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[youtube=999,539]http://www.youtube.com/watch?v=pAYeaXFb9w4[/youtube]
CALL ME BY YOUR NAME Official Trailer (2017)
Armie Hammer & Timothée Chalamet
Published on Aug 1, 2017
A sensual and transcendent tale of first love, based on the acclaimed novel by André Aciman. It's the summer of 1983 in the north of Italy, and Elio Perlman (Timothée Chalamet), a precocious 17- year-old American-Italian boy, spends his days in his family's 17th century villa transcribing and playing classical music, reading, and flirting with his friend Marzia (Esther Garrel). Elio enjoys a close relationship with his father (Michael Stuhlbarg), an eminent professor specializing in Greco-Roman culture, and his mother Annella (Amira Casar), a translator, who favor him with the fruits of high culture in a setting that overflows with natural delights. While Elio's sophistication and intellectual gifts suggest he is already a fully-fledged adult, there is much that yet remains innocent and unformed about him, particularly about matters of the heart. One day, Oliver (Armie Hammer), a charming American scholar working on his doctorate, arrives as the annual summer intern tasked with helping Elio's father. Amid the sun-drenched splendor of the setting, Elio and Oliver discover the heady beauty of awakening desire over the course of a summer that will alter their lives forever.
Directed By: Luca Guadagnino
Written By: Luca Guadagnino, James Ivory, Walter Fasano
In Theaters: Nov 24, 2017 Limited
Runtime: 130 minutes
Studio: Sony Pictures Classics
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[youtube=999,539]http://www.youtube.com/watch?v=5B89tJUc_f0[/youtube]
CALL ME BY YOUR NAME (2017)
ELIO MEETS OLIVER
Armie Hammer & Timothée Chalamet
Published on Feb 10, 2017
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[youtube=999,539]http://www.youtube.com/watch?v=QkJ5H_LnRTY[/youtube]
CALL ME BY YOUR NAME (2017)
ELIO AND OLIVER
Armie Hammer & Timothée Chalamet
Published on Jan 31, 2017
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“A happy ending was imperative,” Forster wrote, in 1960. “I was determined that in fiction anyway two men should fall in love and remain in it for the ever and ever that fiction allows. . . . I dedicated it ‘To a Happier Year’ and not altogether vainly.”
http://www.newyorker.com/culture/persons-of-interest/james-ivory-and-the-making-of-a-historic-gay-love-story
JAMES IVORY AND THE MAKING OF A HISTORIC GAY LOVE STORY
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For many gay men coming of age in the eighties and nineties, James Ivory’s “Maurice” was revelatory: a first glimpse, onscreen or anywhere,
of what love between men could look like. PHOTOGRAPH BY TIM KNOX / EYEVINE / REDUX
[EXCERPT]
The house in Claverack, bought in 1975, has nineteen rooms, with high ceilings and huge windows. Its eleven acres have a pond and several small buildings; “A Room with a View” was edited in a former apple-storage barn. At one point during my visit, Ivory brought me into the parlor where the interview with Merchant from the “Householder” DVD had taken place. The murals, which Ivory commissioned, are of imagined Hudson Valley landscapes circa 1800. He opened a cabinet topped with baftas to reveal a collection of elegant dioramas, one of them in a former pralines box. He handed them to me one by one and let me look through each tiny doorway: into an 1820 New Orleans boudoir; a 1761 Mt. Pleasant, Philadelphia, drawing room. He made them when he was thirteen.
That weekend, in a convivial Forsterian scenario, he had three houseguests. All of them had worked on Merchant Ivory films. Jeremiah Rusconi, the art director for “The Europeans,” has also directed, over the years, the restoration of the house; now a restoration consultant, he currently lives there. Melissa Chung, a friend who began working for Merchant Ivory as a production assistant right out of Yale, in 1992, is there most weekends. That day, she and Benoît Pain (camera loader, “Le Divorce”), both in black-and-white striped Breton shirts, made lunch, as Ivory directed (“Have we started the asparagus?”). The group ate around a table in a sunny, windowed porch bursting with geraniums.
“Led by the maestro—the captain of our ship,” Chung said.
“I invented this pepper soup,” Ivory said. It was a bright-red purée. “But Melissa, and Benoît, too, knows all about hollandaise.”
This year, Ivory had a hand in another gay coming-of-age romance—“Call Me by Your Name,” directed by Luca Guadagnino. Ivory adapted the screenplay from the novel by André Aciman, in which Elio (Timothée Chalamet), seventeen, is wary of, then attracted to, Oliver (Armie Hammer), a twenty-four-year-old scholar who’s assisting Elio’s professor father at the family’s Italian villa for the summer. The film has the Italian-countryside pleasures of “A Room with a View,” and mirrors that and “Maurice” ’s journeys from awkwardness to connection and joy. But it’s also set in the eighties—so, like Clive, our hero’s first love marries a woman and breaks his heart.
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....Call Me By Your Name was made with real love, with good intentions, with a clarity of heart and purposeful, unpretentious intellect. That shows in every frame. Call Me by Your Name is a true stunner. It’s sexy and sad and funny. It’s Italy, it’s summer, it’s food, it’s family. It’s lust and shame and hope and resignation. It’s life, messy and brilliant.
https://www.vanityfair.com/hollywood/2017/01/call-me-by-your-name-sundance-review
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SUNDANCE 2017
The Gorgeous
Call Me by Your Name
Makes Sundance
Swoon
Luca Guadagnino’s adaptation of a modern gay classic is a wonder.
by RICHARD LAWSON
JANUARY 23, 2017 1:04 PM
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Thank God for the Italians. Four days into what had been feeling like a less-than-thrilling Sundance Film Festival—marred, of course, by real-world events—along came a film of such dizzying beauty and rich, genuine feeling that if I were to go home today, I would still call the whole festival a success. That film is Call Me by Your Name, an adaptation of the 2007 André Aciman novel that is something of a modern classic of gay literature. Directed by Italian dream weaver Luca Guadagnino (I Am Love, A Bigger Splash), the film is a swirling wonder, a film about coming of age, about the secrets of youth, the magic of summer, the beauty of Italy. As a steady and unrelenting snow descended on Park City, Call Me by Your Name kissed Sundance with light and warmth.
Which may sound a little purple, a little tumescent—but this movie inspires such sentiment. Guadagnino has created something of such texture, such power that it’s hard to talk about it in less than hyperbolic terms. First, I’ll tell you what it’s about. Timothée Chalamet, from Homeland and Miss Stevens, plays Elio, a smart, earnest, precocious kid living an odd and lovely kind of life in the summer of 1983. His parents—fabulously played by Amira Casar and Michael Stuhlbarg—are international academics, spending summers at a villa in Northern Italy that Elio’s mother inherited. Living in a (at least) trilingual household full of books and discussion about said books, Elio is intellectually beyond-his-years, a confident and curious kid who nonetheless feels woefully ignorant, or inexperienced, in one crucial field.
It’s summer, and Elio is 17, so obviously that field is love and sex. Elio is handsome, a beanpole topped with a thicket of dark curls, so he’s got the interest of some French girls staying nearby. He’s interested in them too, but is not pulled to them in the same way that he’s drawn inextricably to Oliver, the 20-something grad student boarding at Elio’s family’s house while he works with Elio’s father. Oliver is played by Armie Hammer, that Ken doll colossus who here uses his ludicrous proportions and chiseled handsomeness to great, surprisingly witty and sensitive effect. Elio’s attraction to Oliver—and Oliver’s to Elio—is laid out delicately by Guadagnino, who adapted Aciman’s book with Walter Fasano and none other than __James Ivory __ (whose Maurice is nodded to throughout). The film’s pacing is fluid but helter-skelter, long and considered takes suddenly giving way to ecstatic short bursts.
Which is a pretty good approximation of the rhythms of memory, of adolescent desire, of summer’s intoxicating spell. Call Me By Your Name is narrative in that it tells the short, bittersweet story of Elio and Oliver, but it is more a terrarium of human experience, a sensory immersion that is remarkably full in its vision. Guadagnino fills every scene with life—people, insects, plants. Each shot is busy with existence, but Guadagnino does not overwhelm. Working with cinematographer Sayombhu Mukdeeprom, Guadagnino gives Call Me by Your Name the faded vibrancy of an old postcard, of a treasured memory. There’s a gentleness, a quietness tempering all the intense surges of feeling rippling between Elio and Oliver. It’s an exquisitely composed film, blessed by terrific performances and perfectly scored by a selection of classical compositions and a pair of new songs by Sufjan Stevens. (Yes, on top of everything else, there’s new Sufjan Stevens music too.)
There’s so much to gush about in this movie, and I’m sure many fans of the book, gay or otherwise, are dying to know whether the movie “goes there” in terms of one particular sexy scene. (It both does and doesn’t.) But in the interest of brevity, I’m just going to zero in on my favorite two things about the film. First is Chalamet’s performance. A 21-year-old La Guardia [high school] alum, Chalamet has the bearing of a natural; he’s deeply committed to his character but also infuses Elio with something of himself, too, as the best movie stars do. Chalamet seems to know that he’s got an innate charm, a boyish grace, and he uses that to striking effect. Elio, soulful and impetuous and a little bratty, is a kid you’ve known, a kid you wanted to be, a kid you care and root for. It’s a mature and thoughtful performance, and it augurs great things for Chalamet going forward. Hell, the tremendous extended final shot of the film would be an acting opus for someone twice or three times his age. Call Me by Your Name is not Chalamet’s first piece of work (watch Miss Stevens on Netflix), but it feels in every sense like a grand debut.
The other thing I really love about Guadagnino’s film is the way it captures something I might have a hard time explaining. It’s the film’s rendering of what it feels like to be a teenager living in many worlds at once. Meaning, we see Elio alert and interested when interacting with his parents and their friends—he’s a sophisticated kid who’s used to the company of grown-ups. But we know, of course, that something more primal is happening to Elio, something consuming and huge—the particular atomic weight of that one special summer I hope we all had—that he will not tell his parents about (not yet, anyway). So, Elio must act as if nothing is happening while everything is happening, a perhaps universal teenage balancing act, a dance between inner and outer lives, which is really hard to communicate on film. But Guadagnino and Chalamet figure it out, and Call Me by Your Name becomes a coming of age film—and absolutely a coming-out film—that replaces more familiar smarm and canned lesson-learning with something deeply sincere, kind, and perceptive.
That kindness, that sincerity, that wisdom is no better represented than in a monologue given by Stuhlbarg toward the end of the film. Stuhlbarg delivers it with such compassion, such humanity, and Guadagnino knows to film it in an unfussy way. In the scene, Elio’s father essentially offers his son a philosophy for living, stressing the importance of letting pain exist next to joy. It’s a remarkably comforting, empathetic, simple (and yet not simple at all) bit of insight, one we could all use. That Guadagnino essentially makes this the emotional climax of his film (not quite, but almost) indicates to me that Call Me By Your Name was made with real love, with good intentions, with a clarity of heart and purposeful, unpretentious intellect. That shows in every frame. Call Me by Your Name is a true stunner. It’s sexy and sad and funny. It’s Italy, it’s summer, it’s food, it’s family. It’s lust and shame and hope and resignation. It’s life, messy and brilliant.
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Luca Guadagnino, director of the visionary, modern classics I Am Love and A Bigger Splash (which is in theaters now) is filming his next movie right now and one that is sure to stir up controversy and probably a few other things. Based on the book by André Aciman' Call Me By Your Name tells the story of 17-year old Elio (played by Timothée Chalamet, who is 20), the only child of an American-Italian family, whose family take in a 24-year old American scholar named Oliver (played by Armie Hammer, 29) while in Italy. Oliver’s stay is meant to be to help Elio’s father (Michael Stuhlbarg) with his work in Greek culture but soon the two young men become intensely attracted to each other and a summer of danger and passion ensues in this 1980s-set coming of age drama.
The screenplay was co-written by Guadagnino, Walter Fasano and James Ivory – the Oscar-nominated director of Howard’s End and as well as the seminal gay masterpiece Maurice. The film is being co-produced by Frenesy Film Company and Water’s End Productions.
http://awardswatch.com/2016/05/31/luca-guadagninos-call-me-by-your-name-starring-armie-hammer-and-timothee-chalamet/
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http://www.vulture.com/2017/08/all-the-gifs-you-need-from-the-call-me-by-your-name-trailer.html
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LONGING
All the Unbearably Intense Sexual-Tension GIFs
You Need From the Call Me by Your Name Trailer
By Jackson McHenry
August 1, 2017 12:15 pm
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Oh, my. Photo: Sony Pictures Classics’
Today, we got the trailer for Call Me by Your Name, the standout gay romance that premiered at Sundance about Armie Hammer and Timothée Chalamet giving each other significant glances in Italy. The film is based on the novel by André Aciman, directed by A Bigger Splash’s Luca Guadagnino, and written by Merchant Ivory’s James Ivory. But enough about the details of the film: What we’re here to discuss today is the sexual tension on display in the trailer, for it is a thing of true beauty and delight, and a perfect opportunity to make GIFs — lots of them. The next time you consider using something as crude as a winky face or eggplant emoji, consider sending one of these refined creations instead.
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Let’s start things off with some light gazing across the room, as Oliver (Hammer) admires Elio (Chalamet) fingering the ivories.
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If you haven’t read Call Me by Your Name, I’m not going to say what happens with a peach. But rest assured: Stuff happens with a peach.
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That face when someone mentions knots.
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You have my attention.
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It’s always a sign when guys are really into the Greeks.
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Time to get serious — like, “going from playing a kid in Homeland to starring in a romantic drama based on a book” serious.
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Gaze longingly at me across a stretch of greenery on a hot Italian summer day in a way that makes me question my sexuality and spurs me on a journey of self-discovery I will reckon with throughout the rest of my life, daddy.
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I’m pretty sure this GIF is somehow actually a Sufjan Stevens lyric.
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Hello.
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I agree--it's stunning!
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I agree--it's stunning!
Oh my, yes--I cannot wait! What a gift for Thanksgiving weekend! :D
Though Armie Hammer might be the bigger star and he certainly has a juicier-than-usual role here that he clearly relishes, the true breakout of the film is 21-year-old Timothée Chalamet. Elio is someone who is experiencing a lot of things for the first time, for which he barely has any words, but Chalamet’s face and body language turn his character into an open book. The minutes-long and wordless final shot, another rare close-up of Elio, is so mesmerizing that it immediately cements his status as one of the world’s brightest young talents. The chemistry between the men is palpable, but what's more important, they convey their characters' complex emotions, expectations and thoughts without necessarily opening their mouths.
http://www.hollywoodreporter.com/review/call-me-by-your-name-review-967150
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Call Me by Your Name
Sundance 2017 Review
Luca Guadagnino's adaptation of André Aciman's acclaimed novel stars
Armie Hammer and Timothée Chalamet as lovers in sun-kissed Italy.
The Bottom Line:
Call me a successful adaptation.
by Boyd van Hoeij
12:05 AM PST 1/23/2017
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Timothée Chalamet and Armie Hammer in Call Me by Your Name
PARK CITY -- There is a scene toward the end of Call Me by Your Name, Luca Guadagnino's intimate and piercingly honest adaptation of adaptation of André Aciman's superb novel, in which a graying university professor in Italy sits down with his puffy-eyed, 17-year-old son for an unexpected talk. Dad quotes Montaigne’s famous phrase about his special friendship with Étienne de La Boetie. His son, who has been very smart academically for some time but only recently experienced an important emotional growth spurt on his way to adulthood, understands that his father is referring to his offspring’s “special friendship” with the handsome, 24-year-old intern from the U.S. who stayed with them for the summer and has just returned home.
In someone else’s hands, the exchange might have become pretentious, ridiculous or melodramatic and lachrymose, but Guadagnino, most famous for the far splashier features I Am Love and A Bigger Splash, finds exactly the right tone for the material, which is understated and filled with paternal affection. Even viewers who aren’t able to identify the quote by Montaigne, uttered in the original French, will understand that Dad is using a common intellectual interest as a safe way to express a new idea. It is this kind of attention to detail — much of it lifted directly from the book, adapted by Guadagnino with James Ivory and editor Walter Fasano — that provides the film with its unexpectedly deep wells of emotion and surges of insight into human nature and relationships.
Starring a never-more-sensual Armie Hammer as the intern, the breathtaking Timothée Chalamet (formerly of Homeland) as the son and the great Michael Stuhlbarg as the father, this tender and minutely observed queer romance, set in bucolic Lombardy (changed from the Ligurian seaside in the novel), could, with the right marketing, become a breakout title for Sony Pictures Classics.
Professor Perlman (Stuhlbarg) is specialized in Greco-Roman sculpture and has a summer intern over every year in the family’s 17th century country palazzo. When the guest arrives, Perlman’s only child, the lanky and studious teenager Elio (Chalamet), is asked to leave his bedroom to Oliver (Hammer) and move into an adjacent storage room for the summer. Like the ritual that gives the film its title, this is not an insignificant detail, as the transfer of bedrooms already suggests that Oliver and Elio are closely connected and, to a large extent, at once interchangeable and part of a single, greater whole.
Initially, the inexperienced Elio doesn’t quite know what to make of the American seven years his senior and the feeling seems mutual. The cinematography from Thai director of photography Sayombhu Mukdeeprom (Uncle Boomee…, Arabian Nights) reflects this idea, keeping everything in medium or wider shots and only rarely moving into the characters’ private spaces. The first close-up of Elio, while he intently watches Oliver dance with a girl at a village party, thus arrives as something of a shock. Perhaps even for Elio: Could he be questioning himself, wondering whether he’s jealous?
Since the action is set not only in Italy but also in 1983, this same-sex attraction would not be readily accepted, so the characters need to be eased into admitting what they might be feeling for each other. As in the scene quoted earlier, seemingly innocent elements of culture — Greek statues, medieval novels — are leveraged to discuss certain ideas that cannot be uttered out loud. In one of the film’s most daring choices, the realization that the two might be talking about the same thing is shot around a Battle of the Piave monument on a piazza in a wide shot, Elio's back toward the camera and Oliver much further back, his face barely visible. The counterintuitive choice places the two men, talking about the love that dares not speak its name, out in the open but because we can’t see their faces clearly, they could be anyone.
The camera moves in for their first kiss, however, a pastoral moment of joy that recalls the discovery of love in the countryside around Cambridge in E.M. Forster’s classic novel Maurice (Ivory directed the film version in 1987). From that moment on, their relationship develops in fits and starts, as Oliver initially wants to “remain a good boy” and “not corrupt” Elio, but the hungry adolescent wants more. Both also have dalliances with local girls — these subplots have been heavily pruned from the novel — which here feel like ammunition in the tug-of-war between two men destined for each other. Some elegant visual shortcuts, such as the Star of David necklace that Elio starts wearing again after having discovered Oliver also has one (both are Jewish), also help condense some of the novel’s midsection.
The couple’s physical rapport is an essential part of the novel, and the film is extremely sensual, with both leads frequently walking around in just (swim) shorts during the languid summer days. The handful of sex scenes are tastefully shot but short and not particularly explicit, though Aciman’s famous peach scene — Google this at your own risk if you haven’t read the novel — is featured here in modest but unambiguous fashion. The relative discretion about the full physical compatibility of the men could potentially help the film gain a wider audience beyond the LGBTQ community, but feels a little too restrained for who these characters have become by the time they consummate their relationship.
Though Hammer might be the bigger star and he certainly has a juicier-than-usual role here that he clearly relishes, the true breakout of the film is 21-year-old Chalamet. Elio is someone who is experiencing a lot of things for the first time, for which he barely has any words, but Chalamet’s face and body language turn his character into an open book. The minutes-long and wordless final shot, another rare close-up of Elio, is so mesmerizing that it immediately cements his status as one of the world’s brightest young talents. The chemistry between the men is palpable, but what's more important, they convey their characters' complex emotions, expectations and thoughts without necessarily opening their mouths.
The rest of the small cast, very much including Stuhlbarg, in that scene mentioned at the start of this review and elsewhere, is also uniformly excellent. A minor detail that will be problematic for audiences in Europe is the mix of languages used, with the Perlmans in the film an unconvincing hodgepodge of Italian, French and American ancestry. The large amount of French dialogue can partially be explained by the fact that the film is a French co-production, though the only actor who convincingly pulls off all the languages she supposedly speaks fluently is Kurdish-Russian actress Amira Casar, who plays Mrs. Perlman.
The film’s costumes and production design nail the look of 1980s rural Italy, with Guadagnino actually having shot in and around the picturesque village [Crema, Cremona, Lombardy] where he lives. References to political life in Italy, entirely absent from the novel, are also convincing and add texture. Some classical pieces and Sufjan Stevens’ glorious score complete the all-round classy package.
Production company: Memento Films, RT, Frenesy, Water's End
Cast: Armie Hammer, Timothee Chalamet, Michael Stuhlbarg, Amira Casar, Esther Garrel, Victoire Du Bois, Vanda Capriolo, Antonio Rimoldi
Director: Luca Guadagnino
Screenwriter: Luca Guadagnino, James Ivory, Walter Fasano, based on the novel by André Aciman
Producers: Peter Spears, Luca Guadagnino, Emilie Georges, Rodrigo Teixeira, Marco Morabito
Director of photography: Sayombhu Mukdeeprom
Production designer: Samuel Dehors
Costume designer: Giulia Piersanti
Editor: Walter Fasano
Music: Sufjan Stevens
No rating, 130 minutes
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Call Me by Your Name
Sundance 2017 Review
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Timothée Chalamet and Armie Hammer in Call Me by Your Name
[EXCERPT]
PARK CITY -- There is a scene toward the end of Call Me by Your Name, Luca Guadagnino's intimate and piercingly honest adaptation of adaptation of André Aciman's superb novel, in which a graying university professor in Italy sits down with his puffy-eyed, 17-year-old son for an unexpected talk. Dad quotes Montaigne’s famous phrase about his special friendship with Étienne de La Boetie. His son, who has been very smart academically for some time but only recently experienced an important emotional growth spurt on his way to adulthood, understands that his father is referring to his offspring’s “special friendship” with the handsome, 24-year-old intern from the U.S. who stayed with them for the summer and has just returned home.
In someone else’s hands, the exchange might have become pretentious, ridiculous or melodramatic and lachrymose, but Guadagnino, most famous for the far splashier features I Am Love and A Bigger Splash, finds exactly the right tone for the material, which is understated and filled with paternal affection. Even viewers who aren’t able to identify the quote by Montaigne, uttered in the original French, will understand that Dad is using a common intellectual interest as a safe way to express a new idea. It is this kind of attention to detail — much of it lifted directly from the book, adapted by Guadagnino with James Ivory and editor Walter Fasano — that provides the film with its unexpectedly deep wells of emotion and surges of insight into human nature and relationships.
[....]
"Nous nous aimions parce que c'était lui, parce que c'était moi."
"We loved each other because it was he, because it was I."
http://www.constitution.org/la_boetie/serv_vol.htm
The Discours sur la servitude volontaire
of
ÉTIENNE DE LA BOÉTIE, 1548
Rendered into English by
HARRY KURZ
[....]
Friendship of Two Men
The relationship between Montaigne and La Boétie is so impressive that their coming together seems, according to the former, to have been predestined. So irresistibly were they drawn to each other that, when they met, their earlier careers appeared as paths converging toward their union.
