Schindler's List
Executive Summary
Pass/Consider/Recommend/Highly Recommend
Overview
Genres: Drama, War, Historical
Setting: The screenplay is set during World War II, primarily in Cracow, Poland, and later in Brinnlitz, Czechoslovakia., The story takes place in various locations including hotels, nightclubs, apartments, factories, ghettos, and concentration camps.
Overview: The screenplay for 'Schindler's List' exhibits exceptional quality with strong character development, compelling conflict, and a powerful emotional core. The narrative effectively explores themes of humanity, morality, and redemption against the backdrop of the Holocaust. While the screenplay demonstrates strengths in various aspects, opportunities exist to enhance pacing, deepen character development for certain secondary characters, and further diversify the emotional experiences conveyed.
Themes: Power and Corruption, Resistance and Survival, Humanity and Compassion, Ethics and Morality, Injustice and Oppression
Conflict and Stakes: The primary conflict in this story is the struggle between good and evil during the Holocaust, with the stakes being the lives of over a thousand Jewish workers who are at risk of being killed in concentration camps.
Overall Mood: The overall mood of the screenplay is somber and reflective, with moments of tension and hope.
Mood/Tone at Key Scenes:
- Scene 1: The mood in this scene is mysterious and tense as Schindler attracts attention and the lieutenant becomes curious about him.
Standout Features:
- True Story: Based on the true story of Oskar Schindler's efforts to save Jewish lives during the Holocaust.
- Powerful Performances : The screenplay offers opportunities for actors to deliver powerful and emotionally charged performances.
- Historical Significance : The screenplay explores an important chapter in history and sheds light on the heroism and atrocities of the Holocaust.
Comparable Scripts:
Market Analysis
Budget Estimate:$50-70 million
Target Audience Demographics: Adults aged 25-54, fans of historical dramas and war films
Marketability: The screenplay is based on a true story and has received critical acclaim, making it highly marketable to a wide adult audience.
The screenplay explores important themes and features compelling characters, which will attract audiences looking for thought-provoking dramas.
The screenplay has the potential to generate awards buzz and attract a diverse audience due to its historical significance and emotional impact.
Profit Potential: High, due to the strong appeal of the story, critical acclaim, and potential for award recognition.
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.
Writer's Voice
Summary:The writer's voice is characterized by descriptive and atmospheric language, sharp and impactful dialogue, and a focus on power dynamics and moral ambiguity. The narrative descriptions create vivid imagery and set the tone and atmosphere of each scene. The dialogue reflects the motivations and emotions of the characters, while also exploring complex themes and conflicts. The writer's voice adds depth and complexity to the screenplay, emphasizing the moral dilemmas and transformations of the characters.
Best representation: Scene 1 - A Business Proposition. This scene is the best representation of the writer's voice because it showcases the descriptive and atmospheric language, sharp and impactful dialogue, and focus on power dynamics and moral ambiguity that are characteristic of the writer's style. The narrative description sets the tone and atmosphere of the scene, while the dialogue reflects the power dynamics and manipulation of the characters. The writer's voice adds depth and complexity to the scene, emphasizing the conflicting values and moral dilemmas faced by the protagonist.
Memorable Lines:
- Schindler: I could've got more... (Scene 40)
- Amon Goeth: Today is history and you are a part of it. (Scene 15)
- Schindler: All I have is Jews. (Scene 19)
- Schindler: There’s no way I could have known this before, but there was always something missing. In every business I tried, I see now it wasn’t me that was failing, it was this thing, this missing thing. Even if I’d known what it was, there’s nothing I could have done about it, because you can’t create this sort of thing. And it makes all the difference in the world between success and failure. (Scene 8)
- Schindler: I’m a member of the Nazi party. I’m a munitions manufacturer. I’m a profiteer of slave labor, I’m a criminal. At midnight, you will be free and I will be hunted. (Scene 39)
Writing Style:
The writing style of the entire screenplay is characterized by a blend of sharp and impactful dialogue, exploration of complex moral dilemmas, and the creation of tension and suspense through dialogue and unexpected conflicts.
Style Similarities:
- Quentin Tarantino
- Aaron Sorkin
Story Shape
Engine: Gemini
Highly Recommend
Executive Summary
Schindler's List is a powerful and moving screenplay that masterfully portrays the horrors of the Holocaust and the triumph of the human spirit. Its complex characters, effective use of visuals, and sharp dialogue create an unforgettable cinematic experience.
- Schindler's character is complex and compelling, evolving from a war profiteer to a selfless savior. His arc is portrayed with nuance and depth. high ( Scene 3 Scene general )
- The screenplay masterfully juxtaposes the horrors of the Holocaust with moments of humanity and hope, creating a powerful emotional impact. high
- The use of black and white and color effectively highlights key moments and themes, adding a layer of visual storytelling. medium ( Scene 15 Scene 99 Scene general )
- Dialogue is sharp and realistic, revealing character motivations and the complex dynamics of the time. medium
- Goeth serves as a chilling counterpoint to Schindler, embodying the banality of evil and highlighting the choices individuals make in extreme circumstances. high ( Scene 74 Scene 137 Scene general )
- Emilie Schindler's character could be further developed to explore her motivations and reactions to Oskar's actions. medium
- The pacing in the middle section could be tightened to maintain momentum during the factory establishment phase. low
- Stern's role as Schindler's conscience and accomplice is crucial, and his quiet heroism adds depth to the narrative. high ( Scene 22 Scene 188 )
- The girl in the red coat serves as a powerful symbol of innocence amidst the horrors, reminding viewers of the human cost of war. high ( Scene 89 Scene 161 )
Engine: Claude
Recommend
Executive Summary
Schindler's List is a powerful and well-crafted screenplay that chronicles the transformative journey of Oskar Schindler, a German businessman who becomes an unlikely savior of over a thousand Jews during the Holocaust. The screenplay effectively balances the harrowing historical events with the complex moral and emotional arcs of its characters, delivering a compelling and impactful narrative. While there are a few areas that could benefit from further development, the screenplay's strengths, particularly in its characterization, visual storytelling, and exploration of moral ambiguity, make it a strong candidate for adaptation.
