What on the surface looks like a plush period piece with best picture aspirations, is actually a bland biopic of an otherwise interesting figure in Amelia.

Amelia, of course, is the famed aviator, feminist, and one of many depression era heroes, Amelia Earheart.

She is played by double Oscar winner Hilary Swank, still looking like a boy and putting on a thick Katherine Hepburn-esque New England accent, despite the fact that Earheart is from Kansas.

Made famous by her gutsy determination to succeed as an aviator, and made notorious after disappearing from the face of the Earth during her solo voyage across the world (from which this film constantly bounces to and thro), director Mira Nair places the spotlight mostly on Earheart’s love life with book publisher and master media manipulator George Putnam, played with the usual squinty eyed intensity by Richard Gere.

Mair’s decision to have her film rest upon its love story is an unfortunate one, as Earhart and Putnam’s coupling comes across as nothing more than a relationship of opportunity, with one using the other to further their career aspirations.

By the time the film hits its inevitable conclusion (and, please, no spoiler alerts are needed for this one), Putnam’s love of his beloved Amelia just does not resonate.

The supposed affair between Earheart and famous athlete and fellow aviator Gene Vidal (father of Gore, played by Ewan McGregor), does not fair any better in the passionate love stakes.

With its lush production value and star power in its cast, Amelia begs to be showered with awards, and if there is a case to be made it should be for Stuart Dryburgh’s vibrant photography, even though most of the scenic shots were probably laded with CGI.

Actors fit snugly enough in their roles, but there is nothing here worthy of considerable note.

Swank, who although usually good in the meatier roles, does not give the Oscar worthy performance expected of her. Instead, it reminds somewhat of Will Smith’s turn in Ali: plenty of skilful impression, yet not enough to convey a true sense of this infamous historical figure.

Perhaps under a different director, Amelia could have been the stirring biopic it should have been. But Nair fails to properly utilise the talent at her disposal, and has instead created a bland film, complete with obligatory narration, generic flashback, and a grandiose score that outstays its welcome (courtesy of Gabriel Yared).

In the end, all we have is a movie worthy of a better director, and a subject worth of a better movie.