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Armie Hammer & Timothée Chalamet find love in Call Me By Your Name (2017)

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Shakesthecoffecan:
That phone call, that is it. The defining nail in the coffin. It is the bittersweet confirmation of having moved on.

Aloysius J. Gleek:

--- Quote from: Shakesthecoffecan on February 02, 2018, 07:29:27 pm ---That phone call, that is it. The defining nail in the coffin. It is the bittersweet confirmation of having moved on.
--- End quote ---






--- Quote from: southendmd on February 02, 2018, 06:56:03 pm ---
Elio Elio Elio Elio--
Oliver.
”I remember everything.”

Gets me every time.


--- End quote ---






--- Quote from: Aloysius J. Gleek on December 27, 2017, 09:00:17 pm ---[youtube=1100,590]http://www.youtube.com/watch?v=sY34-Xohcug[/youtube]
https://www.youtube.com/watch?v=sY34-Xohcug

--- End quote ---


This video was posted December 27 2017, and I assumed it would be taken down almost immediately.
Amazingly, it is still up. As I always say, if you really want to see it, do it quickly, you never know.
(FYI, the loud crackling and popping sounds are from the large open fireplaces in the Living Room and Study)


--- Quote from: Aloysius J. Gleek on December 27, 2017, 09:00:17 pm ---SPOILER! This is the crucial
2:59 telephone scene--
IF YOU WANT TO WAIT
UNTIL YOU SEE THE MOVIE
DON'T WATCH THE VIDEO!Timothée Chalamet - as Eliowith
Armie Hammer (on the other end of the telephone), Michael Stuhlbarg and Amira CasarCall Me by Your Name
All copyrighted material belongs their respective owners

Decaffeinated Bones
Published on Dec 27, 2017


--- End quote ---




This nicely segues into
the next (and final) scene:





--- Quote from: Aloysius J. Gleek on December 30, 2017, 01:01:57 am ---[youtube=1100,650]http://www.youtube.com/watch?v=HzFQ4CgWYY4[/youtube]
https://www.youtube.com/watch?v=HzFQ4CgWYY4

--- End quote ---


This is also still up since December 21, although other identical posts have been taken down since.
As per all caveats above, watch quickly.


--- Quote from: Aloysius J. Gleek on December 30, 2017, 01:01:57 am ---
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


--- End quote ---

Aloysius J. Gleek:










--- Quote from: southendmd on February 02, 2018, 06:56:03 pm ---
Elio Elio Elio Elio--
Oliver.
”I remember everything.”

Gets me every time.


--- End quote ---



This is what gets me every time:



"Do you mind?" says Oliver.
















--- Quote from: Aloysius J. Gleek on November 26, 2017, 02:42:06 am ---
The three principals, Armie Hammer/Oliver, Timmy Chalamet/Elio and Michael Stuhlbarg/Prof. Perlman, are brilliant, in at least three different ways, but Timmy/Elio is far and above the most brilliant. He is the movie, all the way through, but two phone calls towards the end are tear-making. The first: after Oliver has finally gone, Elio, suddenly unable to make his own way home, calls his mother from the train station a considerable distance away, and asks her to pick him up with the family car. The fact that he is looking away  from the camera is kindness itself because the audible catch in his throat is heartrending. Then, the second: months later, it is hanukkah, a gentle, serenely snowy day, and a seemingly now happy, cheerful Elio picks up a ringing telephone, saying "I'll get it!" to his parents. It is Oliver, supposedly calling to wish the Perlmans happy hanukkah, but really to tell Elio that he, Oliver, is getting married in the spring. "Do you mind?" says Oliver. The conversation (only SEEN by Elio's end, in the hallway of the Perlman home) is devastating. Now think: when this scene was filmed, actor Timmy Chalamet was 19 years old. Unbelievable.