- The screenplay establishes a strong central character in Oskar Schindler, who is well-defined and multifaceted. His introduction in the nightclub scene and his first interaction with Stern showcase his charismatic yet morally ambiguous nature, setting the stage for his complex journey. high ( Scene 1 (3) Scene 2 (6) )
- The screenplay's portrayal of the Plaszow forced labor camp and the liquidation of the Krakow ghetto are harrowing and emotionally impactful, providing a visceral depiction of the horrors of the Holocaust. high ( Scene 14 (74) Scene 15 (85) )
- The screenplay effectively shows Schindler's moral transformation, as he transitions from a self-serving profiteer to a man driven to save as many lives as possible, culminating in the powerful final sequence in Brinnlitz. high ( Scene 30 (186) Scene 31 (198) )
- The scene where Schindler confronts Stern about the growing number of people on the list could be further developed to explore the tension and ethical dilemma more deeply. The dialogue feels a bit rushed, and there may be an opportunity to delve into the characters' motivations and the stakes in a more nuanced way. medium ( Scene 22 (136) )
- The sequence depicting the deportation of the women and children to Auschwitz feels a bit abrupt and could benefit from more emotional beat and character development. Expanding on the individual stories and reactions could heighten the impact of these harrowing events. medium ( Scene 26 (163) Scene 26 (166) )
- The screenplay could benefit from additional development of the secondary characters, such as Max Redlicht and the other Jewish businessmen, to provide a more well-rounded understanding of the community in Krakow and the various ways they are impacted by the Nazi occupation. medium ( Scene 4 (12) Scene 4 (13) )
- The screenplay effectively explores the complex relationships and power dynamics between Schindler, Goeth, and the other Nazi officials, highlighting the moral ambiguity and the ways in which they use and manipulate one another. high ( Scene 19 (124) Scene 23 (148) )
- The final sequence, in which Schindler is overwhelmed by guilt and remorse for not doing more, is a powerful and emotionally resonant conclusion that captures the complexities of his character and the larger themes of the story. high ( Scene 37 (255) )
Screenplay Insights:
Premise: 8.8, The screenplay's premise is intriguing and has the potential to engage the audience with its complex characters and exploration of a morally challenging historical period. However, the premise could be improved by enhancing its clarity and refining the narrative's focus to fully capitalize on its potential. See More
Structure: 8.6, The screenplay exhibits strengths in plot development and narrative structure, effectively engaging the audience with its clear, coherent, and compelling story. However, there are areas where revisions could enhance the screenplay's complexity and pacing to elevate its storytelling potential. See More
Theme: 8.3, The screenplay effectively conveys its themes and messages through a compelling narrative and well-developed characters. It explores the complexities of human nature, the horrors of war, and the power of compassion and resilience. However, there are areas where the themes could be refined to enhance their impact and resonance with the audience. See More
Visual Impact: 8.0, The screenplay's visual imagery effectively captures the somber and intense atmosphere of the Holocaust through vivid descriptions of the characters, settings, and events. The use of visual symbols and motifs adds depth and meaning to the narrative, highlighting the struggle between good and evil and the human capacity for both cruelty and compassion. See More
Emotional Impact: 8.5, The screenplay possesses a strong emotional core, particularly in its portrayal of Schindler's transformation from a self-centered businessman to a compassionate savior. The emotional depth is further enhanced by the complex and nuanced character relationships and the portrayal of the Holocaust's horrors and its impact on the characters, amplifying the emotional journey and creating a sense of urgency and despair. However, there is room for improvement in diversifying the emotional experiences conveyed and in developing more transformative emotional arcs for the characters. These enhancements could elevate the screenplay's emotional impact, leaving a lasting impression on the audience. See More
Conflict: 8.8, The screenplay effectively presents conflict and stakes, engaging the audience through powerful dynamics and mounting tension. Yet, there are opportunities to deepen the impact of conflict and heighten the stakes to captivate the audience further. See More
Originality: 7.8, The screenplay demonstrates originality in its depiction of Schindler's transformation from a war profiteer to a savior. The film's Holocaust setting is familiar, but the focus on Schindler's journey and his complex relationship with power and morality is unique. See More
Screenplay Story Analysis
Note: This is the overall critique. For scene by scene critique click here
Summaries
- In this scene, Oskar Schindler prepares himself in a run-down hotel room before going to a nightclub in Cracow, Poland. At the nightclub, he attracts the attention of a curious SS officer who sends his subordinate to find out who Schindler is. However, Schindler cleverly diverts their attention by inviting the officer and his girlfriend to join his table. They enjoy drinks and caviar together, and Schindler ensures everyone has a good time. The scene ends with a flashbulb capturing a moment of Schindler surrounded by his new friends, smiling urbanely.
- In this scene, Oskar Schindler meets Itzhak Stern in Stern's apartment to discuss a potential business opportunity. Schindler offers Stern a drink and proposes buying a company that Stern did the books for. They talk about the potential to make other products and Schindler suggests using Jewish investors. However, Stern informs Schindler that Jews can no longer own businesses. Schindler proposes a plan where he would own the company and pay the investors back in product. Stern remains skeptical, and the scene ends with silence.
- In this scene, a mason is seen troweling mortar onto a brick as a crew of brick-layers erects a wall. Meanwhile, a young man named Poldek Pfefferberg crosses a street and enters St. Mary's cathedral, where he discusses a broken shoe polish container with Goldberg. The scene then shifts to a hotel, where Pfefferberg negotiates fees and commissions with a desk clerk. Schindler enters the hotel and compliments Pfefferberg's shirt, leading to a conversation about purchasing shirts. Pfefferberg overcharges Schindler and takes his measurements for the shirts.
- In this scene, Oberfuhrer Scherner and his daughter dance at a wedding reception while guests eat and drink. Czurda explains how the SS profits from Jewish train fares, creating tension. Schindler, focused on Ingrid, interrupts his conversation to present two horses as a wedding gift. The scene ends with a photograph being taken of Schindler with the bride and groom.
- In this scene, a suitcase is thrown out of a window, revealing families on a forced exodus into the ghetto. Goldberg assists the Gestapo in deciding who enters the ghetto, while Pfefferberg confronts him about his new role. The scene then shifts to an apartment building in the ghetto, where Orthodox and liberal Jews wait for the single bathroom. In another apartment, Schindler negotiates a business deal with some businessmen. The conflicts arise when Pfefferberg questions Goldberg and when the businessmen doubt Schindler's trustworthiness, but both are resolved. The emotional tone is tense and somber, reflecting the situation. The scene ends with the businessmen agreeing to Schindler's offer.
