There are very few risks taken in this film about one of America’s ultimate risktaker, but still, it’s beautiful to watch. Even though you know how it ends, the scenic flight to the conclusion is a cinematic pleasure, with HillarySwank’s unparalleled talent piloting the course.

Thanks to the aesthetic brilliance of director Mira Nair and director of photography Stuart Dryburg, each scene is almost suitable for framing. It’s a visual symphony. Too bad the script doesn’t quite support the visuals, which is odd because it was written by Oscar winner Ronald Bass (Rain Man, Snow Falling on Cedars, The Joy Luck Club, to name a few) and Anna Hamilton Phelan (Girl, Interrupted, Gorillas in the Mist, Mask). It’s as if they punched out the story on the fly – the dialogue is stilted at best, and there isn’t much character development. We never really feel as if we know Amelia very well, despite Swank’s best efforts, which are admirable. She simply wasn’t given much to work with.

Still, Swank’s Amelia manages to be fiercely and independently passionate, extremely comfortable in her own femininity despite her mannish, yet stylish attire. If this were a bigger film, it would inspire wardrobe trends ala Annie Hall. Richard Gere does a fine turn as Amelia’s cuckholded husband and promoter George Putnam. I would have liked to see more of Ewan McGregor as Amelia’s lover Gene Vidal, who was also Gore Vidal’s father. The younger Vidal’s relationship with Amelia is a fun aside.

On the whole, it’s a very beautiful, gentle film. Perhaps the portrayal of Amelia’s end is a bit too gentle. Granted, it’s impossible to know what went on in the cockpit when her plane went down, but a little more tension, fright or drama would have added gravitas to the project. Amelia might be too subtle for award contention, but all in all, it’s a very worthwhile film.

Rated PG

--Lisa  Johnson Mandell