Michel de Montaigne succeeded his father at the court of Périgueux just before this court was merged with the one at Bordeaux. When in September, 1561, Montaigne began his judicial functions in Bordeaux, La Boétie had already served the tribunal there for eight years. It was natural for Montaigne, who was two years younger, to look up to the colleague whose tract on Voluntary Servitude he had already read in manuscript. In his essay on Friendship [5] he tells us of his feeling: "If I am urged to say why I loved him, I feel that it cannot be put into words; there is beyond any observation of mine a mysterious, inexplicable and predestined force in this union. We sought each other before we had met through reports each had heard about the other, which attracted our affections more singularly than the nature of the situation can suggest. I believe it was some dispensation from Heaven. When we met we embraced each other as soon as we heard the other's name.... We found we were so captivated, so revealed to each other, so drawn together, that nothing ever since has been closer than one to the other."
In various Latin epistles addressed to his friend, La Boétie pays similar tribute. And even in the essay on Voluntary Servitude, written before they met, we get a glimpse of what friendship could mean to a man whose spirit habitually dwelt on a high plane of integrity. Thereafter, these two made a perfect exchange of exalted love in a relationship for which their joined names have become a symbol. It is small wonder then that Montaigne will add to his immortal essay, some twenty-five years after the death of his friend, his sad but beautiful conclusion to the ineffable nature of their friendship: "We loved each other because it was he, because it was I." There is nothing left to say.
We can begin to understand what the loss of such a friend meant to Montaigne. During the earlier years of mourning he languishes. Pleasure revives his pain for he wants his friend to share it at his side. His work at the court of Bordeaux becomes distasteful and he finally gives up his post to dedicate himself to his departed friend and to perpetuate his memory. First he prepares for publication all the manuscripts left him by La Boétie.[6] Very gradually he welcomes solitude and gives himself to the slow elaboration of his own sagacious essays.
It is to the honor of Montaigne that all his life he showed his gratitude for this unique friend bestowed upon him; and it is to the glory of La Boétie that he fully deserved the immortality into which their two names are forever fused by love.
[....]
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[youtube=425,350]http://www.youtube.com/watch?v=Hf_fqIFv8AM&t=103s[/youtube]
CALL ME BY YOUR NAME (2017)
Interview with
Armie Hammer & Timothée Chalamet
at the Berlin Film Festival
Published on Feb 15, 2017
[youtube=425,350]http://www.youtube.com/watch?v=frvmC2edkkU[/youtube]
CALL ME BY YOUR NAME (2017)
Interview with
Armie Hammer & Timothée Chalamet
at the Berlin Film Festival
Published on Feb 16, 2017
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Re Call Me by Your Name, Armie Hammer specifically mentions Brokeback Mountain (and Art as "a change agent") at 3:00 - 3:34
[youtube=425,350]http://www.youtube.com/watch?v=e4Y2EpDXwZo[/youtube]
CALL ME BY YOUR NAME (2017)
Interview with
Armie Hammer, Timothée Chalamet,
Luca Guadagnino & Michael Stuhlbarg
at the Sundance Film Festival
Uploaded Apr 10, 2017
(https://yt3.ggpht.com/-H1m38Y1pMrM/AAAAAAAAAAI/AAAAAAAAAAA/aAyNHR2XuTI/s88-c-k-no-mo-rj-c0xffffff/photo.jpg)
http://variety.com/video/armie-hammer-gay-drama-call-me-by-your-name-kiss-scene-sundance/
Armie Hammer: ‘Call Me by Your Name’s’ First Kiss Scene Felt ‘Organic and Special’
Director Luca Guadagnino and stars Armie Hammer, Timothée Chalamet, and Michael Stuhlbarg discussed their gay love story “Call Me by Your Name,” and how art can be an agent of change.
“The shooting of the actual scene of the first kiss — it felt as organic and special and great as every other shot that we did on this movie,” Hammer said, adding that he hopes we’ve evolved sociologically since “Brokeback Mountain” was released to controversy in 2005 to see “the truth that’s present in every moment of desire.”
The foursome were at the Variety Studio, presented by Orville Redenbacher’s, at the Sundance Film Festival.
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;D ;D ;D
Omg!!! :D :laugh: :-*
(http://imagesmtv-a.akamaihd.net/uri/mgid:file:http:shared:mtv.com/news/wp-content/uploads/2017/08/In-a-Heartbeat-Mock-Posters-1501600330.jpg?quality=.8&height=628.5714285714286&width=800)
As per Ringling tradition, David and Bravo created parody movie posters for the film. Beth David and Esteban Bravo
(http://www.awardsdaily.com/wp-content/uploads/2017/07/call_me_by_your_name.jpg)
(https://thinkostudio.files.wordpress.com/2009/02/brokeback_mountain_1.jpg) (https://www.mauvais-genres.com/19997/titanic-movie-poster-27x40-in-ds-1997-james-cameron-leonardo-dicaprio.jpg)
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Thank you, John, for posting all this! How wonderful.
I recently re-read the book while on vacation. I liked even better the second time.
It's such a first-person narrative, I wonder how it will translate to film. Is there a voice-over? So much of the story takes place in Elio's mind.
So, they "sort of" did the peach scene? I can't imagine how that will go...
Sad that the film is not set at the sea, as the novel is.
Later!
-
Thank you, John, for posting all this! How wonderful.
I recently re-read the book while on vacation. I liked even better the second time.
It's such a first-person narrative, I wonder how it will translate to film. Is there a voice-over? So much of the story takes place in Elio's mind.
So, they "sort of" did the peach scene? I can't imagine how that will go...
Sad that the film is not set at the sea, as the novel is.
Later!
Yes, Paul, many changes--but I was so insanely in love with Luca Guadagnino's I Am Love (which was just as stylishly gorgeous as Tom Ford's A Single Man, if not more so), I'm completely happy!
FYI, there are at least snippets of the original (or one version of) James Ivory's screenplay on line--in which the main 1988 story (rather than Guadagnino's 1982-3 reset) was in winter.
Winter?? Hello? Not many swim trunks and flying shirttails in--Sicily?? Really? (Siicily in winter is COLD and DAMP.) Also--Oliver was to have been played by--Shia LaBeouf?? Oh Lord NO! Must have been in the same alternate reality in which Jack Twist was played by--Matt Damon. (Major compensation in that same alternate reality was Gore won in 2000 and Hilary won in 2016.)
Another change from the book: no further meetings between Elio and Oliver in later years; the movie is set in one summer only.
Anyway, counting the days for an Italian (Crema) Summer in November!
Later!
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"Waiting for the Guadagnino movie with Ivory's screenplay."
(https://scontent-sea1-1.cdninstagram.com/t51.2885-15/sh0.08/e35/p750x750/20635236_107706676592530_1447029573567905792_n.jpg?ig_cache_key=MTU3ODI0MTMzMzMwNzMxODQ5Mw%3D%3D.2)
(https://scontent-sea1-1.cdninstagram.com/t51.2885-19/s150x150/15043596_1184137078333151_631958876593324032_a.jpg) @vitoluperto
http://www.imgrum.org/user/vitoluperto/3232156464
Aspettando il film di Guadagnino con la sceneggiatura di Ivory
#chiamamicoltuonome #andréaciman #librodellestate #callmebyyourname
#lucaguadagnino #jamesivory #crescelattesa #gayromance
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(https://scontent-sea1-1.cdninstagram.com/t51.2885-15/s320x320/e35/20634151_663459000518255_5914196260381786112_n.jpg?ig_cache_key=MTU3NjY4ODAxMTI1NjkwMTcyNA%3D%3D.2) (https://scontent-sea1-1.cdninstagram.com/t51.2885-15/s320x320/e35/20687853_827922297363669_7657168532550975488_n.jpg?ig_cache_key=MTU3NjY4Nzk2Mjk4ODc0OTkwNg%3D%3D.2) (https://scontent-sea1-1.cdninstagram.com/t51.2885-15/s320x320/e35/20686492_1577055275648098_9062855777424769024_n.jpg?ig_cache_key=MTU3NjY4NzkyMzU4NzY1NDI2NA%3D%3D.2)
(https://scontent-sea1-1.cdninstagram.com/t51.2885-15/s320x320/e35/20633618_294990164242512_184274803035734016_n.jpg?ig_cache_key=MTU3NjY4Nzg4MzU3NDAyNDM3Mg%3D%3D.2) (https://scontent-sea1-1.cdninstagram.com/t51.2885-15/s320x320/e35/20687189_1073911559411791_1415541179751071744_n.jpg?ig_cache_key=MTU3NjY4NzgzODQ1OTg3Njc5Ng%3D%3D.2) (https://scontent-sea1-1.cdninstagram.com/t51.2885-15/s320x320/e35/20688344_265378177298902_3766803678573363200_n.jpg?ig_cache_key=MTU3NjY4Nzc5MjQ3MzYwMDg4MA%3D%3D.2)
(https://scontent-sea1-1.cdninstagram.com/t51.2885-19/s150x150/20582894_474216289619975_8188392430140129280_a.jpg) @ARMIE_ARMY
http://www.imgrum.org/user/armie_army/5319356955
http://www.imgrum.org/tag/callmebyyourname
CALLMEBYYOURNAME
#armiehammer #timothéechalamet #cmbyn
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So, they "sort of" did the peach scene? I can't imagine how that will go...
Later!
(https://1.bp.blogspot.com/-2FQdSnWgFP8/V2LPiFNK7cI/AAAAAAADF_Y/lRIfdvUYqWoFxOJfjad1siFICB6LLEdLgCLcB/s1600/call%2Bmy%2Bby%2Byour%2Bname%2Bpeach.png)
http://www.mynewplaidpants.com/2016/06/peach-of-day.html
http://www.mynewplaidpants.com/
CALLMEBYYOURNAME
#armiehammer #timothéechalamet #cmbyn
Fans of the book might be worried about the removal of the memorable peach scene from the novel. Even though Guadagnino called the scene “legendary” in the book, he was unsure if it would fit in the adaptation.
“[It] struck me so much as un-filmable, but also, I hate to be defined as coy,” he said. “I don’t want to be coy, shy or coward. So it was like, let’s take the bull by the horns and shoot it. They went for it “on a day that was endless because we were running late, [after we] shot 13 or 14 hours.”
http://www.newnownext.com/call-me-by-your-name-movie-sex-scenes/08/2017/
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(https://1.bp.blogspot.com/-2FQdSnWgFP8/V2LPiFNK7cI/AAAAAAADF_Y/lRIfdvUYqWoFxOJfjad1siFICB6LLEdLgCLcB/s1600/call%2Bmy%2Bby%2Byour%2Bname%2Bpeach.png)
CALLMEBYYOURNAME
#armiehammer #timothéechalamet #cmbyn
The New York Film Festival
runs September 28 – October 15.
The 55th New York Film Festival Main Slate
Closing Night
“Call Me by Your Name,” Dir. Luca Guadagnino, Italy/France, 2017, 132m
A story of summer love unlike any other, the sensual new film from the director of I Am Love, set in 1983, charts the slowly ripening romance between Elio (Timothée Chalamet), an American teen on the verge of discovering himself, and Oliver (Armie Hammer), the handsome older grad student whom his professor father (Michael Stuhlbarg) has invited to their vacation home in Northern Italy. Adapted from the wistful novel by André Aciman, Call Me by Your Name i s Guadagnino’s most exquisitely rendered, visually restrained film, capturing with eloquence the confusion and longing of youth, anchored by a remarkable, star-making performance by Chalamet, always a nervy bundle of swagger and insecurity, contrasting with Hammer’s stoicism. A Sony Pictures Classics release.
(http://www.awardsdaily.com/wp-content/uploads/2017/07/call_me_by_your_name.jpg)
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(https://s-media-cache-ak0.pinimg.com/originals/d8/cb/f9/d8cbf91b5aabb0317a789b9fa11d1faa.jpg)
(https://5inabus.files.wordpress.com/2013/01/call-me-by-your-name-by-andre-aciman-cover.jpg)
(https://images1.film.nl/Web/Poster/tt5726616%402.jpg)
(https://trevorcorkum.files.wordpress.com/2015/09/call-me-by-your-name.jpg) (https://images-na.ssl-images-amazon.com/images/I/81SbAWx8tmL.jpg)
(http://weltbild.scene7.com/asset/vgw/ruf-mich-bei-deinem-namen-109329288.jpg)
(http://scontent.cdninstagram.com/t51.2885-15/s640x640/sh0.08/e35/20478451_1528295500584165_51901669000085504_n.jpg)
http://www.imgrum.org/tag/AndreAciman
(https://scontent-sea1-1.cdninstagram.com/t51.2885-15/sh0.08/e35/p750x750/20635236_107706676592530_1447029573567905792_n.jpg?ig_cache_key=MTU3ODI0MTMzMzMwNzMxODQ5Mw%3D%3D.2)
(https://s-media-cache-ak0.pinimg.com/736x/85/e5/7b/85e57b1904714a662a39f2598606d96c--call-me-by-your-name.jpg)
(https://scontent-sea1-1.cdninstagram.com/t51.2885-15/s640x640/sh0.08/e35/20635160_312152722581753_4846310727369097216_n.jpg?ig_cache_key=MTU3OTE1OTM1NTgzODc2ODcxMA%3D%3D.2)
http://www.imgrum.org/media/1579154380750231914_4062136045
http://www.imgrum.org/media/1579159355838768710_183303472
http://www.imgrum.org/tag/AndreAciman
(https://scontent-sea1-1.cdninstagram.com/t51.2885-15/s750x750/sh0.08/e35/20766245_2008142746095060_6992503114926391296_n.jpg?ig_cache_key=MTU4MTkzNzk5MDIzMjY1MjYxMQ%3D%3D.2)
http://www.imgrum.org/media/1581937990232652611_672457008
http://www.imgrum.org/tag/AndreAciman
(https://scontent-sea1-1.cdninstagram.com/t51.2885-15/s750x750/sh0.08/e35/20969012_1480057185415787_7516023520518733824_n.jpg?ig_cache_key=MTU4NTQzMTk4NTU1NTc1NDQ4Ng%3D%3D.2/img]
http://www.instagramator.net/media/1585431985555754486_1698910272
http://www.imgrum.org/tag/AndreAciman[/center]
[center][img]https://scontent-sea1-1.cdninstagram.com/t51.2885-15/s750x750/sh0.08/e35/20968700_1420631378021838_8684028804240244736_n.jpg?ig_cache_key=MTU4Mzc3NjY4NDEyODE4MjU3Mw%3D%3D.2
http://www.imgrum.org/media/1583782664266267907_486939961)
http://www.imgrum.org/media/1583782664266267907_4869399610
http://www.imgrum.org/tag/AndreAciman
(https://scontent-sea1-1.cdninstagram.com/t51.2885-15/s750x750/sh0.08/e35/20968700_1420631378021838_8684028804240244736_n.jpg?ig_cache_key=MTU4Mzc3NjY4NDEyODE4MjU3Mw%3D%3D.2&se=6)
http://www.imgrum.org/media/1583782664266267907_4869399610
http://www.imgrum.org/tag/AndreAciman
(https://scontent-sea1-1.cdninstagram.com/t51.2885-15/s750x750/sh0.08/e35/20969025_1912736409050076_523242521208291328_n.jpg?ig_cache_key=MTU4NjI3NTA0MjE1MjIwMTYxOQ%3D%3D.2)
http://www.instagramator.net/media/1586275042152201619_1075931249
http://www.instagramator.net/tag/callmebyyourname
(https://scontent-sea1-1.cdninstagram.com/t51.2885-15/s750x750/sh0.08/e35/20905332_212048175862948_7851097082038321152_n.jpg?ig_cache_key=MTU4NjE0MzI0OTY3OTI4ODkxOA%3D%3D.2&se=6)
http://www.instagramator.net/media/1586143249679288918_5859265798
http://www.instagramator.net/tag/callmebyyourname
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https://callmebyyourname-movie.tumblr.com/post/159171022226/luca-guadagnino-the-movie-has-its-own-website
(https://68.media.tumblr.com/c479e8939af03fac5544399745785593/tumblr_ou5yubu59S1wx4tjzo1_540.png)
(https://file2.instiz.net/data/file2/2017/01/12/3/1/3/313b4c2b5fa6c69f8a02acca3551e527.gif)
https://www.goodreads.com/review/show/1119299759
""All I prayed for was for time to stop. Let summer never end,
let him never go away, let the music on perpetual replay play forever,
I'm asking for very little, and I swear I'll ask for nothing more." (https://pixel.nymag.com/imgs/daily/vulture/2017/07/31/call-me-by-your-name-gifs/31-cmbyn-guitar-book.nocrop.w710.h2147483647.2x.gif)
(https://pbs.twimg.com/media/C5IbOSFWEAIpyFj.jpg)
(https://pixel.nymag.com/imgs/daily/vulture/2017/07/31/call-me-by-your-name-gifs/31-cmbyn-hand.nocrop.w710.h2147483647.gif)
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CALLMEBYYOURNAMEFANART
MOVIE POSTERS
#armiehammer #timothéechalamet #cmbyn
(https://pbs.twimg.com/media/C-9aufxUAAAciQg.jpg)
https://twitter.com/Mellemental/status/860005838684954628
(http://pre02.deviantart.net/b6c3/th/pre/i/2017/213/b/c/call_me_by_your_name___fanmade_poster_by_mintmovi3-dbihuml.jpg)
https://mintmovi3.deviantart.com/art/Call-ME-BY-Your-Name-Fanmade-Poster-696193869
(https://www.southbayfilmsociety.com/wp-content/uploads/2017/05/Call-Me-By-Your-Name-poster.jpg)
https://www.southbayfilmsociety.com/event/call-me-by-your-name/
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(http://1.bp.blogspot.com/-qQnF0bLDado/WL2QCEqhaFI/AAAAAAAAcRQ/BEgcD1-lK5EN8kTZdUwkDw-iTI_2ik1eQCK4B/s1600/08d7151f-cba3-42d0-a353-96b829afc92c.jpg)
(http://2.bp.blogspot.com/-nuSw7NsClkA/WL2QObS9S4I/AAAAAAAAcRY/TDzJpKk26nYvB4M-pLCuHF-r9_Mq-pjzwCK4B/s1600/a451c04a-655f-44f2-b593-22e60c6c10ee.jpg)
http://p-i-quote-book.blogspot.com/2017/02/call-me-by-your-name-andre-aciman.html
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[youtube=999,539]http://www.youtube.com/watch?v=Kss6WHJrWX0[/youtube]
CALL ME BY YOUR NAME (2017)
Mystery of Love
Sufjan Stevens
Armie Hammer & Timothée Chalamet
Published on Aug 8, 2017
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Thank you, John, for posting all this! How wonderful.
I recently re-read the book while on vacation. I liked even better the second time.
It's such a first-person narrative, I wonder how it will translate to film. Is there a voice-over? So much of the story takes place in Elio's mind.
So, they "sort of" did the peach scene? I can't imagine how that will go...
Sad that the film is not set at the sea, as the novel is.
Later!
Yes, Paul, many changes--but I was so insanely in love with Luca Guadagnino's I Am Love (which was just as stylishly gorgeous as Tom Ford's A Single Man, if not more so), I'm completely happy!
FYI, there are at least snippets of the original (or one version of) James Ivory's screenplay on line--in which the main 1988 story (rather than Guadagnino's 1982-3 reset) was in winter.
Winter?? Hello? Not many swim trunks and flying shirttails in--Sicily?? Really? (Siicily in winter is COLD and DAMP.) Also--Oliver was to have been played by--Shia LaBeouf?? Oh Lord NO! Must have been in the same alternate reality in which Jack Twist was played by--Matt Damon. (Major compensation in that same alternate reality was Gore won in 2000 and Hilary won in 2016.)
Another change from the book: no further meetings between Elio and Oliver in later years; the movie is set in one summer only.
Anyway, counting the days for an Italian (Crema) Summer in November!
Later!
Paul, it took a while to find that James Ivory screenplay snippet again--and James Ivory's 'very odd choice in a wintry setting may not have started so odd as the opening scene MIGHT be around Christmas, more than half a year before the fateful summer in question, Elio is looking at the headshot photos, (surreptitiously?) loading the scales, and choosing this year's candidate: super handsome Signor Oliver Ulliva, la muvi star.
Or not. See below, Ivory says that Luca moved the setting to summer (good choice). In any case, take a look.
(Later!)
https://blog.blcklst.com/anatomy-of-an-opening-scene-call-me-by-your-name-a9c5474f0a92
(https://cdn-images-1.medium.com/fit/c/120/120/1*VdHBSQoAWne3-xUSMyuJNA.png)
Sasha Bronner
Formerly Entertainment @medium, The Huffington Post, Vanity Fair
Jan 22 2017
Anatomy of an Opening Scene:
CALLMEBYYOURNAME
A teenager, a bedroom, and his erotic imagination
By James Ivory
(https://cdn-images-1.medium.com/max/1600/1*pEpP40LQTaou-DxIhXOKhg.png)
The script of CALL ME BY YOUR NAME begins like many of the Merchant Ivory screenplays — with a wide establishing view of where the story mostly is to be set, in a landscape which is often foreign, containing a big house, center stage. The chosen landscape here was to have been a wintry Sicily. But then, the director Luca Guadagnino decided CALL ME BY YOUR NAME couldn’t be shot there, but had to be made in Northern Italy around Milan, which has a very, very different kind of landscape — and in the summer.
The film’s action, perhaps more appropriately, now begins in the teenage hero’s bedroom, which in this story is pretty much where his erotic imagination is staged.
I would like to thank the young Italian director, Ferdinando Cito Filomarino for the Italian dialogue he wrote for the film. André Aciman, the author of the novel on which the film is based, and who grew up in Italy, has called Ferdinando’s dialogue “perfect.”
As a screenwriter James Ivory has made 7 produced features, collaborating usually with the late Ruth Prawer Jhabvala, his longtime scenarist: SHAKESPEARE WALLAH (1965); THE GURU (1969); BOMBAY TALKIE (1970); A SOLDIER’S DAUGHTER NEVER CRIES (1998); and LE DIVORCE (2003). In 1986 he wrote MAURICE with Kit Hesketh-Harvey. All of these films he directed, and all were made by Merchant Ivory Productions.
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(https://68.media.tumblr.com/93f94c4fa1ff6011d0b9401872037729/tumblr_ousnme8b7Q1row3guo1_540.jpg)
please
(http://68.media.tumblr.com/avatar_5edcbfaa0a82_128.png)
@edd-de-saren
http://edd-de-saren.tumblr.com/
https://www.tumblr.com/tagged/elio-and-oliver
#call me by your name #just gimme this now
#timothée chalamet #armie hammer #luca guadagnino
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(http://68.media.tumblr.com/bd5ec51d2b88e2bbac5946c1697e9f03/tumblr_ouu5ehYfNO1v37vaho3_540.gif)
(http://68.media.tumblr.com/1a99a258a14de3774b6e2b1524d6a768/tumblr_ouu5ehYfNO1v37vaho1_540.gif)
(http://68.media.tumblr.com/f7b0caeb79f07ba014c9eb23e0d47101/tumblr_ouu5ehYfNO1v37vaho4_r1_540.gif)
(http://68.media.tumblr.com/dd8f9dc588cb1f9ccb4401f16806c9b6/tumblr_ouu5ehYfNO1v37vaho2_540.gif)
(http://68.media.tumblr.com/b43587b9da59395dc68fc9add2a897dc/tumblr_ouu5ehYfNO1v37vaho5_540.gif)
(http://68.media.tumblr.com/02fa43e4ed8b57b2da55f344db7560f1/tumblr_inline_ouu69b6Jdi1tku1nr_250.png)
(http://68.media.tumblr.com/avatar_874a4db306fc_48.png)
@tomellis
MJ | 19 | cis (he/him) | About Me
I make gifs and reblog lots of other stuff; #usermj
(http://static.tumblr.com/56fc2c17799c09f750a38d1efe5f2b26/bjyvqry/XrNounx67/tumblr_static_a65f8mxafxckcko4csww84csg.gif)
whoa, this is heavy; @tomellis · 13 hours ago
http://tomellis.tumblr.com/post/164302423272/deborah-woll-call-me-by-your-name-critics
(http://static.tumblr.com/786a8ab8300006fb82c53855c09eefcf/kexurhu/fadoufg1u/tumblr_static_bfh91ob7e1sgosg00s8k0cc08.jpg)
goodbye, old friend.
amanda, xviii, brazil.
multifandom mess. mostly marvel and moviesㅤ
ㅤㅤ
http://deborah-woll.tumblr.com/post/164296773810/call-me-by-your-name-critics
19 hours ago › 227 notes › reblog
#cmbynedit #call me by your name #timmychalamet #usermj #meeravoy
#laterpeaches #filmedit #** gifs #** can you see the haters tears
#useramanda
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(https://68.media.tumblr.com/93f94c4fa1ff6011d0b9401872037729/tumblr_ousnme8b7Q1row3guo1_540.jpg)
please
Me too! November???
