Movie Review - Amelia
Posted: Fri Nov 13, 2009 9:08 pm
Anyone seen this one?
Jamie called wanting to go to a movie when she gets home, and I looked at the local review for "Amelia". It wasn't good. The final few words: "... everything ... in Ronald Bass and Anna Hamilton Phelan’s hackneyed script is writ so large you see it coming a mile away – ......and they have a lot to do with Amelia’s relentlessly phony feel, something (Hiliary) Swank (Amelia), who is quite good (and a dead ringer for the real thing), can’t make a dent in. In her past work, such as Monsoon Wedding and Vanity Fair, Nair has shown great talent for rooting out moments of subtlety in the spectacle – and her last film, the underseen The Namesake, was nothing but intimate interplay between characters. But only rarely does her Amelia feel human-scale: These are cardboard cutouts from a long-ago and far cornier era, rearranged scene by scene to imply lust, inner conflict, triumph, and grief. But most devastating to the film’s effectiveness is its inability to convey that one essential to the story of Amelia Earhart: the tangible pleasures of flying.
(bold: mine)
Jamie called wanting to go to a movie when she gets home, and I looked at the local review for "Amelia". It wasn't good. The final few words: "... everything ... in Ronald Bass and Anna Hamilton Phelan’s hackneyed script is writ so large you see it coming a mile away – ......and they have a lot to do with Amelia’s relentlessly phony feel, something (Hiliary) Swank (Amelia), who is quite good (and a dead ringer for the real thing), can’t make a dent in. In her past work, such as Monsoon Wedding and Vanity Fair, Nair has shown great talent for rooting out moments of subtlety in the spectacle – and her last film, the underseen The Namesake, was nothing but intimate interplay between characters. But only rarely does her Amelia feel human-scale: These are cardboard cutouts from a long-ago and far cornier era, rearranged scene by scene to imply lust, inner conflict, triumph, and grief. But most devastating to the film’s effectiveness is its inability to convey that one essential to the story of Amelia Earhart: the tangible pleasures of flying.
(bold: mine)