Oppenheimer
Executive Summary
Pass/Consider/Recommend/Highly Recommend
Promo
USP: Discover the untold story of J. Robert Oppenheimer, a brilliant physicist torn between his scientific pursuits and the moral implications of his work, in this captivating script that blends historical events, personal relationships, and ethical dilemmas. With sharp dialogue, intellectual banter, and a blend of personal and scientific themes, this screenplay delves into the complexities of the Manhattan Project, the development of the atomic bomb, and the personal struggles of those involved. Witness the intense relationships, inner conflicts, and high stakes as the characters navigate the world of nuclear research, political intrigue, and moral dilemmas. This unique and engaging script offers a fresh perspective on historical events, showcasing the authenticity of characters' actions and dialogue, and challenging conventional narratives.
Overview
Genres: Drama, Historical, Biography, Biographical, War, Thriller, Political, Romance
Setting: 1940s to 1960s, Washington D.C., Los Alamos, New Mexico, Princeton, and various other locations in the United States and Europe
Overview: The screenplay demonstrates a solid foundation with strengths in character development, dialogue effectiveness, thematic depth, and emotional impact. However, there are areas that require improvement, such as pacing issues, resolution satisfaction, and underdeveloped character arcs.
Themes: Nuclear Research and its Implications, Loyalty and Trust, Politics and Power, Personal Relationships and Struggles, Secrecy and Compartmentalization
Conflict and Stakes: The primary conflict in this story is the investigation and eventual denial of security clearance for J. Robert Oppenheimer, who is accused of being a security risk due to his past associations with communists. The stakes are high, as Oppenheimer's reputation and career are on the line, and the future of atomic energy research in the United States is at risk. The investigation and hearings also reveal deeper conflicts about the role of government in regulating scientific research and the potential consequences of atomic energy.
Overall Mood: Serious and contemplative, with moments of tension and drama
Mood/Tone at Key Scenes:
- Scene 1: Serious and formal, with a sense of anticipation as Strauss prepares for the hearing.
Standout Features:
- Historical Significance: The story of J. Robert Oppenheimer and the development of the atomic bomb is a significant and fascinating chapter in American history.
- Compelling Characters : The film features a diverse and dynamic cast of characters, including J. Robert Oppenheimer, Lewis Strauss, General Leslie Groves, and Edward Teller.
- Timely Themes : The film explores the ethical and political implications of atomic energy research, which remains a relevant and important topic today.
Comparable Scripts:
Market Analysis
Budget Estimate:$40-50 million
Target Audience Demographics: Adults aged 25-54, fans of historical dramas, political thrillers, and biographical films
Marketability: This screenplay has the potential to attract a wide audience due to its historical significance, compelling characters, and timely themes. The investigation and hearings surrounding Oppenheimer's security clearance provide a dramatic backdrop for exploring the ethical and political implications of atomic energy research.
The unique blend of historical drama, political thriller, and biographical film, along with its exploration of compelling themes, make this screenplay stand out. However, the subject matter may be challenging for some audiences, and the film's length and complexity may limit its appeal.
The story of J. Robert Oppenheimer and the development of the atomic bomb is a significant and fascinating chapter in American history. The film's exploration of the ethical and political implications of atomic energy research, along with its compelling characters and dramatic narrative, make it a strong candidate for success at the box office and in awards season.
Profit Potential: High, due to strong appeal to a wide adult audience and potential for award nominations
Scene Level Percentiles
Emotions Elicited Percentiles
This is a rough estimate of how the average intensity of emotions elicited in this script compare to all scripts in the Vault (all genres).
Higher isn't necessarily better. This is FYI.
Screenplay Analysis
- Originality (90.83) stands out, indicating a unique and creative story. High scores in Concept (84.96), Emotional Impact (68.14), Stakes (78.16), and Character Changes (83.72) suggest a strong foundation in storytelling.
- Engagement (87.5) is impressive, implying that the screenplay captures and maintains reader interest.
- Formatting (10.83) is above average, indicating that the script adheres to industry standards.
- Plot (21.68) could benefit from more development to create a more engaging and coherent storyline.
- Structure (7.5) is significantly lower than other elements, suggesting a reevaluation of the story's progression and pacing.
- Pacing (14.17) is also an area to focus on, as it might affect the overall rhythm and flow of the story.
- External Goal (20) can be improved to provide clearer objectives for the characters and strengthen the narrative.
The writer demonstrates a more intuitive style, with strong character development and dialogue, but could benefit from further development of concept and plot elements.
Balancing Elements- Developing plot and structure in tandem with character and dialogue can create a more balanced and engaging screenplay.
- Improving pacing and external goals can help maintain reader interest and create a more satisfying narrative arc.
Intuitive
Overall AssessmentThe screenplay shows promise with its unique concept, engaging characters, and strong emotional impact. Focusing on plot development, structure, and pacing can elevate the story to its full potential.
How scenes compare to the Scripts in our Library
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Percentile | Before | After |
|---|---|---|---|---|
| Script Visual Impact | 8.50 | 93 | Moonlight: 8.40 | groundhog day: 8.50 |
| Script Conflict | 8.20 | 85 | Parasite: 8.00 | the dark knight rises: 8.20 |
| Scene Engagement | 9.00 | 81 | The Addams Family: 8.99 | fight Club: 9.00 |
| Script Theme | 8.60 | 79 | Witness: 8.50 | Mr. Smith goes to Washington: 8.60 |
| Scene High Stakes | 8.3 | 77 | Conclave: 8.2 | Vice: 8.3 |
| Script Originality | 8.30 | 75 | American Fiction: 8.20 | the 5th element: 8.30 |
| Scene Dialogue | 8.1 | 72 | Parasite: 8.0 | Mr. Smith goes to Washington: 8.1 |
| Script Structure | 8.10 | 71 | Jojo rabbit: 8.00 | Titanic: 8.10 |
| Scene Originality | 8.83 | 69 | The Umbrella Academy: 8.82 | Shaun of the Dead: 8.83 |
| Scene Conflict Level | 8.0 | 68 | 12 years a slave: 7.9 | a few good men: 8.0 |
| Script Emotional Impact | 8.00 | 67 | Argo: 7.90 | the 5th element: 8.00 |
| Overall Script | 8.25 | 66 | The Hudsucker Proxy: 8.20 | Black mirror 304: 8.25 |
| Scene Character Changes | 7.3 | 65 | A real pain : 7.2 | Casablanca: 7.3 |
| Scene Characters | 8.5 | 63 | Triangle of sadness: 8.4 | fight Club: 8.5 |
| Scene Story Forward | 8.2 | 57 | The King's speech: 8.1 | True Blood: 8.2 |
| Scene Concept | 8.2 | 57 | Coda: 8.1 | face/off: 8.2 |
| Scene Unpredictability | 7.48 | 49 | Mr. Smith goes to Washington: 7.47 | Oppenheimer: 7.48 |
| Scene Emotional Impact | 7.8 | 45 | Gran Torino: 7.7 | Blade Runner: 7.8 |
| Script Premise | 7.90 | 39 | Zootopia: 7.80 | fight Club: 7.90 |
| Scene Overall | 8.2 | 28 | Ted: 8.1 | a few good men: 8.2 |
| Scene Plot | 7.7 | 27 | Hot Fuzz: 7.6 | fight Club: 7.7 |
| Scene Internal Goal | 8.00 | 20 | KILLING ZOE: 7.98 | fight Club: 8.00 |
| Scene Pacing | 8.12 | 20 | Moonlight: 8.11 | Donnie Darko: 8.12 |
| Script Characters | 7.60 | 19 | Witness: 7.50 | severance (TV): 7.60 |
| Scene External Goal | 7.00 | 12 | A real pain : 6.98 | Everything Everywhere All at Once: 7.00 |
| Scene Formatting | 8.00 | 11 | Wild Wild West: 7.98 | Arsenic and old lace : 8.00 |
| Script Structure | 8.00 | 9 | Easy A: 7.99 | Requiem for a dream: 8.00 |
Writer's Voice
Summary:The writer's voice is characterized by sharp dialogue, intellectual banter, and a blend of personal and scientific themes. The dialogue is fast-paced, witty, and often thought-provoking, exploring complex moral and ethical dilemmas faced by the characters.
Best representation: Scene 7 - The Revocation of Oppenheimer's Security Clearance: A Look at the Key Players and Events. This scene is the best representation of the writer's voice because it encapsulates the sharp dialogue, intellectual banter, and blend of personal and scientific themes that characterize the screenplay. The dialogue between Oppenheimer and Teller is intense and thought-provoking, exploring the moral and ethical dilemmas of creating a weapon of mass destruction.