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Me too! November???
Me three!
Sigh.
Meanwhile:
CALLMEBYYOURNAMEFANART
https://twitter.com/chroniclikerrr
(https://pbs.twimg.com/profile_images/919851966146101249/ffU0LD8X_400x400.jpg) by Nikko Tan
@chroniclikerrr
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https://twitter.com/search?q=%23CallMebyYourName
https://twitter.com/chroniclikerrr
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https://twitter.com/search?q=%23CallMebyYourName
https://twitter.com/chroniclikerrr
Elio finds Oliver down at the rocks
CALLMEBYYOURNAMEFANART by Nikko Tan
@chroniclikerrr
https://twitter.com/chroniclikerrr
Fan Art / Digital Art / Drawings /
#CMBYN #CallMeByYourName #Elio #Oliver
#AndreAcimanpic.twitter.com/Jg2Zhg0VG5
https://twitter.com/hashtag/callmebyyourname?lang=en
https://www.tumblr.com/tagged/elio-and-oliver
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I saw the film yesterday at the NZ International Film Festival. Sorry to tell you I was very disappointed. I took an intense dislike to the Oliver character from the beginning. Elio is beautiful. Unlike back in 2006, I no longer think a film is wonderful just because it shows 2 men kissing.
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CALLMEBYYOURNAMEFANART
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http://monetsberm.tumblr.com/post/163097200741/bike-rides-to-b-nikko-tan-nikkotan-on-ig
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http://www.imgrum.org/user/cmbynfanpage/5850831693
https://twitter.com/chroniclikerrr
Bike Rides To "B"
CALLMEBYYOURNAMEFANART by Nikko Tan
@chroniclikerrr
@CMBYNFANPAGE
https://twitter.com/chroniclikerrr
Fan Art / Digital Art / Drawings /
#CMBYN #CallMeByYourName #Elio #Oliver
#andréaciman #armiehammer #timothéechalamet #lucaguadagnino
#film #lgbt #movie #sonyclassics
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In a first novel that abounds in moments of emotional and physical abandon, this may be the most wanton of his moves: [André Aciman's] narrative, brazenly, refuses to stay closed. It is as much a story of paradise found as it is of paradise lost. (....) Nobody gets clocked with a tire iron. No one betrays the other.
http://www.nytimes.com/2007/02/25/books/review/DErasmo.t.html
(http://a1.nyt.com/assets/foundation/20140108-142003/images/logos/nyt-logo-185x26.svg)
SUNDAY BOOK REVIEW
Suddenly
One
Summer
By STACEY D’ERASMO
FEB. 25, 2007
(https://static01.nyt.com/images/2007/02/25/books/acim450.jpg)
André Aciman Credit Fred R. Conrad/The New York Times
This novel is hot. A coming-of-age story, a coming-out story, a Proustian meditation on time and desire, a love letter, an invocation and something of an epitaph, “Call Me by Your Name” is also an open question. It is an exceptionally beautiful book that cannot quite bring itself to draw the inevitable conclusion about axis-shifting passion that men and women of the world might like to think they will always reach — that that obscure object of desire is, by definition, ungraspable, indeterminate and already lost at exactly the moment you rush so fervently to hold him or her. The heat is in the longing, the unavailability as we like to say, the gap, the illusion, etc. But what André Aciman considers, elegantly and with no small amount of unbridled skin-to-skin contact, is that maybe the heat of eros isn’t only in the friction of memory and anticipation. Maybe it’s also in the getting. In a first novel that abounds in moments of emotional and physical abandon, this may be the most wanton of his moves: his narrative, brazenly, refuses to stay closed. It is as much a story of paradise found as it is of paradise lost.
The literal story is a tale of adolescent sexual awakening, set in the very well-appointed home of an academic, on the Italian Riviera, in the mid-1980s. Elio, the precocious 17-year-old son of the esteemed and open-minded scholar and his wife, falls fast and hard for Oliver, a 24-year-old postdoc teaching at Columbia, who has come to the mansion for six weeks to revise his manuscript — on Heraclitus, since this is a novel about time and love — before publication. Elio is smart, nervous, naïve, but also bold; Oliver is handsome, seductive and breezily American, given to phrases like “Later,” and abundantly “O.K. with” many things Elio is less O.K. with — O.K. with being Jewish, “with his body, with his looks, with his antic backhand, with his choice of books, music, films, friends.” From the first page, we know we’re in the crumbling terrain of memory. “I shut my eyes, say the word, and I’m back in Italy,” Elio writes from some later vantage point. Which is also, of course, to say: I am not in Italy now, I am not that young man, what I am going to describe is long over. Heraclitus, indeed.
The younger Elio has apparently been more or less heterosexual until Oliver arrives, but in fewer than 15 pages he’s already in a state he calls the “swoon.” He lies around on his bed in the long Mediterranean afternoons hoping Oliver will walk in, feeling “fire like fear, like panic, like one more minute of this and I’ll die if he doesn’t knock at my door, but I’d sooner he never knock than knock now. I had learned to leave my French windows ajar, and I’d lie on my bed wearing only my bathing suit, my entire body on fire. Fire like a pleading that says, Please, please, tell me I’m wrong, tell me I’ve imagined all this, because it can’t possibly be true for you as well, and if it’s true for you too, then you’re the cruelest man alive.”
But it is true for Oliver, and he does knock, and then things really heat up. What Elio and Oliver do to a peach, for instance, might have made T. S. Eliot take a match to “The Love Song of J. Alfred Prufrock.” Aciman, who has written so exquisitely about exile, loss and Proust in his book of essays, “False Papers,” and his memoir, “Out of Egypt,” is no less exquisite here in his evocation of Elio’s adoration for the lost city of Oliver’s body and the lost city of the love between the two men. He builds these lost cities with the extraordinary craftsmanship of obsession, carefully imagining every last element of Elio’s affair with Oliver, depicting even the slightest touches and most mundane conversations with a nearly hyper-real attention to how, exactly, each one articulated a desire in Elio that felt “like coming home, like asking, Where have I been all my life?” Aciman never curbs or mocks Elio’s unabashed adolescent romanticism, never wheels in repressive social forces to crush the lovers, never makes one the agent of the other’s ruin. Even Elio’s father is fairly “que será, será” about what he suspects has been going on (a lot) under his scholarly roof.
What unwinds the men from each other’s embrace is none of these clichés; instead, Aciman, Proustian to the core, moves them apart, renders their beautiful city Atlantis, with the subtlest, most powerful universal agent: time. Nobody gets clocked with a tire iron. No one betrays the other. One becomes ordinary and marries; the other’s romantic fate is vague but seems to be more patchy. They meet again, 15 years later, and they’re not tragic; all they are is older. The fully adult Elio thinks, “This thing that almost never was still beckons, I wanted to tell him.” They “can never undo it, never unwrite it, never unlive it, or relive it. ... Going back is false. Moving ahead is false. Looking the other way is false.” In a book that seems to wear its heart on its sleeve, this openhanded, open-ended gesture is also its most knowing, challenging moment. That the city of desire is a scrim, all “dream making and strange remembrance,” Aciman seems to say, doesn’t mean it would be any less false not to walk into it. And if the novel is mourning this city, it is also, brick by brick, rebuilding it before the reader’s eyes.
In his essay “Pensione Eolo,” Aciman writes, “Ultimately, the real site of nostalgia is not the place that was lost or the place that was never quite had in the first place; it is the text that must record that loss.” In other words, Elio and Oliver might give each other up, but the book that conjures them doesn’t give up either one. In fact, it brings them back together, reunites them, for a glorious endless summer. In the book, the river can be revisited. The closing words echo the title: a phrase simultaneously of elegy and of invitation.
Stacey D’Erasmo's most recent novel is “A Seahorse Year.”
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(http://static.tumblr.com/7d1f6bee6e20c161b775566e9e5ae362/tniclml/LRpolsh77/tumblr_static_11tdw2xuiy6o8wwkgco48wow8.jpg) HEART OF HEARTS
http://monetsberm.tumblr.com/
Evie
"All that remains is dreammaking and strange remembrance."
semi-hiatus
(http://68.media.tumblr.com/177f595531092b90d7ba6796d1cf8c75/tumblr_oummzeZaAx1sn68q5o1_1280.jpg)
http://monetsberm.tumblr.com/post/164135695521/behind-the-scenes
http://monetsberm.tumblr.com/image/164135695521
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https://www.tumblr.com/tagged/elio-and-oliver
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Behind the scenes.
#CMBYN #CallMeByYourName #Elio #Oliver
#andréaciman #armiehammer #timothéechalamet #lucaguadagnino
#laterpeaches #BEHIND THE SCENES
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(http://i15.photobucket.com/albums/a362/jadams77/bj4_zpsgyhtyeq8.png) (http://2.bp.blogspot.com/-g0Pd7dsoFto/UiXpNRBZ8KI/AAAAAAACDLE/jnTcDaU62Ts/s1600/tsb.png)
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http://www.mynewplaidpants.com/2017/08/oliver-elio-forever.html
Oliver & Elio Forever
#CMBYN #CallMeByYourName #Elio #Oliver #laterpeaches
#armiehammer #timothéechalamet #lucaguadagnino
#andréaciman #Cor Cordium #Heart of Hearts
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CALLMEBYYOURNAMEFANART
https://twitter.com/mariecampanula
(https://pbs.twimg.com/profile_images/862034319027691526/MOGm9_ne_400x400.jpg) by Marie Campanula
@mariecampanula
mariecampanula.tumblr.com(https://pbs.twimg.com/media/DGJdotDXsAEN9xG.jpg)
https://mariecampanula.tumblr.com/post/163675935985/inauguration-post-on-my-tumblr-i-fell-so-very
https://twitter.com/mariecampanula
When you fall in love with a book...
(Page 154)
Inauguration post on my tumblr!!
I fell so very in love with a book, Call Me By Your Name
and this is a little fanart piece with Elio and Oliver
from around page 154, US edition.
Cannot wait to see the movie adaptation later this fall 🙏🏼
CALLMEBYYOURNAMEFANART by Marie Campanula
@mariecampanula
mariecampanula.tumblr.com
https://twitter.com/mariecampanula
Fan Art / Digital Art / Drawings /
#CMBYN #CallMeByYourName #Elio #Oliver #laterpeaches
#elio perlman #oliver ulliva
#andré aciman #armie hammer #timothée chalamet #luca guadagnino
#book #novel #film #movie #sonyclassics #lgbt
#Marie Campanula
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CALLMEBYYOURNAMEFANART
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http://littledozerdraws.tumblr.com/post/159909360847/sketch-commission-for-drawsaurus
https://drawsaurus.tumblr.com/post/163494358601/littledozerdraws-sketch-commission-for
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https://drawsaurus.tumblr.com/tagged/commission
https://www.tumblr.com/tagged/call-me-peaches
http://littledozerdraws.tumblr.com/archive
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all that peach juice
sketch commission for @drawsaurus by Dozer Draws 🍑
217 notes Apr 23rd, 2017
#call me by your name #all that peach juice ;0;
#sketch commission for #dozerdraws
(http://static.tumblr.com/ec55ccf815aac6ea95376c55a42242fa/snqt5yb/Nnkopqc9p/tumblr_static_2iw3iou4elq88kg4wk44co4co.png) by cersell.art
🎠 Mick | 21 | Dutch
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fucking precious moments angel baby
Drawn by cersell.art on commission for @drawsaurus Thank you!
04.08.17 241 notes
#my art #commission work #drawsaurus #call me by your name
/ / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / /
oh jesus i just organised my commissions tag and guys i’ve got a problem
( https://drawsaurus.tumblr.com/tagged/commission )
(MAKING TALENTED PEOPLE DRAW U BEAUTIFUL THINGS IS JUST SO ADDICTIVE)
CALLMEBYYOURNAMEFANART by @drawsaurus
drawsaurus.tumblr.com
https://drawsaurus.tumblr.com/
Fan Art / Digital Art / Drawings /
#CMBYN #CallMeByYourName #sketch commission for #@drawsaurus
#my boys #my good sweet boys
#Elio #Oliver #laterpeaches
#oliver ulliva #elio perlman #armie hammer #timothée chalamet
#seriously #i love this #just so much
#oliver's HAIR #his EYELASHES
#the soft nostalgic summer glow of it all #i love it
#later!!!
(https://68.media.tumblr.com/avatar_3c4a0253b608_40.png)
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It’s why it earned an extended standing ovation when it premiered Sunday night at the Sundance Film Festival.
It’s why seeing the film in a movie theater was tantamount to group gay catharsis for the audience in attendance, many of whom were weeping by the film’s end and then bogarted the post-screening Q&A to thank Luca Guadagnino for the film and its portrait of struggling for acceptance.
It’s why Call Me by Your Name will likely go down as one of the best gay love stories of the last decade in film.
http://www.thedailybeast.com/call-me-by-your-name-the-sexy-poignant-gay-love-story-turning-all-of-sundance-on
(https://pbs.twimg.com/profile_images/862673271212441600/u_DNSQ_Q.jpg)
PEACHY
Call Me by Your Name
The Sexy, Poignant
Gay Love Story
Turning All of Sundance
On
Luca Guadagnino's film premiered to a standing ovation at Sundance, a gay love story
that’s an impossibly beautiful feast visually, emotionally, and—my god—sexually.
by KEVIN FALLON
01.23.17 5:37 AM ET
(http://img.thedailybeast.com/image/upload/c_crop,d_placeholder_euli9k,h_1096,w_1950,x_0,y_0/dpr_2.0/c_limit,w_740/fl_lossy,q_auto/v1491846631/articles/2017/01/23/call-me-by-your-name-the-sexy-poignant-gay-love-story-turning-all-of-sundance-on/170123-fallon-call-me-by-your-name-sundance-tease_sd5xru)
Timothée Chalamet, Armie Hammer and Michael Stuhlbarg in Call Me by Your Name
PARK CITY --The peach scene is in it.
If you’re a queer person who has read André Aciman's 2007 novel Call Me by Your Name, a hybrid coming out and coming-of-age story set in Italy in the early ’80s, that news will both comfort and titillate you.
If you haven’t, imagine the infamous American Pie scene, but with dignity, emotional truth, and a semblance of relatability. But, you know, a guy still fucks a fruit.
It’s that dance between the aching familiarity that is so unfamiliar on screen—first love, but through the eyes of a young gay person—and sensuality, humor, and absurdity that makes director Luca Guadagnino’s (I Am Love, A Bigger Splash ) latest film, the adaptation of Call Me by Your Name, so special.
It’s why it earned an extended standing ovation when it premiered Sunday night at the Sundance Film Festival.
It’s why seeing the film in a movie theater was tantamount to group gay catharsis for the audience in attendance, many of whom were weeping by the film’s end and then bogarted the post-screening Q&A to thank Guadagnino for the film and its portrait of struggling for acceptance.
It’s why Call Me by Your Name will likely go down as one of the best gay love stories of the last decade in film.
Starring Armie Hammer and breakout actor, 20-year-old Timothée Chalamet, the film opens in 1983 northern Italy, in one of those dream picturesque villas that seem to only exist in cinema—the perfect setting for an intense summer romance.
Chalamet is Elio, the 17-year-old son of academics who are hosting Hammer’s 24-year-old scholar Oliver for the summer. Their relationship is a push and pull from the start. Elio labels Oliver “the usurper,” yet is eager to be the strapping new arrival’s guide to the new town.
They’re a captivating pair: Elio, with his lean beanpole body throbbing with pubescence, and Oliver, the toned post-grad inhabited by The Social Network ’s Hammer, so stylish and statuesque in every breathtaking frame. There’s their dynamic, too: quickly and effortlessly bonded, but also instantly antagonistic. Both want something from each other, but flip their magnets over to repel the second the connection draws them too close.
It’s not clear at first that either character is gay, or even questioning, beyond the fact that you know you just purchased a ticket to a gay romance, thus making each interaction and every meticulously crafted frame of Guadagnino’s its own veritable blood-rush of arousal.
Each character shows off for each other. Elio, his piano skills; Oliver, his book smarts and domineering demeanor. It’s mutual masturbation before there’s even the hint of physical attraction, a thrill that’s heightened by Guadagnino’s filmmaking, which is awash with sexual tension, sweaty bodies, and swimsuits that cling just so to wet, shirtless bodies.
When Elio, behind closed doors, starts exhibiting his crush on Oliver, it’s played matter-of-factly, the kind of natural progression and self-realization that we’re so used to seeing in heterosexual romances that it’s almost jarring, even confusing, when it starts to happen.
And when Oliver starts having frank confrontations with Elio about their attraction, which had thus far been treated with a wink and knowing wit by Guadagnino, James Ivory and (film editor) Walter Fasano’s script, the practical reasoning that dominates their conversations seems completely ordinary.
Suddenly all of Oliver’s peacocking in front of Elio makes sense. He wanted to be desired.
Elio’s sexual awakening is shielded by his desire to protect himself from his confusing feelings, but is also propelled forward by his excitement over his attraction, and his perception that Oliver might be attracted, too. The two spend the entire summer shirtless, ostensibly for each other’s benefit, even leaving the bathroom door they share constantly open, should the other happen to sneak a glimpse.
Knowing that they’re supposed to be together makes this dance akin to the kind of frustration kids these days call “blue balls.” But there’s something incredibly endearing about Oliver’s concern for Elio’s young well-being, should they, in this year decades ago, indulge in their attraction, and Elio’s sheepish gumption in confronting the older Oliver about it in the first place.
Their eventual coupling is presented almost as if it’s inevitable, understood, or even intrinsic. Imagine being a young queer person, watching this certainty about love and, more importantly, about sex, and believing that can happen to you. Because it does. Even before Elio and Oliver make their first physical contact, Call Me by Your Name rings all those spectacularly universal bells that anyone who has experienced a first love, or a forbidden love, can hear in loud reverberations. But for an audience not used to seeing that experience reflected with a same-sex couple, the film is a rarity.
Just watching it is a visceral experience.
Shot in Italy and benefitting from an almost preternatural connection between Hammer and Chalamet, it’s a film that is drenched with sunlight and hormones. The idyllic Italian setting and new-love raw intimacy emanates from the film like pheromones you are carnally drawn to.
By the time Elio and Oliver start having sex, your own sex drive kick-starts as well. It’s that primal.
Their first physical encounter is voyeuristically intimate. It’s silent enough to hear Elio’s heart palpitating at the anxious thrill of it. As they jump into each other arms and roll on the bed, the creaking of the old bed frame is like an aural aphrodisiac. Each movement they make has an impact: the way they tangle their bodies, use their breath, carelessly disrupt a floorboard.
The camera pans out a window at the moment, and you almost want to groan. But you also want to give Elio and Oliver their privacy. They deserve it.
For allowing them their modesty, we’re repaid with the most sensual pillow talk in recent memory, and the film’s namesake. “Call me your name,” Oliver asks of Elio, the boy whispering, “Oliver, Oliver, Oliver,” and Oliver cooing “Elio” in return.
The entire sequence is a treat for your heart and your libido.
Their first tryst ignites an affair, one that even Elio’s parents can no longer ignore, and one so beautiful that they do not want to. They suggest that the couple go off on a trip together before Oliver must return to the United States, leaving Elio behind. And before he can realize the impact of it, the most transformative summer of Elio’s life is over.
It would all be depressing, were it not for the clarity brought to it by his father, played by Michael Stuhlbarg. Stuhlbarg delivers a monologue to Elio that is so progressive, so enlightened, and so accepting—encouraging even—of his son’s relationship with Oliver that it would read as implausible were it not layered with such authenticity by Stuhlbarg’s performance.
It is the speech any queer person would dream of hearing from his or her father at that time in their lives, to the point that you begin to wonder if Elio is an unreliable narrator. Perhaps his recollection of the conversation, in 2017 decades after a far less open-minded ’80s, is wish fulfillment, or history rewritten.
Regardless, it’s two minutes of film that will be seared into every gay person who is in its thrall—explaining why it dominated so much of the Sundance post-screening conversation.
And what of that peach?
That peach is what will get people buzzing about this film, thanks to Guadagnino’s clever teasing throughout the entire film of the pivotal scene. His own foreplay, of sorts. Maybe word of mouth about it is what will entice a wider swath of filmgoers to the movie, aside from the LGBT demographic that is already desperate to see the film.
It will be a conversation starter for sure, and that’s fine. Call Me by Your Name is about sex. It’s about sex and sensuality and attraction and the love that bubbles underneath that. And, thanks to Stuhlbarg’s speech, all that’s given a new name: normal.
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CALLMEBYYOURNAMEFANART
https://www.garow.me/users/erkinaken/4225893710
(I'm sorry the artist has
removed the beautiful drawing
(which is his/her right to do)
But I will leave the void
just in case.)
my thoughts only
going nowhere
(https://scontent.cdninstagram.com/t51.2885-19/s150x150/15251578_1604447363197008_4181510091289133056_a.jpg) by @erkinaken(https://scontent.cdninstagram.com/t51.2885-15/s640x640/sh0.08/e35/20687991_262472137581751_7130461351419314176_n.jpg)
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CALLMEBYYOURNAMEFANART by @erkinaken
https://www.garow.me/users/erkinaken/4225893710
Fan Art / Digital Art / Drawings /
#CMBYN #CallMeByYourName #Elio #Oliver #laterpeaches #🍑
#elio perlman #oliver ulliva
#andré aciman #armie hammer #timothée chalamet #luca guadagnino
#book #novel #film #movie #sonyclassics #lgbt
#mydrawing #illustration #illustrations #art #artwork #artworks #fanart #artworkoftheday
#drawnbyme #✏️ #☝ and #ipad
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Addition/comment/quote by me:
(page 214)(http://fc06.deviantart.net/fs71/f/2015/014/3/7/botanical_4_by_cocorie-d8dv9wk.jpg)
Ulliva, Ulliva, Ulliva ---it was Oliver calling me by his name
when he'd imitate it's transmogrified sound as spoken by Malfalda
and Anchise; but it'd also be me calling him by his name as well,
hoping he'd call me back to mine, which I'd speak for him to me,
and back to him: Elio, Elio, Elio.
(https://s-media-cache-ak0.pinimg.com/236x/a1/69/06/a169065f635139f558c239ce0dd0bd78--sun-face-tattoo-sun-worship.jpg)
(Click here for this fan's other post, page 11 in this thread)
(https://scontent.cdninstagram.com/t51.2885-15/s640x640/sh0.08/e35/20589765_675275466008692_3798105576320270336_n.jpg)
https://www.garow.me/media/1571450361696528490_4225893710
I got a copy of the korean translation of #callmebyyourname #cmbyn
with a beautiful illustration cover, and it's aesthetically so satisfying.
