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Armie Hammer & Timothée Chalamet find love in Call Me By Your Name (2017)
Aloysius J. Gleek:
The two men bike together in town, flirt with some of the same girls, then gradually start flirting with each other. In many ways, they could not be less alike. Elio (Timothée Chalamet) is skinny and pasty, Oliver (Armie Hammer) is rusty blond, honeyed by the sun, athletic and the sort of fellow you see modeling sportswear in catalogs. But both are drawn to one another’s prickly intelligence and shared Jewish heritage. And, eventually, they wind up in bed and fall into a romance as sweet and ephemeral as an Italian summer.
http://artsatl.com/review-call-name-coming-age-film-filled-deep-joy-rich-insight/
Call Me by Your Name
is a coming-of-age film filled with deep joy and rich insight
by Steve Murray
December 22 2017
A romance as sweet and ephemeral as an Italian summer: Elio (Timothée Chalamet) and Oliver (Armie Hammer) in Call Me by Your Name
When we first see 17-year-old Elio, hanging around his family’s Italian villa in the summer of 1983, he seems gangly, unformed, callow. It’s a testament to the performance of Timothée Chalomet — named the year’s best actor by the Atlanta Film Critics Circle and other critics’ groups — that by the end of Call Me By Your Name, which spans only half a year, Elio seems to have aged, if not into adulthood, then into the outer circle of that perilous, doomed state.
Trailing laudatory buzz since its Sundance premiere nearly a year ago, director Luca Guadagnino's film is one of the rare ones that lives up to its hype. Based on André Aciman's 2007 novel, it’s a coming-of-age and sexual-awakening tale that really can’t be minimized as “a gay flick.” It’s a great, smart, sensory look at the pleasures of Italy and the bittersweet joys of first love.
Elio is the well-loved only child of an academic American father, Professor Perlman (Michael Stuhlbarg), and a beautiful mother, Annella (Amira Casar), who spend summers and other holidays at their sprawling villa in northern Italy. Every summer, Perlman invites a graduate student to spend six weeks as an assistant for his Greco-Roman studies. It’s not exactly a bad gig. The latest, 24-year-old Oliver (Armie Hammer), quickly adapts to the daily extracurricular routine of sunbathing, savoring wine-y alfresco lunches, swimming in the nearby river and dancing with girls at the village disco.
Director Guadagnino, known here for I Am Love and A Bigger Splash, should be paid by the Italian tourism board. He’s a rapturist — and I use that word meaning not someone who believes in End Times, but one who celebrates the earthly world we live in. The Perlmans’ is a household where Italian, French, German and English are spoken with equal ease, art and history are treasured, and Elio spends his time playfully transposing Bach compositions to his guitar. It’s egghead heaven, but also a sensual paradise.
That becomes even truer when Elio’s initial resentment — he’s had to surrender his bedroom to Oliver — turns to something trickier. The two men bike together in town, flirt with some of the same girls, then gradually start flirting with each other. In many ways, they could not be less alike. Elio is skinny and pasty, Oliver is rusty blond, honeyed by the sun, athletic and the sort of fellow you see modeling sportswear in catalogs. But both are drawn to one another’s prickly intelligence and shared Jewish heritage. And, eventually, they wind up in bed and fall into a romance as sweet and ephemeral as an Italian summer.
The skill of Guadagnino’s film, based on James Ivory’s script (livelier than any of his Merchant-Ivory films, except for A Room with a View) is the time it takes to tease out Elio and Oliver’s attraction, and to deepen our investment in how it plays out.
As Elio’s dad, who sees more of what’s going on than Elio thinks he does, Stuhlbarg delivers, near the end of the film, the gift of a perfect monologue, largely drawn from the book. It cements the father-son bond at a time when such things, in life, are far from guaranteed. It’s a lovely scene from a reliably strong actor (he also has a small role in Steven Spielberg’s upcoming The Post.)
Hammer is strong in a role that lets go beyond the handsome, bland roles he’s largely been saddled with. But it’s Chalamet’s movie, literally from start to finish. He’s only 21, and was younger when Call Me was filmed, but he ushers Elio, and the movie, from a state of young, carefree curiosity to the melancholy that comes with experience. And if you see a better closing shot this year than Call Me By Your Name’s, I want to hear about it.
Call Me by Your Name. With Timothée Chalamet, Armie Hammer, Michael Stuhlbard. Directed by Luca Guadagnino. Rated R for sexual content, nudity and some language. In English, Italian, French and German, with subtitles. 132 minutes. At Landmark Midtown Art Cinema and AMC Phipps Plaza.