- In this scene, Schindler learns that the SS rate for Jewish skilled labor is lower than what he would pay a Pole. He questions why he should hire Poles if they cost more. Meanwhile, a teacher is denied essential worker status but later obtains it with Stern's help. The scene also shows machines starting up in the factory, Schindler in an empty apartment, and later the same apartment filled with SS officers and a Polish girl. The conflict arises when Schindler realizes the payment system for Jewish workers and expresses his preference for hiring Poles. The teacher's conflict is resolved when Stern helps him obtain essential worker status. The scene ends with Schindler and Scherner agreeing on a gesture and deciding not to discuss it further.
- In this scene, Schindler is seen signing Armaments contracts in his office while a big 'F' is hoisted up the building outside. Klonowska, a Polish girl, is introduced to her desk outside Schindler's office. On the factory floor, flames ignite in a furnace and machines start up. In Cracow, Schindler's black Mercedes is revealed as a garage door opens. Stern affixes blue stickers to work cards in Peace Square. Inside the factory, Jewish laborers work on producing kitchenware. Schindler invites Stern into his office for a conversation and pours drinks for both of them. The scene then cuts to Schindler's apartment where Klonowska is seen leaving in a hurry. Schindler serves coffee to his wife, Emilie, and they briefly discuss Klonowska.
- Schindler and Emilie enjoy a romantic evening together, receiving special attention at a restaurant and dancing at a nightclub. Schindler reveals to Emilie that war has been the missing element in his success. In his apartment, Emilie asks if she should stay, but Schindler's response is unclear. Eventually, Emilie departs on a train. The scene concludes with Schindler confronting a foreman about a worker overloading a truck, leaving the conflict unresolved.
- Pfefferberg and Schindler confront an investor who broke their deal in a ghetto storefront. Schindler threatens the investor, mentioning the consequences for his family. They leave and discuss personal matters. In Schindler's factory, workers have lunch while Schindler reviews a report with his accountant. An old man, Lowenstein, interrupts and thanks Schindler for saving his life. Schindler is uncomfortable and wants him to leave. The scene ends with Schindler trying to eat his meal, feeling uneasy.
- In this scene, Schindler and Stern witness a group of workers being marched past the ghetto gate under armed guard. They then confront SS contact Herman Toffel about the workers shoveling snow, but the conflict remains unresolved. Schindler presents a business proposal to German businessmen Kuhnpast and Hohne, but they refuse, leading to frustration and rejection.
- In this scene, Pfefferberg wipes a smudge off a car while workers remove the letters of a radiator sign at Kuhnpast's Radiator Factory. Technicians make adjustments to presses and test firing ovens. Stern speaks with an elderly couple at the Ghetto Employment Office. In the DEF Front Office, Schindler surprises Klonowska with a poodle before being interrupted by two Gestapo men. Schindler quickly writes down names and is later questioned by a Gestapo clerk at the SS Headquarters. He is arrested, bribes a guard for vodka and pajamas in his cell, and is released the next morning, escorted out by the Gestapo clerk.
- Schindler arrives at the factory and asks the SS officer to return the ledgers to his office. He tries to get a Jewish laborer to retrieve the ledgers, but the man ignores him. Later, Schindler is approached by a nervous figure in the shadows and they have a quick conversation. Schindler and Klonowska then arrive at the Prokocim Depot in Cracow, where Schindler sees the human and cattle cars. He calls out for Itzhak Stern and is told that Stern is on the list and cannot be taken off. Schindler questions the clerk, writes down his name, and the clerk calls over a sergeant who also confirms Stern's presence on the list. Schindler writes down the sergeant's name and walks away. The clerk and sergeant join Schindler in calling out for Stern, and he is eventually found and released from the train. Schindler signs some forms and the train pulls away. Stern apologizes for leaving his work card at home, but Schindler is angry and walks away. Stern follows him and they pass an area with luggage that has been left behind. The scene ends with Schindler and Stern walking away from the train, with Schindler visibly angry.
- In this scene, a group of Jewish jewelers are forced to sort and grade jewelry under SS guard, including gold teeth smeared with blood. Meanwhile, Untersturmfuhrer Amon Goeth tours the ghetto in a staff car and receives a briefing on the different sections of the ghetto. The tone is somber and tense, with the jewelers facing oppression and the staff car cruising through the ghetto. The scene ends with the staff car continuing its drive through the ghetto.
- At the Plaszow forced labor site, Goeth surveys the construction and renovation happening. He becomes angry when a woman argues with his man about the foundation of a barracks. Goeth orders the woman to be shot and then instructs the workers to follow her instructions. The scene ends with Goeth walking away after ordering the workers to rebuild the barracks.
- In this scene, stable boys lead horses into the pre-dawn light at the stables while Ingrid and Schindler share cognac. Untersturmfuhrer Goeth addresses his troops in the park, and a young boy joins the Jewish Ghetto Police. Ingrid and Schindler ride their horses towards a wood as Goeth speaks about the history of Jewish Cracow. The scene ends with Schindler and Ingrid reaching a hilltop clearing and admiring the view of Cracow.
- In this scene, the Sonderkommandos jump down from the last truck in the ghetto as families are forcefully evacuated from their apartments. Those who resist are shot. The people are herded into lines without regard to family ties. Amidst the chaos, Schindler notices a small girl in red at the rear of one of the columns. Guided by a Waffen SS man, she moves past a pile of executed bodies, unnoticed by the SS. Shots explode behind her as she climbs into an empty apartment and hides under a bed. The scene ends with the small girl in red hidden, but the conflict remains unresolved.
- In this scene at Plaszow quarry camp, workers load quarry rock onto trolleys under Ukrainian guard while Goeth randomly shoots at them. Inside Goeth's bedroom, a woman groans at the sound of the shots. Schindler's Mercedes drives through the camp, passing various buildings and a man labeled as a 'potato thief.' The scene then shifts to Goeth's villa where Goeth, Hujar, Bosch, Madritsch, and Schindler sit at a patio table. Hujar discusses the benefits of moving factories to Plaszow, but Schindler shows disinterest. Goeth watches Schindler with amusement. The scene ends with Goeth and Schindler engaging in light banter about Schindler's suit.
- In this tense and confrontational scene, Goeth and Schindler discuss their careers, the absence of workers, the financial implications, and the possibility of Schindler having his own sub-camp. Schindler expresses frustration about losing money, while Goeth mentions the need to make examples occasionally. Schindler asks Goeth to make things easier for him, and the scene ends with Goeth's shrug indicating his consideration of the request.