The title changed, and it can translate into "that year, the summer's guest."
(https://scontent.cdninstagram.com/t51.2885-19/s150x150/21372127_114640965919083_7751548261332156416_a.jpg)
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CALLMEBYYOURNAMEFANART
http://picbear.com/smartie128
The mind is everything.
What you think, you become
~ Buddha
(https://abs.twimg.com/emoji/v2/72x72/1f351.png)
(https://scontent.cdninstagram.com/vp/c3bf6776c1b581ff39dacba68007fecc/5AE45326/t51.2885-19/s150x150/23098789_1968649626724612_4981964078252556288_n.jpg)by smartie128
(https://68.media.tumblr.com/23e9c32f178aa09d2b1e52c726041936/tumblr_ouqzkt1oue1wwjl4jo1_1280.jpg)
https://callmebyurnameandillcallubymine.tumblr.com/post/164229823091/from-smartie128-on-instagram
https://callmebyyourname-movie.tumblr.com/image/164254725386
https://callmebyyourname-movie.tumblr.com/
http://picbear.com/smartie128
Peaches again 😙
CALLMEBYYOURNAMEFANART by @smartie128
http://picbear.com/smartie128
August 14 2017 - 06:58
#CMBYN #CallMeByYourName #Elio #Oliver #laterpeaches #🍑
#elio perlman #oliver ulliva
#andré aciman #armie hammer #timothée chalamet #luca guadagnino
#book #novel #film #movie #sonyclassics #lgbt
#art #artwork #artist #paint #sketchbook #artsy #artistsoninstagram
#quicksketch #dailyart #instaart #instartwork #improving #progress #illustration
#watercolor #artnerd #worldofartists #artsoldiers #young_artists_help #shocking_art
(https://abs.twimg.com/emoji/v2/72x72/1f351.png)
(https://scontent.cdninstagram.com/vp/c3bf6776c1b581ff39dacba68007fecc/5AE45326/t51.2885-19/s150x150/23098789_1968649626724612_4981964078252556288_n.jpg)
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CALLMEBYYOURNAMEFANART
http://picbear.com/smartie128
The mind is everything.
What you think, you become
~ Buddha
(https://abs.twimg.com/emoji/v2/72x72/1f351.png)
(https://scontent.cdninstagram.com/vp/c3bf6776c1b581ff39dacba68007fecc/5AE45326/t51.2885-19/s150x150/23098789_1968649626724612_4981964078252556288_n.jpg)by smartie128
(https://scontent.cdninstagram.com/t51.2885-15/s640x640/e15/c184.0.712.712/20759393_1588630481189098_9181186069209546752_n.jpg)
http://picbear.com/media/1580851837136537897_5431862703
http://www.instagramator.net/tag/callmebyyourname
http://www.thepicta.com/tag/CMBYN
http://picbear.com/smartie128
“We had the stars, you and I.
And this is given once only.”
CALLMEBYYOURNAMEFANART by @smartie128
http://picbear.com/smartie128
Yet another piece inspired by call me by your name 😜
August 14 2017 - 03:57
#CMBYN #CallMeByYourName #Elio #Oliver #laterpeaches #🍑
#elio perlman #oliver ulliva #cor cordium
#andré aciman #armie hammer #timothée chalamet #luca guadagnino
#book #novel #film #movie #sonyclassics #lgbt
#art #artwork #artist #paint #painting #sketchbook #artsy #artistsoninstagram #oc
#quicksketch #dailyart #instaart #instartwork #improving #progress #illustration
#watercolor #artnerd #worldofartists #artsoldiers #young_artists_help #shocking_art
(https://abs.twimg.com/emoji/v2/72x72/1f351.png)
(https://scontent.cdninstagram.com/vp/c3bf6776c1b581ff39dacba68007fecc/5AE45326/t51.2885-19/s150x150/23098789_1968649626724612_4981964078252556288_n.jpg)
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CALLMEBYYOURNAMEFANART
MOVIE POSTERS
#armiehammer #timothéechalamet #cmbyn
(http://68.media.tumblr.com/45670f724e39cde19bb669541c01feb6/tumblr_oplgfg74821unl5yco1_r1_1280.png)
https://callmebyyourname-movie.tumblr.com/post/160415283131/quietgirls-call-me-by-your-name-2017-dir
http://quietgirls.tumblr.com/post/160411580440/call-me-by-your-name-2017-dir-luca-guadagnino-a
http://quietgirls.tumblr.com/image/160411580440
https://eliopearlmans.tumblr.com/post/160413728044/quietgirls-call-me-by-your-name-2017-dir
https://eliopearlmans.tumblr.com/image/160413728044
-
(https://68.media.tumblr.com/93f94c4fa1ff6011d0b9401872037729/tumblr_ousnme8b7Q1row3guo1_540.jpg)
please
Me too! November???
Me three!
Me three??
Hardly.
CALLMEBYYOURNAMEFANART
http://www.instagramator.net/user/ilovetimotheechalamet/5855583708
(https://scontent-sea1-1.cdninstagram.com/t51.2885-19/s150x150/20766793_1948773145367605_841475576089804800_a.jpg) by @ilovetimotheechalamet
(https://scontent-sea1-1.cdninstagram.com/t51.2885-15/s480x480/e35/20902454_467398913637966_774514076712697856_n.jpg?ig_cache_key=MTU4NTUxNDAwMjc2OTg4MTgyMg%3D%3D.2)
http://www.instagramator.net/media/1585514002769881822_5855583708
http://www.instagramator.net/user/ilovetimotheechalamet/5855583708
CALLMEBYYOURNAMEFANART by @ilovetimotheechalamet
http://www.instagramator.net/user/ilovetimotheechalamet/5855583708
😭😭🍑 #morningmood !
#callmebyyourname #CMBYN #timothéechalamet #armiehammer #actors
#lucaguadagnino #italy #andréaciman
#oscars #hollywood #sundance #tiff
(https://scontent-sea1-1.cdninstagram.com/t51.2885-19/s150x150/20766793_1948773145367605_841475576089804800_a.jpg)
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(https://scontent-sea1-1.cdninstagram.com/t51.2885-15/s640x640/sh0.08/e35/20635160_312152722581753_4846310727369097216_n.jpg?ig_cache_key=MTU3OTE1OTM1NTgzODc2ODcxMA%3D%3D.2)
http://www.imgrum.org/media/1579154380750231914_4062136045
http://www.imgrum.org/media/1579159355838768710_183303472
http://www.imgrum.org/tag/AndreAciman
(https://scontent-sea1-1.cdninstagram.com/t51.2885-15/s750x750/sh0.08/e35/20766245_2008142746095060_6992503114926391296_n.jpg?ig_cache_key=MTU4MTkzNzk5MDIzMjY1MjYxMQ%3D%3D.2)
http://www.imgrum.org/media/1581937990232652611_672457008
http://www.imgrum.org/tag/AndreAciman
(https://scontent-sea1-1.cdninstagram.com/t51.2885-15/s750x750/sh0.08/e35/20969012_1480057185415787_7516023520518733824_n.jpg?ig_cache_key=MTU4NTQzMTk4NTU1NTc1NDQ4Ng%3D%3D.2/img]
http://www.instagramator.net/media/1585431985555754486_1698910272
http://www.imgrum.org/tag/AndreAciman[/center]
[center][img]https://scontent-sea1-1.cdninstagram.com/t51.2885-15/s750x750/sh0.08/e35/20968700_1420631378021838_8684028804240244736_n.jpg?ig_cache_key=MTU4Mzc3NjY4NDEyODE4MjU3Mw%3D%3D.2
http://www.imgrum.org/media/1583782664266267907_486939961)
http://www.imgrum.org/media/1583782664266267907_4869399610
http://www.imgrum.org/tag/AndreAciman
(https://scontent-sea1-1.cdninstagram.com/t51.2885-15/s750x750/sh0.08/e35/20968700_1420631378021838_8684028804240244736_n.jpg?ig_cache_key=MTU4Mzc3NjY4NDEyODE4MjU3Mw%3D%3D.2&se=6)
http://www.imgrum.org/media/1583782664266267907_4869399610
http://www.imgrum.org/tag/AndreAciman
(https://scontent-sea1-1.cdninstagram.com/t51.2885-15/sh0.08/e35/p750x750/20635236_107706676592530_1447029573567905792_n.jpg?ig_cache_key=MTU3ODI0MTMzMzMwNzMxODQ5Mw%3D%3D.2)
(https://scontent-sea1-1.cdninstagram.com/t51.2885-15/s750x750/sh0.08/e35/20969025_1912736409050076_523242521208291328_n.jpg?ig_cache_key=MTU4NjI3NTA0MjE1MjIwMTYxOQ%3D%3D.2)
http://www.instagramator.net/media/1586275042152201619_1075931249
http://www.instagramator.net/tag/callmebyyourname
(https://scontent-sea1-1.cdninstagram.com/t51.2885-15/s750x750/sh0.08/e35/20905332_212048175862948_7851097082038321152_n.jpg?ig_cache_key=MTU4NjE0MzI0OTY3OTI4ODkxOA%3D%3D.2&se=6)
http://www.instagramator.net/media/1586143249679288918_5859265798
http://www.instagramator.net/tag/callmebyyourname
(https://scontent-sea1-1.cdninstagram.com/t51.2885-15/s750x750/sh0.08/e35/21042294_336188486837068_2842728953599229952_n.jpg?ig_cache_key=MTU4NjM0NDY5NDUwMTQwMzAwMA%3D%3D.2)
http://www.instagramator.net/media/1586344694501403000_310733510
http://www.instagramator.net/tag/callmebyyourname
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https://www.filmlinc.org/nyff2017/sections/main-slate/
https://www.filmlinc.org/nyff2017/films/call-me-by-your-name/
(https://www.filmlinc.org/wp-content/themes/filmlinc/dist/img/nyff2017/nyff2017-fl-logo.svg)(https://www.filmlinc.org/wp-content/themes/filmlinc/dist/img/nyff2017/nyff55-lockup-white-ffonly.svg)(https://www.filmlinc.org/wp-content/uploads/2017/08/nyff55-headline-1.png)
Main Slate
Call Me by Your Name
Luca Guadagnino
The New York Film Festival
runs September 28 – October 15.
The 55th New York Film Festival Main Slate
Closing Night
“Call Me by Your Name,” Dir. Luca Guadagnino, Italy/France, 2017, 132m
A story of summer love unlike any other, the sensual new film from the director of I Am Love, set in 1983, charts the slowly ripening romance between Elio (Timothée Chalamet), an American teen on the verge of discovering himself, and Oliver (Armie Hammer), the handsome older grad student whom his professor father (Michael Stuhlbarg) has invited to their vacation home in Northern Italy. Adapted from the wistful novel by André Aciman, Call Me by Your Name i s Guadagnino’s most exquisitely rendered, visually restrained film, capturing with eloquence the confusion and longing of youth, anchored by a remarkable, star-making performance by Chalamet, always a nervy bundle of swagger and insecurity, contrasting with Hammer’s stoicism. A Sony Pictures Classics release.
(https://www.filmlinc.org/wp-content/uploads/2017/08/Call-Me-By-Your-Name.jpg)
(https://www.filmlinc.org/wp-content/themes/filmlinc/dist/img/filmlinc-logo.png)
https://www.filmlinc.org/nyff2017/nyff55-ticket-information/
On-Sale Dates
August 28-31: Board, Patron, and VIP Passes
September 1 at 12PM – September 4 at 11:59PM: Package Fulfillment
September 6 at 10AM: Film Icon single-ticket pre-sale
September 6 at 2PM: Cinephile single-ticket pre-sale
September 7 at 10AM: Film Buff single-ticket pre-sale
September 8 at 11:59PM: single ticket pre-sale ends
September 10 at 12PM: Film Lover, Student, and General Public On-Sale
Prices
Main Slate & Special Events:
$20 Member & Student / $25 General Public
Opening Night:
Alice Tully Hall: $75 Member & Student / $100 General Public
Centerpiece & Closing:
Alice Tully Hall: $50 Member & Student / $75 General Public
All Other Programs:
$10 Member & Student / $15 General Public
General Information
There is a maximum of two tickets per screening.
There is a $2.00 fee per ticket for online orders.
Advance tickets can only be purchased online or at the Alice Tully Hall box office.
All ticket fulfillment is subject to availability.
Delivery Options
Print at Home (Free, Recommended): For the first time this year, we will be offering free print at home ticketing. Tickets will be sent to you via email within 48 hours.
Mail ($5.50 P&H Fee): Tickets will be sent within 7-10 business days.
Will Call (Free): This option will only be available closer to the festival.
Venue & Box Office Information
Alice Tully Hall
1941 Broadway (between 65th Street and 66th Street)
Sunday: Noon – 6:00 p.m.
Monday – Saturday: 10:00 a.m. – 6:00 p.m.
Also open until 30 minutes after the start of any performance.
212.671.4050
(https://1.bp.blogspot.com/-2FQdSnWgFP8/V2LPiFNK7cI/AAAAAAADF_Y/lRIfdvUYqWoFxOJfjad1siFICB6LLEdLgCLcB/s1600/call%2Bmy%2Bby%2Byour%2Bname%2Bpeach.png)
CALLMEBYYOURNAME
#armiehammer #timothéechalamet #cmbyn
#andréaciman #lucaguadagnino #nyff
-
CALLMEBYYOURNAMEFANART
http://www.gramunion.com/anqua.tumblr.com
(https://abs.twimg.com/emoji/v2/72x72/1f351.png)
☼ welcome to my place ☼
(https://68.media.tumblr.com/avatar_47c75e6495d3_64.png) by anqua.tumblr.com(https://68.media.tumblr.com/b00f8b3439bd8e9bc811dd86da95d744/tumblr_ou6lf6XW7s1ty6stwo1_1280.jpg)
http://www.gramunion.com/anqua.tumblr.com/163805888410
waiting for the
call me by your name movie
is so exhausting
71 notes
#call me by your name #cmbyn #andré aciman
#portrait #boy #watercolor #artist #fanart artists on tumblr
#timothée chalamet #elio #elio perlman
#peaches #all that peach juice 🍑
(https://abs.twimg.com/emoji/v2/72x72/1f351.png)
☼ welcome to my place ☼
(https://68.media.tumblr.com/avatar_47c75e6495d3_64.png) by anqua.tumblr.com
(https://68.media.tumblr.com/9005bcc0d8b0b854458ac3721744d080/tumblr_oukdzmdcBs1ty6stwo1_1280.jpg)
http://www.gramunion.com/anqua.tumblr.com/164091942955
You’ll kill me if you stop.
18 notes
#call me by your name #cmbyn #andré aciman
#portrait #drawing #boy #pencil #artist #fanart artists on tumblr
#timothée chalamet #elio #elio perlman
CALLMEBYYOURNAMEFANART by anqua.tumblr.com
http://www.gramunion.com/anqua.tumblr.com
(https://68.media.tumblr.com/avatar_47c75e6495d3_64.png)
Excerpt from “Call Me By Your Name” (pp. 133-134):
The dream had been right—this was coming home, like asking, Where have I been all my life? which was another way of asking, Where were you in my childhood, Oliver? which was yet another way of asking, What is life without this? which was why, in the end, it was I, and not he, who blurted out, not once, but many, many times, You’ll kill me if you stop, you’ll kill me if you stop, because it was also my way of bringing full circle the dream and the fantasy, me and him, the longed-for words from his mouth to my mouth back into his mouth, swapping words from mouth to mouth, which was when I must have begun using obscenities that he repeated after me, softly at first, till he said, “Call me by your name and I’ll call you by mine,” which I’d never done in my life before and which, as soon as I said my own name as though it were his, took me to a realm I never shared with anyone in my life before, or since.
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CALLMEBYYOURNAMEFANART
http://www.thepicta.com/user/emisdrawings/3286550063
http://www.imgrum.org/user/emisdrawings/3286550063
(https://scontent-sea1-1.cdninstagram.com/t51.2885-15/s480x480/e35/22580608_445477669183060_1397788675462397952_n.jpg?ig_cache_key=MTYyODM5MDM2NzIyNDk3Njk4Ng%3D%3D.2&se=7) by @emisdrawings
(https://scontent-sea1-1.cdninstagram.com/t51.2885-15/s750x750/sh0.08/e35/21041581_344586139330677_4751261142603530240_n.jpg?ig_cache_key=MTU4NzcxMTYwOTMwMDQ1NjQyNA%3D%3D.2&se=6)
http://www.instagramator.org/media/1587711609300456424_3286550063
http://www.thepicta.com/media/1587711609300456424_3286550063
http://www.imgrum.org/media/1587711609300456424_3286550063
Later!
12:06pm 08/23/2017 55 notes
#call me by your name #cmbyn #andré aciman #lucaguadagnino #lgbt
#timothée chalamet #elio #elio perlman #armie hammer #oliver #ulliva
#portrait #sketch #drawing #art #artist #fanart #artists on tumblr
#instaart #instagood #redandblue #sketchbook #artstagram
#movies #film #lgbtmovie
#later!
CALLMEBYYOURNAMEFANART by @emisdrawings
http://www.thepicta.com/user/emisdrawings/3286550063
http://www.imgrum.org/user/emisdrawings/3286550063
(https://scontent-sea1-1.cdninstagram.com/t51.2885-15/s480x480/e35/22580608_445477669183060_1397788675462397952_n.jpg?ig_cache_key=MTYyODM5MDM2NzIyNDk3Njk4Ng%3D%3D.2&se=7)
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(https://pbs.twimg.com/media/DGTnAIpVwAQB7_B.jpg)
(https://scontent-iad3-1.cdninstagram.com/t51.2885-15/e35/20181066_257907148046394_7324179761041768448_n.jpg)
Yes, that is a peach in Elio's hand.
🍑
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Was this an....apple??
(https://pbs.twimg.com/media/C3mCxgyW8AEopDV.jpg)
https://twitter.com/johnsant87/status/826836790455721984
And as for pumpkins...good god!!
(https://3.bp.blogspot.com/-wAjdiWTXiYk/V_Ugttc982I/AAAAAAADK_Q/kUeeooXqzacbW2GscUWV_S3A2fw6IrNFACLcB/s1600/armie%2Bhammer%2Btimothee%2Bchalumet.png)
http://www.mynewplaidpants.com/2016/10/theres-your-oliver-elio-folks.html
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CALLMEBYYOURNAMEFANART
https://www.instagram.com/siqi_wsq/
“Call me by your name
and
I will call you by mine.”
(https://instagram.fewr1-3.fna.fbcdn.net/t51.2885-19/s150x150/20393487_1312090295555717_6335146700847448064_a.jpg) by @siqi_wsq(https://scontent-sea1-1.cdninstagram.com/t51.2885-15/sh0.08/e35/p750x750/20969215_1187193008053803_4452495817265119232_n.jpg?ig_cache_key=MTU4NzYyOTA3OTkyNTY0NTgyMQ%3D%3D.2&se=6)
http://weheartit.com/behappyforevercrazy/collections/19857714-draw?page=4&before=107987291
http://www.instagramator.org/media/1587629079925645821_964536397
https://www.instagram.com/p/BYIZDyQDGH9/?taken-by=siqi_wsq
http://weheartit.com/entry/254267111
http://www.goldposter.com/233011/
CALLMEBYYOURNAMEFANART by @siqi_wsq
https://www.instagram.com/p/BYIZDyQDGH9/?taken-by=siqi_wsq
#CMBYN #CallMeByYourName #callmebyyourname #Elio #Oliver
#elio perlman #oliver ulliva
#andré aciman #armie hammer #timothée chalamet #luca guadagnino
#book #novel #film #movie #sonyclassics #lgbt
#illustration #illustrations #art #artwork #artworks #fanart
(https://instagram.fewr1-3.fna.fbcdn.net/t51.2885-19/s150x150/20393487_1312090295555717_6335146700847448064_a.jpg)
Once again, the addition/comment/quote by me seems fitting:
(page 214)(http://fc06.deviantart.net/fs71/f/2015/014/3/7/botanical_4_by_cocorie-d8dv9wk.jpg)
Ulliva, Ulliva, Ulliva ---it was Oliver calling me by his name
when he'd imitate it's transmogrified sound as spoken by Malfalda
and Anchise; but it'd also be me calling him by his name as well,
hoping he'd call me back to mine, which I'd speak for him to me,
and back to him: Elio, Elio, Elio.
(https://s-media-cache-ak0.pinimg.com/236x/a1/69/06/a169065f635139f558c239ce0dd0bd78--sun-face-tattoo-sun-worship.jpg)
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CALLMEBYYOURNAMEFANART
http://www.imgrum.org/media/1579648951139698760_208501663
https://www.instagram.com/thebeardsalad/
https://www.behance.net/bureaubureau
(https://scontent-lga3-1.cdninstagram.com/t51.2885-19/s150x150/17586589_1250737271705705_1471102349865910272_a.jpg) by @thebeardsalad
(https://scontent-sea1-1.cdninstagram.com/t51.2885-15/s750x750/sh0.08/e35/20836887_144146779505853_8344900638974410752_n.jpg?ig_cache_key=MTU3OTY0ODk1MTEzOTY5ODc2MA%3D%3D.2)
https://www.instagram.com/p/BXsCloKgAhI/?taken-by=thebeardsalad
http://www.imgrum.org/media/1579648951139698760_208501663
http://www.imgrum.org/tag/AndreAciman
A Summer Reading List!
08/12/2017 89 notes
#chiamamicoltuonome #callmebyyourname #cmbyn #guanda #andréaciman #lucaguadagnino #lgbt
#timothée chalamet #elio #elio perlman #armie hammer #oliver #ulliva
#hotboysreading #books #illustration #collage #paris #narrativa
#summerreading #bookporn #booklovers #instabook #libridaleggere
#movies #film #lgbtmovie
#later!
CALLMEBYYOURNAMEFANART by @thebeardsalad
http://www.imgrum.org/media/1579648951139698760_208501663
https://www.instagram.com/thebeardsalad/
https://www.behance.net/bureaubureau
(https://scontent-lga3-1.cdninstagram.com/t51.2885-19/s150x150/17586589_1250737271705705_1471102349865910272_a.jpg)
(https://scontent-sea1-1.cdninstagram.com/t51.2885-15/sh0.08/e35/p750x750/20635236_107706676592530_1447029573567905792_n.jpg?ig_cache_key=MTU3ODI0MTMzMzMwNzMxODQ5Mw%3D%3D.2)
(http://www.leggermente.com/upload/editori/guandasimbolo.jpg)
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Even the fate of mundanely inanimate things like a ripe peach or a pair of worn bathing trunks become sweetly perverse yet spellbinding in Aciman’s approach of storytelling. Trust me when I say that after reading this book, you will never look at peaches or swimming trunks in the same way ever again.
https://brentofthefabulouswild.wordpress.com/2013/04/15/book-review-call-me-by-your-name-by-andre-aciman-supplementary-reading-music-playlist/
(https://brentofthefabulouswild.files.wordpress.com/2013/04/call-me-by-your-name-01.jpg)
Brent Of The Fabulous Wild
the collective musings of an average everyday sane psycho supergod
Book Review: “Call Me By Your Name”
by André Aciman
What is it about summer that it is always associated with romance?
While the heat and abundance of exposed skin may be to blame, there is a certain mystique to that sultry time of year that irresistibly draws anyone to experience the joys and aches of a summer liaison. In André Aciman’s debut novel, “Call Me By Your Name”, what starts off as a typical seasonal infatuation evolves into an intensely beautiful love story that is at once exultant and heartbreaking.
