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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/942542694605189120
https://twitter.com/mellowbeat__
어머나 이게 뭐람
Gosh I'm clumsy 🍑
CALLMEBYYOURNAMEFANART by @mellowbeat__
https://twitter.com/mellowbeat__
3:51 PM - 17 Dec 2017 1 Likes
#CMBYN #CallMeByYourName #laterpeaches #🍑
#elio #elio perlman #oliver #ulliva
#timothée chalamet #armie hammer #andré aciman #luca guadagnino
#book #novel #film #movie #sonyclassics #lgbt
#art #artwork #artist #illustration #movie still
--- Quote from: Aloysius J. Gleek on October 29, 2017, 12:56:08 pm ---CALLMEBYYOURNAMEFANART
http://www.pictaram.org/sirayy
by @sirayy
https://www.pictaram.org/post/BaRfOPKhsd_
http://www.pictaram.org/sirayy
Peachy
CALLMEBYYOURNAMEFANART by @sirayy
http://www.pictaram.org/sirayy
3:12 PM Oct 15, 2017 24 Notes, 363 Likes
--- End quote ---
--- Quote from: Aloysius J. Gleek on October 13, 2017, 03:53:50 pm ---CALLMEBYYOURNAMEFANART
http://jgiampietro.tumblr.com/
by JGiampietro
https://laterpeaches.tumblr.com/post/166356469103/jgiampietro-armie-hammer-and-timothee-chalamet
http://jgiampietro.tumblr.com/post/166151246169/armie-hammer-and-timothee-chalamet-as-oliver-and
I love the book and can’t wait for the movie.
I had to draw them!
Prints available at https://www.etsy.com/listing/549388294/call-me-by-your-name?ref=shop_home_active_1
CALLMEBYYOURNAMEFANART by JGiampietro
http://jgiampietro.tumblr.com/
Oct 7, 2017 47 Notes
--- End quote ---
Aloysius J. Gleek:
Portrayed with a note-perfect combination of cocky self-assurance and wary naiveté by Timothée Chalamet, Elio is something of an extension of the actor’s hilariously pretentious character in the recent film Lady Bird — another teenager with pedantic ideas about his own depth and seriousness. But while James Ivory and Luca Guadagnino aren’t afraid to wink at Elio’s youthful lack of self-awareness, they never stoop to ridiculing it: Like Armie Hammer’s Oliver, whose own seeming shallowness masks a surprisingly observant, compassionate nature, they’re patient and indulgent with a stage of life that can seem laughable, enviable and excruciatingly painful all at the same time.
https://www.washingtonpost.com/goingoutguide/movies/call-me-by-your-name-a-summer-love-recognizable-in-any-country-in-any-era/2017/12/14/56ddad76-d47b-11e7-a986-d0a9770d9a3e_story.html
Call Me by Your Name
is among the best movies of the year
★★★★
by Ann Hornaday
December 14 2017
Far more than just a pretty face: Elio (Timothée Chalamet) and Oliver (Armie Hammer) in Luca Guadagnino's Call Me by Your Name
The pleasures of art, music, food, natural beauty and sexual awakening are evoked and celebrated in Call Me By Your Name, an almost sinfully enjoyable movie that both observes and obeys the languid rhythms of a torrid Italian summer.
Set in the early 1980s, Luca Guadagnino's adaptation of André Aciman's 2007 novel barely counts as a period piece, although the short shorts and tube socks Armie Hammer wears to play his smart-jock protagonist put the story squarely in the past. Still, the themes of longing, desire and self-definition are nothing if not timeless. Here, a young man’s coming-of-age is given such tactile, emotionally resonant immediacy that it would be recognizable in any country, of any era.
The young man in question is Elio (Timothée Chalomet), the 17-year-old son of an archaeology professor (Michael Stuhlbarg) who has hired an American student named Oliver (Hammer) to be his assistant for the summer. As a typically self-absorbed teenager, Elio at first seems barely aware of Oliver’s presence, being far more interested in his on-and-off girlfriend, reading and pursuing compositional musings on the guitar and piano. For his part, Oliver embodies a purely American brand of unbridled appetite and unselfconscious confidence that strikes an immediate awkward note within Elio’s casually cosmopolitan family. Soon, though, the household reaches its own pleasant rhythm, with the two young men — about seven years apart in age — gravitating toward one another as friends and, eventually, more.
