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Amelia Earhart, a Kansas girl, discovers the thrill of aviation at age 23, and within 12 years has progressed to winning the Distinguished Flying Cross for being the first woman to pilot a plane solo across the Atlantic Ocean. At age 39, she sets out on an attempt to circumnavigate the globe, an adventure that catapults her into aviation myth. Written by
Jim Beaver <email@example.com>
The 1927 Packard 7 Passenger used in the movie was actually Charles Lindbergh's car, given to him by the mayor of New York (Jimmie Walker) after his direct, non-stop flight from New York to Paris. The chauffeur in the movie is the owner of the car from RM Classic Cars of Blenheim. See more »
When Amelia Earhart walks into George Palmer Putnam's room during/after the cocktail party, her necklace is underneath the sheer part of her dress as she walks in and sits down. Later in the scene when the shot cuts from Putnam back to Amelia the necklace is on the outside of her dress rather than underneath as it had been seconds before. See more »
Occasionally a movie comes along from Hollywood that sweeps you away with the breadth and scope of its sheer awfulness.
True story - a hank of hair at the International Women's Air and Space Museum in Cleveland thought to be Amelia Earhart's was recently discovered to be, in fact, just thread. This movie is the cinematic equivalent. This movie, thought to be about Amelia Earhart is, in fact, a threaded bundle of clichés and overwrought soap opera moments. If Hilary Swank gave one more brave toothy grin, I thought I was going to have to leave. But I stuck it out to see which was worse, the unconvincing acting, the poor casting, Richard Gere, the costumey looking costumes, or the dreadful Peter Pan soundtrack. But the winner, I think, is the screenplay, which rattles off one maudlin insight after another alternating with scenes of stunning mediocrity played without conviction or chemistry.
If some of this is based on Earhart's real words, then maybe she's just not that interesting a subject for film. My guess is that the forever overly earnest Hillary Swank, as executive producer, buoyed by research and good intentions, convinced Mira Nair that her poetic approach to film-making would be perfect against the pilot's own words of inspiration. The result is a disaster. When you're sitting in the theater having shelled out your ten bucks and you can't wait for Amelia Earhart to die, you know you've gone to the wrong movie.
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