Memorable Lines:
- Oppenheimer: And now I am become Death... destroyer of worlds. (Scene 5)
- Oppenheimer: You didn’t hire me despite my left-wing past, you hired me because of it. So you could control me. (Scene 13)
- Oppenheimer: Theory will take you only so far. (Scene 11)
- Pash: You see me as persistent- (Scene 18)
- Oppenheimer: A bomb, Alvarez. A bomb. (Scene 6)
Writing Style:
The screenplay exhibits a strong emphasis on sharp dialogue, complex characters, and thematic depth, often exploring political intrigue and moral dilemmas within historical contexts. The narrative is driven by intense dialogue exchanges, high emotional stakes, and philosophical conflicts, resulting in thought-provoking and emotionally charged scenes.
Style Similarities:
- Aaron Sorkin
- Tony Kushner
Story Shape
Emotions Elicited
Recommend
Executive Summary
The 'Oppenheimer' screenplay is a powerful and compelling exploration of a complex historical figure and the moral dilemmas surrounding the development and use of the atomic bomb. The screenplay's strengths lie in its historical accuracy, character development, and thought-provoking themes. Some areas for improvement include pacing, further development of female characters, and a deeper exploration of the consequences of nuclear weapons.
- The screenplay masterfully blends historical accuracy with dramatic storytelling, creating a captivating and thought-provoking narrative. high
- Oppenheimer's complex character arc is portrayed with depth and nuance, exploring his brilliance, flaws, and internal conflicts. high
- The dialogue is sharp, intelligent, and often laced with wit, reflecting the intellectual environment and the characters' personalities. high
- The use of flashbacks and flash-forwards effectively adds depth and context to the narrative, building suspense and revealing Oppenheimer's emotional journey. medium
- The portrayal of the Los Alamos community and the scientists' personal lives adds a human dimension to the story, highlighting the sacrifices and moral dilemmas they faced. medium ( Scene 12 Scene 20 Scene 25 )
- The pacing could be tightened in certain sections, particularly during the middle act where the focus on scientific details might slow down the momentum for some viewers. medium
- The female characters, particularly Kitty and Jean Tatlock, could benefit from further development and exploration of their motivations and inner lives. medium ( Scene 8 Scene 15 Scene 29 )
- While the consequences of the atomic bomb are mentioned, a more explicit exploration of the human cost and long-term implications could enhance the film's impact. medium ( Scene 30 Scene 35 Scene 37 )
- The screenplay could benefit from a more detailed exploration of the political landscape and the decision-making processes that led to the use of the atomic bomb. medium
- The recurring motif of feet stamping, growing faster and faster, effectively symbolizes Oppenheimer's growing anxiety and the escalating threat of nuclear war. high ( Scene 25 Scene 40 Scene 42 )
- The use of the Bhagavad Gita and Oppenheimer's quote 'Now I am become Death, destroyer of worlds' adds a layer of philosophical and moral complexity to his character. high ( Scene 4 Scene 24 Scene 26 )
- The screenplay cleverly uses the Strauss hearings to frame the narrative, gradually revealing the complex relationship between Oppenheimer and Strauss. medium ( Scene 1 Scene 31 Scene 39 )
Screenplay Insights:
Premise: 7.9, The screenplay has a solid premise that explores the complex moral implications of scientific discovery, particularly in the context of nuclear weapons development. However, some elements of the premise could be further refined and expanded upon to enhance its originality and overall appeal. See More
Structure: 8.1, The screenplay exhibits a solid structure and engaging plot that effectively drives the narrative. However, certain aspects could be refined to enhance clarity, pacing, and emotional impact. See More
Theme: 8.6, The screenplay effectively explores themes related to the moral implications of scientific advancements, power struggles, and personal sacrifices in the pursuit of knowledge. It conveys impactful messages about the responsibilities of scientists, the dangers of unchecked ambition, and the lasting consequences of our actions. See More
Visual Impact: 8.5, The screenplay effectively captures the complex emotions and tensions of its characters through visually descriptive language. The screenplay stands out for its depiction of introspective moments and the impact of the atomic bomb, creating a strong emotional connection with the audience. See More
Emotional Impact: 8.0, This screenplay possesses a solid emotional foundation, effectively evoking a range of emotions and engaging the audience on a personal level. However, there are some areas where the emotional depth could be further enhanced to create a lasting impact. See More
Conflict: 8.2, The screenplay handles conflict and stakes effectively, presenting a compelling narrative of scientific ambition, moral dilemmas, and political intrigue. However, it could further enhance its impact by emphasizing personal stakes and escalating them gradually. See More
Originality: 8.3, The screenplay presents a captivating and original narrative that delves into the complex world of nuclear science, power dynamics, and moral dilemmas. It skillfully weaves historical events with fictional character arcs, resulting in a thought-provoking and deeply immersive experience. See More
Screenplay Story Analysis
Note: This is the overall critique. For scene by scene critique click here
Summaries
- The scene takes place in a Senate office and committee hearing room, where Lewis Strauss is being prepared for a hearing about his relationship with J. Robert Oppenheimer. Strauss recalls meeting Oppenheimer in 1947 and trying to recruit him for the Institute for Advanced Study at Princeton. The scene also includes a flashback to Oppenheimer's time at Cambridge, where he struggled with his studies and felt homesick. Strauss expresses some concern about being asked about his relationship with Oppenheimer during the hearing. The scene ends with Strauss entering the committee room for the hearing, as a voiceover asks why he left the United States.
- The scene opens with an introspective Oppenheimer grappling to visualize the world of atomic energy. A flashback shows a younger Oppenheimer, stirred by points of light, propelling him to Cambridge's laboratory. There, he encounters Niels Bohr for the first time, who advises him to study under Max Born at Gottingen. Despite initial skepticism from Blackett, Bohr's encouragement sparks hope in Oppenheimer, ending the scene with a promising outlook.
- Lewis Strauss approaches J. Robert Oppenheimer and Albert Einstein outside the Institute for Advanced Study in Princeton, but only Oppenheimer engages in conversation. Strauss offers Oppenheimer a job, who is noncommittal and mentions the good commute. Later, Strauss is questioned about his hiring process in a Senate hearing by Senator McGee. The main conflict lies in Strauss's concern about Oppenheimer's past and whether it should affect his job appointment, which is not resolved in the scene. The tone is serious and formal, with a hint of tension between Strauss and Oppenheimer. Key pieces of dialogue include Strauss's question to Oppenheimer about what he said to Einstein, and Oppenheimer's mention of his past concerns. The scene ends with Oppenheimer walking away from Strauss, and later with Strauss confirming that Oppenheimer brought his past to his attention before being appointed in the Senate hearing.
- In a lecture hall in Zurich, Oppenheimer meets Heisenberg and expresses his desire to publish together on quantum mechanics. Later in Berkeley, Oppenheimer shares his intention to start a school of quantum theory with Lawrence, and begins teaching a class with Lomanitz and other students.
- In this scene, Oppenheimer shares intimate moments with Tatlock in his bedroom, discussing their interests and pasts. The setting then shifts to a camping trip with Lawrence and Frank, where Frank's announcement of his plan to marry Jackie causes tension with Oppenheimer. The scene ends with Oppenheimer and Lawrence gazing at the stars, with Oppenheimer pointing out a mesa called Los Alamos. The conflicts in this scene revolve around personal matters and politics, and the tone is intimate, personal, and at times, tense.
- In this scene, Oppenheimer and Lawrence discuss a physics problem and visit Alvarez's lab, realizing the potential for a chain reaction and a bomb. Meanwhile, Oppenheimer has a tense interaction with his girlfriend Tatlock, who rejects him. Oppenheimer attends a union meeting and gives a speech, discussing academic unionization with Lawrence. The scene ends with Oppenheimer entering a classroom where students are reading his published paper.
- In this scene, Oppenheimer and Kitty have a heartfelt conversation about Kitty's past, revealing that she was previously married to a union organizer who was killed in the Spanish Civil War. Oppenheimer then goes to Tatlock's house to end their relationship, as Kitty is pregnant with his child. Tatlock is upset but understands. Finally, Oppenheimer gets into an argument with Lawrence about unionizing the radiation lab. The scene is emotional and intense, with Oppenheimer making difficult decisions about his personal and professional life.
- This scene explores the questioning of J. Robert Oppenheimer about his Communist associations during the war and the role of Lewis Strauss in revoking his security clearance. Set in several different locations, the scene features a tense dialogue between Strauss and a Senate Aide, with Oppenheimer depicted as a brilliant scientist with potential blind spots. The scene ends with Oppenheimer reflecting on the consequences of his actions, leaving the conflict unresolved.
