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By Piers Paul Read

In October 1972 an airplane sporting a celebration of Uruguayan rugby avid gamers and their pals took off from Argentina to fly over the Andes to Chile. It crashed within the mountains in dense cloud, and a few of the forty five passengers have been killed. The survivors quickly discovered, via hearing their transistor radio, that the hunt social gathering were referred to as off simply because not anyone may be anticipated to outlive at that altitude in so savage a weather. because the days handed, weakened by means of hunger and sub-zero temperatures, that they had to stand the inescapable fact - that, as a way to continue to exist, they need to consume the flesh in their useless partners. How those younger males eventually despatched out "expeditionaries" to courageous the Andean peaks and the way, after appalling hardships, they accomplished rescue and lower back to civilization seventy two days after the crash, is acknowledged during this story of human braveness and triumph. the writer is a novelist whose books comprise "The unfastened Frenchman" and "On the 3rd Day".

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It is the first Ihing we see; every killing is accompanied (often unobtrusively) hy a cross, sometimes formed by patterns of light or shadow; the scar on Tony's face is a cross. In the scene of the St Valentine's I )ay Massacre the camera moves down from seven crosses-the pattern in a wooden overhang-to show the seven victims. The majority of these are the multiplication-sign form of the cross-a slraightforward sign for death, the crossing-out of a human being; but several take the traditional Christian shape.

One IIIIIlIlmt in Rio Bravo, in itself very small, beautifully defines the IILllionship between Chance and Dude. Chance takes Dude out I" pal rol the streets, mainly to help him overcome the strain he is 1IIItler from his need for alcohol, pauses by the paid gunman who 1t,1'; heen appointed by Burdett to watch the jail, says 'Good 1\,(,lIing' to him and stands there till the man shuffles uneasily and IIIOves away. We see Dude watching from the other side of the ',IICd, and from his face the impact on him of this expression of IIllIral force, the authority that comes from integrity.

Hawks's town consists of jail, hotel, saloons, and rows of unadorned and inconspicuous housefronts; inhabitants appear only when the narrative demands their presence, and there is never the least attempt to evoke that sense of community that is one of the finest and most characteristic features of the work of Ford. If a barn contains agricultural implements, they are there to provide cover in a gun-fight, not to suggest a background of agricultural activity; if the barn is littered with dust and straw, this is not to create atmosphere or a sense of place, but simply to use to blind a character momentarily.

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