Aloysius J. Gleek:
http://dailyfilmfix.com/?p=4926
Call Me by Your Name
by Jonathan W. Hickman
December 22 2017
Through subtlety Hammer manages to reveal doubt in his character: Elio (Timothée Chalamet) and Oliver (Armie Hammer)
in Call Me by Your Name
Call Me By Your Name, is one of this year’s most romantic films. It might also be one of the most controversial.
Set in 1983, the movie will undoubtedly make some viewers squirm not necessarily due the gay sexual content, but because the story involves a man engaged in an explicit affair with a 17-year-old. Still, there is a point in the film when you wonder whether the younger man is controlling the older one.
Elio (Timothée Chalomet) is a hip 17-year-old living with his highly educated and enlightened parents in rural Italy. It’s a beautiful place to spend the summer where love and lust form a confusing, intoxicating concoction. When his father’s research assistant, Oliver (Armie Hammer), visits, Elio is immediately curious. Of course, he sloughs off his initial feelings armoring himself with sarcasm and diving into an immediately physical relationship with a local girl. But, in time, the dangerous curiosity that plagues Elio turns into a mutual attraction, and he and Oliver become entangled in a torrid, private affair.
Can such an uneasy pairing flourish in that time, in that place, when everything and everyone are only temporary?
Call Me By Your Name is an adaptation by screenwriter James Ivory of André Aciman's novel. The Oscar-nominated Ivory, whose work includes the similarly themed Maurice that found a theatrical re-release earlier this year, gets the power play between the man and the young man exactly right. Part of the magic of the film is seeing the moment when Oliver realizes that his younger lover might not be wholly into him. It is an uncertainty that flashes quickly over the more mature man humbling him enough to make him aloof and weakened substantially. Maybe this love or maybe just a momentary fascination.
Credit goes to Hammer. His Oliver is a striking, arrogant, fair-haired hunk capable of wooing and winning over most any target—male or female. But through subtlety Hammer manages to reveal doubt in his character. In one key scene, his irresistible wide, inviting smile tilts and sours as internal questions about his actions overtake him. I got the impression that Oliver wasn’t questioning his sexuality but wondering in that moment whether he would be capable of keeping the exciting Elio all to himself. These are the things older men think about, even when the older man is still under 30.
The sex is explicit here. Hammer and Chalamet don’t hold back. And there is a particular scene involving a piece of fruit that will stay with you after the screening. But the sex isn’t used as a special effect or an exploitative gimmick. Sure it is titilating but never salacious. And there are real emotions on display. Chalamet capitalizes on the theme especially in the film’s closing moments.
Of note is Michael Stuhlbarg, who plays Elio’s father, a sensitive academic. Stuhlbarg is having a great year, also appearing in a critical role in another awards darling The Shape of Watert. But in Call Me By Your Name, he shares one of the best father/child scenes ever on screen. It’s a scene that rivals the interaction between Ellen Page and J. K. Simmons in the Oscar-winning Juno.
Raw and honest, Call Me By Your Name exposes loss of innocence while celebrating the importance of one’s first love in a mature, albeit graphic, way.
Aloysius J. Gleek:
[youtube=1100,650]http://www.youtube.com/watch?v=HzFQ4CgWYY4[/youtube]
https://www.youtube.com/watch?v=HzFQ4CgWYY4/size]
It's up again, this time with a different poster.
SPOILER! This is the actual
last 3:42 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
Huy Doan
Published on Dec 21, 2017
Aloysius J. Gleek:
[youtube=1100,610]http://www.youtube.com/watch?v=A6OVjopWjcI[/youtube]
https://www.youtube.com/watch?v=A6OVjopWjcI
I LOVE YOU (Timothée Chalamet great performance)
I love the way Elio looks at Oliver, so I did this video about this little gazes, smiles and touches.
Timothée is doing something incredible with his eyes. So just watch it and feel it.
Movie: Call Me By Your Name (2017)
Music: WOODKID - I Love You (Quintet Version)
Peaches Art: Cara Brown - Life in Full Color
Edit: alexiabertha
Timothée Chalamet - as Eliowith
Armie Hammer - as Oliver Call Me by Your Name
All copyrighted material belongs their respective owners
ʙᴇʀᴛʜᴀ
(alexiabertha)
Published on Jan 2, 2018
And here's the original video;
the song is from 2013--
[youtube=1100,610]http://www.youtube.com/watch?v=u-nFIo4f71g[/youtube]
https://www.youtube.com/watch?v=u-nFIo4f71g
'I Love You' (2013)Quintet Version
Woodkid - Yoann Lemoine(and Ambroise Willaume)
WoodkidVEVO
Published on Sep 27, 2013
Aloysius J. Gleek:
Elio is a precocious young musician whose sense of humor amounts to playing Bach tunes in the style of other composers and seeing who’ll notice the difference—he’s a nerd. And a joy. As wonderfully fleshed out by Timothée Chalamet, Elio’s got a vibrant restlessness in him, a boldly unsuppressed curiosity that pushes him in the bookish Oliver’s direction. You could say Armie Hammer, meanwhile, who’s 6-foot-5, blond, and royally handsome, is playing to type. He’s a little bit of a bro, but deceptively smart. When Elio’s father, played by the great Michael Stuhlbarg, quizzes Oliver’s philology, he passes with flying colors.