Elio—seventeen, intelligent, and deliciously gauche—narrates the entirety of the novel as he recounts “that summer” when Oliver—twenty-four, handsome, and shamelessly cavalier—enters his life. With a famous expatriate professor as his host and a guest to an eccentric quasi-Italian household, the scholarly Oliver sets out to complete his work on Heraclitus to be translated in Italian for the next six weeks.
Set in the decidedly idyllic backdrop somewhere in the Italian Riviera, these two young men embark on a tantalizing journey of self-discovery marked by unwieldy conversations, strong physical flirtations, and Elio’s rapacious commentary of his burning desires towards the summer houseguest as his fascination evolves into something much more profound.
As Oliver’s brief tenure in Elio’s cliffside mansion dwindles by the day, both experience the agonizing torture of mixed signals, angst, and confusion that comes with first love. The affair is engaging and thrillingly erotic from their initial encounter, the inevitable consummation of their friendship, until their bittersweet separation in Rome as the summer draws to a close. The remainder of the story then deals with the aftermath that Elio faces in the wake of his relationship with Oliver when they once again cross paths—this time, as mature men in the age of new technology—to bring the novel to a decidedly touching finale.
What is astonishing about this book is the highly elegant and precise writing style of Aciman that steers this work away from the run-of-the-mill gay romance novels with gratuitous scenes of pornography that it reminds you of the works by Michael Cunningham, E.M. Forster, and Anne Rice (minus the supernatural element, of course). Instead, he deftly executes a subtle astuteness in the narrative that one can’t help but be absorbed by the sheer forcefulness of the words. Even the fate of mundanely inanimate things like a ripe peach or a pair of worn bathing trunks become sweetly perverse yet spellbinding in Aciman’s approach of storytelling. Trust me when I say that after reading this book, you will never look at peaches or swimming trunks in the same way ever again.
You can feel the stomach-churning longing Elio has for Oliver, you shiver every time their skin brushes against the other, and you swoon whenever they declare their undiluted ardor in words so deceptively simple. The reason why this is because you know what it is like to have experienced such things with the first person who had a deep influence on your love life. And while it is a relatively slim novel, Aciman delivers a heart-stopping masterpiece in just 256 pages. Indeed, there is nary a weak page that can be found in the book. Haunting, elegiac, and proudly hyperromantic, “Call Me By Your Name” will brutally remind you of the beauty and pain of an ephemeral passion that burns as bright as the summer sun.
Choice excerpt from “Call Me By Your Name” (pp. 133-134):
The dream had been right—this was coming home, like asking, Where have I been all my life? which was another way of asking, Where were you in my childhood, Oliver? which was yet another way of asking, What is life without this? which was why, in the end, it was I, and not he, who blurted out, not once, but many, many times, You’ll kill me if you stop, you’ll kill me if you stop, because it was also my way of bringing full circle the dream and the fantasy, me and him, the longed-for words from his mouth to my mouth back into his mouth, swapping words from mouth to mouth, which was when I must have begun using obscenities that he repeated after me, softly at first, till he said, “Call me by your name and I’ll call you by mine,” which I’d never done in my life before and which, as soon as I said my own name as though it were his, took me to a realm I never shared with anyone in my life before, or since.
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http://denizdennotlarblog.blogspot.com/2016/07/kitap-ad-adnla-cagr-beni-yazar-aciman.html
Adınla Çağır BeniCall Me By Your Name
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Call Me By Your NameAdınla Çağır Beni
http://denizdennotlarblog.blogspot.com/2016/07/kitap-ad-adnla-cagr-beni-yazar-aciman.html
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A few scenes from Call Me By Your Name taken at a premiere, source unknown.
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Sirmione, Lake Garda
So long, Sirmione! 📸
nei, vi kan ikke snu nå
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Billowy
https://callmebyyourname-movie.tumblr.com/post/148719360086/armiehammer-so-long-sirmione-14616
https://thenwhoisa.tumblr.com/post/157214773829/callmebyyourname-movie-armiehammer-so-long
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https://www.instagram.com/armiehammer/
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Sad that the film is not set at the sea, as the novel is.
Later!
So if not on the Italian Riviera, now we know where:
Sirmione del Garda (southern end of Lake Garda),
90 km/56 mi from Crema, where Luca Guadagnino
lives and works in a 17th-century palazzo in the
center of town. Later!
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ttps://www.instagram.com/p/BGpNEnkw5uJ/
"So long, Sirmione!" 📸
(https://instagram.fewr1-2.fna.fbcdn.net/t51.2885-19/s150x150/20184840_320934591695020_4549105372807299072_a.jpg) armiehammer
https://www.instagram.com/armiehammer/
https://www.instagram.com/p/BGpNEnkw5uJ/
Sirmione, Lake Garda
So long, Sirmione! 📸
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So if not on the Italian Riviera, now we know where:
Sirmione del Garda (southern end of Lake Garda),
90 km/56 mi from Crema, where Luca Guadagnino
lives and works in a 17th-century palazzo in the
center of town. Later!
https://www.nytimes.com/2016/08/01/t-magazine/luca-guadagnino-home-italy-interior-design.html
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The director Luca Guadagnino’s exquisitely art-directed movies have become something of an obsession among interior designers.
But his ultimate set is his own apartment in a 17th-century palazzo outside of Milan. The property had been empty for 40 years before
Guadagnino spent six months renovating it. With the help of painters, he created custom paint colors for each room.
https://www.nytimes.com/slideshow/2016/08/01/t-magazine/luca-guadagnino-milan-home-interior-design/s/01tmag-luca-slide-E6UZ.html
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https://www.nytimes.com/slideshow/2016/08/01/t-magazine/luca-guadagnino-milan-home-interior-design/s/01tmag-luca-slide-HP6L.html
Guadagnino says his next house will have a garden. Photo: Mikael Olsson
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https://www.nytimes.com/2016/08/01/t-magazine/luca-guadagnino-home-italy-interior-design.html
Light floods the loggia, on the second floor of the palazzo. Gio Ponti Superleggera chairs by Cassina flank the dining table,
with vintage Danish chairs in the foreground. The ornately painted door is original to the building. Credit Mikael Olsson
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https://www.nytimes.com/slideshow/2016/08/01/t-magazine/luca-guadagnino-milan-home-interior-design/s/01tmag-luca-slide-OM18.html
Guadagnino in front of a distressed mirrored panel of his design [in the Dining Room]. Photo: Mikael Olsson
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https://www.nytimes.com/2016/08/01/t-magazine/luca-guadagnino-home-italy-interior-design.html
In the living room of the director Luca Guadagnino’s apartment in a 17th-century palazzo, furniture by Piero Castellini
and 18th-century Japanese painted panels. Photo: Mikael Olsson[/color]
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https://www.nytimes.com/slideshow/2016/08/01/t-magazine/luca-guadagnino-milan-home-interior-design/s/01tmag-luca-slide-Y3DH.html
In the living room, the original frescoed ceiling and terracotta tiles uncovered during renovation,
sofa and chairs by Piero Castellini covered in C&C Milano fabrics and a La Manufacture Cogolin rug.
Guadagnino worked with the painters to hand-mix the color of the walls.
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https://www.nytimes.com/slideshow/2016/08/01/t-magazine/luca-guadagnino-milan-home-interior-design/s/01tmag-luca-slide-FTK4.html
In the dining room, chairs by Enzo Mari for Hermès, 19th-century church candlesticks mounted as lamps and a La Manufacture Cogolin rug.
On the sideboard, a 1920s porcelain dog by Gio Ponti for Richard Ginori and Hermès glasses.
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https://www.nytimes.com/slideshow/2016/08/01/t-magazine/luca-guadagnino-milan-home-interior-design/s/01tmag-luca-slide-7BE0.html
A Tibetan tapestry hangs over a Hästens bed in the master bedroom, with Castellini chairs covered in Dedar fabric and
curtains of Hermès fabric. Photo: Mikael Olsson
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https://www.nytimes.com/slideshow/2016/08/01/t-magazine/luca-guadagnino-milan-home-interior-design/s/01tmag-luca-slide-VBRX.html
A fishtail palm with a backdrop of Farrow & Ball wallpaper in the black bathroom.
Photo: Mikael Olsson
https://www.nytimes.com/2016/08/01/t-magazine/luca-guadagnino-home-italy-interior-design.html
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One Italian Filmmaker’s
Ultimate Set — His Own Home
Luca Guadagnino conjures a world of dark beauty in his films,
and in his apartment in a 17th-century palazzo outside of Milan.
By DANA THOMAS
AUG. 1, 2016
“I hate the concept of beauty for the sake of it. It is overrated,” says the Italian filmmaker Luca Guadagnino. This might sound odd coming from the creator of such movies as 2009’s I Am Love and this year’s A Bigger Splash, each filled with ravishing, fashionable people moving through exquisitely appointed, haute bourgeois settings — a style that could be described as high aesthete with latent passions lurking beneath. “Environment is essential. I like anything that has to do with form and space,” says Guadagnino. “But I am also a humanist [with] a very strong love and attraction for character. That’s the mixture.”
What he strives for, says his friend and frequent collaborator, the actress Tilda Swinton, is something “vital, passionate and uncontrollable.” These aspirations play out in his home as well, with each atmospheric room telling a story, much as his sets amplify his characters. Grand and simple, perfect and imperfect, harmony emerges from contrast and unlikely pairings, like modern Danish chairs in a room with doors lavishly embellished in the Lombardian Baroque style. “Spare functional furniture, in my opinion, is the genius of 20th-century design,” Guadagnino says. He adds, only half joking: “My secret desire is to be an interior designer. I’d love to make houses for rich clients who can afford to do things right.”
His calling card could be his 3,200-square-foot apartment, on the second floor of a 17th-century palazzo that sits in the heart of Crema, a city 40 minutes from Milan. When Guadagnino bought the place a few years ago, it had been empty for 40 years — since the countess who lived there died. It had “broken windows, a lot of dead pigeons and rotten wallpaper,” he says.
The renovation took six months, and Guadagnino was onsite “every day, directing the workers,” he says. After all, “I am a director.” What he discovered beneath layers of decaying wallpaper and bright midcentury paint was every palazzo owner’s dream: authentic frescoes. Ripping up the 1950s cement tiles revealed the original terracotta bricks, now cleaned and buffed. When a false ceiling was torn out in the kitchen, a 17th-century painted wood bench, now in Guadagnino’s bedroom, was found in a crawl space. He worked with the painters to mix pigment for the precise hues in each room; it took four tries to get the dining room right, from kelly green to the final slate gray. For the living room’s boiserie, he chose a navy that, depending on the hour of the day, can seem black. “The bedroom was easy,” he says. “I was eating a date, a beautiful brown, and I said to the painter, Do this color. It’s like being in the center of a huge date.”
In an office that doubles as a guest bedroom, he writes his scripts at one of two side-by-side leather desks. (His partner of seven years, also an Italian filmmaker, sits at the other.) Guadagnino, who has acquired other apartments in the building, has effectively turned much of it into his moviemaking compound. His production team works in a ground-floor suite that opens onto the cobblestone courtyard-cum-parking lot; he edits his films in a studio just above them. The actors in his films, lodged in nearby B&Bs, zoom over on bicycles and watch movies on a screen mounted to a wall in the regal living room. Doors always seem open; friends and assistants freely wander in and out, careful to avoid disturbing the few families still living in the other wing. “A good creative place,” the director says.
Guadagnino’s appreciation for incongruity began when he was a child and continued through his education. A month after he was born in Palermo, in 1971, his family moved to Ethiopia, where his Sicilian father taught history and Italian, returning home when Luca was 6. While at the University of Palermo, where he studied literature, he met Patrizia Allegra, a fixture of Sicily’s cultural scene. She would bring the then-19-year-old cinephile (with a particular fondness for Ingmar Bergman) along to dinner parties. At one, Guadagnino recalls, Allegra introduced him to the filmmakers Jean-Marie Straub and Danièle Huillet. “Patrizia said: ‘Oh, Monsieur Straub, Luca wants to be a director. What is your advice? Should he go to film school?’ Straub looked at me and said, ‘If you want to be a director then you are a film director. You don’t need to go to school. Don’t.’ ”
So he didn’t. Instead, Guadagnino moved to Rome and finished his degree in literature and cinema history at Sapienza University. While there he met Laura Betti, the muse of Italian director Pier Paolo Pasolini. “I approached her in complete naïveté, and she said, ‘Come visit me,’ and we became friends — this big, nasty lady and this very skinny young man,” he says with a laugh. “I could cook very well, so she used me a lot — ‘You have to come now because I have guests!’ Everybody from Bernardo Bertolucci to Valerio Adami, the painter — these big personalities, together. That was my film school.”
Guadagnino eventually found his own muse in the film Caravaggio, directed by the British experimental filmmaker Derek Jarman. “I saw Tilda playing Lena,” he says. “I thought: Ahhh.” He eagerly sought out her films, and by the time Sally Potter’s Orlando came out in 1992, “I was obsessed.”
He wrote a script for a short film called The Penny Arcade Peepshow, inspired by William S. Burroughs’s writings, and sent a letter to Swinton, via her agent, asking if she’d star in it. He never heard back. A few months later he read that she was in Rome for an event. He went and “was staring at her like a stalker. Staring!” Guadagnino says, clearly amused by his youthful gaucherie. “After one hour, she said, ‘What can I do for you?’ ”
Somehow he convinced her to be in his film, and he pulled together money for her business-class ticket from London and kicked out his roommates so she could stay in his flat. “She was incredibly cool. The coolest,” he says. “After three days, she said, ‘We are going to be partners in crime and the crime is cinema.’ And we have become that.”
They never finished the film — he ran out of money. But she agreed to appear in his first feature, The Protagonists, which he now dismisses as a learning experience. Later she starred in I Am Love and A Bigger Splash. The former film established Guadagnino’s mature style, both as a filmmaker and a creator of environments of melancholic glamour. “Polished and refined are the last words I would use to describe his work, and I mean that as a high compliment,” Swinton says. “There is nothing smoothed away, hidden or suppressed. Rather, a proper rawness of sensibility and pulse, something pagan, profoundly wild.”
I Am Love is shot in the architect Piero Portaluppi’s masterpiece, the Villa Necchi Campiglio in Milan, and it is as much a star of the film as Swinton. Portaluppi, the Italian Modernist architect of choice to society in the 1920s and ’30s, was an obsessive perfectionist, much like Guadagnino. “We have no bedside tables because I can’t find any that I like yet,” he says. “My partner wants to kill me!”
The passionate cook had better luck in the kitchen, with a fishmonger’s stone sink from Genoa and a large cheese-maker’s table from a nearby village. The shelves are packed with international cookbooks. “I like to host — a lot,” he says.
Dinner parties are staged in the enclosed loggia that runs the length of the apartment, the mix of guests cast as carefully as his films. “You know when they say you need to put people who go well together?” Guadagnino asks. “I much prefer to put people who fight at the table. Then you have some sort of sparkle at the dinner!”
For one meal, friend and fellow director James Ivory filmed Guadagnino rolling and cutting fresh fettuccine on his pasta-maker. “Luca is no less commanding in the kitchen than on his set — tall, semi-bald, his hair flying up every which way,” Ivory says. Though Guadagnino usually cooks himself, on occasion he invites his friend Niko Romito, Abruzzo’s three-Michelin-star chef, to take charge. Then, the director says, everyone eats very well.
In the loggia, there is an accountant’s standing desk piled with garden books — evidence of yet another love, horticulture. Guadagnino tells me about a trip to Sweden last summer, to visit Dutch garden designer Piet Oudolf’s Dream Park. “I told my friends, ‘We have to be there at 8 o’clock in the morning when the light is nicest.’ We land there and everyone is grumpy and then we turn and we are in front of this wonder, and everyone exhales. We spent two hours wandering around. I must admit, I had this slight attack of Stendhal Syndrome.”
He pauses and looks out the window onto the old, twisted plum tree that grows in the courtyard.
“The next house will have a garden.”
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The film’s costumes and production design nail the look of 1980s rural Italy, with Guadagnino actually having shot in and around the picturesque village [Crema, Cremona, Lombardy] where he lives. References to political life in Italy, entirely absent from the novel, are also convincing and add texture. Some classical pieces and Sufjan Stevens’ glorious score complete the all-round classy package.
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http://www.mynewplaidpants.com/2016/06/armie-is-still-taking-italy.html
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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
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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
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‘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.
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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.
(https://2.bp.blogspot.com/-F3_0FPazSVk/V1WIeDT9bXI/AAAAAAADFWY/-uitC4xI-GcxoQsgsubldfMmDuTgI6gWACLcB/s1600/ARMIE%2BHAMMER%2BSHORT%2BSHORTS%2B2.png)
http://www.mynewplaidpants.com/2016/06/armie-is-still-taking-italy.html
(https://pbs.twimg.com/media/DIVuDQMXkAENQrj.jpg)
https://twitter.com/cmbynmovie
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Today I just caught the end of an NPR film review that "built on" the foundation of Brokeback Mountain and Moonlight. I wonder if this movie was it.
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Brent Of The Fabulous Wild
the collective musings of an average everyday sane psycho supergod
Book Review: “Call Me By Your Name”
by André Aciman
This review of the book is spot on. Thanks, John!
Later!
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OK, Lake Garda makes some sense. It's sea-like.
(https://pbs.twimg.com/media/DGaDBZBVoAAXURr.jpg)
Well! Is that a kiss or is daring to eat a peach?
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Today I just caught the end of an NPR film review that "built on" the foundation of Brokeback Mountain and Moonlight. I wonder if this movie was it.
Possibly, Lee, but, as amazing as Call Me By Your Name promises to be, there are two other new gay movies (also from Sundance 2017!) opening this week that might be more likely to be "built on" the foundation of Brokeback Mountain and Moonlight--
FIRST, one is actually being hailed as the Yorkshire Brokeback (or Brokeback Moor ;) --with SHEEP!! :laugh: )--
British actor Josh O'Connor and Romanian actor Alec Secăreanu star in God's Own Country (opens Sept 1 2017 UK) by Yorkshire once actor now director Francis Lee (yet another Lee!)
I have a thread about it in Culture Tent, take a look HERE:
[youtube=425,350]http://www.youtube.com/watch?v=q1YAhyU6-tA[/youtube]
GOD'S OWN COUNTRY Official Trailer (2017) LGBT
Published on Jun 20, 2017
Johnny Saxby works long hours in brutal isolation on his family’s remote farm in the north of England. He numbs the daily frustration of his lonely existence with nightly binge-drinking at the local pub and casual sex. When a handsome Romanian migrant worker arrives to take up temporary work on the family farm, Johnny suddenly finds himself having to deal with emotions he has never felt before. An intense relationship forms between the two which could change Johnny’s life forever.
(http://www.screendaily.com/pictures/704x528fitpad[150]/4/3/0/1236430_Gods-Own-Country.jpeg)
https://en.wikipedia.org/wiki/God%27s_Own_Country_(2017_film)
http://www.imdb.com/title/tt5635086/
SECONDLY, the film everyone is referencing as the new Moonlight is director Eliza Hittman's "Dreamy Knockout" Beach Rats starring "Breakout", "Powerhouse" Harris Dickinson (the BRITISH actor apparently stuns with his authentic Brooklyn accent).
I have a different thread about this film in Culture Tent, take a look HERE (and browse--I will be adding more!):
In a year filled with astonishing breakout big-screen performances, Harris Dickinson stands out, and you will have a hard time getting his work here out of your head. At a recent advanced screening of the film at Outfest Film Festival in Los Angeles, soft-spoken and charming Eliza Hittman participated in a Q&A after the film. A piercing collective gasp echoed throughout the room when she revealed that Dickinson is, in fact, English. He is so convincing as a hood rat from Brooklyn that one would assume Hittman had simply plucked him off the street right before cameras rolled. His New York accent is masterful, and the way he carries himself is uncanny. This is also a performance of extraordinary magnetism and emotional weight.
(https://static.parade.com/wp-content/uploads/2017/07/beach_rats_still04.jpg)
Harris Dickinson gives a breakout performance in Eliza Hittman's Sundance hit Beach Rats Photograph: NEON
Enjoy! :)
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Brent Of The Fabulous Wild
the collective musings of an average everyday sane psycho supergod
Book Review: “Call Me By Your Name”
by André Aciman
This review of the book is spot on. Thanks, John!
Later!
Yes!!!
What is astonishing about this book is the highly elegant and precise writing style of Aciman that steers this work away from the run-of-the-mill gay romance novels with gratuitous scenes of pornography [....] Instead, he deftly executes a subtle astuteness in the narrative that one can’t help but be absorbed by the sheer forcefulness of the words. [....]
You can feel the stomach-churning longing Elio has for Oliver, you shiver every time their skin brushes against the other, and you swoon whenever they declare their undiluted ardor in words so deceptively simple. The reason why this is because you know what it is like to have experienced such things with the first person who had a deep influence on your love life. And while it is a relatively slim novel, Aciman delivers a heart-stopping masterpiece in just 256 pages. Indeed, there is nary a weak page that can be found in the book. Haunting, elegiac, and proudly hyperromantic, Call Me By Your Name will brutally remind you of the beauty and pain of an ephemeral passion that burns as bright as the summer sun.
Woah! :o :o :o
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OK, Lake Garda makes some sense. It's sea-like.
We shall see, however, if Guadagnino keeps the references (and so many references in Aciman!) to Monet's Berm--
https://akidfromguam.wordpress.com/2015/01/01/124/
A Kid From Guam
Just an island boy living in the city
Monet’s Berm
Posted on January 1, 2015 by Ryan Galindo @rygalindo
“It never occurred to me that I had brought him here not just to show him my little world, but to ask my little world to let him in, so that the place where I came to be alone on summer afternoons would get to know him, judge him, see if he fitted in, take him in, so that I might come back here and remember. Here I would come to escape the known world and seek another of my own invention; I was basically introducing him to my launchpad. All I had to do was list the works I’d read here and he’d know all the places I’d traveled to.”
–Elio, Call Me By Your Name by André Aciman
(https://akidfromguam.files.wordpress.com/2015/01/cliff-at-grainval.jpg?w=695)
(Ooops, though, this kind poster seems to have chosen an image taken from Cliffs at Varengeville near Dieppe
over looking the Atlantic or even the English Channel (!!!)--nope, let's try for something else--)
(https://upload.wikimedia.org/wikipedia/commons/thumb/9/96/Bordighera_by_Claude_Monet_1884.jpg/745px-Bordighera_by_Claude_Monet_1884.jpg)
https://commons.wikimedia.org/wiki/File:Bordighera_by_Claude_Monet_1884.jpg
Bordighera, Claude Monet 1883, oil on canvas 65 x 81 cm,
The Art Institute of Chicago, Chicago Illinois USA. Riviera Italy.
Painting Description:
The Citta Alta of Bordighera emerges from behind the pine trees.
The canvas was painted by Monet from the Torre dei Mostaccini.
That's better! Better than that--in the novel, the town is never mentioned other than the capital letter 'B',
but when you look Bordighera up on Google Maps, right near the water you find a restaurant:
Monet's Café--perfect!
click for the link:
https://www.google.com/maps/place/18012+Bordighera,+Province+of+Imperia,+Italy/@43.7853098,7.6553045,15z/data=!4m5!3m4!1s0x12cdf3b7493a1e09:0x4e876555b0b2bb3!8m2!3d43.7806979!4d7.6722799
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[(https://pbs.twimg.com/media/DGaDBZBVoAAXURr.jpg)
Well! Is that a kiss or is daring to eat a peach?
