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Armie Hammer & Timothée Chalamet find love in Call Me By Your Name (2017)
Aloysius J. Gleek:
CALLMEBYYOURNAMEFANART
https://twitter.com/mellowbeat__
by @mellowbeat__
https://twitter.com/mellowbeat__/status/936925430761664512
https://twitter.com/mellowbeat__
미묘하다
Subtle II
CALLMEBYYOURNAMEFANART by @mellowbeat__
https://twitter.com/mellowbeat__
3:50 AM - 2 Dec 2017 3 Likes
#CMBYN #CallMeByYourName #laterpeaches #🍑
#oliver #ulliva #elio #elio perlman
#armie hammer #timothée chalamet #andré aciman #luca guadagnino
#book #novel #film #movie #sonyclassics #lgbt
#art #artwork #artist #illustration
--- Quote from: Aloysius J. Gleek on October 25, 2017, 03:45:21 pm ---CALLMEBYYOURNAMEFANART
https://twitter.com/mellowbeat__
by @mellowbeat__
https://twitter.com/mellowbeat__/status/904271579848130560
https://twitter.com/mellowbeat__
미묘하다
Subtle
CALLMEBYYOURNAMEFANART by @mellowbeat__
https://twitter.com/mellowbeat__
2:15 AM - 3 Sep 2017 2 Likes
#CMBYN #CallMeByYourName #laterpeaches #🍑
#elio perlman #oliver #ulliva
#timothée chalamet #armie hammer #andré aciman #luca guadagnino
#book #novel #film #movie #sonyclassics #lgbt
#art #artwork #artist #illustration
--- End quote ---
Aloysius J. Gleek:
The film was shot in continuity, which allowed us to witness the onscreen maturity of both protagonist and actor. The experience became a dual rite of passage. “The main lesson tells us in a very delicate way that you should follow who you are,” editor Walter Fasano said. “And Timothée embodies this perfectly. The other day, I saw him at one of the premieres, and already, at 21, he’s another person. And so the [performance] really did grab that special moment of growing up in life and in front of the camera.”
http://www.indiewire.com/2017/12/call-me-by-your-name-luca-guadagnino-editing-oscars-1201903009/
Call Me by Your Name
Editing Was Crucial to the Year’s Best Love Story
Editor Walter Fasano discusses how he cut the Oscar-contending
coming-of-age drama, including the infamous peach scene.
by Bill Desowitz
@BillDesowitz
Dec 1, 2017 5:18 pm
Timothée Chalamet and Armie Hammer in Call Me by Your Name
With an affectionate nod to Bernardo Bertolucci and Eric Rohmer, Luca Guadagnino has made the year’s best love story: Call Me By Your Name. The same sex romance starring NYFCC Best Actor winner Timothée Chalamet (a breakout revelation) and Armie Hammer (who’s seductively feline) leads to something far more sublime than summer love. And it’s a movie in which desire and liberation blossom in the inviting and beautiful landscape of Northern Italy.
For Walter Fasano (Guadagnino’s go-to editor for 21 years), this dance of desire between 17-year-old Elio (Chalamet) and 24-year-old Oliver (Hammer) provided both an inner and outer poetry. “Our main intention was to let characters and the landscape breathe and not overwhelm with the editing,” he said. “At the same time, we wanted to have a control of the style and music editing for the ins and outs of shots because we did not want our personal taste to look self-indulgent.”
Based on the acclaimed novel by André Aciman and adapted by James Ivory and Guadagnino, Call Me By Your Name was shot near the director’s home in Crema, less than an hour from Milan, principally in a 17th century villa. Fasano said the close proximity for Guadagnino enhanced the relaxed, improvisational atmosphere of the production (shot on 35mm by cinematographer Sayombhu Mukdeeprom).
A Dual Rite of Passage
Finding the right tempo, though, became its own rhythmic dance: When to hold on the performance or when to cut. “To stay in the shot and not to cut, cut, cut may give the impression of being correct in the progression of the story and never be boring,” Fasano said. “Well, sometimes if you cut, cut, cut, you can give the impression that something is wrong and maybe creating some kind of tension that can get boring.”
