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Armie Hammer & Timothée Chalamet find love in Call Me By Your Name (2017)
southendmd:
--- Quote from: Aloysius J. Gleek on December 21, 2017, 11:22:58 am ---
CALL ME BY YOUR NAME
RELEASE DATES
USA 22 December 2017 (Boston, Philadelphia, Minneapolis and etc.)*
--- End quote ---
Finally! Although, it's actually opening today.
Aloysius J. Gleek:
--- Quote from: southendmd on December 21, 2017, 12:29:09 pm ---Finally! Although, it's actually opening today.
--- End quote ---
BOSTON, I feel your pain! :laugh: :laugh:
Well, at long last--and look, what a nice review! (Although, what does he mean, 3 1/2 stars--the very idea!! >:( :laugh: )
Call Me By Your Name is frank about adolescent love and lust — the ecstasies, jealousies, melodrama, and pain. As in his earlier movies, I Am Love (2009) and A Bigger Splash (2015), Luca Guadagnino amps up the ripeness of the European setting. The sunlight on the landscape glows as if seen for the first time, and the dinners and al fresco lunches fire a viewer’s senses. Food is sex in this movie — in one scene quite literally — and food is language and history (Oliver gives a brief etymology of the word “apricot” at one point), and love and sex have histories that go back millennia. The soundtrack yearns with a mix of classical, minimal, period-’80s and Sufjan Stevens originals, and the casual beauty of shirtless young men is echoed in the bronze statues Elio’s father pulls from the local waters. This is a film fully of heart, hormones, and mind.
https://www.bostonglobe.com/arts/movies/2017/12/20/call-your-name-full-light-and-landscape-and-unstoppable-beauty/7ja10O1izBhKOQrE0BuKoO/story.html
Call Me by Your Name
is full of light and landscape
and unstoppable beauty
★★★1/2
by Ty Burr
[email protected]
December 20 2017
With nostalgia but gratitude and a lingering sense of loss: Elio (Timothée Chalamet) and Oliver (Armie Hammer) in Call Me by Your Name
The director Luca Guadagnino specializes in tales of trouble in paradise — of high-living hedonists in sinfully sensuous settings — but with Call Me By Your Name, he broadens his embrace of humanity while hitting new heights of cinematic bliss. A richly detailed sexual and emotional coming of age story, the movie’s based on a novel and it unfolds novelistically, through glances and asides and slowly accreting observations. You don’t fully realize that the youth at the story’s center has grown into a complex and confident young man until the film’s remarkable final shot.
The boy, Elio (Timothée Chalomet), is an American in Italy, living with his father (Michael Stuhlbarg), an antiquities professor, and Italian mother (Amira Casar). He’s 17 when the film opens, part kid, part bored teenager, an adult in chrysalis. The setting is the Lombardy region of northern Italy in high summer, simultaneously bursting with new life and as ancient as the bygone empires. The boy fools around with local friends and dabbles in flirtation and more with a girl named Marzia (Esther Garrel). Then his dad’s new research assistant turns up, and the movie halts in its tracks.
His name is Oliver (Armie Hammer). It’s the mid-1980s, and Oliver’s a familiar type, breezy and preppie and as rebellious as only a well-to-do 20-something American can be. The local girls are smitten, and he knows it. Elio is contemptuous at first — the interloper has taken over his bedroom, for one thing — and then angrily fascinated, and then honestly attracted, each step a conversation with himself that makes him feel more certain rather than less. By the time he and Oliver dare to start circling the subject in earnest, Elio is leading the dance.
Call Me By Your Name is frank about adolescent love and lust — the ecstasies, jealousies, melodrama, and pain. As in his earlier movies, I Am Love (2009) and A Bigger Splash (2015), Guadagnino amps up the ripeness of the European setting. The sunlight on the landscape glows as if seen for the first time, and the dinners and al fresco lunches fire a viewer’s senses. Food is sex in this movie — in one scene quite literally — and food is language and history (Oliver gives a brief etymology of the word “apricot” at one point), and love and sex have histories that go back millennia. The soundtrack yearns with a mix of classical, minimal, period-’80s and Sufjan Stevens originals, and the casual beauty of shirtless young men is echoed in the bronze statues Elio’s father pulls from the local waters. This is a film fully of heart, hormones, and mind.
