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Armie Hammer & Timothée Chalamet find love in Call Me By Your Name (2017)
Aloysius J. Gleek:
Hard to miss the point that The Guardian really, really liked the film!
https://www.theguardian.com/film/2017/dec/22/the-50-top-films-of-2017-no-1-call-me-by-your-name
Call Me By Your Name
Best culture 2017
The 50 top films of 2017: No 1
Call Me by Your Name
Peter Bradshaw celebrates a peach of a film about ecstatic submission
to love –the united No 1 choice of our British and American critics
by Peter Bradshaw
@PeterBradshaw1
Fri 22 Dec ‘17 01.00 EST
Reaches out to anyone with a pulse... Armie Hammer and Timothée Chalamet in Call Me by Your Name
This priority is often overlooked, but pure sensual pleasure is an important part of cinema. So it’s a thrill to see a really outstanding film which provides it, as well as being itself about sensual pleasure – about the desire that precedes it, about an ecstatic submission to love, about the intelligent cultivation of all these things. It is a story of a passionate affair between an older and younger man and reaches out to anyone with a pulse.
James Ivory has adapted André Aciman’s novel and it is directed by Luca Guadagnino. This film constitutes a distinct advance from his previous (excellent) film, A Bigger Splash, which in turn developed the promise of the one before that, I Am Love.
The setting is the early 1980s and Armie Hammer plays Oliver, a handsome, brilliant young scholar who has been invited to the Italian lakeside villa of a distinguished professor of antiquities, Mr Perlman, played by Michael Stuhlbarg, to assist him in his research. It is not, in fact, an onerous task, more a privilege for a favoured grad student. An idyllic, leisured summer is in prospect, with a little cataloguing and venturing out with Perlman to view those classical statues that have been recovered from the lake.
But all that’s really required is good conversation and companionship. Oliver doesn’t have to do much more than hang out with Perlman’s charming family, neighbours and friends; swimming, bicycling, lunching, dining, dancing, drinking, sunbathing in various states of alluring undress. The local women admire the beautiful Oliver and so does Perlman’s delicate, moody, highly strung son Elio, played by Timothée Chalamet. There are some heterosexual encounters for them, but these are each just prototypical foreplay for the main event: the hookup between Elio and Oliver.
Since this film has come out, a lot has been made critically of Elio and Oliver’s scene with the peach, and that is a sensationally erotic and candid moment, with hints of TS Eliot’s Prufrock, or even Philip Roth’s Portnoy’s Complaint. But it isn’t why I value the movie, whose moments of passion and yearning are more diffuse, less showy, though no less explicit. Oliver and Elio’s love is exciting and sexy and moving because of the sophistication and emotional intelligence with which it is framed: a physical liaison in which a great deal is a stake, but intriguingly, homophobia as such does not seem to be the major issue or crucial plot point that it would be in almost any other drama. Oliver says that his father would be disgusted, but Elio’s father very much is not, and his understanding and moral wisdom is part of what makes this film such a thing of wonder, particularly in his final speech to Elio, reproduced closely from Aciman’s original book. Intriguingly, Guadagnino has now announced his Linklateresque intention to develop a sequel, based on later parts of the novel, which this film does not touch on.
Call Me By Your Name reminded me of the extravagant passion of early Alan Hollinghurst novels like The Folding Star or The Spell, and I can easily imagine Guadagnino bringing those to the screen. Hammer himself gives an excellent performance: sensitive and authoritative, though perhaps he is rather obviously older than his character’s age, and so the difference in age and worldly knowledge is greater than is theoretically intended in the drama. Stuhlbarg is always such a great performer – a leading player in the Coens’ A Serious Man – but often confined to supporting roles. Yet rarely are they are wonderfully written as this. And Chalamet is piercingly honest as Elio. It is the kind of performance that isn’t just down to actorly technique but openness and emotional purity. It’s an unmissable film.
