Ask the Dust (2006)

User Rating:

5.8/10   

Director:

Robert Towne

Writers (WGA):

Robert Towne (screenplay)
John Fante (novel)

Release Date:

13 April 2006 (Thailand)

Genre:

Drama | Romance

Tagline:

Passion and ambition drive two dreamers in 1930s LA. Their love affair is ferocious and hot-blooded as they fight the city and themselves to make their dreams come true.

Plot:

Mexican beauty Camilla hopes to rise above her station by marrying a wealthy American. That is complicated by meeting Arturo Bandini, a first-generation Italian hoping to land a writing career and a blue-eyed blonde on his arm.

Plot Keywords:

Racism | Italian | Poverty | 1930s | Insult

Awards:

1 nomination

Cast

Colin Farrell	...	Arturo Bandini
Salma Hayek	...	Camilla
Donald Sutherland	...	Hellfrick
Eileen Atkins	...	Mrs. Hargraves
Idina Menzel	...	Vera Rivkin
Justin Kirk	...	Sammy
Jeremy Crutchley	...	Solomon
Ronald France	...	Columbia Sweeper
Dion Basco	...	Filipino Houseboy
Donna Mosley	...	Red Headed Girl
Paul Rylander	...	Harold the Bartender
Natasha Staples	...	Denver Librarian
Wayne Harrison	...	Heilman
Yasuhiro Yoshimura	...	Japanese Vegetable Man (as Yoshimura Yasuhiro)
Sid	...	Willie the Dog

MPAA:

Rated R or some sexuality, nudity and language.

Runtime:

117 min

Country:

USA

Language:

English | Spanish

Color:

Color

Aspect Ratio:

1.85 : 1

Sound Mix:

Dolby Digital | DTS

Certification:

Canada:14A (Ontario) | UK:15 | Ireland:15A | Singapore:R21 | Argentina:13 | Hong Kong:IIB | USA:R (certificate #41719) | Netherlands:AL | Germany:12 | Brazil:16 | Finland:K-11 | Australia:M | South Korea:15 | Philippines:R-18 | Iceland:16 | USA:R

Filming Locations:

Cape Town, South Africa

Company:

Paramount Pictures

Trivia:

When Robert Towne first approached Salma Hayek for the role of Camilla Lopez, she turned it down because she didn't want to be typecast as a Mexican. She accepted the role eight years later.

Goofs:

Revealing mistakes: In the beach scene, before sunset, the ocean is on the left, and the shadows are stretching towards the camera. This cannot happen in L.A., where the ocean is in the west and sun is in the south. This reveals that these shots were taken on South Africa's west coast, where the sun is north of the zenith.

Quotes:

Camilla: You call me beautiful at home, then you are ashamed to be seen with me in public. You are ashamed of beauty you recognize that no one else does. You are ashamed to love me!

Movie Connections:

References Dames (1934)

Soundtrack:

I Don't Want to Set the World on Fire

Beautiful Looking Depression Era L.A. Hosts Ethnic Clashing American Dreams and Sexy Romance

"Ask the Dust" has excellent elements that almost come together as a whole.

Like "End of the Affair" and "The White Countess", it surrounds a fraught love affair with exquisite looking period recreation that almost sucks the life out of it. (As with those films, the senior citizens at my matinée really enjoyed the period aspect.) Set in a sepia-tinged Depression-era Los Angeles of polluted palm trees, it is populated equally by youthful blond California girls and boys and old people at the end of the continent and their lines, as symbolized by Donald Sutherland's begging boarding house neighbor, like a ghost from his role in "The Day of the Locust".

What saves the film is the frank dialog and odd sparks between Colin Farrell, as repressed Italian-American writer from Colorado, novelist John Fante's alter ego with the even more ethnically redolent name of "Arturo Bandini", and Salma Hayak as a non-stereotyped Mexican spitfire "Camilla Lopez". Their repartee about their biases is raw and fresh.

Significantly, they are not the usual naive teen lovers, but are adults with mileage who are striving to change the trajectory of their lives. In this discrimination-filled, pre-celebration of the melting pot/rainbow environment (heavy-handedly demonstrated such as by their viewing Ruby Keeler's famous line from "Dames" "I'm free, white, and 21."), both are trying to make it in a specific image of the American Dream, a non-ethnic one, though we hear very little about their own sense of their ethnic identity. She is even dating a nasty guy named White in the vain hope of obtaining a green card and citizenship.

Hayak's character is the easier to understand, as we see her exuberate in vibrant blue moonlight when she feels free with him, especially in vivid ocean scenes (she is absolutely stunning swimming naked), and then in bright light at a seashore idyll. This gorgeous scene gives "From Here to Eternity" a run for its money as the sexiest crashing of waves coupling in the movies. Though after all her sexually aggressive seduction efforts, their lovemaking is lit beautifully in the dark but conventionally choreographed as I expected her to demand more equality in bed. But then she's already started coughing with Movie Star Disease, even if it's explained more in the plot than usual.

Even with his constant florid more than bordering on pretentious narration, sometimes in an exaggerated lower register, of his writing efforts (with the usual scenes of paper being ripped out a manual typewriter as he receives encouragement from H. L. Mencken) that doesn't really thematically integrate into the film until the end, it is harder to understand why it takes so long to get his uptight clothes off despite many importunings. There is an unusually sweet flirtation over literacy, but it seemed more like condescension on his part, especially to help her get citizenship, than sharing with her his love of words. The non-narrated scenes are a relief and are beautiful to look at, as the cinematography of Caleb Deschanel (dad of actresses Zoey and Emily) is consistently lovely.

But then Farrell is surrounded by eccentric characters who are all hiding emotional or physical scars until he can face up to his own to find his real writer's voice. Idina Menzel's "Vera Rifkin" is a well-educated Jewish housekeeper whose California dreams (or borderline crazed fantasies) are for some reason now focused on being a writer's muse.

Surprisingly, there is very little period music, maybe for budget reasons. A prominent and excellent selection is Artie Shaw's version of "Gloomy Sunday" which has its own legend of love and death. The score is sometimes intrusive and not as evocative of the clashing ethnic traditions as it could have been.