Before readers look up the Italian word for “problematic,” let it be noted that it is Elio, not Oliver, who is the pursuer in Call Me By Your Name, which was written for the screen by James Ivory. Balancing the objectification of its leading men with discretion and delicacy, this is a film that acknowledges the purity and sculptural beauty of youth — Greek aesthetics, philosophy and ideals of male friendship are invoked early and often — but never at the expense of a character who, on the cusp of manhood, possesses his own agency and desires, despite their sometimes shaky parameters.
Portrayed with a note-perfect combination of cocky self-assurance and wary naiveté by Chalamet, Elio is something of an extension of the actor’s hilariously pretentious character in the recent film Lady Bird — another teenager with pedantic ideas about his own depth and seriousness. But while Ivory and Guadanigno aren’t afraid to wink at Elio’s youthful lack of self-awareness, they never stoop to ridiculing it: Like Oliver, whose own seeming shallowness masks a surprisingly observant, compassionate nature, they’re patient and indulgent with a stage of life that can seem laughable, enviable and excruciatingly painful all at the same time.
The plot of Call Me By Your Name isn’t particularly novel. Its contours are familiar to anyone who can remember their own sentimental education, or that of their favorite literary hero. What sets his movie apart are the flavors, feelings and fleeting glimpses of attraction that find as much erotic tension in a volleyball game or alfresco lunch as in sparring over a Bach cantata. The villa where much of Call Me By Your Name transpires, with its lush fruit orchards and burnished, offhanded refinement, feels less like a stage set than a summer home seen through a particularly revealing (but circumspect) keyhole.
Anyone who has seen Guadanigno’s previous films, including I Am Love and A Bigger Splash understands his gift for creating environments, often drenched in extravagant colors and textures; his staging and pacing are just as sensuously seductive, drawing viewers into a world that seems simultaneously realistic and dreamlike in its detail and pictorial richness.
Call Me By Your Name finds the director marshaling those gifts in service to a spellbinding, almost ecstatically beautiful movie that gains even more heft and meaning in its final transcendent moments. What had been a two-hander featuring sensitive, flawlessly judged performances by Chalamet and Hammer expands into something more, and the audience realizes that the entire film could be interpreted as an elegant exercise in misdirection. Call Me By Your Name may exemplify well-tempered cinema at its most balanced and attractive, but it’s far more than just a pretty face.
R. At area theaters. Contains sexuality, nudity and some coarse language. 132 minutes.
Aloysius J. Gleek:
Maybe all the rest of this extraordinary film—a summer spent in Italy, a knight asleep in your own bed, freedom achieved from regressive social mores—can be chalked up to the stuff of fantasy. But Elio’s relationship with his parents, and their intuition, understanding, and complete emotional support as awakens to his sexuality, hits much closer to home. Portrayals of young queer people and their parents, from Ma Vie En Rose to Pariah, are generally fraught with pain and rejection, or at minimum deal with the struggles of acceptance. For so many, the truth is far worse: an estimated 40 percent of homeless youth are LGBTQ kids rejected by their families.
https://www.vice.com/en_us/article/d3dapx/where-was-call-me-by-your-name-when-i-was-17
Where Was
Call Me by Your Name
When I Was 17?
Of all the film's achievements, telling the story of a first queer love that isn't filled with shame
or rejection may be its finest—and one I could have used during my own queer adolescence.
by Naveen Kumar
Nov 27 2017, 6:30pm
A summer spent in Italy, a knight asleep in your own bed: Elio (Timothée Chalamet) and Oliver (Armie Hammer) in Call Me by Your Name
Partway through Call Me By Your Name, which hit theaters Friday and may be the best queer film of the year, 17-year-old Elio nestles on the couch with his parents as his mother reads from a 16th century fairy tale. It’s about a knight torn over whether to confess his love to a princess: “Is it better to speak or to die?” he asks. The question hovers over Elio; though he hardly knows it himself, his parents can already see that he’s falling in love for the first time. We don’t yet know whether Elio (Timothée Chalomet) or Oliver (Armie Hammer), the 24-year-old American student visiting the family’s villa in Italy for the summer, is the knight or the princess. But it’s clear that what’s unfolding between them is a storybook romance.
And holy shit, is it beautiful. I don’t just mean the sun-dipped Italian countryside where Elio and Oliver spend languid summer days around the pool, or Luca Guadagnino’s delicate direction, or the stunning performances at the center of the film, or even the simple joy of watching Armie Hammer flail about to The Psychedelic Furs at the town disco. The film broadens the novel it’s based on into a paragon of homoerotic discovery, as ideal as the ancient statues Elio’s father, an American professor of Greco-Roman arts, pulls up from the sea to study.
