Movies: Amelia Crashes, Dafoe Flashes, Pinchot Bashes
Nathaniel Rogers would live inside a movie theater but for the poor internet reception. He blogs daily at the Film Experience.
YOUR FEATURE PRESENTATION
If you’re going to make a film about an aviatrix, it better soar. Mira Nair's AMELIA seems to understand this with reverent voiceovers about flight sprinkled throughout. It even begins by prepping for liftoff as we see Amelia Earhart (Hilary Swank) waving from her plane’s wing, about to embark on a historic flight. Unfortunately it's the historic flight, as in her last. Argh! The movie has opted for that musty old biopic framing device: Start at the famous end, jump backwards in time to see how it all began, count down with us to the famous celebrity death! When a biopic begins this way, you have to worry that it has nothing fresh to say, being closer in spirit to a Wikipedia entry than a movie.
From that initial take off, complete with an overzealous score that assumes every moment's a climactic one, Amelia the film zooms through Amelia the person's rise to fame as if we all know every detail and can't wait to get to that doomed flight. Though clearly in a rush to get there, it feels like it's crawling rather than flying toward its final destination. There's no window view into this woman and the storytelling discards abundant opportunities to actually show us about what it would have been like to be this hugely famous trailblazer. Shouldn’t a film about a woman who broke gender barriers in the workplace and also resisted them at home with an open marriage feel fresh or even electric in its daring?
You could blame the director but Mira Nair once made great movies like Salaam Bombay and Monsoon Wedding so that's no fun. Let's blame the actors!
MORE Amelia, plus: Willem Dafoe's penis, Montgomery Clift's eyes, Hugh Jackman's charisma, AFTER THE JUMP...
Continue reading "Movies: Amelia Crashes, Dafoe Flashes, Pinchot Bashes" »








Recent Comments