- In this scene, General Groves and J. Robert Oppenheimer visit potential locations for a secluded scientific research town, ultimately deciding on Los Alamos. They face resistance from potential recruits who are concerned about leaving their families and the secrecy of the project. Groves becomes frustrated and forceful in his recruitment efforts, while Oppenheimer tries to convince scientists of the importance of the project. The scene ends with Rabi refusing to join and suggesting Hans Bethe as a replacement.
- In this serious and contemplative scene, J. Robert Oppenheimer dons a hat and walks around Los Alamos like a sheriff before visiting Berkeley's radiation lab. There, he discusses the project's progress with Serber and Lomanitz, while Teller shares a calculation suggesting a chain reaction that could destroy the world. Bethe dismisses it as impossible, but Oppenheimer, concerned, decides to visit Einstein in Princeton for advice. The scene ends with Oppenheimer making his way through the woods in Princeton, seeking out Einstein.
- In the Rad Lab at Berkeley, Bethe shares good news about the low probability of an uncontrolled nuclear reaction. At Oppenheimer's house in Berkeley, Oppenheimer and Chevalier discuss the lack of cooperation with allies in sharing research, and Chevalier mentions a chemist who can help pass on information around official channels. Oppenheimer warns him that it would be treason. The scene is filled with a serious tone, excitement, concern, and tension. The conversation is interrupted by Kitty, and the scene ends with Oppenheimer picking up the tray of martinis.
- Robert Oppenheimer gives a tour of Los Alamos to Kitty, Peter, and Hans Bethe, showcasing the basic structures and tight security. Kitty notes the missing kitchen in their new house. At a lecture, Robert discusses the Halifax explosion and the potential power of a nuclear reaction, while Serber demonstrates the small amounts of uranium and plutonium they have. Teller proposes a 'super' atomic bomb using hydrogen, causing dissent among the scientists. The scene ends with this tension, and there are undertones of conflict between Strauss and Oppenheimer regarding the Soviets' possession of an atomic bomb.
- General Groves visits Los Alamos and expresses concern over the open discussions and the employment of wives in the project. Oppenheimer defends their qualifications and the efficiency of the system. Groves agrees to allow top-level meetings once a week but refuses to let Oppenheimer's brother join the project. Oppenheimer confronts Nichols about his security clearance, which hasn't been approved yet. The scene ends with Oppenheimer and Condon discussing the Soviet bomb and the possibility of a hydrogen bomb, while Strauss suggests informing Truman about it. The main conflict in this scene is between Groves and Oppenheimer regarding the management of the project, specifically the open discussions and the employment of wives. The scene is tense and confrontational, with Groves expressing skepticism and concern over Oppenheimer's management decisions.
- In this tense and serious scene, General Groves testifies about Oppenheimer's integrity and the security clearance process, while flashbacks reveal Oppenheimer's time at Los Alamos. The discussion revolves around compartmentalization, security, and past rumors involving Oppenheimer's associates. Groves expresses confidence in Oppenheimer, but Strauss brings up the Chevalier incident, leaving the issue of Oppenheimer's loyalty unresolved.
- In this scene, Oppenheimer learns that his friend Lomanitz has been drafted, which he suspects is due to Lomanitz's unionization efforts at the Radiation Lab. Colonel Nichols informs him about concerns over Communist infiltration through the union, and Oppenheimer is given his Q clearance while being warned not to maintain questionable associations. The scene concludes with Oppenheimer visiting Jean Tatlock, a known Communist, in his hotel room, creating a tense atmosphere and highlighting the main conflict of Oppenheimer's disagreement with Colonel Nichols about Lomanitz's draft and Communist infiltration concerns.
- In this tense scene, J. Robert Oppenheimer testifies before the Atomic Energy Commission about his past relationships, revealing he spent a night with his ex-lover Tatlock. This revelation leads to a confrontation with his wife Kitty, who accuses him of not fighting for their marriage. The scene ends with Oppenheimer meeting with Lieutenant Johnson and warning him about a man named Eltenton.
- In this tense scene, General Groves warns J. Robert Oppenheimer about Boris Pash's aggressive tactics in dealing with suspected security leaks. Later, Oppenheimer meets with Pash and Lieutenant Johnson, where Pash expresses concerns about potential security breaches at the Radiation Lab. Oppenheimer hesitantly reveals that a man named Eltenton might be involved, but refuses to name others. The scene alternates between the train carrying Groves and Oppenheimer, and Johnson's office. The main conflict focuses on the security breach and Oppenheimer's reluctance to disclose further information, which remains unresolved as the scene concludes with Oppenheimer agreeing only to be more specific about Eltenton.
- In this tense and confrontational scene, the 'Chevalier incident' is examined through a series of testimonies and conversations among key Manhattan Project figures, including Oppenheimer, Groves, Pash, and others. The main conflict revolves around Oppenheimer's handling of the incident and the growing mistrust from Groves and Pash. Oppenheimer prioritizes protecting the project's members, causing tension with Pash, who remains skeptical of Oppenheimer's actions. The scene concludes with Oppenheimer's decision to protect those involved and Pash agreeing to consider the information before taking further steps.
- General Groves questions Oppenheimer about his loyalty and the identity of a friend, who is later revealed to be Chevalier. This conflict is resolved when Oppenheimer eventually reveals Chevalier’s name. The scene then shifts to a Christmas party at Los Alamos, where Bohr makes a surprise appearance. Bohr and Oppenheimer discuss the power and implications of the atomic bomb, leaving Oppenheimer to contemplate the future.
- In the snowy woods of Los Alamos, Kitty finds a distraught Robert Oppenheimer, who reveals his ex-lover Jean Tatlock's suicide after a fight. Kitty slaps him and tells him to pull himself together. The scene shifts to a lecture hall where Robert reassigns tasks to his team, replacing Neddermeyer with Kistiakowsky and putting Seth on plutonium. The main conflict is Robert's emotional distress and the team's disagreements over tasks, resolved when Robert takes charge. The emotional tone is somber and serious, with key dialogue including Kitty's reprimand and Robert's reassignment of tasks. Visual elements include Robert's distraught appearance and the goldfish bowl filled with marbles.
- Teller is prevented from leaving Los Alamos, leading to a tense confrontation with Oppenheimer. Teller agrees to stay but only if he can meet with Oppenheimer weekly. The scene then shifts to a meeting of the Atomic Energy Commission where Oppenheimer is questioned about his involvement in the hydrogen bomb's development. The group discusses the potential dangers and implications of building such a weapon. The main conflict lies in Teller's desire to leave and the potential dangers of building the hydrogen bomb. The tone is serious and tense, with the characters all aware of the urgency and importance of the decisions being made.
- In a Senate committee hearing, Strauss testifies about Borden's accusations against Oppenheimer, while in Los Alamos, Oppenheimer attends a meeting of scientists discussing the impact of the Gadget on civilization. Groves and Oppenheimer discuss the project's progress, and Kistiakowsky successfully tests an implosion device. Oppenheimer insists on bringing his brother, Frank, onto the project. Szilard and a scientist approach Oppenheimer to discuss their concerns about the use of the bomb. The scene ends with an explosion and Groves telling Oppenheimer they need to determine a date for the test.
- In the Secretary of War's office, military officials, scientists, and politicians discuss the use of the atomic bomb. The potential damage, psychological impact, and the possibility of an arms race are considered. Groves proposes removing certain scientists from the project, and the group decides to test the bomb before the Potsdam peace conference and use it against Japanese cities if they do not surrender. The scene is marked by a serious and contemplative tone, with a sense of urgency and importance. The main conflict lies in the moral dilemma of using the atomic bomb and its potential consequences.
- At the Trinity Test Site, Frank, Groves, and Oppenheimer discuss the site plan, placement of observation posts, and the B-29 plane's role in confirming safe operating distance. Oppenheimer urges the team to maintain momentum and fire on the 15th. In a lecture hall, Oppenheimer informs division heads, including Bethe, Kistiakowsky, and Teller, about their observation points. The team debates safety distances and radiation clouds. Amidst these discussions, Kitty, Oppenheimer's wife, shares her support and concern as he departs for the test site. Conflicts arise regarding safety, readiness, and potential radiation cloud impact, setting a serious and tense tone for the scene.
- At the Steel Tower, Trinity Test Site, General Groves, J. Robert Oppenheimer, and other personnel prepare for the first nuclear test. Amidst stormy weather and tense discussions about the test's timing and implications, the arming party departs for the tower, and the countdown begins. The successful test brings celebration, relief, and a dramatic shift in tone, despite the potential catastrophic consequences.
- Kitty Oppenheimer is informed that the bomb is ready, while J. Robert Oppenheimer discusses its deployment details with an Air Force officer. General Groves shares that Truman only briefly mentioned the bomb to Stalin, causing Oppenheimer concern. Edward Teller reveals Szilard's petition against the bomb's use, highlighting a conflict between shared responsibility and unique knowledge. The scene ends with Oppenheimer expressing concerns about nuclear war, and Teller raising the possibility of an arms race.