Heh! Could be! (But talk about daring-- :o ::) :laugh: )
(https://pbs.twimg.com/media/DGaDBZBV0AAc3vL.jpg)
But of course, coming back to Monet's Berm--
"So this is where Monet came to paint."
"I'll show you at home. We have a book with wonderful reproductions of the area around here."
"Yes, you'll have to show me."
And this happens--
"Better now?" he asked afterward.
I did not answer but lifted my face to his and kissed him again, almost savagely, not because I was filled with passion or even because his kiss still lacked the zeal I was looking for, but because [....]
[(https://pbs.twimg.com/media/DGaDBZBVoAAXURr.jpg)
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http://www.speakoutmag.com/2017/01/call-me-by-your-name-has-sundance-and.html
(http://1.bp.blogspot.com/-0eLZLkC3LFM/WMMjy18YsHI/AAAAAAAAAIQ/V49pZW0xg04ioqT6shxE84XWjgIXPjjUgCK4B/s1600/ESTABLISHED%2B1856%2B%25282%2529.jpg)
"CALL ME BY YOUR NAME" HAS SUNDANCE (AND ME) IN TEARS
(https://4.bp.blogspot.com/-V3JFUZhuc7g/WHuo4EXqAbI/AAAAAAAAAnI/KzxaOPikJ94A18x5Wcxe2Y1bthoIgaX8QCLcB/s1600/Call-Me-By-Your-Name-Movie-2.jpg)
AUTHOR: HANNAH LEE, MONDAY, JANUARY 30TH AT 1:00:00 PM
It is a rare day that a novel that you've clutched to your chest an unspeakable amount of times gets a movie deal. However, for once, the stars have aligned. The film gods decided that I have been burned one too many times and let me have this one momentous occasion. One of my most adored novels is now a movie. Nay, it's a budding cultural masterpiece that will go down in cinematic history. Alright, fine, I haven't seen it yet, but I know it's going to be good. I feel it in my bones.
Call Me By Your Name was written by André Aciman who is a distinguished professor at the Graduate Center of the City University of New York. The novel is a coming of age story set in Italy during the 1980s about a teenager named Elio. During one summer, Elio helplessly and suddenly falls in love with a man named Oliver, a visiting scholar who comes to work with Elio's father. It's tense, fraught, heart-wrenching, but beautiful and passionate. It is a novel that The New York Times has called "exceptionally beautiful" and Aciman's prose has been likened to Proust.
Not only is this film directed by award-winning, world renowned film director Luca Guadagnino, it stars Timothée Chalamet and Armie Hammer, as Elio and Oliver respectively. If Hammer's part in the movie didn't at least pique your curiosity, there's no hope for you. Furthemore, the film features original songs performed by Sufjan Stevens. Yes, you read that correctly. Sufjan Stevens. The songs have been described as "'ethereal'" and having a "'wistful elation.'" This film is in good hands. I couldn't have asked for anything better.
Hopefully, this movie is released in theaters soon because I'm losing my mind hearing about it receiving a standing ovation at Sundance and people dancing in the streets on a cinematic high.
(https://1.bp.blogspot.com/-s_p6dVtqi0Y/WI5Cox8zuDI/AAAAAAAAAoM/jmXu1ttrV4YLTB84BO1WJUrSPCRoALM9gCLcB/s1600/Screen%2BShot%2B2017-01-29%2Bat%2B2.26.29%2BPM.png)
(https://3.bp.blogspot.com/-KUDRhChEUBo/WI5imK4z-qI/AAAAAAAAAoc/KPgISvoqljUCWUjbvreMVYjbw-MFdoA2ACLcB/s1600/Screen%2BShot%2B2017-01-29%2Bat%2B4.45.27%2BPM.png)
Sony Pictures bought the film and it will be released theatrically sometime, fingers crossed, soon. In the mean time if you're starved for content like I am, you can watch Armie Hammer, Timothée Chalamet, and Michael Stuhlbarg (who plays Elio's father) talk about the film here and weep along with me.
UPDATE AT MONDAY, JANUARY 30TH AT 4:41 P.M.: I lied. The first clip came out an hour ago. You can watch it here and, again, weep with me
ABOUT US
Speak Out is an inclusive, progressive, and inspired community of writers from the College of Saint Rose and surrounding areas of Albany, New York. Our topics range from environmental justice, politics, sports, entertainment, personal think pieces, to poetry and prose. There is no limit nor quota of what we can and can't write about.
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But of course, coming back to Monet's Berm--
"So this is where Monet came to paint."
"I'll show you at home. We have a book with wonderful reproductions of the area around here."
"Yes, you'll have to show me."
And this happens--
"Better now?" he asked afterward.
I did not answer but lifted my face to his and kissed him again, almost savagely, not because I was filled with passion or even because his kiss still lacked the zeal I was looking for, but because [....]
[(https://pbs.twimg.com/media/DGaDBZBVoAAXURr.jpg)
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(https://pbs.twimg.com/media/DIZd7HmWAAMwOul.jpg)
https://twitter.com/cmbynmovie
Each leaning on one arm, we both stared out at the view.
"You're the luckiest kid in the world," he said.
"You don't know the half of it."
[....]
"Let's see then--"
And before I knew it, he sidled up to me. We were too close, I thought, I had never been so close to him before except in a dream or when he cupped his hand to light my cigarette. If he brought his ear any closer he'd hear my heart. I'd seen it written in novels but never believed it until now. He stared me right in the face, as though he liked my face and wished to study it and to linger on it---
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"You're making things very difficult for me."
Was he by any chance referring to our staring?
I didn't back down. Neither did he. Yes, he was referring to our staring.
"Why am I making things difficult?"
My heart was beating too fast for me to speak coherently, I wasn't even
ashamed of showing how flushed I was. So let him know, let him.
"Because it would be very wrong."
"Would?" I asked.
Was there a ray of hope, then?
He sat down on the grass, then lay down on his back,
his arms under his head, as he stared at the sky.
(https://pbs.twimg.com/media/DGeCljGXcAAHBhP.jpg)
https://twitter.com/cmbynmovie
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(https://pbs.twimg.com/media/DIVCT4bXgAAuut3.jpg)
(https://pbs.twimg.com/media/DIVuDQQW0AAP1cx.jpg)
https://twitter.com/cmbynmovie
The next morning we went swimming together. [....] Later, as he performed his own version of the dead-man's float, I wanted to hold him, as swimming instructors do when they hold your body so lightly that they seem to keep you afloat with barely a touch of their fingers. Why did I feel older than he was at that moment? I wanted to protect him from everything this morning, from the rocks, from the jellyfish, now that jellyfish season was upon us--
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The foot that came to rest on mine under the table told me that perhaps I should let it go and assume my father was onto something. "He's no fool," he said later that morning as he was getting ready to head up to B.
"Want me to come with?"
"No, better keep a low profile. You should work on your Haydn today. Later."
"Later."
Marzia called that morning while he was about to leave. He almost winked when he handed me the telephone. There was no hint of irony, nothing that didn't remind me, unless I was mistaken--and I don't think I was--that what we had between us was the total transparency that exists among friends only.
Perhaps we were friends first and lovers second.
But then perhaps this is what lovers are.
[....]
For weeks I had mistaken his stare for barefaced hostility. I was wide of the mark. It was simply a shy man's way of holding someone else's gaze.
We were, it finally dawned on me, the two shyest persons in the world.
(https://pbs.twimg.com/media/DIVOpWiW0AIOBXI.jpg)
https://twitter.com/cmbynmovie
(http://cdn2-www.comingsoon.net/assets/uploads/2017/08/callmeheader.jpg)
(https://pbs.twimg.com/media/DIVnf5zXoAEzWxz.jpg)
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(https://68.media.tumblr.com/936baa23ee4e4f89cd60065e4216196d/tumblr_ouwjdue3YX1wuwt75o1_1280.jpg)
https://68.media.tumblr.com/936baa23ee4e4f89cd60065e4216196d/tumblr_ouwjdue3YX1wuwt75o1_500.jpg
http://www.gramunion.com/saintgeron.tumblr.com/164344230920
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(https://pbs.twimg.com/profile_images/1255015267/familyDSC_5411_2_bigger.jpg)
Peter Spears @pjspears Aug 13
https://twitter.com/pjspears
Producer, "Call Me By Your Name"
The day it all began--the table read of CMBYN script.
#victoiredubois #amiracasar @RealChalamet me #lucaguadagnino @armiehammer #michaelstuhlbarg
(https://pbs.twimg.com/media/DHGxFPLVYAAx8lZ.jpg)
https://twitter.com/pjspears/status/896692510336180224
http://www.imdb.com/title/tt5726616/fullcredits/
Armie Hammer ... Oliver
Timothée Chalamet ... Elio
Michael Stuhlbarg ... Mr. Perlman
Amira Casar ... Annella
Esther Garrel ... Marzia
Victoire Du Bois ... Chiara
Andre Aciman ... Mounir (as André Aciman)
Peter Spears ... Isaac (and Producer)
Luca Guadagnino ... Director
But of course we know where that fabulous loggia with the refectory table is located--
https://www.nytimes.com/2016/08/01/t-magazine/luca-guadagnino-home-italy-interior-design.html
(http://a1.nyt.com/assets/foundation/20140108-142003/images/logos/nyt-logo-185x26.svg)
The director Luca Guadagnino’s exquisitely art-directed movies have become something of an obsession among interior designers.
But his ultimate set is his own apartment in a 17th-century palazzo outside of Milan. The property had been empty for 40 years before
Guadagnino spent six months renovating it. With the help of painters, he created custom paint colors for each room.
https://www.nytimes.com/slideshow/2016/08/01/t-magazine/luca-guadagnino-milan-home-interior-design/s/01tmag-luca-slide-E6UZ.html
(https://static01.nyt.com/images/2016/08/01/t-magazine/01tmag-luca-slide-HP6L/01tmag-luca-slide-HP6L-superJumbo.jpg)
https://www.nytimes.com/slideshow/2016/08/01/t-magazine/luca-guadagnino-milan-home-interior-design/s/01tmag-luca-slide-HP6L.html
Guadagnino says his next house will have a garden. Photo: Mikael Olsson
(http://68.media.tumblr.com/6edf1e7bdbe9c97e6e15a295d1c95ce1/tumblr_oba594vWpJ1uui69bo8_1280.png)
https://www.nytimes.com/2016/08/01/t-magazine/luca-guadagnino-home-italy-interior-design.html
Light floods the loggia, on the second floor of the palazzo. Gio Ponti Superleggera chairs by Cassina flank the dining table,
with vintage Danish chairs in the foreground. The ornately painted door is original to the building. Credit Mikael Olsson
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(https://pbs.twimg.com/media/DGTnAIpVwAQB7_B.jpg)
Oliver needed company. He began by sharing my table but eventually grew to like throwing a large sheet on the grass and lying on it, flanked by loose pages of his manuscript and what he liked to call his "things": lemonade, suntan lotion, books, espadrilles, sunglasses, colored pens, and music, which he listened to with headphones, so that it was impossible to speak to him unless he was speaking to you first. Sometimes, when I came downstairs with my scorebook or other books in the morning, he was already sprawled in the sun wearing his red or yellow bathing suit and sweating. We'd go jogging or swimming, and return to find breakfast waiting for us. Then he got in the habit of leaving his "things" on the grass and lying right on the tiled edge of the pool--called "heaven," short for "This is heaven," as he often said after lunch, "I'm going to heaven now," adding, as an inside joke among Latinists, "to apricate." We would tease him about the countless hours he would spend soaking in suntan lotion as he lay on the exact spot along the pool. "How long were you in heaven this morning?" my mother would ask. "Two straight hours. But I plan to return early this afternoon for a much longer aprication." Going to the orle of paradise also meant lying on his back along the edge of the pool with one leg dangling in the water, wearing his headphones and his straw hat flat on his face.
Here was someone who lacked for nothing. I couldn't understand this feeling. I envied him.
(https://scontent-iad3-1.cdninstagram.com/t51.2885-15/e35/20181066_257907148046394_7324179761041768448_n.jpg)
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(http://cdn2-www.comingsoon.net/assets/uploads/2017/08/callmeheader.jpg)
(https://pbs.twimg.com/media/DIVOpWiW0AIOBXI.jpg)
https://twitter.com/cmbynmovie
(https://pbs.twimg.com/media/DIVnf5zXoAEzWxz.jpg)
Scene/Behind the scene--
(https://pbs.twimg.com/media/DCe9bNuXgAkB2ot.jpg:large)
(https://68.media.tumblr.com/69a567418b0410ddc5a1682eb79ff4b7/tumblr_o76w255LsU1tmwudwo1_r1_1280.jpg)
https://fuckyeahtimotheechalamet.tumblr.com/post/158251170786/by-zarubinaart
https://fuckyeahtimotheechalamet.tumblr.com/image/144368827876
https://www.instagram.com/stellarossasavino/
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Oh! Oh! Oh! This is going to hurt--
(https://68.media.tumblr.com/5385d5c623fba7cd330de9f74523b54c/tumblr_ouc4l4497R1wwjl4jo1_r1_1280.jpg)
http://www.gramunion.com/callmebyurnameandillcallubymine.tumblr.com/163920289941
http://www.gramunion.com/tagged/michael%20stuhlbarg
"It's the compassion and wry wisdom of “Call Me by Your Name” — beautifully articulated by Michael Stuhlbarg as Elio’s erudite, progressive-minded father — that catch you off-guard. The haunting final scene leaves Elio’s blissful summer behind, as if to remind us that, to everything, there is a season. I couldn’t have been the only viewer who exited Guadagnino’s movie and walked out into the [Sundance 2017] freezing cold, feeling sadder but somehow, magically, warmer."
http://www.latimes.com/entertainment/movies/la-et-mn-sundance-critics-call-me-by-your-name-beach-rats-20170123-story.html
(http://www.movpins.com/big/MV5BMmExNWJlYWItYWQ0NC00MGRhLWIxMDUtNjE2ZTEzMDRkMGE5XkEyXkFqcGdeQXVyMzI3NjY2ODc/michael-stuhlbarg-and-timothee-chalamet-in-call-me-by-your-name-2017-large-picture.jpg)
FYI, click the link below to watch a very, very clever homage of the original Charlie Puth/Selena Gomez "side-by-side" music video 'We Don't Talk Anymore' with Armie-Oliver/Timothée -Elio!
Watch it quickly before it is taken down--the Chinese fan seems to think it will. Also--click to the right for 'translate' and you can see the clever streaming commentary within the video changed from Chinese characters into English:
https://www.bilibili.com/video/av10675995/
If you are interested, here is the original (NON Oliver/Elio) version on Youtube:
[youtube=425,350]http://www.youtube.com/watch?v=3AtDnEC4zak[/youtube]
We Don't Talk Anymore (2016)
(I wish it WAS ELIO and OLIVER--Sad!
Charlie Puth featuring Selena Gomez
Published on Aug 2, 2016
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Though their relationship [that of Elio and Oliver] dominates the majority of the second half of the feature, Call Me by Your Name never feels like a “gay romance movie”, instead presenting itself as a film that celebrates love and sexuality, whoever it happens to be between. As to be expected Call Me by Your Name lives and dies on the chemistry between Armie Hammer and Timothée Chalamet, and the two are simply electric together. At once certain yet unsure of themselves and each other, neither has complete control of the relationship, and it plays in the film’s favour that, despite appearing the more experienced, Hammer’s Oliver emerges as perhaps the more vulnerable partner; on the mention of Hammer, the actor has never been as good as he is here, exuding a charisma that is intoxicating to witness.
http://iris.theaureview.com/sydney-film-festival-review-call-me-by-your-name-italyusa-2017-is-a-near-flawless-picture-that-celebrates-the-universality-of-love/
(http://iris.theaureview.com/images/LHS.jpg)
SYDNEY FILM FESTIVAL
Sydney Film Festival Review
Call Me by Your Name
IS A NEAR-FLAWLESS PICTURE THAT CELEBRATES THE UNIVERSALITY OF LOVE
by PETER GRAY
JUNE 18, 2017
(http://cdn2.thr.com/sites/default/files/2017/01/call_me_by_your_name_sundance_still_2_-_publicity_-_h_2017.jpg)
‘Near-flawless’ ... Michael Stuhlbarg, Timothée Chalamet and Armie Hammer in Call Me by Your Name
Thoroughly engaging, immensely poignant, and remarkably evocative, Call Me by Your Name functions as both a coming-of-age tale and a love story, likely to surprise viewers as to where it travels on both accounts.
Based on the novel by André Aciman, and co-penned for the screen by director Luca Guadagnino (A Bigger Splash), James Ivory (director of such Award-winning productions as A Room With A View, Howards End, and The Remains of the Day ) and editor Walter Fasano, this lush and intense drama tells of 17 year-old Elio (Timothée Chalamet), a curious young man who is in the midst of his first sexual affair with a visiting girl friend during the summer of 1983 Italy.
As comfortable as he is, it’s the arrival of older 20-something American visitor Oliver (Armie Hammer), an academic called to assist Elio’s father (Michael Stuhlbarg) on an archaeological project, that particularly takes his interest, shaking up his views on sexuality and personal attraction in the process.
With a casual demeanour that charms Elio’s parents but rubs the young man the wrong way, Oliver initially earns a cold reception from Elio, something Oliver senses and returns in his own effortless manner. When Oliver appears to be enjoying the company of multiple local females, Elio can’t help but have his interest piqued, and it’s through their misinterpretations of each other that they acknowledge their feelings for one another.
Though their relationship dominates the majority of the second half of the feature, Call Me by Your Name never feels like a “gay romance movie”, instead presenting itself as a film that celebrates love and sexuality, whoever it happens to be between. As to be expected Call Me by Your Name lives and dies on the chemistry between Hammer and Chalamet, and the two are simply electric together. At once certain yet unsure of themselves and each other, neither has complete control of the relationship, and it plays in the film’s favour that, despite appearing the more experienced, Hammer’s Oliver emerges as perhaps the more vulnerable partner; on the mention of Hammer, the actor has never been as good as he is here, exuding a charisma that is intoxicating to witness.
Given Guadagnino’s penchant for lush European settings, it’s unsurprising at how utterly gorgeous this film is to look at, not to mention the 1980’s period setting allowing some choice soundtrack cuts, most notably The Psychedelic Furs’ “Love My Way“, to provide an additive to the film’s erotic nature; offsetting this is musician Sufjan Stevens‘ original song contributions which play into the film’s fairytale-like mentality.
Continuing the significance of mainstream cinema embracing films with gay themes that began with Moonlight earlier this year, Call Me by Your Name, though likely to resonate stronger with gay viewers, is a near-flawless picture that celebrates the universality of love.
Review Score: FOUR AND A HALF STARS (OUT OF FIVE)
Call Me By Your Name screened as part of Sydney Film Festival, where it was reviewed.
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Oh! Oh! Oh! This is going to hurt--
I think you're right about that.
https://www.bilibili.com/video/av10675995/
Very clever indeed!
-
Oh! Oh! Oh! This is going to hurt--
I think you're right about that.
Or as the clever Chinese fan video auteur says (or streaming commenters say): "Hammer have a baby... ...crying messy" and "I deserve to scream Too Sad............"
https://www.bilibili.com/video/av10675995/
Very clever indeed!
Quite the astute critic as well (we hope!): "And the novel is quite consistent timmy really good tender ah"
:) ;)(http://cdn2-www.comingsoon.net/assets/uploads/2017/08/callmeheader.jpg)
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http://thelowdownunder.com/2017/08/23/2017-miff-audience-award-winners-announced-call-me-by-your-name-best-film/
(https://i1.wp.com/thelowdownunder.com/wp-content/uploads/2017/04/MIFF-Logo.jpg?w=500)
(http://68.media.tumblr.com/c4c2da48213ab8679dd6d737dd3911e7/tumblr_ov4a95Iiyl1sn68q5o2_500.png)
2017 MIFF AUDIENCE AWARDS PRESENTED BY WANDER VICTORIA
‘CALL ME BY YOUR NAME’ TOPS BEST FEATURE FILM LIST
‘ALL FOR ONE’ AWARDED BEST DOCUMENTARY
Celebrating its 66th edition, the Melbourne International Film Festival (MIFF) concluded on 20 August after 18 days jam-packed with films, guests, talks and events.
This year 346 films screened across 539 sessions, 17 virtual reality experiences played out across 247 screenings, there were 12 curated talks, 123 film intros and post film Q&As, 24 special events and 180 festival guests. Thirty-two of the guests flew from overseas and of these, one spent as much time on the plane as in the city (16 hours). Approximately 25% of our guests (47) were Indigenous Australians and travelled distances that easily rival international flights in order to join the festival! And last, but certainly not least, 407 volunteers across 3962 shifts gave their time to help MIFF.
Audiences flocked to sessions from 10am to 1am, and even all night for the Sci-Fi marathon at the Astor. They queued, discussed, deconstructed and at the end of each session they were encouraged to rate the films online for the Audience Award. One lucky person who rated the films they watched will win the ultimate Wander Weekend in the Grampians, enjoying fine dining, luxurious accommodation and the great outdoors thanks to Wander Victoria. But for now, we are very pleased to announce the 2017 MIFF Audience Award winners.
Top 10 Features:
1: Call Me By Your Name
2: Ali’s Wedding
3: The Party
4: Top of the Lake: China Girl
5: Brigsby Bear
6: Ethel & Ernest
7: A Fantastic Woman
8: Loving Vincent
9: That’s Not Me
10: Lucky
Top 10 Documentaries:
1: All For One
2: Unrest
3: The Song Keepers
4: I Am Not Your Negro
5: Faces Places
6: City of Ghosts
7: Roller Dreams
8: Step
9: Pecking Order
10: Mountain
MIFF dates are locked and ready for 2018 too! Only 343 days until MIFF returns from 2 – 19 August 2018.
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https://supermarcey.com/2017/08/09/bedes-miff-2017-audio-reviews-1-radiance-and-call-me-by-your-name/
(https://i1.wp.com/thelowdownunder.com/wp-content/uploads/2017/04/MIFF-Logo.jpg?w=500)
[Bede’s MIFF 2017 Audio Reviews #1]
Radiance and Call Me By Your Name
This entry was posted on August 9, 2017 by blj4, in Film Festival, Movie Reviews and tagged Armie Hammer, Audio Review, Call Me By Your Name, Melbourne International Film Festival, MIFF, Radiance, review. Bookmark the permalink. Leave a comment
(https://supermarcey.files.wordpress.com/2017/08/2399_1.png?w=400&h=257) (https://supermarcey.files.wordpress.com/2017/08/call-me-by-your-name-poster.jpg?w=205&h=293)
(https://supermarcey.files.wordpress.com/2017/08/befunky-collage.jpg?w=551&h=352)
RADIANCE and CALL ME BY YOUR NAME
Welcome to the 1st edition of my 2017 Melbourne International Film Festival (a.k.a. MIFF) audio reviews. In this very first one, I share my thoughts on STILL THE WATER director Naomi Kawase’s latest film RADIANCE and A BIGGER SPLASH director Luca Guadagnino’s latest film the coming-of-age romance CALL ME BY YOUR NAME
For more of my experiences at MIFF, follow me at www.twitter.com/BedeJermyn for my daily random thoughts and first reactions to all the films at the festival.
Audio reviews by Bede Jermyn
(Click and scroll and click to 5:47- 12:28 to hear the audio review
https://supermarcey.com/2017/08/09/bedes-miff-2017-audio-reviews-1-radiance-and-call-me-by-your-name/
or to download, click here:
https://supermarcey.files.wordpress.com/2017/08/bedes-2017-miff-audio-reviews-1-radiance-and-call-me-by-your-name.mp3
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CALLMEBYYOURNAMEFANART
https://billowyblueshirt.tumblr.com/
http://tattooedsiren.tumblr.com/
IF NOT LATER, WHEN?
