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Armie Hammer & Timothée Chalamet find love in Call Me By Your Name (2017)
Aloysius J. Gleek:
Again, reference this--
--- Quote from: Aloysius J. Gleek on November 20, 2017, 10:48:12 pm ---
"Call Me By Your Name, expected to be one of this year’s Oscar favorites, came together because of a botched vacation. It started in April 2005, when André Aciman’s plans to take his wife and three sons to a Mediterranean villa fell through. Frustrated, the Upper West Side novelist and City University of New York professor started writing a love story set on the Italian Riviera in the mid-1980s--"
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--go back read this--
Just wonderful!
--- Quote from: Aloysius J. Gleek on October 26, 2017, 11:47:05 am ---
What was it like seeing your characters enacted on screen? Were there any surprises?
AA: It was simply gratifying. I never felt that they were alien to the book. I never felt that “Gee, this is strange, this doesn’t feel like the story I wrote or the characters I wrote about.” Rather what I kept thinking—and maybe this was tickling to my ego—I can’t believe that the pages I struggled over on the Upper West Side of Manhattan during a very hot and humid summer could have generated this amazingly beautiful film filled with so much longing and beautiful characters.
Timothée Chalamet and Armie Hammer in Call Me by Your Name--Whispers of steamy gay sex scenes and piercing performances from the cast.
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Aloysius J. Gleek:
Oh my--look at this--
--- Quote from: Aloysius J. Gleek on November 20, 2017, 10:48:12 pm ---https://nypost.com/2017/11/20/call-me-by-your-name-author-dont-be-afraid-of-same-sex-crushes/
Call Me by Your Name author:
Don’t be afraid of same-sex crushes
By Christian Gollayan
November 20, 2017 | 5:32pm
André Aciman, author of Call Me By Your Name, played a cameo role in the film adaptation (right).
Photo Sigrid Estrada
Opening in New York Friday, the film stars Armie Hammer and Timothée Chalamet as the star-crossed lovers. Aciman, who has a brief cameo as Elio’s family’s friend, says he hopes the story’s same-sex romance will resonate with everyone.
“This is the biggest secret of humanity,” he says. “Everybody assumes that if they suddenly have a stirring for the same sex that it’s only them … that nobody feels this way, but we all do.”
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--and then look at the dedication page of the book--
For Albio,
Alma de mi vida
(Soul of my life)
or should that be--
Cor Cordium (Heart of Hearts)--??
So--who is--or was-- Albio?? Elio and Oliver, Albio and André?? Oh my!! :o :o
Aloysius J. Gleek:
Oliver is the archetypal American, cocky and athletic; the strapping Armie Hammer is perfect for the part. Timothée Chalamet as Elio is a virtuoso of subtle expression; his face flits through a whirlwind of emotions every time Oliver’s nearby, masked by a desperate attempt to play it cool.
https://nypost.com/2017/11/20/armie-hammer-makes-call-me-by-your-name-a-masterpiece/
Armie Hammer makes
Call Me by Your Name
a masterpiece
Call Me By Your Name is a dreamscape of sunshine, kindness, sensuality and music
Italicious:
★★★★
By Sara Stewart
November 20, 2017 | 5:30pm
Armie Hammer plays Oliver and Timothée Chalamet is Elio in Call Me by Your Name.
In a week when many of us will take dutiful trips to visit family, consider a two-hour vacation: Call Me By Your Name is a dreamscape of sunshine, kindness, sensuality and music. Plus, leafy orchards, al fresco dinner parties, charming Italian town squares — and the agony and ecstasy of first love.
Based on the novel by André Aciman, the film is set in 1983 in northern Italy. Graduate student Oliver (Armie Hammer) is spending a summer residency studying Greco-Roman antiquities at the home of a professor (Michael Stuhlbarg), his wife (Amira Casar) and their 17-year-old son, Elio (Timothée Chalamet). Their villa is academic shabby-chic, with art and books on every surface, doors banging and window sills peeling, and even an old-fashioned dinner bell.
Oliver is the archetypal American, cocky and athletic; the strapping Hammer is perfect for the part. Elio, slighter and more introverted, is a skilled pianist who initially rolls his eyes at their brash houseguest — “the usurper,” he mutters to his girlfriend Marzia (Esther Garrel) as Oliver is given Elio’s bedroom — but can’t hide a growing fascination.