- In this scene, J. Robert Oppenheimer waits for news of the atomic bomb test, only to learn of the bombing of Hiroshima. He announces the news to a crowd, who react with silence and horror. Oppenheimer meets with President Truman, expressing his concerns about the future of atomic energy, grappling with the moral implications of his creation. The scene takes place in various locations in Los Alamos, New Mexico, and the White House, over the course of a day. The main conflict is Oppenheimer's internal struggle with the morality of creating the atomic bomb and the consequences of its use.
- In this scene, Strauss and a Senate Aide discuss Oppenheimer's influence on policy and his vulnerability due to his brother's blacklisting. Meanwhile, Oppenheimer advocates for arms control at a hotel conference room. At a birthday party for Strauss, Oppenheimer is introduced to Strauss's adult children, but they move away awkwardly. Strauss then informs Oppenheimer about Klaus Fuchs, a British scientist who was spying for the Soviets, leaving Oppenheimer stunned. The scene is serious and contemplative, with moments of sadness and shock, and ends with Oppenheimer standing frozen after learning about Klaus Fuchs's spying.
- In a Senate office and corporate auditorium, the scene unfolds with Oppenheimer giving a lecture about the need for candor regarding atomic armaments, while Strauss, a Senate Aide, and Counsel discuss his situation. Oppenheimer's past is used against him, leading to the loss of his security clearance and credibility. The main conflict lies in the tension between his outspokenness and the surveillance he faces. The tone is serious and contemplative, with a sense of betrayal and political maneuvering. The scene ends with Strauss worried about being associated with Oppenheimer's downfall.
- Robert Oppenheimer attends a lecture at Los Alamos about the aftermath of the atomic bombing in Japan, followed by a conversation with Teller about the future of nuclear research and the Cold War. Oppenheimer then gives a speech to the Los Alamos community about the importance of uniting nations to avoid nuclear war. The following scene takes place in a senate office, where Strauss discusses Oppenheimer's influence and the Time Magazine cover featuring Oppenheimer.
- In this tense and serious scene, Lewis Strauss reveals himself as the provider of the file that led to Oppenheimer's investigation. Nichols and Borden discuss the plan to use bureaucratic procedures to ruin Oppenheimer's reputation without a trial. Oppenheimer is informed that his security clearance will not be renewed, and he is given the chance to appeal. The Gray Board, with Roger Robb as prosecutor, will conduct a closed hearing without burden of proof. Teller and Hill will testify against Oppenheimer. Oppenheimer's wife, Kitty, encourages him to fight the charges, while others advise him to let it go. The scene ends with Oppenheimer and his wife discussing their options with Volpe, and Strauss urging Oppenheimer to make a decision quickly.
- In Room 2022 of the Atomic Energy Commission, Garrison defends Oppenheimer amidst communist allegations. The prosecutor, Robb, reveals a recorded interview between Oppenheimer and Boris Pash, which contradicts Oppenheimer's previous statements. Oppenheimer admits to lying to protect his friend Haakon Chevalier, easing the tension. Despite the revelation, Garrison questions the fairness of the proceedings, while Robb and Gray defend their methods. The scene concludes with Oppenheimer admitting to his past lies, marking a significant turning point in the hearing.
- Taking a break outside the hearing room, Rabi informs Oppenheimer about Lawrence's possible testimony against him due to an alleged affair with Ruth Tolman. In the hearing room, Rabi vouches for Oppenheimer's character, loyalty, and associations, but Robb cross-examines him about Oppenheimer's stance on the H-bomb. After the hearing, Rabi confronts Lawrence, who then leaves. The scene ends with Oppenheimer inquiring about the confrontation, maintaining a tense and dramatic atmosphere.
- Strauss is content with Teller's testimony, and the Chairman announces a break, mentioning Dr. Hill's upcoming testimony. However, Robb informs the board that their next witness, Dr. Lawrence, is replaced by William Borden due to illness. Borden's revelation of his letter to J. Edgar Hoover, accusing Oppenheimer of being a Soviet agent, leads to conflict among the board members. Garrison objects to the letter's introduction as evidence, citing its inflammatory nature and lack of relevance, while Robb and Gray argue for its validity. The scene ends with Oppenheimer looking devastated as his stenographer captures the damaging testimony.
- In a Senate Committee Hearing Room, Dr David Hill testifies against Lewis Strauss, citing his personal vindictiveness and inability to change positions, particularly in the Oppenheimer affair. Meanwhile, in Room 2022 of the Atomic Energy Commission, Vannevar Bush is sworn in and expresses his support for Oppenheimer's right to express his opinions. Strauss fumes as he listens to Hill's statement, and the scene ends with the Chairman banging his gavel to restore order.
- In this tense scene, General Groves, the former director of the Manhattan Project, testifies against J. Robert Oppenheimer's clearance, expressing concerns about the potential impact on government research if Oppenheimer's position is revoked. Groves states that he wouldn't clear Oppenheimer today, further raising questions about Oppenheimer's loyalty. Kitty, Oppenheimer's wife, arrives to testify about her past involvement with the Communist Party, potentially adding to the challenges facing Oppenheimer's case. The scene ends with Kitty beginning her testimony before the Gray Board.
- In this tense and confrontational scene, set during a Senate committee hearing, Hill testifies against Strauss and the Gray Board's unfair prosecution of Oppenheimer. Kitty Oppenheimer skillfully handles Robb's questioning about her and her husband's past Communist Party membership and donations, causing laughter in the room and Garrison's approval. The scene is depicted in black and white, with a later cut to Room 2022, Atomic Energy Commission, shown in color. The main conflicts include the tension between Strauss and Hill and the Gray Board's accusations against Oppenheimer, as well as Kitty's clever responses to Robb's questioning.
- In this scene, Robert Oppenheimer observes Edward Teller testify at the Atomic Energy Commission hearing, where Teller expresses mistrust in Oppenheimer's character despite acknowledging his loyalty to the US. Parallel discussions among Kitty, Garrison, and Volpe reveal frustration towards Oppenheimer's friendly demeanor with Teller. The scene takes a dramatic turn as Albert Einstein appears to Oppenheimer, advising him to resist the government's accusations and even leave the country. The scene concludes with Einstein's encouragement for Oppenheimer to stand up to the government, setting the stage for potential defiance.
- Lewis Strauss bursts into a Senate office, frustrated about the hearings' focus on the trial itself. He discusses the implications of Oppenheimer's statements with a Senate Aide. Simultaneously, at the Atomic Energy Commission, Oppenheimer is questioned about his moral qualms regarding the Hydrogen bomb and his involvement in selecting the target for the atomic bomb drop on Japan. The scene is filled with tension, interrogation, and accountability, ending with Oppenheimer's account of the atomic bomb's casualties.
- In a Senate office, Lewis Strauss criticizes J. Robert Oppenheimer's actions and motivations related to the atomic bomb. In contrast, the Atomic Energy Commission room displays Oppenheimer sharing his views on the bomb's use and his moral scruples about the hydrogen bomb with Senator Bourke B. Hickenlooper and Commissioner Thomas E. Murray. The scene concludes with Gray's thoughtful question about the development of Oppenheimer's moral convictions regarding the hydrogen bomb.
- In this somber and tense scene, Lewis Strauss is denied a cabinet position due to his role in the Atomic Energy Commission's denial of J. Robert Oppenheimer's security clearance renewal. The scene transitions between a Senate office and Room 2022, Atomic Energy Commission, highlighting the consequences of Strauss's actions. Oppenheimer's wife expresses disappointment in his actions, while Strauss faces humiliation and anger when denied the cabinet position. The scene ends with Strauss facing the hungry press pack beyond the door, as the conflicts remain unresolved.
- Robert Oppenheimer meets Albert Einstein by a lake, where Einstein compares a past reception for him to Oppenheimer's current situation. Oppenheimer receives a medal from President Lyndon Johnson in a formal setting at the White House. The conversation turns to past calculations, leading to a revelation about the consequences of their work. The scene is contemplative and nostalgic, with a hint of melancholy, and ends with a cliffhanger for the next scene.
-
Character Oppenheimer
Description Oppenheimer's casual admission of attempted murder to Tatlock seems out of character for someone portrayed as emotionally complex and troubled. This action appears driven by the plot's need to introduce his dark past.
( Scene 1 Scene 2 ) -
Character Kitty
Description Kitty's sudden shift from pragmatism about her husband's death to passionate involvement with Oppenheimer seems abrupt and lacks sufficient build-up.