And 2 months prior--
--- Quote from: Aloysius J. Gleek on October 27, 2017, 08:00:47 pm ---
People sunbathe; they impetuously jump up and go swimming, have unhurried meals al fresco, cycle into town to drink in bars, or play volleyball. At any one time, nothing is happening, and everything is happening. Elio and Oliver will catch each other’s eye in their adjoining bedrooms or downstairs in the hall; they will casually notice each other changing into swimming costumes. Each of these intensely realised, superbly controlled and weighted moments is as gripping as a thriller.
https://www.theguardian.com/film/2017/oct/26/call-me-by-your-name-review-luca-guadagnino-armie-hammer
Call Me by Your Name
gorgeous gay love story seduces and overwhelms
Set during an endless Italian summer, Luca Guadagnino's ravishing drama starring
Armie Hammer and Timothée Chalamet is imbued with a sophisticated sensuality
★★★★★
by Peter Bradshaw
@PeterBradshaw1
Thursday 26 October 2017 10.30 EDT
Hellenic sensuality is resurrected in concert with the not-so-secret sexual tumult emerging all about: Timothée Chalamet and
Armie Hammer in Call Me by Your Name
The debt to pleasure is deferred in exquisite style for this ravishingly beautiful movie set in Northern Italy in the early 80s: a coming-of-age love story between a precocious teenage boy and a slightly older man. Their summer romance is saturated with poetic languor and a deeply sophisticated sensuality.
The film is directed by Luca Guadagnino (who made I Am Love and A Bigger Splash) and adapted from the novel by André Aciman by James Ivory, who had originally been slated to co-direct and has a producer credit. Ivory’s presence inevitably calls to mind his film version of EM Forster’s Maurice, to which this is frankly superior. For me, it brought back Alan Hollinghurst novels such as The Folding Star and The Spell. Call Me By Your Name is an erotic pastoral that culminates in a quite amazing speech by Michael Stuhlbarg, playing the boy’s father. It’s a compelling dramatic gesture of wisdom, understanding and what I can only call moral goodness.
Stuhlbarg plays Perlman, a middle-aged American professor of classical antiquity living with his stylish wife Annella (Amira Cesar), in a handsome Italian house with their son, Elio – a remarkable performance from Timothée Chalamet – who is a very talented musician, spending his time transcribing Schoenberg and composing piano variations on JS Bach. Theirs is a cultured household, in which everyone is proficient in English, French, Italian and, for Annella, German. The family is also Jewish. Elio calls them “Jews of discretion”, a sense of otherness that is to serve as a metaphor for concealed sexuality.
Elio slopes and mopes about the huge house as the long hot summer commences, grumpy and moody, not knowing what to do with himself or his directionless sexuality, shooing away flies, frowning over paperbacks, dressed mostly in nothing more than shorts, all shoulder blades and hairless calves. Every year, his dad invites a favoured grad student to spend the summer with the family to help him with research. This year it is the impossibly handsome and statuesque Oliver, played by Armie Hammer, who never wears a pair of long trousers in the entire film. He establishes his academic credentials early on by presuming to correct Perlman’s derivation of the word “apricot”. Both Elio and Oliver are to have romantic associations with local young women, but it is more than clear where this is heading. And when the main event arrives, Guadagnino’s camera wanders tactfully away from their bed, gazing thoughtfully out of the window at the hot summer night.
What is perhaps so incredible is the concept of leisure, a cousin to pleasure, pure gorgeous indolence and sexiness for six whole weeks. No one appears to have very much to do in the way of dreary work, despite the references to typing up pages and cataloguing slides. People sunbathe; they impetuously jump up and go swimming, have unhurried meals al fresco, cycle into town to drink in bars, or play volleyball. The main work-related activity is when Perlman and Oliver go to inspect a sensational discovery: parts of a classical statue recovered from a lake. Hellenic sensuality is resurrected in concert with the not-so-secret sexual tumult emerging all about.
At any one time, nothing is happening, and everything is happening. Elio and Oliver will catch each other’s eye in their adjoining bedrooms or downstairs in the hall; they will casually notice each other changing into swimming costumes. Each of these intensely realised, superbly controlled and weighted moments is as gripping as a thriller. Hammer’s Oliver is worldlier than Elio, but not a roué or a cynic; in an odd way, Elio is more cosmopolitan than Oliver. The visiting American looks like a mix of Tom Ripley and Dickie Greenleaf.