--- End quote ---





--- Quote from: Aloysius J. Gleek on February 02, 2018, 05:36:23 pm ---
https://www.instagram.com/p/BefIl2iBtMK/?taken-by=ssd85132
https://home.gamer.com.tw/creationDetail.php?sn=3869775
https://mary-miracle.tumblr.com/image/170396123052
https://www.instagram.com/p/BefIl2iBtMK/

--- End quote ---




Also, interestingly:





--- Quote from: Aloysius J. Gleek on January 04, 2018, 11:06:35 am ---
Note the aesthetics of the final scenes. The world is frozen over outside the Perlman house, but inside there is fire and food. The t-shirts Elio wore in summer have been replaced not only by warmer clothes, but also by more bold, even flamboyant, ones. The pattern on his billowy, tucked-in shirt shows a crowd of androgynous faces. As he cries by the fire, a fly crawls across those faces.

The shirt’s design is so reminiscent of ’80s urban life that, whether they’re meant to or not, viewers might start to think of the artist Keith Haring, whose work came to be associated with the fight against HIV/AIDS. Or they may simply think of what that decade meant for queer men, both the closeted ones like Oliver and the growing class of liberated ones like Elio. The book version of Call Me by Your Name  was set in 1987, but Guadagnino moved the story to 1983 because, he has said, “’83 is the year—in Italy at least—where the ’70s are killed, when everything that was great about the ’70s is definitely shut down.” Part of that shut-down, any cultural history will attest, is that the sexual awakening of the ’60s, which fed the libertine ’70s, smacked into a hard, deadly reality: AIDS.


https://www.theatlantic.com/entertainment/archive/2018/01/the-shadow-over-call-me-by-your-name/549269/


--- End quote ---

Aloysius J. Gleek:

:) :) :)

On a happier, sweeter moment:


https://www.tumblr.com/search/timmy%20about%20armie

http://iseetherainbows.tumblr.com/post/169455408511/i-would-just-like-to-point-out-that-the-part-where

timmy about armie | Tumblr

I would just like to point out that the part where Elio says “Yes please,”
in answer to Oliver's “Can I kiss you?”
WAS NOT IN THE SCRIPT NOR BOOK.







--- Quote from: Aloysius J. Gleek on January 04, 2018, 04:37:55 pm ---
It’s rare that a movie offers two kinds of acting virtuosity. But Call Me by Your Name  does. We’re given the deeply gifted Timothée Chalamet’s emotional transparency and intuitive physicality (that scene where he finally gets Armie Hammer to himself and climbs  him was maybe the most joyous moment I saw in a movie this year).

(....)

I’ve been waiting my whole life to see one movie about same-sex first love that was not, on some level, about othering, ostracism, or the oppression of homophobia—a love story that isn’t also a de facto issue movie. It is a brilliant stroke--






http://www.slate.com/articles/arts/the_movie_club/features/2018/movie_club_2017/_2017_movies_like_get_out_didn_t_predict_the_future.html


--- End quote ---

Aloysius J. Gleek:

http://www.vulture.com/2018/01/sufjan-stevens-on-his-call-me-by-your-name-songs.html



Sufjan Stevens
on the First Time He Saw
Call Me by Your Name

By Kyle Buchanan
@kylebuchanan
January 16, 2018 3:00 pm


Photo by: Burak Cingi/Redferns


Sufjan Stevens has now seen Call Me by Your Name  four times, but the very first time he went to watch it, he was dreading the experience. It was a little over a year ago when director Luca Guadagnino invited the singer-songwriter to northern Italy to watch an early edit of the acclaimed romance, which memorably uses three songs sung by Stevens, two of which — “Mystery of Love” and “Visions of Gideon” — he wrote expressly for the film.

Stevens arrived at Guadagnino’s apartment unsure of what to expect: He had never met the director, who by then was working on a remake of Suspiria  with Dakota Johnson, in person. Stevens felt intimidated enough already, “and then Luca and Dakota showed up in head-to-toe Gucci, because they had just come from the show in Milan,” Stevens recently recalled to Vulture with a laugh. Guadagnino had set up a screening room in the apartment, so after the three of them finally got to know each other, they sat down to watch Call Me by Your Name. “And I was so stressed out the entire time,” said Stevens. “I was super  nervous.”