(....)
Strangely, by the end, I had become less interested in Elio and Oliver than in the time and place and, most especially, the parents whose generous wisdom allowed this love to flourish. The joy of this movie for me isn’t in watching Elio and Oliver navigate their emotional whims, it’s in watching Elio’s parents notice and silently face, and support, those whims from the sideline. Stuhlbarg and Amira Casar, who plays Elio’s mother, carry a lot of wisdom in their glances—and even more in their silence.
https://www.theringer.com/movies/2017/11/24/16691712/call-me-by-your-name-film-review-armie-hammer
Call Me by Your Name
Is a Gay Love Story, Minus the Self-Torture
Luca Guadagnino’s sumptuous film captures the ephemeral joy
of a summer romance, but what’s beneath the surface leaves a
more lasting impression
by K. Austin Collins
Nov 24, 2017, 8:45am EST
Timothée Chalamet in Call Me by Your Name Sony Pictures/Ringer illustration
Shall we start with the peach? Somewhere in Northern Italy, on a sun-drenched summer afternoon in 1983, a 17-year-old American Italian boy named Elio (Timothée Chalamet) is reading Joseph Conrad’s Heart of Darkness, a peach at his side. This has been a season of self-discovery for Elio. His father, an archaeologist who studies ancient sculpture, has once again taken on a graduate student for the summer to help him catalog his findings. This year, that student is a tall 24-year-old American man named Oliver (Armie Hammer), a statuesque discovery in his own right. Oliver and Elio have lately become entangled in a romance—or something like that. Elio, who has a girlfriend, is still figuring himself out. What he knows is that, thanks to Oliver, something in him has been awakened. And what he knows, at this very moment, is that he wants to fuck a peach.
Even then, maybe “knows” is overstating it. Call Me By Your Name, Luca Guadagnino’s sumptuous, boyishly intellectual new romantic film, is the kind of movie to let a discovery like this play out at the natural pace of his characters’ curiosity. Anyone who’s read or even heard about the 2007 André Aciman novel, the modern gay classic on which the movie is based, will see the peach and immediately know what’s coming: Elio absentmindedly digging at the peach’s flesh, carving a hole into it with his fingers before removing the pits, sticking his fingers inside, and getting an idea. They know Oliver will catch him afterward—and they know what happens next. Still, Guadagnino lets this all unfold with characteristically sympathetic patience, even as, for Elio, it drifts briefly into self-loathing. “I’m sick, aren’t I?” says Elio. “I wish everyone was as sick as you,” says Oliver.
Call Me By Your Name tells the story of two people wrapped up in a painfully brief summer romance that starts, funnily enough, with them a little at odds. You get the sense, by the end, that they wish they’d had more time, that they wish they had discovered each other’s wants a little sooner. It’s almost improbable that they wouldn’t get along. Elio is a precocious young musician whose sense of humor amounts to playing Bach tunes in the style of other composers and seeing who’ll notice the difference—he’s a nerd. And a joy. As wonderfully fleshed out by Chalamet, Elio’s got a vibrant restlessness in him, a boldly unsuppressed curiosity that pushes him in the bookish Oliver’s direction. You could say Hammer, meanwhile, who’s 6-foot-5, blond, and royally handsome, is playing to type. He’s a little bit of a bro, but deceptively smart. When Elio’s father, played by the great Michael Stuhlbarg, quizzes Oliver’s philology, he passes with flying colors.
Still, despite the rich opportunities for, if nothing else, intellectual attraction, their early interactions are a little awkward. Elio and Oliver spend much of the summer playfully antagonizing each other. Oliver, who wears a Star of David around his neck, has a laxness about him, a surfer attitude wearing khaki shorts and slickened hair, that Elio initially hates. Oliver doesn’t say goodbye when he exits a room: He shoots off from the dinner table with a quick, casual, “Later!” “Don’t you think he’s impolite with the way he says, ‘Later’?” Elio asks his parents. “Arrogant?”
