Word: earhartã
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There is something very disconcerting about the first scenes of “Amelia.” The new Amelia Earhart biopic from director Mira Nair ’79 opens with a soft, hopeful score to accompany Earhart??played with wit and charisma by Hilary Swank—on her first trip across the Atlantic Ocean; the year is 1928, and Earhart??s airplane swoops gently over the vast seascapes and mountains of clouds. In “Amelia,” flying is about freedom and joy, an attitude completely forgotten in our modern...
...optimism, and the era that spawned it, as it is about the woman. Set during the Great Depression, the film is, nonetheless, pure escapism, offering the glamour of this summer’s “Public Enemies” without the grit. A perilous moment on one of Earhart??s flights is never excessively troubling; somehow she always escapes the danger and lands among fawning crowds or the occasional confused shepherd. She pursues her ambition to be a “vagabond of the air” without fear, barreling through the obstacles of poverty, peril...
...married, she submits to his urges to make more publicity appearances because she does not know what else to do; the financial backing for her flights must come from somewhere, and so she squeezes her sprawling personality into advertisements for everything from cameras to a clothing line. Although Earhart??s triumphant press conferences and bold declarations of freedom made her a celebrity in her time and a legend in ours, Swank is best in times of conflict and uncertainty; in one such scene, there is even an ironic tribute to “Patton” for those...
...shoulders comes now with slightly dimmed rainbow-watercolor sheen and a koan-like paradox. With the collective’s founders dispersed to side projects and Powerpuff soundtracks—or, in Jeff Mangum’s case, last sighted piloting a transatlantic aeroplane somewhere near Amelia Earhart??s—does Elephant 6 still matter...
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