(https://static.tumblr.com/b5e28df8266304420a1dae34d559089f/kekmbi4/QRZol9tpa/tumblr_static_18r955m23ef44wgsgks4ks488.png) by billowyblueshirt
Photoset August 26, 2017 354 notes
(https://68.media.tumblr.com/814cb412586134bbd67c923b42fe5b2a/tumblr_ovavciqfJ21w5uhsro1_400.gif)(https://68.media.tumblr.com/75b04e4592f77f1bda6db7aadd6fff80/tumblr_ovavciqfJ21w5uhsro4_400.gif)
(https://68.media.tumblr.com/4ba065e8a78225b3868f5866f4f00244/tumblr_ovavciqfJ21w5uhsro5_400.gif)(https://68.media.tumblr.com/d6ea21730bc53e0b28a35c5dc9e15a73/tumblr_ovavciqfJ21w5uhsro2_400.gif)
(https://68.media.tumblr.com/6f89fcf6a00ab1ffad885dea0adf0d1f/tumblr_ovavciqfJ21w5uhsro6_400.gif)(https://68.media.tumblr.com/027f9036a8f21341ca42e0db254bf36f/tumblr_ovavciqfJ21w5uhsro3_400.gif)
(https://68.media.tumblr.com/ea43e5140652b3a2b43b75e06f9c9fe7/tumblr_ovavciqfJ21w5uhsro7_400.gif)(https://68.media.tumblr.com/fa79cb062f9041d915450b1cf897c7e0/tumblr_ovavciqfJ21w5uhsro8_400.gif)
https://billowyblueshirt.tumblr.com/post/164638055299/call-me-by-your-name-by-andr%C3%A9-aciman-he-came-he
http://tattooedsiren.tumblr.com/post/164666591623/billowyblueshirt-call-me-by-your-name-by-andr%C3%A9
“He came. He left.
Nothing else had changed.
I had not changed.
The world hadn’t changed.
Yet nothing would be the same.
All that remains is dreammaking
and strange remembrance.”
Call Me By Your Name by André Aciman
Recited/Narrated by Armey Hammer
26th August 2017 354 notes
#callmebyyourname #cmbyn #andréaciman #lucaguadagnino #lgbt
#timothée chalamet #elio #elio perlman #armie hammer #oliver #ulliva
#book #novel #gaynovel #movies #film #lgbtmovie
#i made this before the trailer #but then i couldn't post it
#i couldn't post this shit after that masterpiece
#later!
CALLMEBYYOURNAMEFANART by billowyblueshirt
https://billowyblueshirt.tumblr.com/
http://tattooedsiren.tumblr.com/
IF NOT LATER, WHEN?
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You're killing me, John! :P
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You're killing me, John! :P
Well, it isn't murder, it's murder/suicide, if that helps!! :laugh: :laugh:
Meanwhile, talk about another nail in the (double) coffin:
CALLMEBYYOURNAMEFANART
http://fuckmeelio.tumblr.com/ and
https://eliopearlmans.tumblr.com/
LATER!
(https://static.tumblr.com/f29afb3cc5cd2d50b46bf67819b93964/g7sfw7g/mSsoui13r/tumblr_static_940nzyiag6os08o4w444ggcsk.png) by fuckmeelio.tumblr and
by eliopearlmans.tumblr
Posted August 26, 2017 212 notes
(https://img-s3.onedio.com/id-5784e4dc9ee906321ee1c4e6/rev-0/w-635/f-jpg-gif-webp-webm-mp4/s-e3dcd329e79cc49fa980ef5494934125c9d04624.gif)
Ok, i know the photo isn't of Armey, but the image is great, isn't it?
Click either link immediately below to hear Armey Hammer reading/reciting
the last paragraph of the last page of
André Aciman's Call Me By Your Name
https://www.instagram.com/p/BYOvXZkhyRT/?hl=en&taken-by=armiehammer
http://fuckmeelio.tumblr.com/post/164608400165/armie-hammers-sexy-voice-reading-that-last
https://eliopearlmans.tumblr.com/post/164610074024/fuckmeelio-armie-hammers-sexy-voice-reading-that
I stopped for a second.
If you remember everything, I wanted to say, and if you are really like me, then before you leave tomorrow, or when you're just ready to shut the door of the taxi and have already said goodbye to everyone else and there's not a thing left to say in this life, then, just this once, turn to me, even in jest, or as an afterthought, which would have meant everything to me when we were together, and, as you did back then, look me in the face, hold my gaze, and call me by your name.
Call Me By Your Name by André Aciman
Recited by Armey Hammer
(http://data.whicdn.com/images/31652877/original.gif)
26th August 2017 212 notes
#callmebyyourname #cmbyn #andréaciman #lucaguadagnino #lgbt
#timothée chalamet #elio #elio perlman #armie hammer #oliver #ulliva
#book #novel #gaynovel #movies #film #lgbtmovie #video
#can i thank armie hammer for my life
#YES THANK YOU FOR POSTING IT
#later peaches #later!
CALLMEBYYOURNAMEFANART by fuckmeelio.tumblr and
by eliopearlmans.tumblr
http://fuckmeelio.tumblr.com/
and
https://eliopearlmans.tumblr.com/
LATER!
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https://twitter.com/search?q=%23CallMeByYourName%2C
https://twitter.com/HighRiseLover
High Rise Lover @HighRiseLover 13h13 hours ago
Just finished "Call me by your name". Can't wait to see the movie. The story is utterly beautiful and delicate.
#CallMeByYourName
Armie Hammer, Call Me By Your Name, cmbyn updates and Timothée Chalamet
Mi sono fermato un secondo.
Se ti ricordi tutto, volevo dirgli, e se sei davvero come me, allora domani prima di partire o quando sei pronto per chiudere la porta del taxi e hai già salutato gli altri e non c’è più nulla da dire in questa vita, allora, una volta soltanto, girati verso di me, anche per scherzo, o perché ci hai ripensato e, come avevi già fatto allora, guardami negli occhi, trattieni il mio sguardo, e chiamami col tuo nome.
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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.
Given Guadagnino’s penchant for lush European settings, it’s unsurprising at how utterly gorgeous this film is to look at, not to mention the 1980’s period setting allowing some choice soundtrack cuts, most notably The Psychedelic Furs’ “Love My Way“, to provide an additive to the film’s erotic nature; offsetting this is musician Sufjan Stevens‘ original song contributions which play into the film’s fairytale-like mentality.
(https://giphy.com/gifs/trailer-call-me-by-your-name-26n6N5mZH5obeX03u)
(https://media1.giphy.com/media/l1J3p6CKUnZVDz6sE/200.webp#5-grid2)
(https://media0.giphy.com/media/26n6Oyt3ba5J3kKFG/200.webp#21-grid2)
(https://media0.giphy.com/media/26n6N5mZH5obeX03u/200.webp#7-grid3)
(https://i0.wp.com/thats-normal.com/wp-content/uploads/2017/08/cmbyn1.gif?resize=500%2C250)
(https://i.ytimg.com/vi/LGD9i718kBU/maxresdefault.jpg)
[youtube=800,450]http://www.youtube.com/watch?v=LGD9i718kBU[/youtube]
https://www.youtube.com/watch?v=LGD9i718kBU
The Psychedelic Furs Love My Way
PsychedelicFursVEVO
(https://yt3.ggpht.com/-tT9N3R56H_Y/AAAAAAAAAAI/AAAAAAAAAAA/KQiCmzQt6iM/s88-c-k-no-mo-rj-c0xffffff/photo.jpg)
Love My Way (1982)
There's an army on the dance floor
It's a fashion with a gun my love
In a room without a door
A kiss is not enough in
Love my way, it's a new road
I follow where my mind goes
They'd put us on a railroad
They'd dearly make us pay
For laughing in their faces
And making it our way
There's emptiness behind their eyes
There's dust in all their hearts
They just want to steal us all
And take us all apart
But not in
Love my way, it's a new road
I follow where my mind goes
Love my way, it's a new road
I follow where my mind goes
Love my way, it's a new road
I follow where my mind goes
So swallow all your tears my love
And put on your new face
You can never win or lose
If you don't run the race
Songwriters: John Ashton / Richard Lofthouse Butler / Timothy Butler / Vincent Davey
Love My Way lyrics © Sony/ATV Music Publishing LLC
In 1982, the band was reduced to a four-piece with the departures of Morris and Kilburn, and moved to the U.S. in search of a producer.[6] The band recorded their next album, "Forever Now", with record producer Todd Rundgren in Woodstock, New York. This album contained "Love My Way", which became another UK chart entry, and also their first US Billboard Hot 100 charting single.
https://en.wikipedia.org/wiki/The_Psychedelic_Furs
https://en.wikipedia.org/wiki/Love_My_Way_(song)
By the way--
In the summer of 1983, Elio and Oliver might have gone to the movies to see--
[youtube=425,350]http://www.youtube.com/watch?v=FcEchaH6EJk[/youtube]
Valley Girl (1983)
Modern English I Melt with You
(https://yt3.ggpht.com/-eUygaxpkDso/AAAAAAAAAAI/AAAAAAAAAAA/sgWUW78eZsA/s88-c-k-no-mo-rj-c0xffffff/photo.jpg)
https://en.wikipedia.org/wiki/Valley_Girl_(film)
https://en.wikipedia.org/wiki/Modern_English_(band)
https://en.wikipedia.org/wiki/I_Melt_with_You
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CALLMEBYYOURNAMEFANART
http://tattooedsiren.tumblr.com/
“All the knowledge I possess
everyone else can acquire,
but my heart is exclusively
my own.” Goethe
(http://68.media.tumblr.com/avatar_e3bd6c17f5bc_64.png) by tattooedsiren.tumblr
Posted August 05, 2017 204 notes
(http://68.media.tumblr.com/779babe4d4a5412a3d21f1044916eb06/tumblr_ou39s7ogCF1qe1x1eo2_540.gif)
http://tattooedsiren.tumblr.com/post/163814262630/polyrangers-hence-their-ageless-ambiguity-as
http://grantgustin.tk/post/163800214319
The very thought of this suddenly made me want to drop everything I would do today and run to him. I waited about ten minutes, then took out my bike and, despite my promise not to go biking that day, headed out by way of Marzia's home and scaled the steep hillside road as fast as I could. When I reached the piazzetta I realized I had arrived minutes after him.
(http://68.media.tumblr.com/779babe4d4a5412a3d21f1044916eb06/tumblr_ou39s7ogCF1qe1x1eo2_540.gif)
http://tattooedsiren.tumblr.com/post/163814262630/polyrangers-hence-their-ageless-ambiguity-as
http://grantgustin.tk/post/163800214319
He was parking his bike, had already purchased the Herald Tribune, and was heading for the post office--his first errand. "I had to see you," I said as I rushed to him. "Why, something wrong?" "I just had to see you." "Aren't you sick of me?" I thought I was--I was about to say--and I wanted to be--"I just wanted to be with you," I said. Then it hit me: "If you want, I'll go back now," I said.
(http://68.media.tumblr.com/779babe4d4a5412a3d21f1044916eb06/tumblr_ou39s7ogCF1qe1x1eo2_540.gif)
http://tattooedsiren.tumblr.com/post/163814262630/polyrangers-hence-their-ageless-ambiguity-as
http://grantgustin.tk/post/163800214319
He stood still, dropped his hand with the bundle of unsent letters still in it, and simply stood there staring at me, shaking his head. "Do you have any idea how glad I am we slept together?"
Call Me By Your Name by André Aciman
Recited/Narrated by Armey Hammer
(http://68.media.tumblr.com/779babe4d4a5412a3d21f1044916eb06/tumblr_ou39s7ogCF1qe1x1eo2_540.gif)
http://tattooedsiren.tumblr.com/post/163814262630/polyrangers-hence-their-ageless-ambiguity-as
http://grantgustin.tk/post/163800214319
5th August 2017 204 notes
#callmebyyourname #cmbyn #andréaciman #lucaguadagnino #lgbt
#timothée chalamet #elio #elio perlman #armie hammer #oliver #ulliva
#book #novel #gaynovel #movies #film #lgbtmovie #video
#later peaches #later!
#fuck me elio
CALLMEBYYOURNAMEFANART by tattooedsiren.tumblr
http://tattooedsiren.tumblr.com/
“All the knowledge I possess
everyone else can acquire,
but my heart is exclusively
my own.” Goethe
(http://68.media.tumblr.com/avatar_e3bd6c17f5bc_64.png)
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Want to live in Elio's house? Yup, Villa Perlman is YOURS if you want it, for €1,800,000 or US$2,135,000, just a bike ride of 11km or 6 miles south of Crema, where Luca Guadagnino lives! :laugh: :laugh:
In the photo of the front elevation, Elio's bedroom is the upstairs corner on the right. 20 rooms, 5 bathrooms, spacious salon, library, dining room, impressive staircase, frescoes, and, of course,
an Oliver with his own bicycle comes with the price, I'm assuming--!
https://it.luxuryestate.com/italia/lombardia/cremona
https://it.luxuryestate.com/p16410421-villa-in-vendita-moscazzano
VILLA A MOSCAZZANO, CREMONA
(https://68.media.tumblr.com/32a6db8ab51eb0e57e89bd347064bb45/tumblr_obscebpRn11vcmvdlo1_1280.jpg)
https://callmebyyourname-movie.tumblr.com/post/148827656746/luca-guadagnino-director-of-call-me-by-your-name?is_related_post=1#notes
https://callmebyyourname-movie.tumblr.com/image/148827656746
(https://pbs.twimg.com/media/C_tOwVwW0AA13hg.jpg)
http://www.imgsta.com/media/hammeralbania/1595287580956551767_3517438216
http://www.imgsta.com/tag/cmbyn
Villa di 1400 mq in vendita via roma, Moscazzano, Cremona, Lombardia
Villa of 1400 sqm for sale via roma, Moscazzano, Cremona, Lombardy
By the way, here's Elio dreamily looking out the ground floor window
immediately below his (and then Oliver's) bedroom window:
(https://www.berlinale.de/media/filmstills/2017_2/panorama_12/201712831_2_IMG_FIX_700x700.jpg)
--and I think that if you jumped into that open ground floor window
you would be in the Grand Salon, looking at Elio's piano in the foreground:
(http://www.awardsdaily.com/wp-content/uploads/2017/08/5-878x494.jpg)
http://www.awardsdaily.com/2017/08/28/beautiful-new-stills-released-call-name/
--and then, of course, there's this little welcoming tour here:
[youtube=425,350]http://www.youtube.com/watch?v=5B89tJUc_f0[/youtube]
CALL ME BY YOUR NAME (2017)
ELIO MEETS OLIVER
Armie Hammer & Timothée Chalamet
Published on Feb 10, 2017
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CALLMEBYYOURNAMEFANART
https://twitter.com/mellowbeat__
(https://abs.twimg.com/emoji/v2/72x72/1f351.png)
(https://pbs.twimg.com/media/DMQYmV0UIAEBiLc.jpg:thumb) by @mellowbeat__
(https://pbs.twimg.com/media/DIPIOR5UIAE3eJM.jpg)
https://twitter.com/i/moments/809183241286496256
https://twitter.com/mellowbeat__/status/901784510546587649
https://twitter.com/mellowbeat__
https://twitter.com/yorkeos
"I was waiting for you," I said.
"I thought you'd gone to sleep.
I even thought you didn't want to."
"No. Waiting. I just turned the lights off."
I looked up to our house. The window shutters were all closed.
I bent down and kissed him on his neck. It was the first time
I had kissed him with feeling, not just desire.
He put his arm around me.
Harmless, if anyone saw.Call Me By Your Name by André Aciman
Recited/Narrated by Armie Hammer
CALLMEBYYOURNAMEFANART by @mellowbeat__
https://twitter.com/mellowbeat__August 27, 2017
#CMBYN #CallMeByYourName #Elio #Oliver #laterpeaches #🍑
#elio perlman #oliver #ulliva
#andré aciman #armie hammer #timothée chalamet #luca guadagnino
#book #novel #film #movie #sonyclassics #lgbt
#art #artwork #artist #illustration
(https://abs.twimg.com/emoji/v2/72x72/1f351.png)
(https://pbs.twimg.com/media/DMQYmV0UIAEBiLc.jpg:thumb)
(https://pbs.twimg.com/media/DG3tH8OUIAEf9mf.jpg)
https://twitter.com/search?q=%23CallMebyYourName
(https://pbs.twimg.com/media/DG3tH8SUwAATRHH.jpg)
https://twitter.com/search?q=%23CallMebyYourName
https://twitter.com/hashtag/callmebyyourname?lang=en
https://www.tumblr.com/tagged/elio-and-oliver
https://twitter.com/chroniclikerrr
by Nikko Tan
@chroniclikerrr
(https://pbs.twimg.com/profile_images/919851966146101249/ffU0LD8X_400x400.jpg)
(https://pbs.twimg.com/media/DGJdotDXsAEN9xG.jpg)
https://mariecampanula.tumblr.com/post/163675935985/inauguration-post-on-my-tumblr-i-fell-so-very
https://twitter.com/mariecampanula
#Marie Campanula
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(https://68.media.tumblr.com/ff510764ca68597487b3ee4d9c731886/tumblr_oqpxtaYZsw1unl5yco1_500.jpg)
"Do you like me that much, Elio?"
"Do I like you?" I wanted to sound incredulous, as though to question how he could ever have doubted such a thing. But then I thought better of it and was on the point of softening the tone of my answer with a meaningful evasive Perhaps that was supposed to mean Absolutely, when I let my tongue loose: "Do I like you, Oliver? I worship you." There, I'd said it. I wanted the word to startle him and to come like a slap in the face so that it might be instantly followed with the most languorous caresses.
Call Me By Your Name by André Aciman
Recited/Narrated by Armie Hammer
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(http://68.media.tumblr.com/7585ba8a04417d6338e9f50962a199c3/tumblr_otfmtz8cPn1rco73zo2_500.png)
(http://68.media.tumblr.com/44642283dd2dabe8ed73afb10451fd95/tumblr_otfmtz8cPn1rco73zo1_500.png)
http://tattooedsiren.tumblr.com/search/call+me+by+your+name/page/2
What’s liking
when we’re talking about
worshipping?
Call Me By Your Name by André Aciman
Recited/Narrated by Armie Hammer
-
http://shop.littlewhitelies.co.uk/product/little-white-lies-71-the-call-me-by-your-name-issue
Little White Lies 71: The Call Me by Your Name issue
(http://images.bigcartel.com/theme_images/34358983/LWLies_logo_Subscribe-02.jpg?auto=format&fit=max&h=1000&w=1000)
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https://twitter.com/SonyPicturesUK
Little White Lies 71: The Call Me by Your Name issue
£6.00 - On Sale
Little White Lies 71: Call Me by Your Name
In this issue…
Invisible Touch
A conversation with Call Me By Your Name director Luca Guadagnino about how to capture love on film.
Love My Way
Call Me By Your Name stars Armie Hammer and Timothée Chalamet discuss life and love, while we meet up-and-coming French actor Esther Garrel.
First Love
Twelve tall tales of formative movie love from a selection of cinephiles.
Eat a Peach
How fruit and sex have overlapped and intermingled throughout the history of art, literature and culture.
Threads #3
Men’s swimming trunks are placed under the microscope in our column about fashion and film.
Extra Assignments
Three short movie appreciations of A Room With a View, A Nos Amours and A Day in the Country, each intended as vita supplementary viewing for our cover film.
Interviews...
Jane Goldman talks about her intricate writing process ahead of the release of Kingsman: The Golden Circle and The Limehouse Golem; Andy Serkis talks up his beautiful directorial debut, Breathe; Eliza Hittman previews her Brooklyn-set gay coming-of-age drama Beach Rats; and Emily Beecham discusses her breakthrough role in Daphne.
Plus…
Filles de Belle
Belle de Jour is 50 years old this year, and so Caroline Golum recounts the joys of this salacious classic.
Shudders of Pleasure
In praise of Clive Barker and the movie he’ll always likely be remembered for, the S&M-flavoured suburban gore aria, Hellraiser.
http://shop.littlewhitelies.co.uk/product/little-white-lies-71-the-call-me-by-your-name-issue
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(https://pixel.nymag.com/imgs/daily/vulture/2017/08/01/1-call-me-by-your-name-2.w710.h473.2x.jpg)
(https://pbs.twimg.com/media/DIztWMvXgAMwqO4.jpg:large)
http://armie-hammer.com/photos/thumbnails.php?album=269
https://twitter.com/search?q=%23CallMeByYourName%2C
(https://68.media.tumblr.com/da9bcef4b8fc3137c85ebde5da3e1efd/tumblr_ovrpqg21w81t6bixlo1_500.jpg)(https://68.media.tumblr.com/da9bcef4b8fc3137c85ebde5da3e1efd/tumblr_ovrpqg21w81t6bixlo1_500.jpg)
https://allywantstofly.tumblr.com/post/164978769932/whatever-happens-between-us-elio-i-just-want
https://eliopearlmans.tumblr.com/
"Want to talk?" I was already in bed. He had a sweater on and seemed dressed to go out for a walk. He sat on the edge of my bed, looking uneasy as I must have seemed the first time when this room used to be his. "I might be getting married this spring," he said. I was dumbfounded. "But you never said anything." "Well, it's been on and off for more than two years." "I think it's wonderful news," I said.
Call Me By Your Name by André Aciman
Recited/Narrated by Armie Hammer
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You're killing me, John! :P
Oh my. :o :o :o
https://www.amazon.com/Call-Me-Your-Name-Novel/dp/B06ZZZXQ9G
Call Me by Your Name: A Novel – Audiobook – Unabridged
André Aciman (Author), Armie Hammer (Narrator), Macmillan Audio (Publisher)
(https://images-na.ssl-images-amazon.com/images/I/51fN96NTQRL._AA300_.jpg)
Pre-order purchase
Releases October 03, 2017
Audiobook
$0.00
Free with your Audible trial
Audio CD
$32.46
1 New from $32.46
©2017 André Aciman (P)2017 Macmillan Audio
(https://img-s3.onedio.com/id-5784e4dc9ee906321ee1c4e6/rev-0/w-635/f-jpg-gif-webp-webm-mp4/s-e3dcd329e79cc49fa980ef5494934125c9d04624.gif)
Ok,i know the photo isn't of Armey, but the image is great, isn't it?
Click either link immediately below to hear Armey Hammer reading/reciting
the last paragraph of the last page of
André Aciman's Call Me By Your Name
https://www.instagram.com/p/BYOvXZkhyRT/?hl=en&taken-by=armiehammer
http://fuckmeelio.tumblr.com/post/164608400165/armie-hammers-sexy-voice-reading-that-last
https://eliopearlmans.tumblr.com/post/164610074024/fuckmeelio-armie-hammers-sexy-voice-reading-that
I stopped for a second.
If you remember everything, I wanted to say, and if you are really like me, then before you leave tomorrow, or when you're just ready to start the door of the taxi and have already said goodbye to everyone else and there's not a thing left to say in this life, then, just this once, turn to me, even in jest, or an afterthought, which have meant everything to me when we were together, and, as you did back then, look me in the face, hold my gaze, and call me by your name.