( Scene 7 )
-
Description The timeline of Oppenheimer's security clearance approval seems inconsistent. He is informed of its approval in sequence 8, but in sequence 15, Nichols states it hasn't been approved yet.
( Scene 8 )
-
Description The explanation for Lomanitz's drafting seems contrived. The connection between his unionization efforts and the security concerns at Los Alamos feels weak and convenient for the plot.
( Scene 15 )
-
Description The scientists' casual and humorous use of technical jargon in serious situations sometimes feels out of place and detracts from the gravity of the subject matter.
( Scene 14 )
-
Element Oppenheimer's reassurance to Lomanitz
( Scene 2 Scene 14 )
Suggestion While the repetition emphasizes Oppenheimer's mentorship, one instance could be cut to streamline the narrative. -
Element Scenes of Oppenheimer struggling with his conscience
( Scene 20 Scene 27 Scene 30 )
Suggestion The repeated scenes of Oppenheimer's internal conflict could be consolidated or presented with more variation to avoid redundancy and maintain emotional impact.
Oppenheimer - Score: 83/100
Role
Protagonist
Character Analysis Overview
Groves - Score: 75/100
Character Analysis Overview
Kitty - Score: 78/100
Character Analysis Overview
Strauss - Score: 75/100
Role
Antagonist
Character Analysis Overview
| Theme | Theme Details | Theme Explanation | ||||||||||||
|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|
| Nuclear Research and its Implications (55%) | Discussions about the power of the atomic bomb, potential damage, psychological impact, arms race, and the potential dangers and implications of building a hydrogen bomb. | The screenplay explores the scientific and political aspects of nuclear research, highlighting the consequences of creating and using such powerful weapons. | ||||||||||||
Strengthening Nuclear Research and its Implications:
| ||||||||||||||
| Loyalty and Trust (30%) | Questions about Oppenheimer's loyalty, trustworthiness, and protection of friends, as well as concerns about Communist infiltration and security breaches. | The screenplay delves into the theme of loyalty and trust, as characters grapple with the implications of Oppenheimer's relationships and the potential risks they pose to the project. | ||||||||||||
| Politics and Power (25%) | Discussions around the use of the atomic bomb, the decision-making process, and the influence of policy on nuclear research. | The screenplay touches on the theme of politics and power, shedding light on the role of politicians and military officials in shaping the course of nuclear research and its applications. | ||||||||||||
| Personal Relationships and Struggles (20%) | Depictions of Oppenheimer's personal relationships, including his marriage, friendships, and romantic involvements, as well as the personal struggles of other characters. | The screenplay incorporates personal relationships and struggles to provide a more nuanced understanding of the characters and their motivations. | ||||||||||||
| Secrecy and Compartmentalization (15%) | Discussions about security, compartmentalization, and the challenges of maintaining secrecy in a large-scale project like the Manhattan Project. | The screenplay highlights the importance of secrecy and compartmentalization in the context of nuclear research, reflecting the real-life practices of the Manhattan Project. | ||||||||||||
Screenwriting Resources on Themes
Articles
| Site | Description |
|---|---|
| Studio Binder | Movie Themes: Examples of Common Themes for Screenwriters |
| Coverfly | Improving your Screenplay's theme |
| John August | Writing from Theme |
YouTube Videos
| Title | Description |
|---|---|
| Story, Plot, Genre, Theme - Screenwriting Basics | Screenwriting basics - beginner video |
| What is theme | Discussion on ways to layer theme into a screenplay. |
| Thematic Mistakes You're Making in Your Script | Common Theme mistakes and Philosophical Conflicts |
| Goals and Philosophical Conflict | |
|---|---|
| internal Goals | The protagonist's internal and external goals revolve around navigating personal and political challenges while grappling with moral and ethical dilemmas, especially related to the development and use of the atomic bomb. |
| External Goals | The protagonist's external goals include securing power and influence, navigating military and political pressures, and achieving success in testing and deploying the atomic bomb. |
| Philosophical Conflict | The overarching philosophical conflict revolves around the tension between scientific progress and moral responsibility, personal integrity and political expediency, and the ethical implications of nuclear weapons. |
Character Development Contribution: The evolution of the protagonist's internal and external goals reflects a deepening complexity and moral introspection, leading to a more nuanced understanding of personal values and responsibilities.
Narrative Structure Contribution: The protagonist's goals and conflicts drive the narrative forward by creating tension, stakes, and moral dilemmas that propel the plot and character development.
Thematic Depth Contribution: The goals and conflicts in the screenplay deepen the thematic exploration of power, ethics, loyalty, and the consequences of scientific advancement, adding layers of complexity and philosophical weight to the story.
Screenwriting Resources on Goals and Philosophical Conflict
Articles
| Site | Description |
|---|---|
| Creative Screenwriting | How Important Is A Character’s Goal? |
| Studio Binder | What is Conflict in a Story? A Quick Reminder of the Purpose of Conflict |
YouTube Videos
| Title | Description |
|---|---|
| How I Build a Story's Philosophical Conflict | How do you build philosophical conflict into your story? Where do you start? And how do you develop it into your characters and their external actions. Today I’m going to break this all down and make it fully clear in this episode. |
| Endings: The Good, the Bad, and the Insanely Great | By Michael Arndt: I put this lecture together in 2006, when I started work at Pixar on Toy Story 3. It looks at how to write an "insanely great" ending, using Star Wars, The Graduate, and Little Miss Sunshine as examples. 90 minutes |
| Tips for Writing Effective Character Goals | By Jessica Brody (Save the Cat!): Writing character goals is one of the most important jobs of any novelist. But are your character's goals...mushy? |
| Story Content | Character Development | Scene Elements | Audience Engagement | Technical Aspects | |||||||||||||||||
|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|
| Click for Full Analysis | Tone | Overall | Concept | Plot | Originality | Characters | Character Changes | Internal Goal | External Goal | Conflict | Opposition | High stakes | Story forward | Twist | Emotional Impact | Dialogue | Engagement | Pacing | Formatting | Structure | |
| 1 - Lewis Strauss Prepares for Senate Hearing on Oppenheimer Relationship | Serious, Reflective, Introspective | 8 | 8 | 7 | 9 | 9 | 7 | 8 | 7 | 7 | 7 | 7 | 8 | 7 | 7 | 8 | 9 | 8 | 8 | 8 | |
| 2 - Oppenheimer's Path to Atomic Energy Visualization | Reflective, Intense, Intriguing | 9 | 9 | 9 | 9 | 8 | 9 | 8 | 7 | 7 | 8 | 7 | 8 | 7 | 8 | 8 | 9 | 8 | 8 | 8 | |
