NEW YORK - "Gods and Generals" (Warner Bros.) arrives in theatres as a prequel to "Gettysburg," released 10 years earlier. This epic, 220-minute drama covers the early years of the Civil War, 1861-63, focusing on Confederate and Union military leaders as they examine their loyalties and plan battle strategies.

As with "Gettysburg," which was based on the late Michael Shaara's novel, "Gods and Generals" is based on the novel of the same name by Shaara's son, Jeff. Ron Maxwell served as director for each film.

The film opens promisingly as Gen. Robert E. Lee (Robert Duvall) declines Lincoln's invitation to head the Army since Lee feels a much stronger tie with his native Virginia. Also siding with Virginia and states' rights against what he considers a Union invasion is Virginia Military Institute teacher "Stonewall" Jackson (Stephen Lang), who will become Lee's most trusted aide.

Much of the film is seen from the Confederate perspective as Lee and the deeply religious Jackson feel the justice of the South's need to secede and a moral certitude that God is on their side. Surprisingly, the slavery issue is underplayed and only two blacks -- Jackson's cook (Frankie Faison) and a female servant -- have even minor roles in the story.

The North is eventually represented by Maine teacher-turned-soldier Lt. Col. Chamberlain (Jeff Daniels), who shares a Bible reading with saddened wife Fanny (Mira Sorvino) before reporting for duty alongside his sergeant brother (C. Thomas Howell). In a smaller role, Gen. Hancock (Brian Mallon) brings some dramatic conflict into the Northern leaders' strategizing by disagreeing with their plans to outmaneuver Lee.

Another spirited performance is from Kevin Conway as an Irish soldier who comments on how he and his fellow countrymen left persecution for the land of the free only to ironically find themselves now shooting at each other from opposing camps. This and other scenes point to an undercurrent of antiwar sentiment that is apparent despite the many references to honor and duty to one's country.

While the battle scenes are impressive, the historical drama, also written and produced by Maxwell, requires much patience as scenes are drawn out and the generals are allowed to give lengthy speeches that break the movie's momentum. While the military leaders are devoutly religious and fiercely patriotic, they are depicted in such monumentally noble terms they are almost seen as gods themselves. Their pronouncements are delivered as if from on high with no shortage of swelling music to underline their righteousness. A little of this goes a long way, but it's too long a way from start to finish of this film.

Countering these flaws is the memorable production design with authentic-looking costumes and weapons, not to mention the widescreen cinematography that captures war-torn towns and unspoiled bucolic landscapes alike. The well-staged battles of Fredericksburg and Chancellorsville, Va., humanize the soldiers, trapped in the misery of making war, who have to kill or be killed. The violence, remarkably, is not gory.

Jackson's rock-solid faith in God's will, a major theme of the film, can also be inspirational, as when he explains he feels as safe in battle as he does in his own bed, so trusting is he in God's plan for his life and the hour of his death. "We serve a loving God and must not fear," he admonishes his long-suffering wife (Kali Rocha).

The solemn -- even grim -- tone of the movie gets a moment of mirth as entertainers perform for the troops and Ted Turner, whose film company financed the film, is seen as a Confederate officer grinning at the musical show. A half-dozen present-day Washington politicos also show up in costume as extras in the film.

Though Lang has more screen time as the heroic and tragically wounded Jackson, Duvall outperforms him by giving a more measured portrayal of the cagey Lee, whose strategizing brings triumph in sections of the war.

Civil War aficionados should find the movie fascinating, but its lumbering pace and the way every scene is given equal weight, which diminishes the high points, may make it less attractive to a mainstream audience used to under two-hour-length films. Intended as a trilogy, the end credits announce that the final third is titled "The Last Full Measure," but one wonders if its production will depend on the box-office reception of "Gods and Generals."

Because of battlefield violence, the USCCB Office for Film & Broadcasting classification is A-II -- adults and adolescents. The Motion Picture Association of America rating is PG-13 -- parents are strongly cautioned. Some material may be inappropriate for children under 13.

Pare is the director of the Office for Film & Broadcasting of the U.S. Conference of Catholic Bishops.