Based on George L. Stout, a leader in art conservation and key figure in the MFAA. The film captures his leadership role but simplifies his specific background and activities.

Based on James J. Rorimer, who was heavily involved in MFAA work, particularly recovering art from Neuschwanstein Castle, and later became director of the Metropolitan Museum of Art.

Based on Robert K. Posey, an architect who served in the MFAA and played a key role in securing the Altaussee salt mine repository.

Based on Walker Hancock, an American sculptor who served with the MFAA and was involved in identifying and recovering art caches.

Appears to be a largely fictional character, perhaps representing French cooperation or liaison roles. His death in the film is fictional; the real figure he might partly evoke (Jacques Jaujard) survived the war.

Based on Ronald E. Balfour, a British historian serving with the MFAA who was killed in action in 1945. The circumstances of his death are significantly altered in the film for dramatic effect.

The MFAA section was established under Allied command with the dual mission of protecting cultural sites during combat and recovering art looted by the Nazis.

Many MFAA officers were indeed middle-aged academics, curators, architects, and artists, often lacking recent combat experience but possessing crucial expertise.

MFAA personnel operated across liberated and conquered territories in Europe, often working close to combat zones to assess damage and secure sites.

Monuments Men faced dangers from enemy fire, booby traps, and accidents. They also sometimes encountered skepticism from combat commanders who prioritized immediate military objectives over art preservation.

Vast quantities of art looted by Hitler were hidden in the Altaussee salt mine in Austria, discovered by MFAA personnel (Posey/Campbell character).

Neuschwanstein Castle in Germany was used by the ERR (Nazi looting organization) as a major repository and administrative center, where significant artworks were recovered by MFAA (Rorimer/Granger character).

Hitler issued decrees late in the war ordering the destruction of infrastructure and potentially cultural treasures to prevent them falling into Allied hands, creating urgency for the MFAA.

The Bruges Madonna sculpture was stolen by Nazis from Bruges, Belgium, and recovered by Monuments Men (including Posey/Campbell) from the Altaussee mine.

The panels of the Ghent Altarpiece were stolen and moved multiple times, eventually recovered by Monuments Men (including Posey/Campbell) from the Altaussee mine.

Rose Valland's secret documentation of Nazi looting in Paris was critical in helping the MFAA locate and identify stolen artworks after liberation.

Two MFAA officers were killed in action (including Ronald Balfour). The film depicts deaths based on these facts but alters names and circumstances for dramatic purposes (Jeffries, Clermont).

The film effectively conveys the unprecedented scale and systematic nature of Nazi art looting across occupied Europe.

Despite challenges, the MFAA program was remarkably successful, locating and facilitating the return of millions of looted artworks and cultural objects.

The film effectively dramatizes the philosophical and ethical questions the real Monuments Men faced regarding the value of cultural heritage in the midst of total war.

The film accurately sets the action in the final years of WWII in Europe, across the key countries where the MFAA operated.

Visually represents the destruction and chaos prevalent in European cities and countryside during and immediately after intense fighting.

Key locations where major art caches were hidden and recovered are depicted, capturing the scale and nature of these repositories (e.g., vast mine tunnels, castle rooms).

Settings reflect typical environments for Allied forces operating in Europe, including field camps and established headquarters.

Uniforms for American, British, and German forces, as well as vehicles (jeeps, trucks) and equipment, appear appropriate for the 1944-45 period.

Shows the challenges of carefully handling, documenting, and transporting priceless, often fragile, artworks under difficult wartime and post-war conditions.

Effectively contrasts the relief and chaos of liberated areas with the tension and danger within collapsing Nazi Germany, including encounters with die-hard soldiers or civilians.

The juxtaposition of beautiful, irreplaceable artworks against the backdrop of brutal warfare and destruction is a central visual and thematic element accurately portrayed.

Background details like radio equipment, field telephones, and documentation methods appear consistent with the technology of the 1940s.