- In this scene, an SS surveyor measures a field and places a flag in the ground while laborers work on constructing a watchtower and installing barbed wire fencing. Schindler signs checks for building supplies and pays for them a second time. SS architects review blueprints. Schindler and an SS officer have a conversation about keeping everyone in line. 500 Plaszow prisoners are marched back onto the grounds of D.E.F. factory, where the workers notice armed guards and Schindler entertaining an SS officer. The scene ends with the workers in the factory noticing the increased security measures.
- In this tense and confrontational scene at Goeth's villa, the Rosner brothers play music while Leo John asks Schindler for help with his aunt's orphanage. Schindler agrees to assist and questions if Leo's aunt runs an orphanage. Leo mentions that she can sell what she can't use, which diminishes Schindler's tolerance for him. Later, Goeth's girl approaches Schindler and they have a conversation. Schindler confronts Goeth about holding back Stern, and they agree to talk later. Schindler then meets Stern outside, giving him valuable items. Before the scene cuts to a different location, Stern starts to tell Schindler something.
- In this scene, Goeth walks through the crowded metalworks, interacting with workers and observing their production. He tests Rabbi Levartov's ability to make hinges quickly and then proceeds to torture him. Schindler questions Goeth's long story about hinges and later Rabbi Levartov thanks Schindler. Goeth shoots a worker for stealing a chicken and a boy confesses. Schindler signs for supplies and agrees to bring someone over. The scene ends with Schindler being distracted by a grateful boy and a mechanic accidentally damaging Goeth's car. Meanwhile, a nervous young woman tries to see Schindler but is denied access and gets dressed up in an apartment in Cracow.
- Schindler waits for Miss Krause in his office where they have a tense conversation. Miss Krause reveals her true identity and asks Schindler to bring her parents to his factory, but he refuses and threatens her. In the next scene, Schindler confronts Stern about the dangerous situation and expresses his concerns. The conflicts between Miss Krause and Schindler, as well as Schindler's concerns, remain unresolved.
- Schindler and Goeth have a conversation on the balcony about the difference between power and justice. Later, Goeth interacts with a stable boy and a worker in his villa. The conflict arises when Goeth confronts the worker about stains in his bathtub, but it is resolved when Goeth decides to pardon the worker instead of shooting him. The scene ends with Goeth feeling stupid and unable to truly feel the power he desires.
- In this scene, a worker is shot at by Goeth outside his villa. Schindler and Stern discuss Goeth's stealing and the potential consequences. Stern's concerns are dismissed by Goldberg. Trucks are unloaded with supplies for the phantom prisoners. Schindler and Stern discuss the possibility of being sent to another camp. Schindler offers to talk to Goeth. Schindler meets with SS officers Toffel and Scherner in a nightclub, defending Goeth's stealing, leading to a tense exchange.
- In this scene, the workers in the factory debate who will go upstairs to thank Schindler on his birthday. Upstairs, Schindler celebrates his birthday with friends and lovers, receiving congratulations and embraces from SS men. A Jewish girl timidly approaches Schindler and wishes him a happy birthday. Schindler kisses her on the mouth and asks her to thank the workers for him. The scene then transitions to the Appellplatz in Plaszow, where preparations are being made for a sorting process to separate the healthy from the unhealthy prisoners. Mila Pfefferberg appeals to Amon Goeth to spare him from the process, and Goeth allows him to be exempted along with his wife.
- In this scene at the depot in Plaszow, the prisoners in the cattle cars suffer from the heat and desperately ask for water. Children are separated from their parents, leading to a brawl. Guards search for children while a small girl in red runs to a wooden structure. Meanwhile, Schindler arrives and talks to Goeth about the shipment of Hungarians. Schindler suggests using fire trucks to hose down the cars and bring hope to the prisoners. The fire trucks arrive and water is sprayed on the cars. Schindler proposes using longer hoses from D.E.F. to reach the cars at the end. Food is unloaded from the trucks and Schindler pushes sausages through the slats. Goeth initially finds it amusing but slowly realizes the gravity of the situation. The scene ends with the water raining down on the last car and Goeth slowly realizing the gravity of the situation.
- Schindler is arrested by the Gestapo and taken to Montelupich Prison. He is stripped of his belongings and led through a claustrophobic tunnel to a cell. In the cell, he confesses to his cellmate that he violated the Race and Resettlement Act by kissing a Jewish girl.
- In this scene, Amon Goeth fails to justify his actions to an SS colonel, leading to a realization of his error. Meanwhile, at Goeth's villa, the Rosner brothers repeatedly play a melancholy song for a thin gray SS officer who eventually shoots himself in the head.
- In this scene, Schindler argues with an SS officer and refuses to accept papers. His workers are then marched out of the factory under heavy guard. Schindler drives off and later arrives at a forest where bodies are being exhumed. He has a conversation with Goeth about the situation and the upcoming transport to Auschwitz. The scene then shifts to Schindler staring at his deserted factory, his empty apartment, and finally crossing the Poland/Czechoslovakia border. He arrives in Brinnlitz and is recognized by old friends. Schindler checks into a hotel and later goes to a bar where he socializes with the locals. The scene ends with Schindler in a hotel room, smoking and looking out the window at night.
- In this scene, Schindler reveals to his accountant, Stern, that he is buying the workers and it is costing him a fortune. Stern is overwhelmed by this revelation. Schindler instructs Stern to give Goeth the list of names and tells him that he has to go back to Brinnlitz. Later, Schindler addresses a large assembly in Brinnlitz, denying rumors of bringing Jewish criminals into his home. The scene ends with Goeth signing Schindler's list of workers at his villa in Plaszow.
- In this tense and chaotic scene, Goldberg adds names to Schindler's List while taking bribes from prisoners. Schindler signs papers at the Brinnlitz factory site. A train full of prisoners departs for Auschwitz. Schindler is attacked by his friend and Pfefferberg attacks Goldberg when asked for diamonds. Clerks sort prisoners into different lines at the Plaszow depot, with women being sent to Auschwitz and men to Brinnlitz. The conflicts remain unresolved as Schindler's friend escapes, Goldberg evades Pfefferberg, and the scene ends with the separation of the prisoners.
- Schindler comes out of his office and informs Stern that they are in Auschwitz. Gestapo men intercept Schindler and inform him about Goeth's arrest. Schindler reluctantly agrees to talk to them. Meanwhile, a young doctor selects women for the death chambers, but feigns ignorance when one woman mentions they are Schindler Jews. The scene ends with the doctor continuing to select women for the death chambers.