Unlike so many other movies about romance between men, from Brokeback Mountain to Stranger by the Lake, the love that develops between Elio and Oliver isn’t marked by derision, violence, or the consequences of breaking with hetero norms. In fact, despite their difference in age and the early-80s setting, their relationship is hardly transgressive at all—least of all to Elio’s parents. Elio’s sexual coming of age, from his first kiss to his first time, is one that anyone could wish for, a near-Platonic ideal. All of which heralds Call Me By Your Name as a watershed moment in queer cinema.
And for all the same reasons, it’s almost painful to watch, too.
Straight people, of course, are used to seeing idealized portrayals of their past or potential sex lives on screen. But I've never seen anything like this. Personally, I didn’t know what to do with myself when I saw it. This was the first idealized gay coming-of-age narrative I’d ever seen, and it made my heart swell. But it also made me reflect on how far from ideal my own list of firsts had been. The pleasures of finally getting a Call Me By Your Name were mixed with the ache of looking back at my own experience through a new lens.
Nearly every aspect of queer experience depicted in the film feels calibrated to smooth over the challenges gay men have faced. On the coast of Northern Italy in 1983, before the AIDS epidemic had reached a fever pitch that would come to associate gay sex with death and disease, Elio and Oliver are immersed in a world of music and art. Their courtship is one of ideas, a dance between intellects. The vigor of their young bodies is on display too, an eroticism echoed in the ancient art studied by Elio’s father. Just as Ancient Greece held up love between men as the highest ideal, to Elio’s intellectual parents, the love between their son and Oliver is more than natural; it’s beautiful and something to be cherished.
As heat between them builds, Elio isn’t content to torment himself over his desire, as so many queer adolescents might. He is the knight who eventually speaks his love to the princess: He gets horny and frustrated. He fools around and loses his virginity to a girl. He jerks off. He sticks his face in an empty pair of Oliver’s old swim trunks. And when he’s driven to write furiously in his journal, he isn't grappling with some existential sense of shame—it’s just the normal scribbles of a teenage crush, which is remarkable to see in itself when that boy’s crush is on a man.
Even the movie’s resistance to showing Elio’s first time on screen, a fact some critics have lamented, or making clear which position he takes—though it’s assumed that he bottoms, as in the novel—fits with its overall glossing of gay experience into a high sheen. Yes, gay sex involves negotiation, doing something that might seem unnatural the first time around, and no small amount of pain. We already know this. What we do see as they begin to play around is Oliver ask Elio, “Are you okay?” and “Does this make you happy?” And we later see Oliver assure him, when Elio’s raging libido drives him to fuck a peach, that he’s not some sick freak for feeling overwhelmed by lust.
The pinnacle of this fairy tale, aside from a scene that finds its two main characters drunk and literally dancing in the streets, is the self-assurance inherent to doing as its title asks. “Call me by your name, and I’ll call you by mine,” Oliver whispers to Elio as they lay tangled up in bed, their first night together creeping into the early morning hours. Nothing could be further from feeling ashamed of your desire than calling out your name in the face of your lover's. Can you imagine feeling that way at 17? After your first time? I still can’t, and I’ve lived twice as long.
Maybe all the rest of this extraordinary film—a summer spent in Italy, a knight asleep in your own bed, freedom achieved from regressive social mores—can be chalked up to the stuff of fantasy. But Elio’s relationship with his parents, and their intuition, understanding, and complete emotional support as awakens to his sexuality, hits much closer to home. Portrayals of young queer people and their parents, from Ma Vie En Rose to Pariah, are generally fraught with pain and rejection, or at minimum deal with the struggles of acceptance. For so many, the truth is far worse: an estimated 40 percent of homeless youth are LGBTQ kids rejected by their families.
“Remember that I’m here,” Elio’s father tells him after Oliver heads home as summer ends. Many parents would wish their love away, the professor admits, and his own father would have carted him off. Then he offers his son the kind of validation and wisdom that so many queer people spend their whole lives searching for, having never found it at home: That the bond he shared with Oliver was rare and special and something to savor. That love, however fleeting, should never be taken for granted. That hearts only have so much fire in them—so tend to the blaze, even when it breaks.
I’m not sure how I might have felt, or what fantasies about my romantic life I might have been inspired to dream up, had Call Me By Your Name come out when I was Elio’s age. Maybe it was better not having a movie like this to compare to my keg-party first kiss (did that even count?), or to the first night I spent crammed into a single bed with a boy in my dorm, who seemed genuinely pissed (at me?) when he didn’t last very long. Without a film like this to watch growing up, I only felt estranged from my straight peers and the love stories they devoured (go ahead and let go of that board, Jack). There was nothing to show me what I was missing.