There are times when the tempo dawdles, as if unwilling to leave the table. You may wish for more conflict. Call Me By Your Name has its own agenda and its studied, summery pace is almost entirely a virtue. André Aciman's novel has been adapted by the venerable director James Ivory (Howards End) and it has an air of wistful but clear-minded looking back. The film’s point of view is Elio’s (and to a lesser extent Oliver’s), but one gets hints that the actual narrator is an older, unseen Elio, contemplating the summer that defined him not with nostalgia but gratitude and a lingering sense of loss.
You may not realize how strong the acting is until you replay the movie in your head later. And strong across the board, from Stuhlbarg and Casar as the kindest of possible parents (the former has a superb setpiece monologue toward the end) and Garrel as a betrayed but resilient playmate, to Hammer’s tricky portrayal of a sexual and romantic mentor who’s both more experienced and more naive than his younger lover.
Chalamet’s performance is even more subtle and organic, and you can only take its full measure by comparing Elio at the start of Call Me By Your Name to the bruised but self-assured young man of the final scenes. The film may be a fantasy but it’s one that’s lovely and wise, where hurt only sharpens one’s thirst for life and where the hero and his audience awaken to the unstoppable beauty of the world in which we’re privileged to live.
Directed by Luca Guadagnino. Written by James Ivory, based on a novel by André Aciman. Starring Timothée Chalamet, Armie Hammer, Michael Stuhlbarg, Esther Garrel, Amira Casar. At Kendall Square. 132 minutes. R (sexual content, nudity, some language). In English and Italian, with subtitles.
Aloysius J. Gleek:
And here's more--
Timothée Chalomet (as Elio) is a revelation, stunning with a superb performance that’s being named by many (this critic included) as the best of the year. He’s achingly real, presenting such authenticity in his awkwardness, naked want and devastation that it’s painful to watch. With Chalamet it’s the little moments to look for; he never makes the mistake of going big with emotions when a subtle blinking away of tears will do. It’s profound work, and he’s the pounding heart of the film. We find ourselves engrossed in our want for his ultimate happiness, something the film teases us with constantly. The work is nuanced, the way he leans in for affection, shutting down when he feels insecure and opening up once his flirtations are reciprocated.
Armie Hammer is equally fantastic as Oliver – statuesque and startlingly handsome, he’s doing his best work since his breakout in 2010’s The Social Network. While Elio is more inexperienced and flustered, Hammer finds the right note of vulnerability to play so we’re never led to believe the story is one sided. We may spend our time in Elio’s head, but Oliver’s longing is just as tangible.
http://www.cambridgeday.com/2017/12/20/call-me-by-your-name-its-summer-love-thats-as-beautiful-as-a-family-villa-in-italy/
Call Me by Your Name
It’s summer love that’s as beautiful
as a family villa in Italy
by Allyson Johnson
Wednesday, December 20 2017
What isn’t said, a silence shared between the two: Elio (Timothée Chalamet) and Oliver (Armie Hammer) in Call Me by Your Name
So infrequently does a film as purposefully languid as this arouse such urgency in its audience. Call Me By Your Name, directed by Luca Guadagnino, asks viewers to allow themselves to become pliant and transported to a place and time not so far removed from our now, nudging us to yearn for love so tender and all-encompassing that it’s destined to break your heart.
The year is 1983, and the summer is well underway for 17-year-old Elio (Timothée Chalomet), something of a musical prodigy who lives with loving parents at their 17th century villa in Lombardy, Italy. His days are spent wandering the town, sparking a flirtation with a local girl, playing and composing music and reading. This all changers when his father, Mr. Perlman (Michael Stuhlbarg) invites his latest grad student, Oliver (Armie Hammer), to stay with them for six weeks. Initially annoyed with one another, then contemptuously fascinated, the two spark a passionate love affair as Elio continues to come into his own.