- In this scene, Amon Goeth waits in a dank cell while Schindler testifies before investigators. The workers in Schindler's factory struggle to operate the machines, and Mila witnesses skeletal figures taking their soup. Schindler negotiates with Auschwitz Commandant Rudolf Hoss to save the women on his list, who are marked with red paint and loaded onto cattle cars. Schindler discovers that their children have been brought to the train yard and tries to save them, explaining the importance of their skills to a guard.
- In this scene at the Brinnlitz camp and factory, Schindler leads a procession of women, children, guards, and workers towards the factory. The men at the perimeter notice the women covered in blood or paint. Inside the factory, the machines are silent but the people are reunited. Schindler addresses the guards, explaining the consequences of killing a worker without cause and forbidding interference with production. He offers schnapps as a gesture of gratitude. Schindler walks through the factory, checking on the workers and making adjustments to the machines. He interacts with a worker who messes up the machine settings and surprises Levartov, a rabbi, by inviting him to his office to prepare for the Sabbath.
- In this scene at the Brinnlitz camp, Levartov recites Kiddush to the workers while the guards in the barracks become distracted by distant Yiddish singing. Liepold hears the singing while typing a letter, and Emilie Schindler opens her apartment door to find her estranged husband, Schindler, asking her to work for him. They have a conversation at the kitchen table where Schindler expresses his desire for them to spend time together at work. The scene ends with Emilie's silence, leaving the outcome uncertain and the tension between them unresolved.
- In this scene, Schindler introduces his wife Emilie to his accountant Itzhak Stern. Schindler reveals that Emilie has offered to work in the clinic, although her role is unclear. Later, Schindler brings a broken radio to Pfefferberg in the machine shop, who easily fixes it. Workers gather around the radio in the barracks to listen to a broadcast about an Eastern offensive by Allied Russian forces. In the clinic, Schindler and Emilie sort prescription glasses while Stern comes in to talk to Schindler. The scene ends with Schindler putting the new glasses on Stern's face and looking around the clinic, eventually focusing on Emilie.
- In this scene, Schindler and Stern discuss a complaint from the Armaments Board about the failed quality-control tests of their artillery shells. Schindler dismisses the problem and suggests buying shells from elsewhere to pass them off as their own. Stern is worried about the consequences and rumors of Schindler miscalibrating the machines. Schindler eventually agrees to call around and buy shells. The scene then shifts to Commandant Liepold holding a gun to a terrified boy's head, and Schindler intervenes. Schindler discovers that the boy accidentally caused a machine to explode and orders him to be taken away. Later, Schindler asks Police Chief Rasch for guns to defend his factory. The scene ends with Stern finding Schindler and a stenographer in a water tank, and Stern asks if Schindler has any hidden money.
- In this scene, Schindler and the others discover a pile of frozen corpses in an abandoned boxcar. Schindler is shocked and later discusses the burial of the victims with a priest. Workers in the factory build coffins, which are loaded onto carts and taken to a cemetery. The main conflict is resolved when the priest agrees to allow the victims to be buried in the cemetery. The scene ends with Schindler and Stern observing Amon Goeth's arrival at the camp.
- In this scene, Amon Goeth, a Nazi officer, visits the Brinnlitz factory with Oskar Schindler. Schindler shows Goeth his uniforms and medals, and they share cognac and stories. Goeth is spit on by a worker, but realizes he has no power in the factory. Schindler leads Goeth away, and the scene shifts to the guards' barracks and the workers' barracks where they listen to the radio. Schindler confronts Liepold about bringing the guards into the factory. The scene ends with Schindler gathering all the workers and guards on the factory floor to announce the unconditional surrender of Germany and their freedom.
- In this scene at the Brinnlitz camp, Schindler and Emilie prepare to leave as all twelve hundred workers stand in the dark. Stern and Levartov present Schindler with a letter and a ring from the workers. Overwhelmed with guilt, Schindler breaks down in tears, expressing regret for not saving more lives. Stern tries to console him, emphasizing the lives he did save. Schindler rips off the swastika from his lapel and offers it to Stern as a symbol of his remorse. Despite leaving the camp, Schindler's grief remains evident as he and Emilie drive away.
- In this scene at the Brinnlitz camp, a panzer tank emerges from the forest and fires a shell randomly before retreating. Czech partisans offer the workers their freedom, but they choose to stay until the Russians arrive. SS officers arrive and are confronted by armed Jews, but they fill their tanks with gasoline and leave. The scene ends with a lone Russian officer on horseback arriving and informing the workers that they have been liberated.
- In this scene, a great moving crowd of twelve hundred people crosses the land between the camp and the town. The scene then cuts to Oskar Schindler in Frankfurt, living alone in a modest apartment. Poldek Pfefferberg visits Schindler and invites him to have dinner with some people. Schindler agrees and goes to get his coat. The scene ends with Schindler and Pfefferberg leaving together.
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Character Oskar Schindler
Description Schindler's transformation from opportunistic businessman to selfless savior is abrupt and lacks a clear catalyst. His motivations shift from self-interest to altruism without sufficient exploration of his internal struggle or a gradual evolution of his character.
( Scene 1 (3) Scene 3 (10) Scene 5 (18) Scene 22 (135) ) -
Character Amon Goeth
Description Goeth's character oscillates between sadistic cruelty and moments of unexpected leniency. While his capricious nature is established, the lack of deeper psychological exploration makes these shifts feel inconsistent and at times convenient for plot purposes.
( Scene 17 (104) Scene 23 (137) Scene 24 (140) )
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Description The reason for Schindler's arrest is unclear and inconsistently portrayed. Initially, it's attributed to kissing a Jewish girl, but later, Goeth's defense suggests it's related to black market dealings. This ambiguity creates confusion regarding the true cause and the severity of the charges against Schindler.
( Scene 27 (165) Scene 28 (172) )
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Description The film glosses over the logistical challenges of transporting and relocating hundreds of workers and their families from Plaszow to Brinnlitz. The process appears seamless, without addressing potential obstacles such as transportation, supplies, and resistance from authorities.
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Description The dialogue at times feels anachronistic, with characters using modern colloquialisms and expressions that wouldn't be typical of the time period and setting.
( Scene 9 (45) Scene 21 (122) )
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Element Scenes of Schindler looking down on the factory floor
( Scene 6 (20) Scene 7 (27) Scene 8 (34) Scene 9 (48) Scene 17 (103) Scene 19 (116) Scene 29 (176) )
Suggestion While these scenes effectively convey Schindler's sense of ownership and control, their repetition could be reduced to maintain impact without becoming redundant. Selecting key moments for this visual motif would strengthen its significance.