The film was shot in continuity, which allowed us to witness the onscreen maturity of both protagonist and actor. The experience became a dual rite of passage. “The main lesson tells us in a very delicate way that you should follow who you are,” Fasano said. “And Timothée embodies this perfectly. The other day, I saw him at one of the premieres, and already, at 21, he’s another person. And so the [performance] really did grab that special moment of growing up in life and in front of the camera.”
http://www.mynewplaidpants.com/2016/06/armie-is-still-taking-italy.html
https://twitter.com/cmbynmovie
Keeping the Glass of Water Scene
The editor’s favorite scene almost didn’t made the cut when one of the producers insisted that it was inconsequential. “They’re on their bikes and they go inside a courtyard where there is an image of Mussolini and a woman is cleaning some vegetables,” Fasano said. “And they ask for some water. And then they go back on their bikes, but that long shot when you can see them disappear into the distance, you start feeling that sun on the skin experience.”
“And so at the end of this hike, before they get to the place where they first kiss, Ravel’s music [“Une Barque sur L’Ocean”] is played, and they’re suddenly interrupted. It’s an abrupt cut that ends a moment of quiet, but at the same time it reminds you of the way you remember things where your recollection could stop immediately.”
The Importance of Bach
Music plays an important part of the movie. Along with two original songs by Sufijan Stevens (“Mystery of Love” and “Visions of Gideon”) and the inclusion of the Psychedelic Furs’ “Love My Way,” there are various classical pieces, including the aforementioned Ravel. However, the most important was Bach’s “Capriccio on the Departure of his Beloved Brother,” which Elio plays on guitar and piano.
But the way Elio teasingly alters the arrangement brings him closer to Oliver. It’s a form of foreplay yet also conveys control. “So he plays the guitar outside and then he goes to the piano,” said Fasano. “It’s the spark of an idea and he tells Oliver to follow him. Then there is this long shot without a camera move that is incredibly good. The movie is full of these subtle games and paths.”
The Peach Scene
The infamous peach scene from the novel, in which Elio masturbates with the hallowed out fruit and Oliver partakes of it, got changed in the movie. “Luca was very good at creating the perfect look and feel with our wonderful cinematographer, Sayombhu, and Timothée did the rest,” the editor said.
“It was just a couple of takes, timing was perfect, everything was very delicate, and we just put things together, being very attentive and the radio playing in the background. So, in a way, it was easy.”
Then Oliver entered and the tension takes a comical turn when he makes fun of Elio. “It’s the fear of being discovered and the fear of the separation, because, in a couple of days Oliver is running away,” added Fasano. “And the boldness of Oliver wanting to drink the juice is stopped by this incredible outcome. Again, they gave me everything and I just needed to put it together.”
A Father’s Speech
Another important scene involved the loving support provided by Elio’s father (brilliantly played by Michael Stuhlbarg) after a moment of heartbreak. In an unforgettable monologue, Mr. Perlman confesses envy for his son’s passion and implores him to follow his desire, despite the pain, and not shut himself off from emotional depth.
https://laterpeaches.tumblr.com/post/166541710078/bowie28-call-me-by-your-name-uk-trailer
http://bowie28.tumblr.com/post/166541404810
“It comes from the novel, and then it’s Michael’s magic after Luca put him at the most comfortable position,” Fusano said. “Then Luca said to me the same thing he tells his barber: ‘Please don’t cut too much. I just want to see a maximum of four cuts. But let the performance speak. I think Michael did it in three takes on three different levels of getting emotional. There was a moment in one cut where there was piano playing underneath, but we decided that silence was the best thing.”
--- Quote from: Aloysius J. Gleek on November 15, 2017, 02:24:49 pm ---
[youtube=999,600]http://www.youtube.com/watch?v=kRfoIKjwHvQ[/youtube]
https://www.youtube.com/watch?v=kRfoIKjwHvQThis clip has been
floating out there for weeks--
finally now on Youtube!
