Amelia (2009)

Directed by: Mira Nair | 111 minutes | drama, adventure, romance, biography | Actors: Hilary Swank, Richard Gere, Ewan McGregor, Christopher Eccleston, Joe Anderson, Cherry Jones, Mia Wasikowska, Aaron Abrams, Dylan Roberts, Scott Yaphe, Tom Fairfoot, Ryann Shane, William Cuddy, Elizabeth Shepherd, Richard Donat

During her lifetime, Amelia Earhart was a symbol for many people. A ‘free-spirited’ woman (as far as that was possible in her time), who seemed completely to follow her own plan, achieving things that no one had thought possible. Certainly not from a woman. Women not fit to fly? Quatsch! Earhart showed with an iron will that women really can’t be inferior to men when it comes to great achievements. In addition, she dared to speak out about what, in her view, is a completely absurd role pattern that existed for men and women. And no man dared to go against her.

You could say that an intriguing biographical film could be made from a woman who so appeals to the imagination. With a woman at the helm (director Mira Nair) and a script based on two books by female authors about Earhart’s life and co-written by a woman. And finally a lead actress (Hilary Swank) who also acts as a co-producer. Enough female input in any case to ensure that the film does not suffer from testosterone. Would you say. And indeed, there is little testosterone in the film. So little, in fact, that virtually every character walks soulless and empty through the film. Amelia Earhart included.

Not that the film should have randomly added some dark side to Earhart’s persona. Certainly not. A woman with an almost unblemished blazon, as far as we know, should not suddenly be portrayed as a wild vamp. But it’s hard to believe that Earhart and her publicist George Putnam (Richard Gere), who would later become her husband, were so confrontational. The film is too tender, or rather: too careful in the portrayals. Earhart’s life is presented as a fairy tale, in the sense that each character is completely one-dimensional. It doesn’t crackle anywhere. That cautiousness is also reflected in the images.

‘Amelia’ is beautifully designed, with fantastic cinematography. But it’s too slick, too neat. There are no rough edges anywhere. ‘Amelia’ is a plush jewelry box. It’s beautiful to look at, but impossible to pull your fingers open on it, and even if you get it thrown at your head, it doesn’t hurt. But actually this comparison is wrong, because a jewelry box made of plush contains at least a new idea. While the film has nothing new to offer. It’s a shame about all the excellent actors who lent themselves to this film adaptation.

Make no mistake about it being well acted. Hilary Swank, for example, is a fantastic Amelia Earhart. She fits the role perfectly. But so little is done with her talent. And so are Richard Gere and Ewan McGregor, who plays aviation pioneer Gene Vidal, who is alleged to have had a short-lived romantic relationship with Earhart. ‘Amelia’ flies completely on autopilot and disappears, like the woman whose life is the model for the film, somewhere in the distance. With the difference that no search will be launched for the film. He’s too bland for that.