Rendező:
Mira NairOperatőr:
Stuart DryburghZeneszerző:
Gabriel YaredSzereplők:
Hilary Swank, Richard Gere, Ewan McGregor, Christopher Eccleston, Joe Anderson, Cherry Jones, Mia Wasikowska, Aaron Abrams, Ryann Shane, Scott Anderson (több)Tartalmak(1)
Amelia igazi szerelme a repülés volt. Az ápolónőként dolgozó kansasi lány a világháborús veteránok elbeszéléseinek hatására kapott kedvet a repüléshez. Hírnevét azzal szerezte, hogy első nőként repülte át az Atlanti-óceánt. Nemzeti hősként ünnepelték, Amerika kedvence lett. Nyughatatlan természete nemcsak a magánéletét kavarta fel – férjes asszonyként viszonyba keveredett Gene Vidallal –, hanem újabb és újabb kihívásokra sarkallta. A kísérőjével 1937-ben vágott neki a világkörüli útnak. Az Egyenlítő mentén akarta körberepülni a Földet. Repülőgépe a Csendes-óceán fölött tűnt el. Sorsára sohasem derült fény. (HBO Europe)
(több)Recenziók (3)
Amelia Earhart isn’t Amélie of Montmartre, so don’t expect a very likable and crazy cartoonish character, but rather an overly stylish harlot who is lucky because she can fly damn well. But when the creators don’t shoot even the aerial shots nicely and everything else is very average or bad you can’t expect a good biopic. It fascinates me that they managed to get actors like Richard Gere or Ewan McGregor into such a bad movie and that the distributor had the balls to claim that Hilary Swank gave an unforgettable performance. She didn’t.
()
This is seemingly the ideal substance, cast and all. Yet the result is a film for which Richard Gere was wasted. Hilary Swank is drowned in a mask that is so authentic it doesn't give her a chance to act at all. Ewan McGregor's character is unnecessary, and the worst realization of all is that all the cut scenes are important and would have made for a much better and more compact experience if they had remained in the film. Thus it is a film without emotions, without any psychology of the characters, and instead is just a biographical illustration.
()
A biopic with stunning aerial shots, without exception excellent actors, haunting music that recalls John Barry's classics... And, unfortunately, with an ordinary story with a minimum of surprises. That's what we get with Amelia. It’s not bad at all, but also not astounding in any way. As far as the direction is concerned, I have reservations about the constant repetition of the same processes (the two Atlantic crossings look - except for the storm - practically the same, the film is constantly interspersed with news captions in order to make it as vivid as possible, and the director seems to have taken a great liking to the "archival black-and-white footage suddenly becomes a color film"), yet the great insert of shooting and photographing commercials is to be commended. There should have been more such livening in Amelia.
()