Call Me By Your Name is suffused with a cosmopolitan sense of attraction that makes it feel like a throwback to Thomas Mann's seminal Death in Venice, about a writer who falls for a beautiful youth, and other stories of the kind—minus the tragedy. These are characters who joke about Bach and read Heraclitus’s The Cosmic Fragments. They test each other intellectually before involving themselves physically. There’s a strain of gay fiction in line with this, one that contrasts the brutally singular life of the mind with the inner and outer lives of the flesh, studying the gap between who these characters are as logical, thinking subjects versus feeling, desiring ones. Even the academic work we see in Guadagnino's movie, the cataloguing and recovery of large, handsome, Athenian busts, feels erotically charged, as well as simply romantic in its own right: The bodies are beautiful. Where Aciman’s novel and Guadagnino’s film differ from tradition is in the lack of tragic self-torture. Elio has his internal ups and downs, but they’re boyish, not brutal. Call Me By Your Name’s sun-drenched, olive-hued intellectualism is a soft rebuke to the genre’s tendency toward unfulfillment. If there’s any self-torture here, it’s merely the hormonal confusion of an occasionally jealous teenager.
Much of this is delightful—but much of what’s here points to a richer, stranger set of discoveries than what Guadagnino openly explores in the movie. Sexually, it comes off a little muted. In Aciman’s novel, Elio’s curiosity verges on fetish—the peach being a memorable example. Our sense of the fearlessness of Chalamet’s performance, meanwhile, is in the small, odd moments—Elio sniffing Oliver’s underwear, or watching him pee, or practically licking his face—that come off as the actor fully taking on his character’s mishmash of new curiosities. But instead of exploring the Elio who’s got his face in the seat of Oliver’s boxers, Guadagnino gives room to the sad-faced, lovelorn Elio, who senses the approaching conclusion of summer and doesn’t want this moment to end. Multiple montages set to Sufijan Stevens songs more or less tell you where Guadagnino’s heart is: They reveal the predilections of a director who’s a little more boring than his own material. Guadagnino has fashioned this into an outright love story. It’s possible that what’s really here is something a little more exciting, even dangerous.
Strangely, by the end, I had become less interested in Elio and Oliver than in the time and place and, most especially, the parents whose generous wisdom allowed this love to flourish. The joy of this movie for me isn’t in watching Elio and Oliver navigate their emotional whims, it’s in watching Elio’s parents notice and silently face, and support, those whims from the sideline. Stuhlbarg and Amira Casar, who plays Elio’s mother, carry a lot of wisdom in their glances—and even more in their silence.
Perhaps Elio’s parents interest me more than Elio because they’re the ones whose desires go unexpressed. It’s a reversal of our expectations: The gay characters aren’t the ones whose feelings are reduced to knowing looks and reading between the lines. Elio’s parents’ are. His self-understanding is abundant and open; their understanding of their son, meanwhile, becomes a quiet code that sets a loving, compassionate tone for the entire movie. If, by the end, I find myself curious about the man Elio will grow to become, it’s because of who his parents encourage him to be. Call Me By Your Name makes you remember how it felt to realize, as you became an adult, that your best experiences are ephemeral—that by the time you recognize an experience for what it is, it’s already a memory. Like his parents, you want Elio to cherish this moment. And thanks to Guadagnino, we, at least, can live that moment as a movie.
Also see:
http://www.slate.com/articles/arts/the_movie_club/features/2018/movie_club_2017/the_rules_of_movie_stardom_are_broken.html
All the old rules about movie stardom are broken.
By Amy Nicholson
JAN. 3 2018 1:59 PM
EXCERPT:
If Hollywood played by its old rules, I, Tonya ’s Margot Robbie and Call Me By Your Name ’s Armie Hammer should be huge stars. They’re funny, smart, self-aware, charismatic, and freakishly attractive. Yet, they feel like underdogs, and I’m trying to figure out why. Robbie has made intelligent choices. Her scene-stealing introduction as Leonardo DiCaprio’s trophy wife in Wolf of Wall Street. Her classic romantic caper with Will Smith in the underseen trifle, Focus. She even survived Suicide Squad with her dignity intact. In I, Tonya, she can’t outskate being miscast as Tonya Harding, but bless her heart for trying. As for Hammer, Kameron (FYI, writer K. Austin Collins of review above), your review of Call Me By Your Name (scroll up to see in this post) called him, “royally handsome,” which seems right. He’s as ridiculously perfect as a cartoon prince, and I loved how Luca Guadagnino made a joke of how outlandish the 6-foot-5 blond looks in the Italian countryside. Whether he’s unfurling himself from a tiny Fiat or stopping conversation with his gangly dance movies, he can’t blend in—and good on him and Guadagnino for embracing it.
But even if Robbie and Hammer each claim an Oscar nomination this year, I suspect they’ll stay stalled out in this strange time when great actors are simply supporting players in a superhero franchise. I’m fascinated by Robbie and Hammer because they’re like fossils of some alpha carnivore that should have thrived. Does anyone else feel like the tectonic plates under Hollywood have shifted and we’re now staring at the evidence that everything we know is extinct? It’s not just that the old rules have changed—no new rules have replaced them. No one seems to know what works.
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