CALL ME BY YOUR NAME (2017)
Clip: "Play that again--please!"Armie Hammer & Timothée Chalamet
Movieclips Film Festivals & Indie Films
Published on Nov 14, 2017
--- End quote ---
[youtube=425,350]http://www.youtube.com/watch?v=NnYNjhkBNiw[/youtube]
Re Timmy/Elio's playful passage,
see 06:34 - 7:54
Postilion's aria: Allegro poco
Bach - Capriccio in B-flat major BWV 992
("On the Departure of a Beloved Brother")
by Leon Fleisher
pianushko
Published on Sep 14, 2013
--- Quote from: Aloysius J. Gleek on October 05, 2017, 05:32:51 pm ---
[youtube=780,750]http://www.youtube.com/watch?v=bTYUyDjVCRU[/youtube]
https://www.youtube.com/watch?v=bTYUyDjVCRU
Maurice Ravel: Miroirs III. Une Barque sur L'Ocean (1904-1905)
(pianist André Laplante)Sounds familiar....
https://en.wikipedia.org/wiki/Maurice_Ravel
https://en.wikipedia.org/wiki/Miroirs
https://en.wikipedia.org/wiki/Andr%C3%A9_Laplante
--- End quote ---
Aloysius J. Gleek:
LA Film Critics
@LAFilmCritics
3:12 PM - 3 Dec 2017
1629 Retweets 1,144 Likes
https://twitter.com/LAFilmCritics
https://twitter.com/LAFilmCritics/status/937459605168197633
Best Picture, Winner:
CALL ME BY YOUR NAME
2:58 PM - 3 Dec 2017
559 Retweets 1,153 Likes
https://twitter.com/LAFilmCritics
https://twitter.com/LAFilmCritics/status/937456021215178752
BEST DIRECTOR, Winner:
Guillermo del Toro, THE SHAPE OF WATER AND
Luca Guadagnino,
CALL ME BY YOUR NAME (TIE)
2:24 PM - 3 Dec 2017
854 Retweets 1,624 Likes
https://twitter.com/LAFilmCritics
https://twitter.com/LAFilmCritics/status/937447418601209856
BEST ACTOR, Winner:
Timothée Chalamet,
CALL ME BY YOUR NAME
ALSO SEE:
http://variety.com/2017/film/awards/2017-los-angeles-film-critics-association-awards-1202629006/
Los Angeles Film Critics Assn. Crowns ‘Call Me by Your Name’ Best Picture of 2017
DECEMBER 3, 2017 10:33AM PT
Aloysius J. Gleek:
New York Film Critics Circle
@nyfcc
30 Nov 2017
https://twitter.com/hashtag/NYFCC?src=hash
https://twitter.com/IndieWire/status/936297705709690881
https://twitter.com/EW/status/936298651709771778
https://twitter.com/Variety/status/936304602567254017
https://twitter.com/THR/status/936298408146538497
BEST ACTOR, Winner:
Timothée Chalamet,
CALL ME BY YOUR NAME
ALSO SEE:
http://variety.com/2017/film/awards/2017-new-york-film-critics-circle-awards-voting-1202626767/
‘Lady Bird’ Named Best Picture by New York Film Critics Circle
NOVEMBER 30, 2017 8:05AM PT
Best Actor: Timothée Chalamet (“Call Me by Your Name”)
A breakthrough staple so far this season, Chalamet has caught fire as a bona fide lead actor contender in this year’s race. He’s also
had a busy year, appearing in “Hostiles” and “Lady Bird” as well. He is the youngest best actor winner in NYFCC history.
Aloysius J. Gleek:
Yet the slight murkiness of Oliver’s motivations becomes part of the film’s power. He remains a spiritual stranger — to us, to Elio, and to himself. Call Me by Your Name, in presenting a “well-adjusted” gay character who projects no self-loathing yet is unwilling to fully be himself, creates an expressionist vision of what the closet is: not simply a prison, but a precise and complex state of being that, for a long time, defined the way that a lot of people lived — and still does. The movie doesn’t attack the closet; it humanizes the closet.