The professor and Oliver’s work with ancient statues is slyly juxtaposed with the lithe, near-constantly shirtless young men’s bodies, subconsciously posing for one another on the lawn, by the pool and through the door adjoining their bedrooms. Chalamet is a virtuoso of subtle expression; his face flits through a whirlwind of emotions every time Oliver’s nearby, masked by a desperate attempt to play it cool. Despite their seven-year age difference, the two are well-matched intellectually, and at times Elio seems the more urbane, casually shifting between English, French and Italian. When they finally touch, under Oliver’s guise of “just bros” athleticism, the sensuality in the air spikes off the charts. One particular scene that’s gained some advance notoriety involves masturbation and a peach; it’s juicy in every way, a gently kinky ode to Elio’s blossoming sexuality.
Director Luca Guadagnino (I Am Love) filmed in Crema, the Italian town he lives in, and you can feel his love for the place: The joy of plunging into an icy pond on a hot day, stopping at a random country house to ask for a glass of water, old men playing cards in the local bar. It’s all set to a rapturous, wide-ranging soundtrack: classical piano, the Psychedelic Furs, bittersweet new songs from Sufjan Stevens.
Stuhlbarg and Casar are sort of fantasy Euro parents: Affectionate and smart, they’re close enough to their son that he’ll ask them for girlfriend advice, but wise enough to sit back and watch his relationship with Oliver develop. For all the transcendent moments between the lovers — and the actors truly have a smoldering chemistry — the most indelible scene may be Stuhlbarg’s speech to his son about savoring the joy and grief of love.
Call this movie by its name: Masterpiece.
Aloysius J. Gleek:
The movie is bound to be compared to such recent gay film landmarks as Brokeback Mountain, Carol and the Oscar-winning Moonlight. But this masterpiece goes its own transcendent way. With Oliver, Elio feels he can talk about "things that matter." The beauty part is that these "things" matter to all of us, regardless of sexual orientation, when we're gutted for the first time by that thing called love. As Elio's father says of the art he studies, "there's not a straight line in any of these statues; they're all curved, as if daring you to desire them." Call Me by Your Name dares its audience in the same way. It's a swooning new classic and one of the very best films of the year.
http://www.rollingstone.com/movies/reviews/peter-travers-call-me-by-your-name-is-sexiest-film-of-2017-w512240
Call Me by Your Name
Steamy Tale of First Love Is Sexiest Film of 2017
Luca Guadagnino's sensual, passionate story of two young men discovering romance in Italy is an instant romantic classic
★★★★
by Peter Travers
Monday 20 November 2017 4:00PM
All praise to Stuhlbarg, who is poetic and profound in a crucial scene of empathy in which a father openly encourages his son to follow
his true nature, risks be damned: Michael Stuhlbarg, Timothée Chalamet and Armie Hammer in Call Me by Your Name.
Here's the movie of the year for incurable romantics, a rapturous ode to first love that sweeps you up on waves of dizzying eroticism and then sweetly, emphatically leaves you emotionally shattered. For almost a year, Call Me by Your Name – the latest from Luca Guadagnino (I Am Love, A Bigger Splash), a master cinema sensualist – has been a sensation on the film festival circuit. Now this ravishment of image and sound finally goes into wide release. You do not want to miss it.
Set in northern Italy in the summer of 1983, this love story transports you to a place where passion and memory collide. Elio Perlman (a flawless Timothée Chalamet; remember the name) is 17, multilingual, musically gifted and skilled at flirting with the local girls near the villa of his parents – an American professor (Michael Stuhlbarg) and his translator wife (Amira Casar). Then an intern arrives from the U.S. to assist his father with research into Greco-Roman culture. He's Oliver (Armie Hammer), 24, a handsome, athletic charmer and an outrageous flirt. At first, the slender Elio is irritated by the visitor's attention-grabbing body and his American slang, always saying "later" instead of goodbye. Then an attraction develops, slowly, fiercely and irrevocably.
