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For Ask the Dust, directed by Robert Towne, the adaptation of the novel by John Fante, returned to the place and time when it was possible to seek a movie: in Los Angeles in 1930. In a situation, however, is only similarity between the dust and Ask the Chinese (who wrote at the Towne director Roman Polanski). Despite the “noir” feel to the proceedings, the painting is love story. There are other things happening, some of which get short shrift in the script, but in the center of the narrative is a man and a woman intended for each other. Take from the graphic nudity (full frontal shots, both stars), and could almost consider Ask the dust to be old-fashioned movie decisions.

Arturo Bandini (Colin Farrell), the so-called “amateur beasts and men, came to Los Angeles five months ago with $ 150 in his pocket (with a short story published in an anthology of HL Mencken in The American Mercury), and the expectation of writing the great American love story . His ultimate goal: wealth, fame, good life and glamorous women. So far, everything he has done so exhausted his financial resources. When he was up to his last nickel, he meets Camilla Lopez (Salma Hayek), a waitress in the cafe. It gives it a lousy service, he offends her. But it will be a memorable encounter. Despite the surface antagonism between them, they are drawn to each other. Arthur soon discovers that there are two great loves in his life: Letters and Camilla.

In the interracial aspect of Arturo and Camilla in the case affect, but not explored in a meaningful way. In racial prejudice in the day - against Mexican workers, such as Camilla - are on stage, in which the couple goes to the cinema, but they certainly deserve more coverage. A similar observation could be made about Arturo reservations about its Italian origin. Ethnicity is the topic of Ask the Dust, but it will never become a province.

Several subsidiary characters interesting, but not enough. There, in a run-down Arturo neighbor Hellfrick, plays wild-eyed mumbling and Donald Sutherland. Vera (Idina Menzel) is a lonely woman who latches on Arturo, as its vision of an ideal person, then fulfilled her fantasy when he showed kindness to her. I have a barman with unsavory connection Camilla. Towne spends time with each of these characters, but it is a delicate balance to give them the form and content without stripping too much time from the central lovers. With faith, it will be successful. Two others, however, add a little more than background color.

1933 Los Angeles (the date specified in the Long Beach earthquake, which occurs during the film), is re-created with such loving attention one would expect from the director who holds a romanticized vision of the city as it existed seven decades ago. Cinematographer Caleb Deschanel in almost every shot perfect develop Ask the dust makes a wonderful film to watch. (His shooting ocean-skinny dipping scene masterfully.) If anything, the production deserves consideration in the best cinematography category in the Oscars next year. Perhaps because of my acquaintance with the Chinese, but it almost noir feel Ask the Dust, which belied his question. The seeming contradiction between the tone and content is not a detriment, however - this adds a layer of unpredictability to the story.

While Salma Hayek is excellent as the feisty, sexy Camilla, Colin Farrell just fine. It is understated and somewhat bland performance, even though it should be noted that there is a chemistry between the leads. They play each other well, and erotic sex scene. Pharrell uses decent American accent, which is important. The novel tells Ask the dust from the first person. In order to convey that, Towne wrote a huge amount of voiceover dialogue, which gets us into Arturo’s head. This requires Farrell done a lot of talking, even when his character, not to speak. I found a voice will be less distracting than is usually the case because it is an important aspect seemed story. In addition to this route happens, it is virtually impossible to represent a first-person point of view.

With Ask the Dust, Towne did not give us the great American love story, but he has provided us with a captivating view in 1933 in Los Angeles and romantic history that includes us in a difficult position of characters. At a time when juvenile justice movies often dominate theaters, a movie for adults through and through, and proof that there are directors who care about entertainment more mature audience.

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