Schindler - Score: 91/100
Character Analysis Overview
Goeth - Score: 92/100
Role
Antagonist
Character Analysis Overview
Stern - Score: 84/100
Character Analysis Overview
Oskar - Score: 95/100
Role
Protagonist
Character Analysis Overview
Emilie - Score: 77/100
Character Analysis Overview
Amon - Score: 80/100
Role
Antagonist
Character Analysis Overview
| Theme | Theme Details | Theme Explanation | ||||||||||||
|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|
| Power and Corruption (100%) | The screenplay explores the theme of power and corruption through the characters of Amon Goeth and his abuse of power as an SS officer. It also examines the corrupt practices within the Nazi regime, such as stealing and profiting from Jewish labor. | Power and corruption is the most prominent theme in the screenplay, as it drives the actions of several characters and serves as a critique of the Nazi regime. | ||||||||||||
Strengthening Power and Corruption:
| ||||||||||||||
| Resistance and Survival (90%) | The screenplay depicts the resistance and survival efforts of the Jewish workers in Schindler's factory, as well as the actions of the Czech partisans. It explores their determination to survive and fight against oppression. | Resistance and survival is a significant theme in the screenplay, showcasing the strength and resilience of individuals in the face of extreme adversity. | ||||||||||||
| Humanity and Compassion (80%) | The screenplay highlights acts of humanity and compassion, particularly through Oskar Schindler's efforts to save Jewish lives. It also explores the compassion shown by other characters, such as Itzhak Stern and the workers in the factory. | Humanity and compassion is a recurring theme in the screenplay, emphasizing the capacity for individuals to show empathy and kindness even in the darkest times. | ||||||||||||
| Ethics and Morality (70%) | The screenplay raises ethical and moral questions, such as the choices faced by Oskar Schindler in deciding to save Jewish lives. It also examines the moral dilemmas faced by other characters, including the SS officers and the workers in the factory. | Ethics and morality play a significant role in the screenplay, exploring the complexities of decision-making and the consequences of one's actions. | ||||||||||||
| Injustice and Oppression (60%) | The screenplay portrays the injustice and oppression faced by the Jewish population under the Nazi regime. It depicts the discrimination, violence, and dehumanization they experienced in the ghettos and concentration camps. | Injustice and oppression is a prevalent theme in the screenplay, shedding light on the atrocities committed during the Holocaust and the systemic oppression of a targeted group. | ||||||||||||
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 goals evolved throughout the script as he navigated the complex social dynamics of the war, including establishing his reputation, gaining influence, and earning financial success. |
| External Goals | The protagonist's external goals evolved as he faced various challenges, including socializing and networking, negotiating business deals, ensuring the success of his factory, and saving as many Jewish lives as possible. |
| Philosophical Conflict | The overarching philosophical conflict is the clash between self-interest and moral responsibility, as the protagonist balances his desire for power, wealth, and success with his belief in the value of human life and his responsibility to protect and save Jewish workers from the Holocaust. |
Character Development Contribution: The protagonist's goals and the philosophical conflict challenge his beliefs, values, and worldview, forcing him to confront his own actions, make difficult choices, and ultimately evolve into a compassionate and heroic figure.
Narrative Structure Contribution: The protagonist's evolving goals and the overarching philosophical conflict provide a narrative structure that propels the story forward, creates tension and suspense, and brings depth and complexity to the plot.
Thematic Depth Contribution: The goals and philosophical conflict contribute to the thematic depth of the screenplay by exploring themes of power, morality, humanity, salvation, and redemption in the context of the Holocaust.
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 - Schindler's Nightclub Encounter | Dark, Intense, Suspenseful | 9 | 8 | 8 | 9 | 9 | 6 | 8 | 7 | 7 | 7 | 7 | 8 | 7 | 6 | 8 | 9 | 8 | 9 | 8 | |
| 2 - A Business Proposition | Serious, Tense, Intense, Mysterious | 9 | 8 | 9 | 9 | 8 | 6 | 8 | 7 | 7 | 7 | 8 | 9 | 7 | 7 | 9 | 9 | 8 | 9 | 8 | |
| 3 - Black Market Deals and Shirt Measurements | Tense, Serious, Conversational | 8 | 7 | 7 | 7 | 8 | 6 | 8 | 7 | 7 | 7 | 7 | 7 | 7 | 6 | 9 | 8 | 8 | 9 | 9 | |
| 4 - A Wedding Gift | Serious, Tense, Tragic | 9 | 8 | 7 | 9 | 8 | 7 | 8 | 7 | 9 | 9 | 9 | 8 | 8 | 10 | 7 | 9 | 8 | 9 | 8 | |
| 5 - Forced Exodus and Negotiations | Serious, Tense, Melancholic | 8 | 7 | 8 | 9 | 9 | 7 | 8 | 7 | 8 | 8 | 8 | 8 | 7 | 8 | 8 | 9 | 8 | 9 | 8 | |
| 6 - Schindler's Dilemma | Serious, Tense, Informative | 8 | 7 | 7 | 9 | 8 | 8 | 8 | 7 | 6 | 8 | 6 | 7 | 7 | 7 | 7 | 9 | 8 | 9 | 8 | |
| 7 - Schindler's Business and Personal Interactions | Serious, Reflective, Proud | 9 | 8 | 7 | 6 | 8 | 6 | 8 | 7 | 6 | 7 | 5 | 8 | 6 | 6 | 7 | 7 | 8 | 9 | 8 | |
| 8 - A Night Out and Uncertain Goodbyes | Serious, Intimate, Reflective | 9 | 8 | 7 | 6 | 9 | 8 | 8 | 7 | 5 | 8 | 6 | 6 | 7 | 8 | 8 | 9 | 8 | 9 | 8 | |
| 9 - Confrontation and Gratitude | Tense, Serious, Confrontational | 9 | 8 | 8 | 6 | 9 | 7 | 8 | 7 | 9 | 9 | 9 | 8 | 7 | 8 | 9 | 9 | 8 | 9 | 8 | |