Chalamet’s performance as Elio is outstanding, especially in an unbearably sad sequence, when he has to ring his mum from a payphone and ask to be driven home. (In that scene, Guadagnino contrives to show an old lady fanning herself in the right-hand side of the frame. Was she an actor? A non-professional who just happened to be there? Either way, there is a superb rightness to it.) And then there is Stuhlbarg’s speech advising against the impulse to cauterise or forget pain: “We rip out so much of ourselves to be cured of things faster than we should that we go bankrupt by the age of 30.” There is such tenderness to this film. I was overwhelmed by it.
--- End quote ---
And 9 months before that--
--- Quote from: Aloysius J. Gleek on August 27, 2017, 02:09:29 pm ---
Call Me by Your Name is a masterful work because of the specificity of its details. This is not a love story that “just happens to be gay”. The level of trust and strength these characters share brings a richness that is not necessarily known to a universal audience. But the craft on display from all involved is an example, yet again, of how movies can create empathy in an almost spiritual way. This is a major entry in the canon of queer cinema.
https://www.theguardian.com/film/2017/jan/23/call-me-by-your-name-review-italian-romance
Sundance 2017
Call Me by Your Name
Sundance 2017 Review
Luca Guadagnino's masterful coming-of-age tale of an Italian fling between visiting academic
Armie Hammer and professor’s son Timothée Chalamet is a major addition to the queer canon
by Jordan Hoffman
@jhoffman
Monday 23 January 2017 06.27 EST
‘Touching and triumphant’ ... Michael Stuhlbarg, Timothée Chalamet and Armie Hammer in Call Me by Your Name
Let’s bite right into the sweetest part of the fruit while it’s ripe. There’s a scene near the end of Luca Guadagnino's adaptation of André Aciman's novel Call Me by Your Name between Michael Stuhlbarg and Timothée Chalamet that is, I feel confident in saying, one of the best exchanges between father and son in the history of cinema. We’ll all be quoting from it for the rest of our lives.
For many it will be a moment of wish fulfilment, and that may go doubly for queer people whose parents tragically reject them for their nature. The scene is touching and triumphant, but it wouldn’t work on an island. It comes after a build-up, an unhurried coming-of-age tale set in 1980s Italy reminiscent of the best of Eric Rohmer, Bernardo Bertolucci and André Téchiné, in which Elio (Chalamet) falls in love with Oliver (Armie Hammer) and needs to decide how he’ll direct the rest of his life.
Oliver is the latest in a string of annual research assistants joining Professor Perlman (Stuhlbarg) at his family’s fabulous summer villa. Elio’s father is an archaeologist/art historian, and his French mother (Amira Casar) recites German poetry, translating it on the fly as the two men in her life cuddle up with her on the couch. For fun Elio transcribes classical piano scores, which he can also transpose to guitar. The Perlman family is one that can slip a reference to Heidegger into conversation and no one will bat an eye.
It’s a world where the broad-shouldered, blond Oliver fits in nicely. He savagely owns Professor Perlman with his mad etymology skills, breaking down the word “apricot” to its Latin, Greek and Arabic roots. His half-unbuttoned shirt reveals a Star of David necklace, which catches 17-year-old Elio by surprise. (Elio later explains that his mother considers the Perlmans “Jews [of] discretion” in the sleepy northern Italian vacation village.) At first Elio is annoyed by Oliver, but quickly becomes infatuated. How Oliver feels about Elio is more of a mystery, but as the days and nights continue (so many meals outside! And dancing to the Psychedelic Furs!) the invitations to “go for a swim” eventually turn intimate.
Of the numerous fascinating, nuanced and realistic facets to their relationship, it’s hard at times to determine who is the driving force. Elio seems the aggressor, and unashamed about his feelings. (Though why is he so determined that his family’s gay friends catch him smooching a vacationing French girl?) Oliver seems so lithe, but are his initial rejections meant to protect Elio, or is he himself panicked about doing “something bad”? Luckily, this is a movie wise enough for its characters to be a little contradictory.