| 3 - Strauss's Concerns About Oppenheimer's Past and Job Appointment | Reflective, Serious, Informative | 8 | 8 | 7 | 9 | 9 | 7 | 8 | 7 | 6 | 7 | 6 | 7 | 7 | 7 | 8 | 9 | 8 | 8 | 8 | |
| 4 - Oppenheimer's Quantum Ambitions | Intellectual, Philosophical, Political | 8 | 9 | 7 | 9 | 8 | 5 | 8 | 7 | 6 | 7 | 5 | 7 | 7 | 6 | 9 | 9 | 8 | 8 | 8 | |
| 5 - Intimate Revelations and Tense Announcements: A Scene in Oppenheimer's Life | Intimate, Reflective, Emotional | 8 | 9 | 8 | 9 | 9 | 7 | 8 | 7 | 6 | 7 | 7 | 8 | 8 | 8 | 8 | 9 | 8 | 8 | 8 | |
| 6 - Oppenheimer's Personal Struggles and Scientific Discoveries | Intense, Emotional, Reflective | 8 | 8 | 7 | 9 | 9 | 8 | 8 | 7 | 7 | 7 | 7 | 7 | 7 | 9 | 8 | 9 | 8 | 8 | 8 | |
| 7 - Oppenheimer's Difficult Decisions | Intense, Emotional, Reflective | 8 | 8 | 7 | 9 | 9 | 8 | 8 | 7 | 7 | 8 | 7 | 8 | 7 | 9 | 8 | 9 | 8 | 8 | 8 | |
| 8 - The Revocation of Oppenheimer's Security Clearance: A Look at the Key Players and Events | Serious, Reflective, Tense | 8 | 8 | 8 | 9 | 8 | 8 | 8 | 7 | 8 | 8 | 9 | 9 | 8 | 7 | 9 | 9 | 8 | 8 | 8 | |
| 9 - Resistance and Recruitment: The Pursuit of Scientific Research on Atomic Theory | Serious, Intense, Intriguing | 8 | 8 | 8 | 9 | 7 | 7 | 8 | 7 | 8 | 8 | 9 | 9 | 7 | 7 | 9 | 9 | 8 | 8 | 8 | |
| 10 - Oppenheimer's Concern: Teller's Troubling Calculation | Serious, Intense, Thoughtful | 9 | 9 | 8 | 8 | 8 | 7 | 8 | 7 | 8 | 7 | 9 | 9 | 7 | 7 | 9 | 9 | 8 | 8 | 8 | |
| 11 - Oppenheimer's Internal Struggle: Loyalty vs. Friendship | Tense, Reflective, Serious | 8 | 8 | 7 | 8 | 8 | 7 | 8 | 7 | 8 | 7 | 8 | 8 | 7 | 7 | 7 | 9 | 8 | 8 | 8 | |
| 12 - Teller's Hydrogen Bomb Proposal and Los Alamos Tour | Tense, Informative, Serious, Intriguing | 8 | 9 | 8 | 9 | 7 | 6 | 8 | 7 | 7 | 8 | 9 | 8 | 7 | 6 | 8 | 9 | 8 | 8 | 8 | |
| 13 - Tense Meeting over Project Management and Security Clearance | Tense, Serious, Confrontational | 8 | 8 | 9 | 9 | 8 | 7 | 8 | 7 | 9 | 9 | 8 | 9 | 8 | 7 | 9 | 9 | 8 | 8 | 8 | |
| 14 - Groves' Testimony and the Chevalier Incident: A Glimpse into Oppenheimer's Loyalty | Serious, Tense, Reflective | 8 | 8 | 7 | 9 | 9 | 7 | 8 | 7 | 9 | 8 | 9 | 8 | 8 | 7 | 8 | 9 | 8 | 8 | 8 | |
| 15 - Oppenheimer's Q Clearance and Questionable Associations | Tense, Emotional, Serious | 8 | 8 | 7 | 9 | 9 | 8 | 8 | 7 | 9 | 8 | 8 | 7 | 7 | 9 | 8 | 9 | 8 | 8 | 8 | |
| 16 - Oppenheimer's Testimony and Marital Conflict | Intense, Emotional, Confrontational | 8 | 7 | 8 | 9 | 9 | 8 | 8 | 7 | 9 | 8 | 8 | 8 | 8 | 9 | 8 | 9 | 8 | 8 | 8 | |
| 17 - Potential Security Breach and Reluctant Disclosures | Suspenseful, Intense, Serious | 8 | 8 | 8 | 9 | 7 | 6 | 8 | 7 | 9 | 8 | 9 | 8 | 8 | 7 | 7 | 9 | 8 | 8 | 8 | |
| 18 - The Chevalier Incident: Mistrust and Loyalty in the Manhattan Project | Tense, Suspenseful, Confrontational | 8 | 8 | 8 | 9 | 7 | 7 | 8 | 7 | 9 | 8 | 9 | 9 | 8 | 7 | 9 | 9 | 8 | 8 | 8 | |
| 19 - Investigating Loyalty and the Power of the Atomic Bomb | Tense, Reflective, Serious | 8 | 8 | 7 | 9 | 9 | 8 | 8 | 7 | 7 | 8 | 8 | 8 | 7 | 8 | 8 | 9 | 8 | 8 | 8 | |
| 20 - Robert Oppenheimer's Emotional Distress and Task Reassignments | Distraught, Tense, Emotional, Confrontational | 8 | 7 | 8 | 9 | 9 | 8 | 8 | 7 | 9 | 8 | 8 | 8 | 7 | 9 | 8 | 9 | 8 | 8 | 8 | |
| 21 - Teller's Decision and the Hydrogen Bomb Dilemma | Tense, Confrontational, Reflective | 8 | 9 | 8 | 9 | 8 | 7 | 8 | 7 | 9 | 8 | 8 | 8 | 8 | 7 | 9 | 9 | 8 | 8 | 8 | |
| 22 - Senate Hearing and Progress of the Project | Tense, Serious, Reflective | 8 | 8 | 8 | 9 | 9 | 7 | 8 | 7 | 8 | 8 | 9 | 9 | 7 | 8 | 7 | 9 | 8 | 8 | 8 | |
| 23 - The Decision to Use the Atomic Bomb | Serious, Tense, Contemplative | 8 | 9 | 8 | 8 | 7 | 7 | 8 | 7 | 8 | 8 | 9 | 9 | 7 | 7 | 8 | 9 | 8 | 8 | 8 | |
| 24 - Preparing for the Trinity Test: Site Plans, Safety Concerns, and Final Countdown | Tense, Serious, Foreboding, Determined | 9 | 8 | 9 | 9 | 8 | 6 | 8 | 7 | 7 | 9 | 9 | 9 | 8 | 7 | 8 | 9 | 9 | 8 | 8 | |
| 25 - The Trinity Test: Moment of Truth | Tense, Dramatic, Intense, Emotional, Hopeful | 9 | 9 | 9 | 9 | 8 | 7 | 8 | 7 | 8 | 8 | 10 | 9 | 7 | 9 | 8 | 9 | 9 | 8 | 8 | |
| 26 - The Bomb's Readiness and the Weight of Consequences | Tense, Serious, Contemplative | 8 | 8 | 7 | 8 | 9 | 7 | 8 | 7 | 8 | 8 | 9 | 8 | 7 | 7 | 8 | 9 | 8 | 8 | 8 | |
| 27 - The Weight of Destruction: Oppenheimer Learns of the Bombing of Hiroshima | Tense, Reflective, Emotional | 9 | 9 | 8 | 9 | 9 | 8 | 8 | 7 | 8 | 8 | 9 | 8 | 8 | 9 | 8 | 9 | 8 | 8 | 8 | |
| 28 - Oppenheimer's Advocacy and the Shocking Revelation | Serious, Reflective, Informative | 8 | 8 | 7 | 9 | 8 | 8 | 8 | 7 | 7 | 8 | 8 | 8 | 7 | 9 | 7 | 9 | 8 | 8 | 8 | |
| 29 - Oppenheimer's Fall from Grace: Surveillance, Scrutiny, and Betrayal | Serious, Tense, Reflective | 8 | 8 | 7 | 8 | 9 | 7 | 8 | 7 | 8 | 8 | 9 | 9 | 7 | 7 | 8 | 9 | 8 | 8 | 8 | |
| 30 - Oppenheimer's Disagreement and Call for Unity | Serious, Reflective, Tense | 8 | 8 | 7 | 9 | 8 | 7 | 8 | 7 | 8 | 8 | 8 | 7 | 7 | 8 | 7 | 9 | 8 | 8 | 8 | |
| 31 - The Plan to Destroy Oppenheimer's Credibility | Suspenseful, Intense, Manipulative, Calculating | 9 | 9 | 8 | 9 | 9 | 8 | 8 | 7 | 9 | 8 | 9 | 9 | 8 | 7 | 8 | 9 | 8 | 8 | 8 | |
| 32 - The Hearing's Turn: Oppenheimer's Past Lies Revealed | Tense, Confrontational, Defensive, Intriguing | 8 | 8 | 8 | 9 | 9 | 7 | 8 | 7 | 9 | 8 | 9 | 9 | 8 | 7 | 9 | 9 | 9 | 8 | 8 | |
| 33 - Revelations and Confrontations: The Oppenheimer Hearing | Tense, Serious, Emotional | 8 | 7 | 8 | 9 | 9 | 7 | 8 | 7 | 8 | 8 | 8 | 8 | 8 | 9 | 8 | 9 | 8 | 8 | 8 | |
| 34 - Betrayal at the Hearing: Borden's Letter Revealed | Serious, Tense, Emotional | 9 | 8 | 9 | 8 | 9 | 8 | 8 | 7 | 9 | 8 | 10 | 9 | 8 | 10 | 8 | 9 | 8 | 8 | 8 | |
| 35 - Testimony Against Strauss and Bush's Opinions on the Oppenheimer Affair | Accusatory, Serious, Confrontational | 8 | 8 | 7 | 9 | 9 | 6 | 8 | 7 | 9 | 8 | 8 | 8 | 8 | 7 | 8 | 9 | 9 | 8 | 8 | |
| 36 - Groves' Testimony and Kitty's Arrival | Tense, Serious, Emotional | 8 | 8 | 7 | 9 | 8 | 7 | 8 | 7 | 9 | 8 | 9 | 8 | 7 | 8 | 7 | 9 | 8 | 8 | 8 | |
| 37 - Hill's Testimony and Kitty's Defiance at the Senate Committee Hearing | Serious, Intense, Confrontational | 8 | 8 | 7 | 9 | 9 | 7 | 8 | 7 | 8 | 8 | 8 | 8 | 8 | 7 | 9 | 9 | 8 | 8 | 8 | |
| 38 - Oppenheimer's Struggle: Loyalty, Trust, and Defiance | Serious, Intense, Reflective | 8 | 8 | 7 | 8 | 9 | 8 | 8 | 7 | 9 | 8 | 9 | 8 | 8 | 9 | 8 | 9 | 9 | 8 | 8 | |
| 39 - Frustration and Accountability: Strauss and Oppenheimer's Conflicts | Intense, Confrontational, Reflective | 9 | 9 | 8 | 9 | 9 | 8 | 8 | 7 | 9 | 8 | 9 | 8 | 8 | 9 | 8 | 9 | 8 | 8 | 8 | |
| 40 - Oppenheimer's Moral Scruples and Strauss's Criticism | Intense, Confrontational, Reflective | 9 | 9 | 8 | 9 | 9 | 8 | 8 | 7 | 8 | 8 | 9 | 8 | 8 | 9 | 9 | 9 | 8 | 8 | 8 | |
| 41 - Strauss's Humiliation and Oppenheimer's Denial | Tense, Dramatic, Confrontational, Defiant | 8 | 8 | 8 | 9 | 9 | 8 | 8 | 7 | 9 | 8 | 9 | 8 | 8 | 9 | 8 | 9 | 8 | 8 | 8 | |
| 42 - A Meeting of Minds: Past Achievements and Present Consequences | Reflective, Emotional, Contemplative | 9 | 8 | 8 | 9 | 9 | 8 | 8 | 7 | 4 | 7 | 6 | 7 | 7 | 9 | 8 | 9 | 8 | 8 | 8 | |
Summary of Scene Level Analysis
Here are some things that came out of the scene level analysis.