| 10 - Frustration and Rejection | Tense, Serious, Frustrated | 8 | 7 | 8 | 6 | 9 | 7 | 8 | 7 | 8 | 7 | 8 | 9 | 7 | 7 | 9 | 9 | 8 | 9 | 8 | |
| 11 - Arrest and Release | Tense, Serious, Confrontational, Defiant | 9 | 8 | 9 | 7 | 9 | 8 | 8 | 9 | 9 | 9 | 9 | 9 | 8 | 9 | 8 | 9 | 8 | 9 | 9 | |
| 12 - Schindler's Attempt to Save Stern | Tense, Serious, Confrontational | 9 | 8 | 9 | 6 | 9 | 7 | 8 | 9 | 9 | 8 | 9 | 8 | 7 | 8 | 8 | 9 | 9 | 9 | 8 | |
| 13 - Sorting Jewelry and Touring the Ghetto | Tense, Serious, Melancholic | 9 | 8 | 8 | 8 | 9 | 9 | 7 | 8 | 8 | 9 | 7 | 8 | 7 | 10 | 7 | 9 | 8 | 9 | 9 | |
| 14 - Brutal Order | Tense, Dark, Disturbing | 9 | 8 | 7 | 6 | 9 | 7 | 8 | 7 | 9 | 9 | 10 | 8 | 8 | 10 | 7 | 9 | 8 | 9 | 8 | |
| 15 - Dawn in Cracow | Tense, Serious, Dark | 9 | 8 | 7 | 7 | 7 | 6 | 8 | 7 | 7 | 9 | 9 | 7 | 8 | 8 | 6 | 9 | 8 | 9 | 9 | |
| 16 - The Violent Evacuation | Dark, Intense, Grim | 9 | 8 | 8 | 9 | 7 | 7 | 8 | 7 | 9 | 7 | 10 | 8 | 7 | 10 | 6 | 9 | 8 | 9 | 8 | |
| 17 - Tension and Amusement at Plaszow Quarry Camp | Tense, Dark, Serious | 9 | 8 | 9 | 7 | 9 | 8 | 8 | 7 | 9 | 9 | 10 | 9 | 7 | 10 | 8 | 9 | 8 | 9 | 8 | |
| 18 - Duty and Financial Opportunity | Tense, Serious, Confrontational, Reflective | 9 | 8 | 7 | 7 | 9 | 8 | 8 | 7 | 9 | 8 | 9 | 7 | 7 | 9 | 10 | 8 | 8 | 9 | 9 | |
| 19 - Increasing Security Measures | Tense, Dark, Serious | 9 | 8 | 9 | 6 | 9 | 8 | 7 | 8 | 9 | 8 | 10 | 9 | 7 | 10 | 8 | 9 | 8 | 9 | 8 | |
| 20 - Schindler Helps Leo and Confronts Goeth | Tense, Dark, Serious, Sarcastic | 9 | 8 | 8 | 6 | 9 | 7 | 8 | 7 | 8 | 7 | 8 | 8 | 7 | 8 | 9 | 9 | 8 | 9 | 8 | |
| 21 - Sadistic Behavior and Distractions | Tense, Suspenseful, Dramatic | 9 | 8 | 8 | 9 | 9 | 8 | 8 | 7 | 9 | 9 | 9 | 8 | 8 | 9 | 8 | 9 | 9 | 9 | 8 | |
| 22 - Refusal and Concerns | Tense, Depressing, Cold | 9 | 8 | 8 | 6 | 9 | 8 | 8 | 7 | 8 | 9 | 9 | 8 | 7 | 9 | 8 | 9 | 8 | 9 | 8 | |
| 23 - Power and Justice | Intense, Tense, Dramatic | 9 | 8 | 7 | 9 | 9 | 7 | 8 | 7 | 8 | 9 | 9 | 8 | 7 | 9 | 9 | 9 | 8 | 9 | 8 | |
| 24 - Tense Confrontation and Stealing Allegations | Tense, Serious, Intense | 9 | 8 | 9 | 6 | 9 | 8 | 8 | 7 | 9 | 9 | 9 | 9 | 7 | 8 | 9 | 9 | 8 | 9 | 8 | |
| 25 - Schindler's Birthday Celebration and the Sorting Process | Tense, Dramatic, Serious | 8 | 7 | 7 | 9 | 8 | 5 | 8 | 7 | 6 | 8 | 6 | 7 | 8 | 6 | 7 | 9 | 9 | 9 | 8 | |
| 26 - Desperate Prisoners and Schindler's Proposal | Tense, Cruel, Hopeful | 9 | 8 | 8 | 9 | 9 | 7 | 8 | 7 | 8 | 7 | 9 | 8 | 7 | 9 | 7 | 9 | 8 | 9 | 8 | |
| 27 - Arrest and Confession | Tense, Serious, Dramatic | 9 | 8 | 9 | 8 | 9 | 8 | 8 | 7 | 9 | 8 | 10 | 9 | 7 | 10 | 8 | 9 | 8 | 9 | 9 | |
| 28 - Failed Justification and Tragic Melancholy | Tense, Melancholic, Serious | 9 | 8 | 7 | 7 | 8 | 7 | 8 | 7 | 8 | 9 | 9 | 8 | 7 | 10 | 8 | 8 | 8 | 9 | 9 | |
| 29 - Schindler's Descent | Tense, Grim, Melancholic | 9 | 8 | 8 | 9 | 9 | 8 | 8 | 7 | 8 | 9 | 9 | 9 | 7 | 10 | 8 | 9 | 8 | 9 | 8 | |
| 30 - Schindler's Secret Deal | Serious, Tense, Emotional | 9 | 8 | 8 | 9 | 9 | 9 | 8 | 7 | 8 | 9 | 10 | 8 | 7 | 10 | 8 | 9 | 8 | 9 | 8 | |
| 31 - Chaos and Conflict at Plaszow | Serious, Dark, Tense | 9 | 8 | 9 | 9 | 9 | 8 | 8 | 7 | 9 | 9 | 10 | 10 | 8 | 10 | 8 | 9 | 8 | 9 | 8 | |
| 32 - Schindler Confronted by Gestapo and Doctor's Deception | Tense, Serious, Hopeless | 9 | 8 | 9 | 9 | 9 | 8 | 8 | 7 | 9 | 8 | 10 | 9 | 7 | 10 | 8 | 9 | 9 | 9 | 8 | |
| 33 - Saving Lives and Desperate Negotiations | Tense, Serious, Emotional | 9 | 8 | 9 | 9 | 9 | 8 | 8 | 9 | 9 | 9 | 10 | 9 | 9 | 10 | 8 | 10 | 9 | 9 | 8 | |
| 34 - Schindler Asserts Authority and Shows Compassion | Serious, Hopeful, Tense | 9 | 8 | 9 | 6 | 9 | 8 | 8 | 9 | 8 | 8 | 10 | 9 | 7 | 10 | 8 | 9 | 8 | 9 | 8 | |
| 35 - Longing and Tension in the Brinnlitz Camp | Tense, Emotional, Reflective | 9 | 8 | 8 | 7 | 9 | 8 | 8 | 7 | 6 | 6 | 7 | 7 | 7 | 10 | 8 | 9 | 8 | 9 | 9 | |
| 36 - Schindler Introduces Emilie and Stern, Radio Fixed, Hopeful News | Tense, Hopeful, Serious | 9 | 8 | 9 | 7 | 9 | 8 | 8 | 6 | 6 | 6 | 7 | 9 | 5 | 9 | 8 | 7 | 8 | 9 | 8 | |
| 37 - Schindler's Intervention | Serious, Tense, Determined | 9 | 8 | 8 | 7 | 9 | 8 | 8 | 7 | 8 | 8 | 10 | 9 | 7 | 10 | 7 | 8 | 9 | 9 | 8 | |
| 38 - Burial of the Victims | Somber, Reflective, Resolute | 9 | 8 | 7 | 7 | 8 | 9 | 8 | 7 | 8 | 8 | 9 | 8 | 8 | 10 | 7 | 9 | 9 | 9 | 9 | |
| 39 - Amon Goeth's Visit to the Brinnlitz Factory | Tense, Serious, Reflective | 9 | 8 | 9 | 7 | 9 | 9 | 8 | 7 | 9 | 8 | 9 | 9 | 8 | 10 | 9 | 9 | 9 | 9 | 8 | |
| 40 - Schindler's Regret | Guilt, Regret, Emotional, Reflective | 9 | 8 | 7 | 9 | 9 | 9 | 9 | 8 | 5 | 8 | 9 | 7 | 7 | 10 | 8 | 10 | 9 | 9 | 8 | |
| 41 - Liberation at Brinnlitz | Shocking, Hopeful, Somber | 9 | 8 | 8 | 6 | 9 | 8 | 8 | 7 | 6 | 7 | 8 | 9 | 7 | 10 | 7 | 9 | 8 | 9 | 8 | |
| 42 - A Dinner Invitation | Reflective, Hopeful, Bittersweet | 9 | 8 | 8 | 7 | 9 | 9 | 8 | 7 | 4 | 6 | 6 | 7 | 7 | 10 | 8 | 8 | 8 | 9 | 9 | |
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
- Powerful emotional impact, Compelling concept, Strong character development
- Engaging dialogue, Realistic portrayal of historical context, Tense atmosphere
- Effective portrayal of the dire situation of Jews in the ghetto, Compelling concept of using business to save lives, Strong dialogue and character dynamics
- Powerful portrayal of the Holocaust atrocities, Strong character development for Amon Goeth, Emotionally impactful scene
- Effective contrast between Schindler's lifestyle and the ghetto, Compelling character development for Schindler, Revealing dialogue about the SS's exploitation
Scene Weaknesses
- Limited emotional impact, Lack of significant character development