The critique, though, is implicit. For who, in the end, wants to live that way? Oliver, sensual and liberated yet finally compartmentalized, is an archangel of erotic mystery who swoops down to tap Elio on the shoulder and bring him to life. And though Oliver comes on like the fierce, wise, and all-knowing one, it’s really Elio, in his confusion, who emerges as the more enlightened character.
http://variety.com/2017/film/columns/call-me-by-your-name-a-meditation-on-the-closet-1202629039/
Call Me by Your Name
A Love Story — and a Meditation on the Closet.
by Owen Gleiberman
@OwenGleiberman
DECEMBER 3, 2017 10:12AM PT
Timothée Chalamet and Armie Hammer in Call Me by Your Name
Call Me by Your Name is a love story that seems, on the surface (and a ripe and gorgeous surface it is), to be all about the lyrical sensations of erotic and emotional discovery. The back-and-forth glances that could mean everything or nothing. The slow-burn calculus of mutual seduction. The tactility of flesh and food and freedom and summer. The ache of a desire that only expands the more it’s fulfilled. (And damn, what about that peach?) Yet if Call Me by Your Name were nothing more than the swoony tale of a high-art summer fling, it might not amount to all that much. The film’s true subject, in almost every scene, is what it looks like, and what it means, when everything the two people in question are doing and thinking and feeling has to remain hidden.
Elio (Timothée Chalamet), the dreamy, bookish 17-year-old son of an antiquities professor (Michael Stuhlbarg), whiling away the summer on his family’s lavish villa in Northern Italy, and Oliver (Armie Hammer), the tall, suave, and handsome doctoral candidate who’s staying there on a six-week research fellowship, take a good long time to zero in on their shared desire. That’s because they’re speaking in code. It’s not just that they never talk about their feelings for each other; they barely talk about the fact that they never talk about their feelings. (Even their hiding remains hidden.) The entire movie is a poeticized meditation on the experience of the closet: what it’s like to live there, how it once worked (even when things were starting to open up), and why it had to go away. (Not that it completely has, obviously.) Call Me by Your Name is a love story, but it’s really a spy movie. Right to the end, its drama erupts out of what happens, and what gets spoken, between the lines.
Almost everything that transpires between Elio and Oliver has the furtive, heightened quality of a tradecraft secret: their first physical contact during a volleyball game, when Oliver gives Elio an impromptu shoulder rub that may or may not be sexually suggestive (it’s confirmed only later that it was a purposefully dropped hint); the fantastically oblique dialogue they have in the middle of the town square, when they’re completely alone yet still act as if their words are being surreptitiously recorded — a remarkable sequence that the director, Luca Guadagnino, stages with a slow long circular camera movement that might have come out of a Spielberg espionage thriller, with a line like “Are you saying what I think you’re saying?” veering about as close to a confession of desire as anyone in the movie gets; the swimming, biking, and lolling-in-the-grass sequences, a case of would-be lovers hiding in plain sight; and the final phone conversation, in which the revelation of an impending marriage is treated as if it were the most natural thing in the world. Elio and Oliver both have involvements with women, which could make referring to either character as “gay” sound reductive. Yet their affair defines them both: It’s the love that Oliver embraces but can’t accept — and the one that allows Elio to open the door to who he is.