Luca Guadagnino’s last two films, A Bigger Splash and I Am Love, were both highly stylised, with dazzling extreme closeups, high-speed editing and brash musical selections. To put it in blunt terms, he reels it in this time. Scenes play out at a pace more befitting a summer in the Italian sun, and while there’s no shortage of well-placed props (a Robert Mapplethorpe print here, a Talking Heads T-shirt there) the natural settings and ancient cities are enough to keep the frame looking marvellous. A lesser film-maker (and co-writers including Walter Fasano and the great 88-year-old James Ivory) would probably cut the scene where bike-riding Elio and Oliver ask for a glass of water from an old woman peeling beans outside an old house. But these are the true-to-life grace notes that make this film so touching.
Call Me by Your Name is a masterful work because of the specificity of its details. This is not a love story that “just happens to be gay”. The level of trust and strength these characters share brings a richness that is not necessarily known to a universal audience. But the craft on display from all involved is an example, yet again, of how movies can create empathy in an almost spiritual way. This is a major entry in the canon of queer cinema.
--- End quote ---
southendmd:
So, I finally saw the film again this afternoon. My first time was back in October at the New York film festival with John (in row Y) and Meryl and I in row A. Our view was severely distorted in the huge theatre at Lincoln Center.
I’d write a review, but I keep breaking into sobs every five minutes, so I won’t. It was almost like seeing it for the first time. I certainly noticed more details and nuances and the performances are just overwhelming.
I heartily concur with most of the reviews that John has so kindly posted here.
It is a true masterpiece of filmmaking.
Meanwhile, Sufjan Stevens’ music is haunting me.
Aloysius J. Gleek:
--- Quote from: southendmd on December 22, 2017, 07:12:49 pm ---So, I finally saw the film again this afternoon. My first time was back in October at the New York film festival with John (in row Y) and Meryl and I in row A. Our view was severely distorted in the huge theatre at Lincoln Center.
I’d write a review, but I keep breaking into sobs every five minutes, so I won’t. It was almost like seeing it for the first time. I certainly noticed more details and nuances and the performances are just overwhelming.
I heartily concur with most of the reviews that John has so kindly posted here.
It is a true masterpiece of filmmaking.
Meanwhile, Sufjan Stevens’ music is haunting me.
--- End quote ---
Lovely, Paul. I've seen it three times--so far. I'm pacing myself. I'll definitely see it again with Meryl at the Paris on New Year's Eve Eve.
Re Sufjan--yup, every time, each Sufjan Stevens song, the tears fall. The plinky-plunky chords of Futile Devices (Doveman Remix Version) start, Elio (sitting outside in the encroaching dark) plaintively asks Mafalda (headed home, I guess, after a hard day's work) if she has seen Oliver, and she curtly says no, she hasn't, and I lose it.
Sigh. Poor Elio. :(
--- Quote from: Aloysius J. Gleek on December 09, 2017, 08:38:56 pm ---CALLMEBYYOURNAMEFAN
https://www.garow.me/users/erkinaken/4225893710
my thoughts only
going nowhere
by @erkinaken
https://www.garow.me/media/1656533229568969102_4225893710
I watched it...finally ✌️ Beautiful and delicate...
Everything fell into the right place for me.
Gonna go watch it again
...
Wonderful @tchalamet and @armiehammer
CALLMEBYYOURNAMEFAN by @erkinaken
https://www.garow.me/users/erkinaken/4225893710
2017/12/05 06:45:19
--- End quote ---
Aloysius J. Gleek:
[youtube=1100,650]http://www.youtube.com/watch?v=1rckNI80cNw[/youtube]
https://www.youtube.com/watch?v=1rckNI80cNw"This video is no longer available due to a copyright claim by Sony Pictures Entertainment."I thought it would be taken down. Oh well, good or for ill, it is now.
SPOILER! This is the actual
last 3:19 of the movie--
IF YOU WANT TO WAIT
UNTIL YOU SEE THE MOVIE
DON'T WATCH THE VIDEO!Timothée Chalamet - as ElioCall Me by Your NameSufjan Stevens - Visions of Gideon
This is the ending scene of the movie "Call Me By Your Name".