- Lack of strong emotional impact
- Limited character development, Lack of exploration of the theme
- Limited plot progression
- Limited external conflict
Suggestions
- Focus on increasing emotional impact throughout the screenplay by exploring the characters' inner lives and increasing their stakes in the story.
- Work on improving the dialogue to deepen the characters' relationships and conflicts, as well as to sharpen their personalities for a more memorable impact on the audience.
- Consider expanding the external conflict to increase cinematic tension and create more opportunities for character development and growth.
- Make sure to explore the themes of the story more deeply and consistently throughout the screenplay to give it greater resonance with audiences.
- Work on creating more well-rounded and dynamic characters, with believable motivations and behaviors that drive the narrative forward, while remaining true to their individual personalities and backstories.
Scene 1 - Schindler's Nightclub Encounter
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 - A Business Proposition
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 - Black Market Deals and Shirt Measurements
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 - A Wedding Gift
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 - Forced Exodus and Negotiations
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 - Schindler's 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 7 - Schindler's Business and Personal Interactions
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 - A Night Out and Uncertain Goodbyes
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 - Confrontation and Gratitude
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 - Frustration and Rejection
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 - Arrest and Release
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 - Schindler's Attempt to Save Stern
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 - Sorting Jewelry and Touring the Ghetto
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 - Brutal Order
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 - Dawn in Cracow
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 - The Violent Evacuation
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 - Tension and Amusement at Plaszow Quarry Camp
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 - Duty and Financial Opportunity
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 - Increasing Security Measures
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 - Schindler Helps Leo and Confronts Goeth
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 - Sadistic Behavior and Distractions
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 - Refusal and Concerns
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 - Power and Justice
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 - Tense Confrontation and Stealing Allegations
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 - Schindler's Birthday Celebration and the Sorting Process
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 - Desperate Prisoners and Schindler's Proposal
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 - Arrest and Confession
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 - Failed Justification and Tragic Melancholy
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 - Schindler's Descent
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 - Schindler's Secret Deal
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 - Chaos and Conflict at Plaszow
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 - Schindler Confronted by Gestapo and Doctor's Deception
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 - Saving Lives and Desperate Negotiations
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 - Schindler Asserts Authority and Shows Compassion
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 - Longing and Tension in the Brinnlitz Camp
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 - Schindler Introduces Emilie and Stern, Radio Fixed, Hopeful News
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 - Schindler's Intervention
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 - Burial of the Victims
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 - Amon Goeth's Visit to the Brinnlitz Factory
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 - Schindler's Regret
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 - Liberation at Brinnlitz
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 Dinner Invitation
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.
Engine: Gemini
Highly Recommend
Explanation: Schindler's List is a powerful and moving screenplay that masterfully portrays the horrors of the Holocaust and the triumph of the human spirit. Its complex characters, effective use of visuals, and sharp dialogue create an unforgettable cinematic experience.
Engine: Claude
Recommend
Explanation: Schindler's List is a powerful and well-crafted screenplay that chronicles the transformative journey of Oskar Schindler, a German businessman who becomes an unlikely savior of over a thousand Jews during the Holocaust. The screenplay effectively balances the harrowing historical events with the complex moral and emotional arcs of its characters, delivering a compelling and impactful narrative. While there are a few areas that could benefit from further development, the screenplay's strengths, particularly in its characterization, visual storytelling, and exploration of moral ambiguity, make it a strong candidate for adaptation.