The singular pull, and quiet power, of Call Me by Your Name relates to the fact that nearly every movie you could think of that deals with the hiding — that is, the suppression — of gay life carries an overt message. Brokeback Mountain, for instance, was a romantic tragedy that depicted the price of sexual freedom as nothing less than survival. (The price of being openly gay was being murdered.) Far from Heaven, a heightened soap opera of dazzlingly ironic sincerity, was rooted in the anguished yearning of Dennis Quaid’s character — an executive on the down-low who experiences his erotic longings as a curse from which he can only dream of escaping
Call Me by Your Name, by contrast, features no overt element of moral reckoning and, significantly, no component of shame. The film unfolds in a tranquil art-film Eden of robust sensual delight, and the distinguishing feature of Armie Hammer’s performance is its cool, calm, and collected charisma; his presence hums with a blithely macho low-voiced command, the way Jon Hamm’s did on Mad Men. Oliver treats the high secrecy of his desires not as a curse but as a law of the universe, and we have to guess a bit as to his motivations. How much of his outwardly “straight” identity comes from the fact that he’s worried about disrupting his tenure track, and how much comes from the fact that his father, as he says at one point, would have him committed otherwise? Since the film is set in 1983, 14 years after the Stonewall riots unleashed the era of gay liberation, a part of us wonders: If you’re so damn confident, why not just be who you are?
Yet the slight murkiness of Oliver’s motivations becomes part of the film’s power. He remains a spiritual stranger — to us, to Elio, and to himself. Call Me by Your Name, in presenting a “well-adjusted” gay character who projects no self-loathing yet is unwilling to fully be himself, creates an expressionist vision of what the closet is: not simply a prison, but a precise and complex state of being that, for a long time, defined the way that a lot of people lived — and still does. The movie doesn’t attack the closet; it humanizes the closet.
The critique, though, is implicit. For who, in the end, wants to live that way? Oliver, sensual and liberated yet finally compartmentalized, is an archangel of erotic mystery who swoops down to tap Elio on the shoulder and bring him to life. And though Oliver comes on like the fierce, wise, and all-knowing one, it’s really Elio, in his confusion, who emerges as the more enlightened character. Oliver is content to suppress his life force — that’s the only way that makes sense to him — but Elio represents the dawn of a new way. That fire he’s staring into during the film’s extraordinary final shot isn’t simply the memory of the passion he shared with Oliver. It’s the life of passion that awaits him in the future. It’s the burn of a desire that’s untrapped.
COMMENTS:
DECEMBER 3, 2017 AT 12:20 PM
Pat says:
Watched Call Me By Your Name twice and I believe once it expand and more people watching, the box office will be propelled by repeat viewing. Nowadays it’s rare to watch a movie that sticks in your brain after leaving the cinema. I am still thinking this movie a lot after I watched it the first time in AFI Fest, because I believe the story deeply resonates with a lot people no matter what’s your sexual orientation.
DECEMBER 3, 2017 AT 12:52 PM
Mckey Smith says:
I’d like to know what women think of this movie.
DECEMBER 3, 2017 AT 1:45 PM
DaGP says:
Woman, here. It is a beautiful love story. And wow, the sexual chemistry between Elio and Oliver is intense. The pacing of the film helps build the sexual tension, so when things really get going, it is a release and relief.
DECEMBER 3, 2017 AT 4:20 PM
Kelz says:
Also a woman. However, I haven’t seen the film yet, I just became obsessed with it after seeing the trailer (which gave me chills) and falling down a wormhole of clips and interviews (also have an art history degree). I just requested the book from my local library and look forward to the film coming to my local indie theatre.
This is a fantastic review by the way!
DECEMBER 3, 2017 AT 4:54 PM
Jon says:
I don’t think any movie ever depicted my life as a 20-year old more accurately. I was right between Oliver and Elio in age in 1983. I slept with girls (had a very serious gf who is still one of my best friends) but fell madly in love with a guy who broke my heart into pieces, partly because his life was “too gay” for me (internalized homophobia). At that time the conventional wisdom was, if you had a choice to not be gay you wouldn’t be gay. I married the mother of my children after my broken heart and lived a closeted life, claiming to be “bi” for the 12 years we were married. Then I met the love of my life and unlike the the first time, I made the decision to be myself and we’ve been together ever since.
This movie was one of the best and most universal I’ve ever seen. The end is devastating. I saw it a week ago and I still can’t shake it.
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