The injector is normally closed and is operated by 12-volt VPWR from the power relay. The amount of fuel is controlled by the length of time the fuel injector is held open. The fuel injector is opened and closed a constant number of times per crankshaft revolution. The fuel injector is a solenoid-operated valve that meters the fuel flow to each combustion cylinder. This information is used to vary the fuel pressure and avoid fuel system vaporization. The fuel rail temperature (FRT) sensor measures the current fuel temperatures in the fuel rail. The PCM uses this information to vary the duty cycle output to the FPDM to compensate for varying loads. The fuel rail pressure (FRP) sensor provides the PCM with the current fuel rail pressure. (For additional information on FPDM operation, refer to FUEL PUMP and FUEL PUMP MONITOR (FPM).) Voltage for the fuel pump is supplied by the power relay or FPDM power supply relay. The FPDM modulates the voltage to the fuel pump (FP) required to achieve the proper fuel pressure. The PCM commands a duty cycle to the fuel pump driver module (FPDM). The fuel pump logic is defined in the fuel system control strategy and is executed by the PCM. The fuel delivery system is enabled during crank or running mode once the PCM receives a crankshaft position (CKP) sensor signal. The electronic returnless fuel system consists of a fuel tank with reservoir, the fuel pump, the fuel rail pressure (FRP) sensor, the fuel filter, the fuel supply line, the fuel rail temperature (FRT) sensor, the fuel rail, the fuel injectors, and a Schrader valve/pressure test point. it could also be getting a weak signal occassionaly from the CKP As OBX has stated it sounds like you have a faulty FRP or FRT.
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In the warehouse scene we see them waiting in a huge line of other people trying to sell their stuff as well, this was clearly a common thing to do as it was a way for them to get money on their own without relying on a job they can’t find it gave them a sense of relief. The people had to do everything they could to survive and in this case Antonio and Maria had to sell some of their belongings at a warehouse. These characteristics emphasized on everyday people, the preoccupation with the aftermath and wartime devastation, poverty and unemployment, and the use of actual locations giving it a simple “style-less” style. You make some interesting points on the film and I can say I agree on completely on each of them, such as the characteristics of the neorealist film movement in this post WWII Italian film. This is an excellent review! You managed to write clearly about the film without giving us too much information, well organized and well spoken. An extreme long shot reveals helpless little Bruno, in the distance, sitting at the top of the steps, waiting patiently for his Papa. Hearing a distant voice yell “help, a boy is drowning,” Antonio becomes panic-stricken, and runs toward the river, yelling “Bruno, Bruno, Bruno!” Momentarily thinking of his son, a close up on Antonio’s face shows his furrowed brow relaxing, and looking around, he gazes upward. Bicycle Thieves), won numerous awards including an Honorary Academy Award for Best Foreign Language Film. With subtle themes of the father-son, man and God relationship, Antonio is tested in character, but never abandoned. These films contained simplistic plots about the everyday, working class, with low-key dialogue, that requires a keen ear for the hidden gems. The availability of lower grade film stock only added to the documentary style, and offered a feeling of immediacy. Other elements included modest funding, on-location shooting, and use of natural lighting. Post WWII Italy brought on the neorealist film movement, which often meant hiring non-professional actors, as in Maggiorani’s superb performance. Rejecting the counsel of a wise woman that “either you find it now, or you never will,” Antonio becomes desperate and soon has his eye fixed on an unattended bicycle – the father’s vulnerability soon becomes a lesson in compassion to his young son. Ultimately a slap in the face (literally and figuratively) quickly separates him from love and devotion to his Papa. He accuses the wrong man, harasses another elderly man during Mass – ignoring the words of the Benediction to “send us guidance from within.” He neglects Bruno, who grows increasingly frustrated, as he is harassed by a stranger, falls flat on his face in the rain, and is nearly hit by several cars, all during his father’s oblivion. The sun is shining brightly, it’s a new beginning, and Antonio is off to work, hanging film posters of Rita Hayworth as Gilda, until a group of thieves carefully coordinate the theft of his bicycle.Īfter uselessly filing a complaint with the local authorities, Antonio enlists the help of his friends at the sanitation department, who set out together early the next morning, with Bruno, to search for the stolen bicycle, but the weather changes as quickly as Antonio’s hope, of ever retrieving his bicycle.ĭragging Bruno through town and the open market, Antonio is consumed with his search for the bicycle and less concerned for the safety of his son. Young Bruno Ricci (Enzo Staiola) looks up to his “daddy,” and tries to be helpful in every way, even carefully cleaning the bicycle on the first day of work. Post-war Italy, and Antonio Ricci (Lamberto Maggiorani) is in the same predicament that many of his peers are in he has struggled to find work for over a year, his new job hinges on the use of a bicycle, his bicycle is in hock, and his wife must pawn more of their belongings in order to reclaim it, or he’ll lose his job – one he desperately needs to support his proud family. The Bicycle Thief (Vittorio De Sica, 1948): Italy |