At first, Elio and Oliver dance cautiously around their unspoken attraction. On a bike trip to the town square, they make teasing loops toward and away from each other. Stopping at a war monument, with the camera observing them at a distance, Elio and Oliver can't yet verbalize the magnetism their bodies can't help making plain. The yearning is almost palpable, with both men running off with local girls as a means to test the other. Sex is everywhere in this Italian Eden, where a swim, a hot glance or a stroll among the apricot trees has the impact of an aphrodisiac. But the bond between Elio and Oliver goes deeper. The older man waits for the younger one to make the initial move, and when it happens the floodgates of carnality and confusion open wide. Kudos to Guadagnino and screenwriter James Ivory – 88 and still alive to the thrill of nuance – for giving these scenes time to play out and resonate. Exploitation isn't the point here; connection is. "Call me by your name and I'll call you by mine," says Oliver, seeking an intimacy beyond the physical.
Bring out the superlatives to describe the prizeworthy performances of the lead actors, who instill their roles with fire, feeling and flashing humor. You may be shocked by what the duo do to a juicy peach, but you can bet on those stolen moments earn their place in the sex-in-cinema time capsule. Still, it's the film's wisdom and nurturing compassion that stay with you. What Elio and Oliver discover in each other opens their eyes to a world beyond themselves. Hammer (The Social Network, J. Edgar) is a revelation, giving his most complex screen role to date the tightrope thrill of full immersion. And Chalamet, who can also be seen right now seducing Saoirse Ronan in Lady Bird, is nothing less than the acting discovery of the year. Watch as the ends credits roll and he holds the camera in reactive closeups that will wreck you. And all praise to Stuhlbarg, who is poetic and profound in a crucial scene of empathy in which a father openly encourages his son to follow his true nature, risks be damned.
Working from André Aciman's justly acclaimed 2007 novel, Guadagnino revels in the pleasures of the flesh without losing touch with thought and feeling, while the gifted cinematographer Sayombhu Mukdeeprom covers this garden of temptations in seductive light and shadow. The film's emotions are as naked as its bodies. In the book, Elio and Oliver meet again after 20 years. In the film, Guadagnino shows us only what is; it's up to audiences to take the film home and keep it close.
The movie is bound to be compared to such recent gay film landmarks as Brokeback Mountain, Carol and the Oscar-winning Moonlight. But this masterpiece goes its own transcendent way. With Oliver, Elio feels he can talk about "things that matter." The beauty part is that these "things" matter to all of us, regardless of sexual orientation, when we're gutted for the first time by that thing called love. As Elio's father says of the art he studies, "there's not a straight line in any of these statues; they're all curved, as if daring you to desire them." Call Me by Your Name dares its audience in the same way. It's a swooning new classic and one of the very best films of the year.
Aloysius J. Gleek:
https://www.popsugar.com/entertainment/Oliver-Swimsuit-Detail-Call-Me-Your-Name-44286047
POPSUGAR Oliver's Swimsuit Detail in Call Me by Your Name
How Call Me by Your Name
Leaves Tiny Breadcrumbs For Lovers of the Book
by RYAN ROSCHKE
November 20, 2017
Call Me by Your Name hits theaters on Nov. 24, telling the tale of a powerful romance between two men during a fleeting Summer in Italy. The new film is an adaptation of the 2007 novel of the same name by André Aciman. While there are overt aspects of the film that really help it shine — the remarkable performances of fresh face Timothée Chalamet and the lovely Armie Hammer and the dreamy soundtrack are immediate standouts — there's plenty of beauty to be found in the film's smaller details.
Having read the book, I couldn't help but notice a small detail that seemed to bleed into the onscreen adaptation. The paradoxical nature of the detail is that it informs Oliver's character, but it's not ever directly mentioned in the film. So, if you haven't read the book, it goes right over your head. In the many swimming scenes, Oliver (Hammer) wears swimsuits of varying colors. Sometimes, he's in green. Sometimes, yellow.
The thing is, Oliver's choice of swimsuit color is, allegedly, supposed to give away what's going on inside his head. In the novel, Elio develops a little theory about Oliver's swimsuits. Whatever color he's wearing on any given day directly informs how he might act.
