying slavery in a sanitized, benign light, focusing on seemingly content or loyal enslaved people (Jim Lewis, Martha) and largely ignoring the institution's brutality and central role in the conflict.

Accurately shows Jackson earning his "Stonewall" nickname and the Confederate victory in the first major battle of the war.

Accurately depicts the disastrous Union frontal assaults against entrenched Confederates on Marye's Heights, the street fighting in the town, and the role of specific units like the Irish Brigade and Chamberlain's 20th Maine (holding ground under artillery fire).

Accurately portrays Lee's daring division of forces, Jackson's successful and famous flank march hitting the Union right wing, and the subsequent Confederate victory, considered Lee's masterpiece.

The film correctly shows Jackson being accidentally shot by his own troops while scouting at night after the flank attack at Chancellorsville.

Jackson's arm amputation and subsequent death from pneumonia days later are depicted according to historical accounts.

The film accurately shows the 20th Maine and Chamberlain enduring heavy artillery fire while supporting the Union assaults at Fredericksburg, showcasing his pre-Gettysburg experience.

Scenes depict the wives and home lives of generals, based on historical relationships and settings. However, specific dialogues and interactions are largely dramatized constructions based on the novel.

The film skips major battles like Antietam (September 1862), the bloodiest single day, which occurred between First Manassas and Fredericksburg and had significant strategic consequences (including leading to the Emancipation Proclamation).

Jackson was famously devout, and religious faith was important to many soldiers on both sides. However, the film's heavy, sometimes overwhelming, emphasis on piety, particularly Jackson's, is seen by critics as part of its romanticized portrayal.

Like Gettysburg, the film utilized thousands of Civil War reenactors, ensuring a high degree of authenticity in the appearance, equipment, and movements of large bodies of troops in battle scenes.

Generally accurate portrayal of the varied uniforms (including early war state militia distinctions), flags, muskets, cannons, and accoutrements used by both armies in the 1861-1863 period.

Basic Civil War tactics (lines of battle, charges, artillery deployment) are shown accurately, benefiting from the reenactors' expertise. Depictions of street fighting in Fredericksburg are notable.

Filming occurred at or near actual battle locations (or convincing stand-ins like Harper's Ferry for Fredericksburg town scenes), lending authenticity to the terrain and strategic settings.

Depictions of towns, homes (like Jackson's house in Lexington, though some location details are slightly off), and civilian life provide a reasonable backdrop for the era.

Captures the initial enthusiasm, the scale of battles, and camp life. However, the pervasive "Lost Cause" gloss and sanitized portrayal of slavery detract from a fully accurate rendering of the era's atmosphere.

While battle scenes show men falling, the film, similar to Gettysburg, generally avoids the graphic and visceral depiction of wounds and suffering described in historical accounts.

Scenes showing prayer meetings and the importance of religion in the camps reflect the historical reality of religious revivals and piety within the armies, particularly the Confederate Army of Northern Virginia.