The film received a mixed critical response upon release and later won the Academy Award for Best Sound Editing for supervising sound editor Bruce Stambler. In , Sir Robert Beaumont, the primary financier of a railroad project in Tsavo , Kenya , is furious because the project is running behind schedule. He seeks out the expertise of Lt. Colonel John Henry Patterson , a British military engineer, to get the project back on track. Patterson travels from England to Tsavo, telling his wife, Helena, he will complete the project and be back in London for the birth of their son. Hawthorne tells Patterson of a recent lion attack that has affected the project.
That night, Patterson kills an approaching lion with one shot, earning the respect of the workers and bringing the project back on schedule. However, not long afterwards, Mahina, the construction foreman, is dragged from his tent in the middle of the night.
His half-eaten body is found the next morning. Patterson then attempts a second night-time lion hunt, but the following morning, another worker is found dead at the opposite end of the camp from Patterson's position.
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Patterson's only comfort now is the letters he receives from his wife. Soon, while the workers are gathering wood and building fire pits around the tents, a lion attacks the camp in the middle of the day, killing another worker. While Patterson, Starling and Samuel are tracking it to one end of the camp, another lion leaps upon them from the roof of a building, killing Starling with a slash to the throat and injuring Patterson on the left arm.
Despite the latter's efforts to kill them, both lions escape. Samuel states that there has never been a pair of man-eaters ; they have always been solitary hunters. The workers, led by Abdullah, begin to turn on Patterson. Work on the bridge comes to a halt. Patterson requests soldiers from England to protect the workers, but is denied.
During a visit to the camp, Beaumont tells Patterson that he will ruin his reputation if the bridge is not finished on time and that he will contact the famous hunter Charles Remington to help because Patterson has been unable to kill the animals. Remington arrives with skilled Maasai warriors to help kill the lions. They dub the lions "the Ghost" and "the Darkness" because of their notorious methods of attack. The initial attempt fails when Patterson's borrowed gun misfires.
The warriors decide to leave, but Remington stays behind. He constructs a new hospital for sick and injured workers and tempts the lions to the abandoned building with animal parts and blood. When the lions fall for the trap, Remington and Patterson shoot at them; they flee and attack the new hospital, killing many patients and Hawthorne.
Abdullah and the construction men leave, and only Patterson, Remington, and Samuel remain behind. Patterson and Remington locate the animals' lair, discovering the bones of dozens of the lions' victims.
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That night, Remington kills one of the pair by using Patterson and a baboon as bait, but the next morning Patterson discovers that the remaining lion has dragged Remington from his tent and killed him. Patterson and Samuel cremate Remington's corpse on a pyre at the spot where he died. Grief-stricken and desperate to end the carnage, the two men burn the tall grass surrounding the camp, driving the surviving lion toward the camp and the ambush that they set there. The lion attacks them on the partially constructed bridge, and after a lengthy fight Patterson finally kills it.
Abdullah and the construction workers return, and the bridge is completed on time. William Goldman first heard about the story when travelling in Africa in , and thought it would make a good script. In he pitched the story to Paramount as a cross between Lawrence of Arabia and Jaws , and they commissioned him to write a screenplay which he delivered in The script fictionalises Patterson's account, introducing an American big game hunter called Charles Remington.
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Wilshire - Faer Pride epic fantasy A. Thus the text could be seen, if not as the birth of Israel as a people, at least as the first step toward it. By having their own storyteller, Moses, they developed a new perspective on their realities. Until then their story was told by the Egyptians who referred to them as slaves. They were aliens in a foreign land and as such they had to undergo many hardships.
They were nothing but what their oppressors wanted them to be, and they had nothing apart from what was been given to them by their masters. Being a dominated minority in a slaveholding culture, Israel could not have any other worldview than the one created by its oppressor in order to keep it oppressed.
To free themselves from such bondage, the Israelites had the courage and the genius to retell their story from their own perspective.
In so doing they rejected their received identity and gave themselves a new one. First of all they ceased to see themselves as slaves which was an accepted practice in their imposed worldview. Now they perceived themselves as an oppressed people which is a new concept in describing the same reality.
Second, they refused to consider themselves as an inferior class. Now they were the chosen people. They moved from being at the bottom of the Egyptian social classification to being a unique people set apart by Yahweh. Neither the reality of slavery nor the fact of being strangers had changed. What changed was their way of telling the story, of describing their reality. They entered into a new cosmology with a new set of values and a new perception of themselves.
Through their belief in a God who was liberator, they would come to free themselves from the Egyptian bondage. What does this mean for us Africans today? We Africans often take history as it has been narrated to us and do little questioning. But, as the proverb tells us, unless we have our own story-teller, the oppressors will always have the best part of the story. To free ourselves from oppression, we must tell our history from our own viewpoint.
The current history has been told and written from the dominating class's perspective-white and African oppressors alike-in such a way that the victims' voices are silenced. Our duty is to tell the African story in the way that does justice to our sufferings and our struggles. Let us take an example of how history is told from the perspective of the winners. When the Europeans came to Africa they called themselves colonizers and conquerors.