It actually sounds like it would have more in common with a World War I movie, and one of my favorites: Grand Illusion.

I will say that in my experience as a reader, World War II/Holocaust scripts were often really bad. The stakes are so obviously high, and the sympathy so automatic, that I often saw people forgetting to write characters or find clever approaches. The subject may be immediately powerful and important, but it's been taken on by writers like Elie Wiesel, Primo Levi, and so many others with personal perspectives *and* tremendous skill and ability. Coasting on the power of your subject is a dangerous trap.

"Coasting on the power of your subject is a dangerous trap."

Amos, that's great advice. Even with such a compelling hook, it would be up to the writer to find the specific aspects of key characters that provide emotional resonance to a reader. For example, what made Schindler's story exceptional was not only the fact he saved the lives of so many Jews, but his metamorphosis as a human being - from crass businessman to humanitarian in the best sense of the word.

In virtually every story, there must be a focused emotional throughline of at least one character, almost always the Protagonist, which provides layers of meaning to what happens in the plot.

Thanks for the reminder, Amos.