If straight fairy tales throw obstacles between straight lovers—witches, curses, sinking ships—then maybe a queer one takes away the real ones so many of us face every day, so we can see, perhaps for the first time, a world without so much standing in the way of love.
Aloysius J. Gleek:
It is incredibly pleasant to spend a couple of hours with characters as unashamedly smart as this. It is rare these days to find English-speaking characters who revel in the pleasures of intellectual discussion, who celebrate each other’s braininess. Languages in this household freely intermingle and people lie down and read to each other; poets and philosophers are quoted and questioned. It feels like a universe away, a better place, and a most wonderful one for these two smart, intriguing people to come together.
Broadcast recording starts at 7:55
Recording gives much more than the
printed précis below; worth hearing:
http://www.abc.net.au/radio/programs/nightlife/cjs-film-reviews/9258436
Australian Broadcasting Corporation
Call Me by Your Name
★★★★
Review by CJ Johnson
Duration: 7:55 - 12:05
Broadcast: Wed 13 Dec 2017, 10:00pm
Timothée Chalamet and Armie Hammer in Call Me by Your Name.
Timothée Chalamet gives a superb, award-deserving performance as a seventeen-year-old “Jewish French Italian American” young man falling in love for the first time in Luca Guadagnino’s sensuous, languid, romantic and well-crafted Call Me by Your Name. Chalamet himself is American/French, speaks French fluently, and spent his summers as a boy in France, so his casting here represents a kind of divine providence. He is the right actor in the right role at the right time and he nails it.
He plays Elio, who lives in a gorgeous villa in Lombardia, Italy with his parents and a couple of household staff. Each summer his academic father (Michael Stuhlbarg) hosts a research assistant; this year - 1983 - it is Oliver (Armie Hammer), a brashly confident American scholar. Over the summer, Elio and Oliver fall in love.
This isn’t Brokeback Vineyard. Oliver and Elio are not - at least, on the surface - fumbling, self-hating deniers, and they’re untroubled by any tangible outside dangers, including bigotry. Indeed, they are both cool. Oliver enchants the whole town with his rather astounding physical presence but his cool goes deeper than that; it’s in how he walks, how he wears the subtly brilliant period-specific summer clothing. He’s deeply dorky when he dances ‘80s-style, but that just somehow adds to his cool. Likewise, Chalamet’s Elio starts the film awkwardly but Oliver awakens some inner cool within him, and soon he’s smoking cigarettes as suavely as the older man.
It is incredibly pleasant to spend a couple of hours with characters as unashamedly smart as this. It is rare these days to find English-speaking characters who revel in the pleasures of intellectual discussion, who celebrate each other’s braininess. Languages in this household freely intermingle and people lie down and read to each other; poets and philosophers are quoted and questioned. It feels like a universe away, a better place, and a most wonderful one for these two smart, intriguing people to come together.
The film feels too long for its story, which, while it may contain multitudes of feeling and intimate detail, is essentially a simple one. But it is charming in spades, and, as captured in Chalamet’s performance, an essential addition to the coming-of-age canon. The final shot lodges it there with amazing grace.
Aloysius J. Gleek:
CALL ME BY YOUR NAME
RELEASE DATES
UK 27 October 2017
Ireland 27 October 2017
USA 24 November 2017 (New York and Los Angeles)*
Canada 8 December 2017
Thailand 14 December 2017 (limited)
Sweden 22 December 2017
USA 22 December 2017 (Boston, Philadelphia, Minneapolis and etc.)*
Australia 26 December 2017
USA 12 January 2017 (Detroit and Indianapolis)*
Brazil 18 January 2018
Portugal 18 January 2018
USA 19 January 2017 (NATIONWIDE)*
Italy 25 January 2018
Finland 26 January 2018
Norway 26 January 2018
Poland 26 January 2018
Denmark 1 February 2018
Greece 8 February 2018
Spain 16 February 2018
France 28 February 2018
Hong Kong 1 March 2018
Germany 1 March 2018
Switzerland 1 March 2018 (German Speaking Region)
Czechia 22 March 2018
Japan April 2018
S. Korea Spring 2018 ??
http://www.imdb.com/title/tt5726616/releaseinfo?linkId=43379176
USA*
--- Quote from: Aloysius J. Gleek on November 16, 2017, 09:38:36 pm ---
Posted by ewpunk on November 16th, 2017
https://laterpeaches.tumblr.com/post/167565803178/chalametdaily-usa-release-dates-for-cmbyn
https://chalametdaily.tumblr.com/post/167565474444/usa-release-dates-for-cmbyn
--- End quote ---
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