This is a summary of the strengths, weaknesses, and suggestions found in each scene. Some things might appear in both strengths and weaknesses based on the variety of your scenes.
For summary of each criteria click in the top row on the criteria.
Scene Strengths
- Engaging dialogue
- Complex characters
- Emotional depth
- Exploration of moral dilemmas
- High stakes and tension
Scene Weaknesses
- Limited emotional depth
- Some scenes may be overly introspective and slow-paced
- Lack of external conflict
- Some dialogue may be overly expository
- Lack of visual elements
Suggestions
- To further improve the emotional depth, explore the characters' personal histories and relationships more deeply
- To address slow pacing, consider adding more external conflict or higher stakes to keep the audience engaged
- To address excessive exposition, try to convey information through visual elements or show instead of telling whenever possible
- To address the lack of visual elements, consider incorporating more action, setting and visual description to enhance the cinematic experience
- To improve the overall craftsmanship, consider studying screenplays with similar strengths and weaknesses or seeking feedback from other screenwriting experts or trusted peers.
Scene 1 - Lewis Strauss Prepares for Senate Hearing on Oppenheimer Relationship
The #1 Rule of Screenwriting: Make your reader or audience compelled to keep reading.
“Grab ‘em by the throat and never let ‘em go.”
The scene level score is the impact on the reader or audience to continue reading.
The Script score is how compelled they are to keep reading based on the rest of the script so far.
Scene 2 - Oppenheimer's Path to Atomic Energy Visualization
The #1 Rule of Screenwriting: Make your reader or audience compelled to keep reading.
“Grab ‘em by the throat and never let ‘em go.”
The scene level score is the impact on the reader or audience to continue reading.
The Script score is how compelled they are to keep reading based on the rest of the script so far.
Scene 3 - Strauss's Concerns About Oppenheimer's Past and Job Appointment
The #1 Rule of Screenwriting: Make your reader or audience compelled to keep reading.
“Grab ‘em by the throat and never let ‘em go.”
The scene level score is the impact on the reader or audience to continue reading.
The Script score is how compelled they are to keep reading based on the rest of the script so far.
Scene 4 - Oppenheimer's Quantum Ambitions
The #1 Rule of Screenwriting: Make your reader or audience compelled to keep reading.
“Grab ‘em by the throat and never let ‘em go.”
The scene level score is the impact on the reader or audience to continue reading.
The Script score is how compelled they are to keep reading based on the rest of the script so far.
Scene 5 - Intimate Revelations and Tense Announcements: A Scene in Oppenheimer's Life
The #1 Rule of Screenwriting: Make your reader or audience compelled to keep reading.
“Grab ‘em by the throat and never let ‘em go.”
The scene level score is the impact on the reader or audience to continue reading.
The Script score is how compelled they are to keep reading based on the rest of the script so far.
Scene 6 - Oppenheimer's Personal Struggles and Scientific Discoveries
The #1 Rule of Screenwriting: Make your reader or audience compelled to keep reading.
“Grab ‘em by the throat and never let ‘em go.”
The scene level score is the impact on the reader or audience to continue reading.
The Script score is how compelled they are to keep reading based on the rest of the script so far.
Scene 7 - Oppenheimer's Difficult Decisions
The #1 Rule of Screenwriting: Make your reader or audience compelled to keep reading.
“Grab ‘em by the throat and never let ‘em go.”
The scene level score is the impact on the reader or audience to continue reading.
The Script score is how compelled they are to keep reading based on the rest of the script so far.
Scene 8 - The Revocation of Oppenheimer's Security Clearance: A Look at the Key Players and Events
The #1 Rule of Screenwriting: Make your reader or audience compelled to keep reading.
“Grab ‘em by the throat and never let ‘em go.”
The scene level score is the impact on the reader or audience to continue reading.
The Script score is how compelled they are to keep reading based on the rest of the script so far.
Scene 9 - Resistance and Recruitment: The Pursuit of Scientific Research on Atomic Theory
The #1 Rule of Screenwriting: Make your reader or audience compelled to keep reading.
“Grab ‘em by the throat and never let ‘em go.”
The scene level score is the impact on the reader or audience to continue reading.
The Script score is how compelled they are to keep reading based on the rest of the script so far.
Scene 10 - Oppenheimer's Concern: Teller's Troubling Calculation
The #1 Rule of Screenwriting: Make your reader or audience compelled to keep reading.
“Grab ‘em by the throat and never let ‘em go.”
The scene level score is the impact on the reader or audience to continue reading.
The Script score is how compelled they are to keep reading based on the rest of the script so far.
Scene 11 - Oppenheimer's Internal Struggle: Loyalty vs. Friendship
The #1 Rule of Screenwriting: Make your reader or audience compelled to keep reading.
“Grab ‘em by the throat and never let ‘em go.”
The scene level score is the impact on the reader or audience to continue reading.
The Script score is how compelled they are to keep reading based on the rest of the script so far.
Scene 12 - Teller's Hydrogen Bomb Proposal and Los Alamos Tour
The #1 Rule of Screenwriting: Make your reader or audience compelled to keep reading.
“Grab ‘em by the throat and never let ‘em go.”
The scene level score is the impact on the reader or audience to continue reading.
The Script score is how compelled they are to keep reading based on the rest of the script so far.
Scene 13 - Tense Meeting over Project Management and Security Clearance
The #1 Rule of Screenwriting: Make your reader or audience compelled to keep reading.
“Grab ‘em by the throat and never let ‘em go.”
The scene level score is the impact on the reader or audience to continue reading.
The Script score is how compelled they are to keep reading based on the rest of the script so far.
Scene 14 - Groves' Testimony and the Chevalier Incident: A Glimpse into Oppenheimer's Loyalty
The #1 Rule of Screenwriting: Make your reader or audience compelled to keep reading.
“Grab ‘em by the throat and never let ‘em go.”
The scene level score is the impact on the reader or audience to continue reading.
The Script score is how compelled they are to keep reading based on the rest of the script so far.
Scene 15 - Oppenheimer's Q Clearance and Questionable Associations
The #1 Rule of Screenwriting: Make your reader or audience compelled to keep reading.
“Grab ‘em by the throat and never let ‘em go.”
The scene level score is the impact on the reader or audience to continue reading.
The Script score is how compelled they are to keep reading based on the rest of the script so far.
Scene 16 - Oppenheimer's Testimony and Marital Conflict
The #1 Rule of Screenwriting: Make your reader or audience compelled to keep reading.
“Grab ‘em by the throat and never let ‘em go.”
The scene level score is the impact on the reader or audience to continue reading.
The Script score is how compelled they are to keep reading based on the rest of the script so far.
Scene 17 - Potential Security Breach and Reluctant Disclosures
The #1 Rule of Screenwriting: Make your reader or audience compelled to keep reading.
“Grab ‘em by the throat and never let ‘em go.”
The scene level score is the impact on the reader or audience to continue reading.
The Script score is how compelled they are to keep reading based on the rest of the script so far.
Scene 18 - The Chevalier Incident: Mistrust and Loyalty in the Manhattan Project
The #1 Rule of Screenwriting: Make your reader or audience compelled to keep reading.
“Grab ‘em by the throat and never let ‘em go.”
The scene level score is the impact on the reader or audience to continue reading.