Guadagnino has an eye for fashionable, meticulous compositions but brings enough warmth to the screen to avoid looking like a magazine layout. The greens of the trees that engulf the villa burst, the lines of the characters’ bodies are captured expertly to showcase an easy titillation that thrums through the film, and the architecture of the household is both foreign and inviting. The frames capture an impatient sensuality, clawing both at Elio’s chest and the sun-baked corners of the screen. Chalamet walks in circles around Hammer, leans into him with abandon, nips at his shoulder before pacing away, unable to focus his attention, but the film is also patient as the two ride bikes through a field, content in watching them pass by the camera and into the distance. Cinematographer Sayombhu Mukdeeprom is the perfect partner to Guadagnino, who captures the romance of the story with a quiet confidence.
Chalamet is a revelation, stunning with a superb performance that’s being named by many (this critic included) as the best of the year. He’s achingly real, presenting such authenticity in his awkwardness, naked want and devastation that it’s painful to watch. With Chalamet it’s the little moments to look for; he never makes the mistake of going big with emotions when a subtle blinking away of tears will do. It’s profound work, and he’s the pounding heart of the film. We find ourselves engrossed in our want for his ultimate happiness, something the film teases us with constantly. The work is nuanced, the way he leans in for affection, shutting down when he feels insecure and opening up once his flirtations are reciprocated.
Hammer is equally fantastic as Oliver – statuesque and startlingly handsome, he’s doing his best work since his breakout in 2010’s The Social Network. While Elio is more inexperienced and flustered, Hammer finds the right note of vulnerability to play so we’re never led to believe the story is one sided. We may spend our time in Elio’s head, but Oliver’s longing is just as tangible.
The chemistry of the leads extends to the rest of the cast. Stuhlbarg and Amira Casar do tremendous work as Mr. and Mrs. Perlman. Stuhlbarg (having a banner year, considering he’s also in The Shape of Water) nearly runs away with the end of the film with a scene so full of affirmation, compassion and empathy that it could have been seen as too good to be true, especially set in the early 1980s. Stuhlbarg delivers it with just the right amount of tenderness, though, giving his grieving son a lifeline that’s comforting but honest.
Written by master scribe James Ivory and based on the novel by André Aciman, Call Me By Your Name is languorous work, a special film that takes its time sinking its teeth into us, so subtle in its advances that we don’t realize how far gone we are until it’s too late. It’s astonishing just how explosively visceral the emotions of Elio and Oliver are, as they’re packaged in such a soulful manner. So much of the weight of the picture hangs on what isn’t said, a silence shared between the two made up for with physical proximity. Ivory proves vital, because he’s able to write into the pages the substance in the silence, and the performers follow.
As Sufjan Stevens sings over the end credits we’re struck by how powerful the journey has been, and how much has transpired in what feels too short a moment – just as Elio must feel. We are putty in the filmmakers’ hands, attached to the lives of these two strangers and transfixed by their impassioned love story. “I have touched you for the last time/Is it a video” Stevens sings and, in a later verse, “I have loved you for the last time.” It’s a striking reminder of the power of memory and the idea that love lost isn’t love wasted, a message that rings beautifully clear and universal no matter how singular and lasting the story of Elio and Oliver is.
Front-Ranger:
At last, I saw a marquee that said, "Coming Soon: Call Me by Your Name"!!!!!!
Aloysius J. Gleek:
--- Quote from: Front-Ranger on December 21, 2017, 02:06:27 pm ---At last, I saw a marquee that said, "Coming Soon: Call Me by Your Name"!!!!!!
--- End quote ---
I hope so, Lee!
In the meanwhile, in Denver:
Call Me by Your Name
opened today!
Mayan Theater
110 Broadway, Denver, CO 80203
Alamo Drafthouse Cinema - Sloans Lake
4255 W Colfax Ave, Denver, CO 80204
:o :D ;)
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