That Stevens even got involved with the film, and now may be nominated for a Best Original Song Oscar for his efforts, was hardly assured when Guadagnino first extended an offer to collaborate in 2015. At that point, Stevens was in the middle of a long tour for his album Carrie and Lowell, an acclaimed effort full of the personal, sensitive ballads that have become his trademark. “I kind of played hard to get at the beginning because I was I was really intent on putting all my energy into the tour,” said Stevens. He was also wary of Hollywood, having turned down several previous offers from directors to write songs for their films.

“I have to say, I don’t usually like directors, and I find them really controlling,” said Stevens. “I think all great directors are megalomaniacs.” Then again, Stevens himself is a self-confessed “control freak,” and to offer up his songs to another artist would involve ceding control as to how they were used. “I’ve pretty much been producing my own music for the last 15 to 20 years, I have my own label with total creative control, and when I tour, I’m basically directing the imagery and the lights and arrangements,” he said, explaining his reticence. “It’s very satisfying for me to be in charge and account for every last detail of my work, so to venture into this world of cinema where I’m contributing something I have no control over, I did feel a little powerless, in a way.”

But Guadagnino was persistent and persuasive, and Stevens was drawn to Call Me by Your Name ’s story of young Elio (Timothée Chalamet), who falls for grad student Oliver (Armie Hammer) during one memorable summer in Italy. “I had so much respect for Luca as an artist, having seen his other films, and I knew he was a master,” said Stevens, though after reading both James Ivory’s screenplay and the André Aciman book the film is based on, Stevens had a few stipulations. Guadagnino originally wanted the 42-year-old singer to not only write original music for the film but to appear onscreen for a mid-movie performance — “almost like a break in the narrative, an aesthetic interruption” — as well as read voice-over passages from an older Elio, which were inspired by the first-person perspective from Aciman’s book. Stevens felt neither device was necessary since the story and Guadagnino’s filmmaking style were immersive enough on their own, so after the director agreed to remove the narration and onscreen performance, Stevens got to work.

“Luca’s a real sensualist, and I very quickly keyed into that because I am, as well,” said Stevens, who tried to write towards that overlap in their sensibilities with his songs. “There’s a physicality to his work that’s really profound, and there’s an emotional experience that’s occurring as well, and they have this divine interaction. So that’s really what I was working on, this idea of first love being really irrational and sensational, and feeling boundless in its experience.”

Stevens penned both songs quickly, demoing “Visions of Gideon” on his iPhone during one morning he had off from the tour, then finishing it with a producer that afternoon. He knows that both songs fall firmly within his wheelhouse. “I could write these songs in my sleep,” he admitted. “I’ve been writing about love and loss since I was a small child!” Still, there was something mysterious about how easily both songs came to him. “I firmly believe in the power of impulse and instinct, and the ideology of ‘first thought, best thought,’” said Stevens. “I have to admit that often when I’m writing music, I’m sort of at a loss for how it all transpires. It feels so immediate and impulsive that I feel like I’m almost not in control. I’m not writing in a state of ecstasy, per se, but I feel almost powerless to the creative motion.”

So how did Stevens react when he finally watched Call Me by Your Name  and saw both songs, plus a remix of his older song “Futile Devices,” integrated into Guadagnino’s vision? “I remember feeling kind of vulnerable but also really proud, and honored to be part of something so beautiful,” he said. “Luca allows the music to rise to the surface and become a vital element. Scoring and putting songs in films is often reckless and distracting and manipulative, so it’s a real testament to his craft, because I think most directors don’t have this agility when it comes to music.” Stevens was most impressed by the film’s last few minutes, filmed in a sustained long take of Chalamet’s face as “Visions of Gideon” plays and Elio processes the emotional aftermath of the affair. “God, that final scene devastated me,” he said. “His whole performance is so real and true and profound. The nuances, the features of his face and how they change from scene to scene is incredible. I still don’t know how he did that.”

After the film ended that first time, Guadagnino turned to Stevens for his reaction. It was a moment fraught with expectation and emotion and Stevens decided, impulsively, to take advantage of it. “I asked him if I could have his Gucci coat, and Luca literally gave me the coat off his back,” Stevens said.

He feels no regrets over making such a big request of Guadagnino, either. “Well, now he’s sponsored by Prada,” Stevens said, then laughed.

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