He had, it took me a while to realize, four personalities depending on what bathing suit he was wearing. Knowing which to expect gave me the illusion of a slight advantage. Red: bold, set in his ways, very grown-up, almost gruff and ill-tempered — stay away. Yellow: sprightly, buoyant, funny, not without barbs — don't give in too easily; might turn to red in no time. Green, which he seldom wore: acquiescent, eager to learn, eager to speak, sunny — why wasn't he always like this? Blue: the afternoon he stepped into my room from the balcony, the day he massaged my shoulder, or when he picked up my glass and placed it right next to me.
Contrary to the book, Oliver is actually wearing a green swimsuit in the scene where he tries to give Elio (Chalamet) a shoulder message. It's the same scene as the one that appears in the official trailer, when Oliver is playing volleyball while Elio's friend Marzia says, "He's better than the guy who came last year." Even so, you can see how the "green" Oliver described in the book matches the Oliver in the scene. Here, Oliver initiates contact with Elio. He's open-hearted, vulnerable, and testing the waters. He tries to create some kind of connection, both physical and emotional, which Elio (literally) shrugs off.
In a later scene, Oliver asks Elio to play some music for him on the piano. Here, wearing a yellow swimsuit, Oliver seems to be feeling out the interaction with Elio, and cautiously so. There are plenty of other swimsuit scenes sprinkled throughout the movie, and each time, it's fun to use the swimsuits as a way of placing Oliver emotionally.
Recently, I sat down for an interview with the film's visionary director, Luca Guadagnino. When I asked about the swimsuits, he admitted that there was a rhyme and reason to Oliver's colors in the film. "In the script before my last one before shooting, there was a lot of routine about the swim[suit]s, and there was a voiceover talking about how the swim[suit] changed the character of Oliver, the way he behaved. But again, I left just touches of the colors. And we did the same with other stuff. Touches. Little touches that can encompass a texture, but not too much literality."
With this admission, Guadagnino opens a whole new realm of possibilities for interpreting the film. Sure, there's a beautiful, budding romance on the surface. But underneath, there are layers and layers that depict the small breadcrumbs that portray the kind of love anyone is lucky to experience at least once. It's details like this that will have fans returning to watch the film again and again.
--- Quote from: Aloysius J. Gleek on September 23, 2017, 02:32:03 pm ---
The Semiotics of the Bathing Suit
https://en.wikipedia.org/wiki/Semiotics
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--- Quote from: Aloysius J. Gleek on September 09, 2017, 07:15:57 am ---
https://www.garow.me/media/1571539586949360017_4225893710
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--- Quote from: Aloysius J. Gleek on September 18, 2017, 08:51:28 pm --- by @CuZn34
https://twitter.com/hashtag/cmbyn
https://twitter.com/CuZn34
He had, it took me a while to realize, four personalities depending on which bathing suit he was wearing. Knowing which to expect gave me the illusion of a slight advantage. Red: bold, set in his ways, very grown up, almost gruff and ill-tempered--stay away. Yellow: sprightly, buoyant, funny, not without barbs--don't give in too easily; might turn to Red in no time. Green, which he seldom wore: acquiescent, eager to learn, eager to speak, sunny--why wasn't he always like this? Blue: the afternoon he stepped into my room from the balcony, the day he massaged my shoulder, or when he picked up my glass and placed it right next to me.
Today was Red: he was hasty, determined, snappy.
CALLMEBYYOURNAMEFANART by @CuZn34
https://twitter.com/CuZn34
Sep 16 2017 11 Likes
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--- Quote from: Aloysius J. Gleek on September 25, 2017, 04:45:09 pm ---
by @sirayy
http://www.pictaram.org/post/BZTyn4wBWS1
http://www.pictaram.org/sirayy
When he came down for breakfast he was wearing my bathing suit. No one would have given it another thought since everyone was always swapping suits in our house, but this was the first time he had done so and it was the same suit I had worn that very dawn when we'd gone for a swim. Watching him wearing my clothes was an un-bearable turn-on. And he knew it. It was turning both of us on.
Call Me By Your Name by André AcimanRecited/Narrated by Armie Hammer
CALLMEBYYOURNAMEFANART by @sirayy
http://www.pictaram.org/sirayy
Sep 21, 2017 6 Notes, 410 Likes
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