Music "Visions Of Gideon - Sufjan Stevens"
All copyrighted material belongs their respective owners
Drawing MyLife
Published on Dec 21, 2017
--- Quote from: Aloysius J. Gleek on November 04, 2017, 06:52:14 pm ---
Once again--
but this time
the Sufjan Stevens song
from the actual recording,
not from a screening--
--- End quote ---
--- Quote from: Aloysius J. Gleek on October 22, 2017, 10:21:19 pm ---
These are the last few minutes of the movie,
Elio looking into the fire, crying and remembering--
until his mother's voice calls
"Elio--"
--- End quote ---
--- Quote from: Aloysius J. Gleek on November 04, 2017, 06:52:14 pm ---
[youtube=1100,650]http://www.youtube.com/watch?v=EiBUIwzN6FA[/youtube]
https://www.youtube.com/watch?v=EiBUIwzN6FAThe accompanying
still is the very last few
moments of the movie--
Sufjan Stevens - Visions of GideonCall Me by Your NameSoundtrack released November 3 2017
Jonathan Yule
Published on Nov 3, 2017
--- End quote ---
--- Quote from: Aloysius J. Gleek on October 22, 2017, 10:21:19 pm ---
It's the summer of 1983, and precocious 17-year-old Elio Perlman is spending the days with his family at their 17th-century villa in Lombardy, Italy. He soon meets Oliver, a handsome doctoral student who's working as an intern for Elio's father. Amid the sun-drenched splendor of their surroundings, Elio and Oliver discover the heady beauty of awakening desire over the course of a summer that will alter their lives forever.
--- End quote ---
--- Quote from: Aloysius J. Gleek on November 04, 2017, 06:52:14 pm ---
STILL not sure about
those lyrics yet--oh well!
:-\ :-\
Sufjan Stevens "Visions of Gideon"
From the film CALL ME BY YOUR NAME by Luca Guagagnino
Visions of Gideon
I have loved you for the last time
Is it a video?
Is it a video?
I have touched you for the last time
Is it a video?
Is it a video?
[ For the love, the laughter I feel up to your arms ]
Is it a video?
Is it a video?
[ For the love, the laughter I feel up to your arms ]
Is it a video?
Is it a video?
Is it a video?
I have loved you for the last time
Visions of Gideon
Visions of Gideon
I have kissed you for the last time
Visions of Gideon
Visions of Gideon
[ For the love, the laughter I feel up to your arms ]
Is it a video?
Is it a video?
[ For the love, the laughter I feel up to your arms ]
Is it a video?
Is it a video?
[ For the love, the laughter I feel up to your arms ]
Visions of Gideon
Visions of Gideon
Visions of Gideon
--- End quote ---
Aloysius J. Gleek:
[youtube=1100,650]http://www.youtube.com/watch?v=wjKlIg4aZDk[/youtube]
https://www.youtube.com/watch?v=wjKlIg4aZDkWOAH! I guess the hand-made
music videos with edits of clips
are about to explode--and I
have to say I love this video!
"So, give me something for when you leave"
Timothée Chalamet - as ElioArmie Hammer - as Oliver
Call Me by Your Name
'Breathe' (2017) by Mako(Alex Seaver and Logan Light)
"so, give me something for when you leave
'cause I can't hardly breathe"
movie: call me by your name
don't mind me i'm on edge, i'm sorry i had to do something because my hands were trembling like since i saw a movie
it's very simple and i wanted it to be like that
raw like the movie is
this edit is more for me than for someone else out there, but if you will enjoy that would be also great
if you haven't seen this movie or didn't read the book..
just freakin do it, it's the best things that could ever happen to you, i promise you
_______________________
ask: ask.fm/JDolgovaa
twitter: twitter.com/JDolgovaa
tumblr: julia36229.tumblr.com
song 'breathe' by mako
"Copyright Disclaimer Under Section 107 of the Copyright Act 1976, allowance is made for "fair use" for purposes such as criticism, comment, news reporting, teaching, scholarship, and research. Fair use is a use permitted by copyright statute that might otherwise be infringing. Non-profit, educational or personal use tips the balance in favor of fair use."
Julia36229
Published on Dec 21, 2017
Here's the original
video with lyrics--the song is
definitely not 1980's,
very 2017--but I like it a lot
with Elio/Oliver edits above!
[youtube=1100,650]http://www.youtube.com/watch?v=vdrFVNbaNvI[/youtube]
https://www.youtube.com/watch?v=vdrFVNbaNvI
'Breathe' (2017) by Mako[Official Lyric Video](Alex Seaver and Logan Light)
Proximity
Published on Dec 7, 2017
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