The Script score is how compelled they are to keep reading based on the rest of the script so far.
Scene 19 - Investigating Loyalty and the Power of the Atomic Bomb
The #1 Rule of Screenwriting: Make your reader or audience compelled to keep reading.
“Grab ‘em by the throat and never let ‘em go.”
The scene level score is the impact on the reader or audience to continue reading.
The Script score is how compelled they are to keep reading based on the rest of the script so far.
Scene 20 - Robert Oppenheimer's Emotional Distress and Task Reassignments
The #1 Rule of Screenwriting: Make your reader or audience compelled to keep reading.
“Grab ‘em by the throat and never let ‘em go.”
The scene level score is the impact on the reader or audience to continue reading.
The Script score is how compelled they are to keep reading based on the rest of the script so far.
Scene 21 - Teller's Decision and the Hydrogen Bomb Dilemma
The #1 Rule of Screenwriting: Make your reader or audience compelled to keep reading.
“Grab ‘em by the throat and never let ‘em go.”
The scene level score is the impact on the reader or audience to continue reading.
The Script score is how compelled they are to keep reading based on the rest of the script so far.
Scene 22 - Senate Hearing and Progress of the Project
The #1 Rule of Screenwriting: Make your reader or audience compelled to keep reading.
“Grab ‘em by the throat and never let ‘em go.”
The scene level score is the impact on the reader or audience to continue reading.
The Script score is how compelled they are to keep reading based on the rest of the script so far.
Scene 23 - The Decision to Use the Atomic Bomb
The #1 Rule of Screenwriting: Make your reader or audience compelled to keep reading.
“Grab ‘em by the throat and never let ‘em go.”
The scene level score is the impact on the reader or audience to continue reading.
The Script score is how compelled they are to keep reading based on the rest of the script so far.
Scene 24 - Preparing for the Trinity Test: Site Plans, Safety Concerns, and Final Countdown
The #1 Rule of Screenwriting: Make your reader or audience compelled to keep reading.
“Grab ‘em by the throat and never let ‘em go.”
The scene level score is the impact on the reader or audience to continue reading.
The Script score is how compelled they are to keep reading based on the rest of the script so far.
Scene 25 - The Trinity Test: Moment of Truth
The #1 Rule of Screenwriting: Make your reader or audience compelled to keep reading.
“Grab ‘em by the throat and never let ‘em go.”
The scene level score is the impact on the reader or audience to continue reading.
The Script score is how compelled they are to keep reading based on the rest of the script so far.
Scene 26 - The Bomb's Readiness and the Weight of Consequences
The #1 Rule of Screenwriting: Make your reader or audience compelled to keep reading.
“Grab ‘em by the throat and never let ‘em go.”
The scene level score is the impact on the reader or audience to continue reading.
The Script score is how compelled they are to keep reading based on the rest of the script so far.
Scene 27 - The Weight of Destruction: Oppenheimer Learns of the Bombing of Hiroshima
The #1 Rule of Screenwriting: Make your reader or audience compelled to keep reading.
“Grab ‘em by the throat and never let ‘em go.”
The scene level score is the impact on the reader or audience to continue reading.
The Script score is how compelled they are to keep reading based on the rest of the script so far.
Scene 28 - Oppenheimer's Advocacy and the Shocking Revelation
The #1 Rule of Screenwriting: Make your reader or audience compelled to keep reading.
“Grab ‘em by the throat and never let ‘em go.”
The scene level score is the impact on the reader or audience to continue reading.
The Script score is how compelled they are to keep reading based on the rest of the script so far.
Scene 29 - Oppenheimer's Fall from Grace: Surveillance, Scrutiny, and Betrayal
The #1 Rule of Screenwriting: Make your reader or audience compelled to keep reading.
“Grab ‘em by the throat and never let ‘em go.”
The scene level score is the impact on the reader or audience to continue reading.
The Script score is how compelled they are to keep reading based on the rest of the script so far.
Scene 30 - Oppenheimer's Disagreement and Call for Unity
The #1 Rule of Screenwriting: Make your reader or audience compelled to keep reading.
“Grab ‘em by the throat and never let ‘em go.”
The scene level score is the impact on the reader or audience to continue reading.
The Script score is how compelled they are to keep reading based on the rest of the script so far.
Scene 31 - The Plan to Destroy Oppenheimer's Credibility
The #1 Rule of Screenwriting: Make your reader or audience compelled to keep reading.
“Grab ‘em by the throat and never let ‘em go.”
The scene level score is the impact on the reader or audience to continue reading.
The Script score is how compelled they are to keep reading based on the rest of the script so far.
Scene 32 - The Hearing's Turn: Oppenheimer's Past Lies Revealed
The #1 Rule of Screenwriting: Make your reader or audience compelled to keep reading.
“Grab ‘em by the throat and never let ‘em go.”
The scene level score is the impact on the reader or audience to continue reading.
The Script score is how compelled they are to keep reading based on the rest of the script so far.
Scene 33 - Revelations and Confrontations: The Oppenheimer Hearing
The #1 Rule of Screenwriting: Make your reader or audience compelled to keep reading.
“Grab ‘em by the throat and never let ‘em go.”
The scene level score is the impact on the reader or audience to continue reading.
The Script score is how compelled they are to keep reading based on the rest of the script so far.
Scene 34 - Betrayal at the Hearing: Borden's Letter Revealed
The #1 Rule of Screenwriting: Make your reader or audience compelled to keep reading.
“Grab ‘em by the throat and never let ‘em go.”
The scene level score is the impact on the reader or audience to continue reading.
The Script score is how compelled they are to keep reading based on the rest of the script so far.
Scene 35 - Testimony Against Strauss and Bush's Opinions on the Oppenheimer Affair
The #1 Rule of Screenwriting: Make your reader or audience compelled to keep reading.
“Grab ‘em by the throat and never let ‘em go.”
The scene level score is the impact on the reader or audience to continue reading.
The Script score is how compelled they are to keep reading based on the rest of the script so far.
Scene 36 - Groves' Testimony and Kitty's Arrival
The #1 Rule of Screenwriting: Make your reader or audience compelled to keep reading.
“Grab ‘em by the throat and never let ‘em go.”
The scene level score is the impact on the reader or audience to continue reading.
The Script score is how compelled they are to keep reading based on the rest of the script so far.
Scene 37 - Hill's Testimony and Kitty's Defiance at the Senate Committee Hearing
The #1 Rule of Screenwriting: Make your reader or audience compelled to keep reading.
“Grab ‘em by the throat and never let ‘em go.”
The scene level score is the impact on the reader or audience to continue reading.
The Script score is how compelled they are to keep reading based on the rest of the script so far.
Scene 38 - Oppenheimer's Struggle: Loyalty, Trust, and Defiance
The #1 Rule of Screenwriting: Make your reader or audience compelled to keep reading.
“Grab ‘em by the throat and never let ‘em go.”
The scene level score is the impact on the reader or audience to continue reading.
The Script score is how compelled they are to keep reading based on the rest of the script so far.
Scene 39 - Frustration and Accountability: Strauss and Oppenheimer's Conflicts
The #1 Rule of Screenwriting: Make your reader or audience compelled to keep reading.
“Grab ‘em by the throat and never let ‘em go.”
The scene level score is the impact on the reader or audience to continue reading.
The Script score is how compelled they are to keep reading based on the rest of the script so far.
Scene 40 - Oppenheimer's Moral Scruples and Strauss's Criticism
The #1 Rule of Screenwriting: Make your reader or audience compelled to keep reading.
“Grab ‘em by the throat and never let ‘em go.”
The scene level score is the impact on the reader or audience to continue reading.
The Script score is how compelled they are to keep reading based on the rest of the script so far.
Scene 41 - Strauss's Humiliation and Oppenheimer's Denial
The #1 Rule of Screenwriting: Make your reader or audience compelled to keep reading.
“Grab ‘em by the throat and never let ‘em go.”
The scene level score is the impact on the reader or audience to continue reading.
The Script score is how compelled they are to keep reading based on the rest of the script so far.
Scene 42 - A Meeting of Minds: Past Achievements and Present Consequences
The #1 Rule of Screenwriting: Make your reader or audience compelled to keep reading.
“Grab ‘em by the throat and never let ‘em go.”
The scene level score is the impact on the reader or audience to continue reading.
The Script score is how compelled they are to keep reading based on the rest of the script so far.
Recommend
Explanation: The 'Oppenheimer' screenplay is a powerful and compelling exploration of a complex historical figure and the moral dilemmas surrounding the development and use of the atomic bomb. The screenplay's strengths lie in its historical accuracy, character development, and thought-provoking themes. Some areas for improvement include pacing, further development of female characters, and a deeper exploration of the consequences of nuclear weapons.