Lost In Shangri- La by Mitchell Zuckoff is a blockbuster tale Hollywood couldn’t better. An American military plane crashes in an uncharted and barely accessible part of New Guinea leaving only three survivors, one of them a brave and fetching blonde member of the Women’s Army Corps. The survivors and natives share a fascinating rapprochement, despite the tribe’s propensity to war.

Zuckoff tells the tale with an unusual focus on the personalities randomly thrust together and the collision of stunningly different worlds. His writing and delivery let the drama speak for itself: his mellow voice and almost conversational style avoids histrionics at the climactic moments, yet still conveys the characters’ emotional journeys.

Events take off, literally in 1945 in Dutch New Guinea, where Americans still at war with the Japanese were stationed. Twenty-four soldiers and members of the Women’s Army Corps are treated by their boss to a recreational flight over “Shangri-La”, a storied part of the island recently discovered.

Flying over a narrow valley on the mountainous island (which had already foundered 600 planes during the war), treacherous terrain and human error result in the crash, killing all but three on board: Corporal Margaret Hastings, a 30-year-old WAC enlistee from upstate New York, who sustained leg burns; Sergeant Kenneth Decker, whose stoicism wasn’t fully realized until the severity of his wounds were discovered days later, and, finally, Lieutenant John McCollom who, while physically the heartiest, was arguably the most wounded, having left the remains of his twin brother in the wreckage.

Zuckoff sensitively narrates the travails of the immediate aftermath when the trio, living on scant water and hard candies, drag themselves through the jungle to a clearing where they will be more visible to search planes.

But they are first spotted by natives, fierce-looking and, for all the survivors know, cannibals. Drawing heavily on Margaret’s diary, Zuckoff seems to share the sense of wonder, as well as the initial condescension, curiosity, and fear shared by the survivors. And, through his research with the tribesmen and their progeny about the long-ago event, he helps us grasp the culture and reactions of the tribe, who believed the survivors to be gods or spirits of death to be honored. The tribe’s almost religious commitment to making war makes the relationships that grew between the two groups that much more remarkable. Margaret and a regal, gracious tribeswoman find a deep bond, with nary a comprehensible word between them.

After five weeks together, the rescue operation is ready. Zuckoff sets it up with all the challenges of logistics and aeronautic risks, telling a heart-stopping narrative from the arrival of paratroopers through the seemingly doomed attempts to “snatch” the survivors to safety.

For all the swashbuckling, exotic appeal of this historic episode, the most moving sections were the intimacies Zuckoff sought out from the survivors and shares here like secret, treasured knowledge the snippets of letters sent home; details of families’ idiosyncrasies, and especially, the fascinatingly ordinary lives the survivors lived out, after the event Zuckoff reveals in all its extraordinariness. Elly Schull Meeks