Call Me By Your Name by André Aciman
Recited/Narrated by Armie Hammer
(http://data.whicdn.com/images/31652877/original.gif)
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CALLMEBYYOURNAMEFANART
MOVIE POSTERS
#armiehammer #timothéechalamet #cmbyn
(https://68.media.tumblr.com/1e2b49a363bed3cf021dd2786b27e864/tumblr_ov5wmiDTTb1unl5yco1_1280.png)
https://callmebyyourname-movie.tumblr.com/post/158406125716/mrdavidfincher-sony-pictures-classics-announces
https://eliopearlmans.tumblr.com/post/164561558949/quietgirls-lets-go-now-he-extended-his-hand
http://quietgirls.tumblr.com/post/164538738800/lets-go-now-he-extended-his-hand-to-help-me
https://eliopearlmans.tumblr.com/page/5
Oliver needed company. He began by sharing my table but eventually grew to like throwing a large sheet on the grass and lying on it, flanked by loose pages of his manuscript and what he liked to call his "things": lemonade, suntan lotion, books, espadrilles, sunglasses, colored pens, and music, which he listened to with headphones, so that it was impossible to speak to him unless he was speaking to you first. Sometimes, when I came downstairs with my scorebook or other books in the morning, he was already sprawled in the sun wearing his red or yellow bathing suit and sweating. We'd go jogging or swimming, and return to find breakfast waiting for us. Then he got in the habit of leaving his "things" on the grass and lying right on the tiled edge of the pool--called "heaven," short for "This is heaven," as he often said after lunch, "I'm going to heaven now," adding, as an inside joke among Latinists, "to apricate." We would tease him about the countless hours he would spend soaking in suntan lotion as he lay on the exact spot along the pool. "How long were you in heaven this morning?" my mother would ask. "Two straight hours. But I plan to return early this afternoon for a much longer aprication." Going to the orle of paradise also meant lying on his back along the edge of the pool with one leg dangling in the water, wearing his headphones and his straw hat flat on his face.
Here was someone who lacked for nothing. I couldn't understand this feeling. I envied him.
Call Me By Your Name by André Aciman
Recited/Narrated by Armie Hammer
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CALLMEBYYOURNAMEFANART
MOVIE POSTERS
#armiehammer #timothéechalamet #cmbyn
(https://68.media.tumblr.com/9ec08f41568777d210a1e507b27c18db/tumblr_ovmvxaEFra1vw0zkko1_540.png)
http://iblis-chalamet.tumblr.com/post/164882934104
https://callmebyyourname-movie.tumblr.com/
(https://scontent.cdninstagram.com/t51.2885-15/s640x640/e15/c184.0.712.712/20759393_1588630481189098_9181186069209546752_n.jpg)
http://picbear.com/media/1580851837136537897_5431862703
http://www.instagramator.net/tag/callmebyyourname
http://www.thepicta.com/tag/CMBYN
http://picbear.com/smartie128
“We had the stars, you and I.
And this is given once only.”
CALLMEBYYOURNAMEFANART by @smartie128
http://picbear.com/smartie128
(https://scontent.cdninstagram.com/t51.2885-19/s150x150/19985650_149036312318425_6820941561115705344_a.jpg)
"--because, as he'd pour the wine for his wife, for me, for himself, it would finally dawn on us both that he was more me than I had ever been myself, because when he became me and I became him in bed so many years ago, he was and would forever remain, long after every forked road in life had done its work, my brother, my friend, my father, my son, my husband, my lover, myself. In the weeks we'd been thrown together that summer, our lives had scarcely touched, but we had crossed to the other bank, where time stops and heaven reaches down to earth and gives us that ration of what is from birth divinely ours. We looked the other way. We spoke about everything but. But we've always known, and not saying anything now confirmed it all the more. We had found the stars, you and I. And this is given once only."
Call Me By Your Name by André Aciman
Recited/Narrated by Armie Hammer
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(https://68.media.tumblr.com/e628923b92c2146beacd54a7118f9c3e/tumblr_ov5rrrtFSy1u31mh9o2_500.gif)
(https://68.media.tumblr.com/717226ea0f466c130baeec1e6fe7eb21/tumblr_ov5rrrtFSy1u31mh9o1_500.gif)
https://superdistress.tumblr.com/post/164535425558/%CA%9F%E1%B4%8F%E1%B4%8F%E1%B4%8B-%E1%B4%8D%E1%B4%87-%C9%AA%C9%B4-%E1%B4%9B%CA%9C%E1%B4%87-%D2%93%E1%B4%80%E1%B4%84%E1%B4%87-%CA%9C%E1%B4%8F%CA%9F%E1%B4%85-%E1%B4%8D%CA%8F-%C9%A2%E1%B4%80%E1%B4%A2%E1%B4%87-%E1%B4%80%C9%B4%E1%B4%85-%E1%B4%84%E1%B4%80%CA%9F%CA%9F-%E1%B4%8D%E1%B4%87-%CA%99%CA%8F
https://eliopearlmans.tumblr.com/post/164541294844/superdistress-%CA%9F%E1%B4%8F%E1%B4%8F%E1%B4%8B-%E1%B4%8D%E1%B4%87-%C9%AA%C9%B4-%E1%B4%9B%CA%9C%E1%B4%87-%D2%93%E1%B4%80%E1%B4%84%E1%B4%87-%CA%9C%E1%B4%8F%CA%9F%E1%B4%85-%E1%B4%8D%CA%8F
https://eliopearlmans.tumblr.com/page/5
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http://tattooedsiren.tumblr.com/post/160490256159/victorkrvm-all-that-remains-is-dreammaking-and#notes
http://victorkrvm.tumblr.com/post/160171858506/all-that-remains-is-dreammaking-and-strange
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(https://68.media.tumblr.com/6f89fcf6a00ab1ffad885dea0adf0d1f/tumblr_ovavciqfJ21w5uhsro6_400.gif)(https://68.media.tumblr.com/027f9036a8f21341ca42e0db254bf36f/tumblr_ovavciqfJ21w5uhsro3_400.gif)
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https://billowyblueshirt.tumblr.com/post/164638055299/call-me-by-your-name-by-andr%C3%A9-aciman-he-came-he
http://tattooedsiren.tumblr.com/post/164666591623/billowyblueshirt-call-me-by-your-name-by-andr%C3%A9
“He came. He left.
Nothing else had changed.
I had not changed.
The world hadn’t changed.
Yet nothing would be the same.
All that remains is dreammaking
and strange remembrance.”
Call Me By Your Name by André Aciman
Recited/Narrated by Armie Hammer
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CALLMEBYYOURNAMEFANART
http://electrasinclair.tumblr.com/
http://electrasinclair.com/
(https://abs.twimg.com/emoji/v2/72x72/1f351.png)
(http://68.media.tumblr.com/b520454c503cc0ff9202bb075b575468/tumblr_nwljvkSAu01qar68yo1_1280.jpg)by electra sinclair
(https://68.media.tumblr.com/79dc3857736534324004bbd4b41cafbc/tumblr_ovsnlyX2F11qar68yo1_1280.jpg)
http://electrasinclair.tumblr.com/post/165001442371/call-me-by-your-name-facebook-instagram
https://sheril94.tumblr.com/post/164943413137/youll-kill-me-if-you-stop
https://sheril94.tumblr.com/image/165021324847
http://electrasinclair.tumblr.com/
http://electrasinclair.com/
But I wasn't fooling myself. I was convinced that no one in the world wanted him as physically as I did; nor was anyone willing to go the distance I was prepared to travel for him. No one had studied every bone in his body, ankles, knees, wrists, fingers, and toes, no one lusted after every ripple of muscle, no one took him to bed every night and on spotting him in the morning lying in his heaven by the pool, smiled at him, watched a smile come to his lips, and thought,
Did you know I came in your mouth last night?Call Me By Your Name by André Aciman
Recited/Narrated by Armie Hammer
CALLMEBYYOURNAMEFANART by electra sinclair (https://68.media.tumblr.com/avatar_61838612bfdd_64.png)
http://electrasinclair.tumblr.com/
http://electrasinclair.com/Timestamp: Tuesday 2017/09/05 18:34:46 93 Notes
#CMBYN #CallMeByYourName #electra #electra sinclair
#elio #elio perlman #oliver #ulliva #laterpeaches 🍑
#andré aciman #armie hammer #timothée chalamet #luca guadagnino
#book #novel #film #movie #sonyclassics #lgbt
#art #artwork #artist #portrait #vector #digital art
#peach #pink #orange #brown
#eyebrows #hair
(https://abs.twimg.com/emoji/v2/72x72/1f351.png)
(http://68.media.tumblr.com/b520454c503cc0ff9202bb075b575468/tumblr_nwljvkSAu01qar68yo1_1280.jpg)
(https://www.berlinale.de/media/filmstills/2017_2/panorama_12/201712831_2_IMG_FIX_700x700.jpg)
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(https://68.media.tumblr.com/9a929b61cd66d77ab6bb15ddb6248d54/tumblr_ofa4natsBG1qg6f72o1_1280.gif)
Repurposed fan art from VOLTRON - Legendary Defenders of the Galaxy
VLD fanart - Lance & Keith The Stars in your Eyes, your name on the Constellations
https://www.pinterest.com/source/aquafeles.tumblr.com/
https://www.pinterest.com/pin/419045940316922505/
https://www.pinterest.com/pin/401875966733363671/
Facevamo finta di niente.
We looked the other way.
Parlavamo di tutto fuorché di quello.
We spoke about everything but.
Ma l'abbiamo sempre saputo,
But we've always known,
e che adesso non dicessimo nulla
and not saying anything now
era un'ulteriore conferma.
confirmed it all the more.
Avevamo trovato le stelle, tu e io.
We had found the stars, you and I.
E questo capita una volta sola nella vita.
And this is given once only.
Chiamami col tuo nome di André Aciman
Call Me By Your Name by André Aciman
The Milky Way
~ Gallavich shipper, Italy ~
(https://68.media.tumblr.com/6c7adb156ddb205eb489cb03d6d854c9/tumblr_ovfsm7VnSq1w0v7w2o4_250.gif)
https://sheril94.tumblr.com/post/164943413137/youll-kill-me-if-you-stop
https://sheril94.tumblr.com/archive
https://sheril94.tumblr.com/
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Alice Tully Hall
1941 Broadway (between 65th Street and 66th Street)
212.671.4050
Call Me by Your Name
Luca Guadagnino
The 55th New York Film Festival
Tuesday October 03, 9:00PM - 11:12PM
Wednesday October 04, 6:00PM - 8:12PM
https://www.filmlinc.org/nyff2017/sections/main-slate/
https://www.filmlinc.org/nyff2017/films/call-me-by-your-name/
(https://www.filmlinc.org/wp-content/themes/filmlinc/dist/img/nyff2017/nyff2017-fl-logo.svg)(https://www.filmlinc.org/wp-content/themes/filmlinc/dist/img/nyff2017/nyff55-lockup-white-ffonly.svg)(https://www.filmlinc.org/wp-content/uploads/2017/08/nyff55-headline-1.png)
Main Slate
Call Me by Your Name
Luca Guadagnino
The New York Film Festival
runs September 28 – October 15.
The 55th New York Film Festival Main Slate
Closing Night
“Call Me by Your Name,” Dir. Luca Guadagnino, Italy/France, 2017, 132m
A story of summer love unlike any other, the sensual new film from the director of I Am Love, set in 1983, charts the slowly ripening romance between Elio (Timothée Chalamet), an American teen on the verge of discovering himself, and Oliver (Armie Hammer), the handsome older grad student whom his professor father (Michael Stuhlbarg) has invited to their vacation home in Northern Italy. Adapted from the wistful novel by André Aciman, Call Me by Your Name i s Guadagnino’s most exquisitely rendered, visually restrained film, capturing with eloquence the confusion and longing of youth, anchored by a remarkable, star-making performance by Chalamet, always a nervy bundle of swagger and insecurity, contrasting with Hammer’s stoicism. A Sony Pictures Classics release.
(https://www.filmlinc.org/wp-content/uploads/2017/08/Call-Me-By-Your-Name.jpg)
(https://www.filmlinc.org/wp-content/themes/filmlinc/dist/img/filmlinc-logo.png)
https://www.filmlinc.org/nyff2017/nyff55-ticket-information/
On-Sale Dates
August 28-31: Board, Patron, and VIP Passes
September 1 at 12PM – September 4 at 11:59PM: Package Fulfillment
September 6 at 10AM: Film Icon single-ticket pre-sale
September 6 at 2PM: Cinephile single-ticket pre-sale
September 7 at 10AM: Film Buff single-ticket pre-sale
September 8 at 11:59PM: single ticket pre-sale ends
September 10 at 12PM: Film Lover, Student, and General Public On-Sale
Prices
Main Slate & Special Events:
$20 Member & Student / $25 General Public
Opening Night:
Alice Tully Hall: $75 Member & Student / $100 General Public
Centerpiece & Closing:
Alice Tully Hall: $50 Member & Student / $75 General Public
All Other Programs:
$10 Member & Student / $15 General Public
General Information
There is a maximum of two tickets per screening.
There is a $2.00 fee per ticket for online orders.
Advance tickets can only be purchased online or at the Alice Tully Hall box office.
All ticket fulfillment is subject to availability.
Delivery Options
Print at Home (Free, Recommended): For the first time this year, we will be offering free print at home ticketing. Tickets will be sent to you via email within 48 hours.
Mail ($5.50 P&H Fee): Tickets will be sent within 7-10 business days.
Will Call (Free): This option will only be available closer to the festival.
Venue & Box Office Information
Alice Tully Hall
1941 Broadway (between 65th Street and 66th Street)
Sunday: Noon – 6:00 p.m.
Monday – Saturday: 10:00 a.m. – 6:00 p.m.
Also open until 30 minutes after the start of any performance.
212.671.4050
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CALLMEBYYOURNAMEFANART
https://twitter.com/polinakeoning
https://keoning.deviantart.com/
(https://abs.twimg.com/emoji/v2/72x72/1f351.png)
(https://a.deviantart.net/avatars/k/e/keoning.jpg?2) by Keoning
(https://img08.deviantart.net/32c6/i/2017/214/4/2/elio_perlman_by_keoning-dbimu7w.jpg)
https://keoning.deviantart.com/art/Elio-Perlman-696426620
I brought my drink to the far end of the patio, took out a chaise longue, and, facing the long balustrade, tried to enjoy the half hour of full sun. I liked to sit and watch the waning day spread itself out into the pre-dusk light. This was when one went for a late afternoon swim, but it was good to read then as well. (....)
It took me a while to realize that I was striking a pose.
I wanted him to come back and catch me ever so relaxed. Little did he know what I was planning for tonight.Call Me By Your Name by André Aciman
Recited/Narrated by Armie Hammer
CALLMEBYYOURNAMEFANART by Keoning (https://a.deviantart.net/avatars/k/e/keoning.jpg?2)
https://twitter.com/polinakeoning
https://keoning.deviantart.com/
Fan Art / Digital Art / Drawings / Movies & TV©2017 Keoning
#CMBYN #CallMeByYourName
#elio #elio perlman #oliver #ulliva #laterpeaches 🍑
#andré aciman #armie hammer #timothée chalamet #luca guadagnino
#book #novel #film #movie #sonyclassics #lgbt
#art #artwork #artist #portrait #vector #digital art #digitalart
#digitalpainting #fanart #fanartdigital
#peach #pink #orange #brown
#eyebrows #hair #nose #lips
(https://abs.twimg.com/emoji/v2/72x72/1f351.png)
(https://a.deviantart.net/avatars/k/e/keoning.jpg?2)
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A meaningful, pure, romantic drama that focuses on a love that has no boundaries, the utterly raw and important character building qualities of life and the building of memories and experiences that should never be forgotten. Pure cinematic perfection.
(http://images1.variety.com/graphics/photos/_storypics/tiffbanner_640.jpg)
http://www.thehollywoodnews.com/2017/09/08/call-me-by-your-name-review/
(http://www.thehollywoodnews.com/wp-content/uploads/logonove16-1.png)
TORONTO
INTERNATIONAL
FILM FESTIVAL
TIFF 2017 Review
Call Me by Your Name
Armie Hammer delivers a fine performance in this heart-wrenching,
utterly brilliant piece of filmmaking, which may just be the film of the year.
by Paul Heath
September 8, 2017
(http://cdn2.thr.com/sites/default/files/2017/01/call_me_by_your_name_sundance_still_2_-_publicity_-_h_2017.jpg)
‘A stunning portrait of love and romance’ ... Michael Stuhlbarg, Timothée Chalamet and Armie Hammer in Call Me by Your Name
Slowly and quietly, Armie Hammer is fast-becoming one of the finest and indeed most exciting American actors of his generation. Following a superb turn in this year’s Final Portrait comes this heart-wrenching but utter beautiful complementary piece which, like Stanley Tucci’s period film, made its European debut at the Berlin Film Festival back in February. ( https://en.wikipedia.org/wiki/Final_Portrait )
In Call Me by Your Name, Hammer plays the role of the dashing young American Oliver, a twenty-something student who is spending the summer of 1983 ‘somewhere in Northern Italy’ with Michael Stuhlbarg’s Mr. Perman, along with his French wife, Annella (Amira Casar), and their multi-lingual son Elio (Timothée Chalamet).
Elio is clearly bored of the sun-drenched rolling fields, the unlimited supply of cheap tobacco and the countless opportunities to go skinny-dipping in moonlit lakes with willing female companions. The arrival of Oliver changes all of that with the impressionable young seventeen-year-old clearly looking up to the handsome American both in terms of his strong-willed sensibilities, worldliness, intellect, and companionship.
The two form a quick bond, Elio slowly becoming intrigued by Oliver’s confidence rather than being threatened by it – though his charm is clearly starting to take effect the locals. Their six-week summer together is clearly heading in the obvious direction, and they begin to while away the hours together, be it lounging reading literature next to the small ‘pool’ next to the Perlman’s summer house, or taking trips to run errands into the local town. Elio, while engaging in a relationship with the beautiful teenager Marzia (Esther Garrel), clearly has feelings for Oliver, and that attraction is definitely mutual.
Call Me by Your Name is a stunning portrait of love and romance, expertly told by writer James Ivory who adapts from the source material – the original novel by André Aciman. From the wonderful opening title sequence, and throughout, the film is beautifully crafted, be it the near-flawless performances from its two leads, the skillful sun-drenched cinematography from Sayombhu Mukdeeprom, or the stunning largely piano-sourced musical accompaniment.
Armie Hammer excels as the alluring, likeable Oliver, but it is break-out star Chalamet who deserves the most praise here. The young actor, who we’ve seen in the likes of Interstellar and Men, Women and Children in the past, lights up the screen in every scene, and will both make your heart warm and ache in equal measure – especially during the climactic few scenes. Stuhlbarg is also nearing a career best here – and potentially a best supporting actor nod come early 2018 – as the likeable father of Elio who, in the last reel delivers perhaps the best monologue in any film we’ve seen this year. It’s almost comparable to the late, great Robin Williams’ wise ‘bench scene’ in Good Will Hunting twenty years ago – one which will have you reaching for those tissues if you haven’t managed to grab hold of them before.
It’s so hard to fault the picture. Obviously sharing themes with last year’s eventual Best Picture winner Moonlight, Call Me by Your Name is absolutely as good, and oh so much more. It’s difficult to find something in here for anyone to not to relate to – a meaningful, pure, romantic drama that focuses on a love that has no boundaries, the utterly raw and important character building qualities of life and the building of memories and experiences that should never be forgotten.
Pure cinematic perfection.
Call Me By Your Name was reviewed at the 2017 Toronto International Film Festival, and will be released across the UK on 27th October, 2017.
[youtube=425,350]http://www.youtube.com/watch?v=Mp_f3_JXI3w[/youtube]
CALL ME BY YOUR NAME
TIFF 2017 REVIEW
Armie Hammer & Timothée Chalamet
Published on Sep 8, 2017
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Pure cinematic perfection.
Wow!
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Wow!
More to come, I'm sure! :D
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This is a passionate love story that actually manages to find room for the uncomfortably overwhelming emotions and honest reflections that allow the story to play as more than a fairy tale. It’s a film that will touch all those who know such feelings, no matter how different their experiences may have been.
http://dorkshelf.com/2017/09/06/tiff-2017-call-me-by-your-name-review/
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TORONTO
INTERNATIONAL
FILM FESTIVAL
TIFF 2017 Review
Call Me by Your Name
It’s a sensuous and rapturous ode to first love that plays out through images
of postcard beauty and moments of almost embarrassing honesty.
by Phil Brown
September 6, 2017 | 3:34 pm
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Sexual experimentation, academia, lounging, and peaches ... Timothée Chalamet, Michael Stuhlbarg and Armie Hammer in Call Me by Your Name
Call Me by Your Name is a coming of age tale of sexual experimentation, academia, lounging, and peaches that couldn’t be more specific in it’s origins. Yet, there’s something about the way that director Luca Guadagnino (I Am Love, A Bigger Splash ) captures and casts the flick that somehow elevates the material into something universal. This is a passionate love story that actually manages to find room for the uncomfortably overwhelming emotions and honest reflections that allow the story to play as more than a fairy tale. It’s a film that will touch all those who know such feelings, no matter how different their experiences may have been.
Timothée Chalamet stars as the prodigy son of an academic father (Michael Stuhlbarg) and loving mother (Amira Casar) who live a life of luxury, relaxation, and ridiculously sumptuous food in early 80s Italy. Every summer the Stuhlbarg hosts a grad student and this year it’s Armie Hammer, with all the dapper hunkiness that implies. Slowly Chalamet and Hammer do a lil’ flirtatious dance and fall for each other, but only after the boy makes his first moves with a girl. It’s a sensuous and rapturous ode to first love that plays out through images of postcard beauty and moments of almost embarrassing honesty. Throughout it all Guadagnino balances sumptuous cinematic style with delicate drama. Somehow neither side overwhelms the other.
That’s a more difficult balancing act to pull off than it seems, one that Guadagnino hasn’t quite achieved himself before now. In doing so, he reaches a new plateau as a filmmaking and feels like a vital voice in international cinema rather than a promising one. The performances are remarkable across the board and the script from James Ivory (best known for writing the stuffiest of British chamber dramas in the 90s) bounces along with impressively breezy naturalism. There are two scenes in particular that will sear their way into any viewer’s mind. One delightfully perverse moment with a peach designed for giggling gasps and the other a beautiful (and painful) monologue of remarkably sensitive fatherly advice. For a film to be daring or wise enough to contain and deserve either scene would make it a success, to have room for both is what makes Call Me by Your Name truly special.
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But Michael Stuhlbarg has the Scene, the one you can imagine being played as the Oscar clip at the ceremony in March—and the one any viewer will instantly recall when seeing Stuhlbarg’s name on a shortlist or "For Your Consideration" mailer.
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https://www.vanityfair.com/hollywood/2017/09/call-me-by-your-name-tiff-toronto-film-festival-michael-stuhlbarg
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TIFF 2017
Don’t Overlook
Michael Stuhlbarg
in
Call Me by Your Name
The character actor has the least-flashy role in this Italy-set romance—
but his is the scene you’ll remember when you leave the theater.
by KATEY RICH
SEPTEMBER 7, 2017 5:02 PM
(https://media.vanityfair.com/photos/59b1b37e611ef1173dcada32/master/w_960,c_limit/Michael-Stuhlbarg-CMBYN.jpg)
If you’ve heard anything about Call Me by Your Name, which screened to a packed audience at the Toronto Film Festival this morning, it’s probably not about Michael Stuhlbarg. An intensely romantic and sexy story, starring chiseled-from-marble Armie Hammer and incandescently youthful Timothée Chalamet, it’s full of so many gorgeous, memorable moments—The lake! The piano! The peach!—that the man playing the bearded, amiable father could have slipped through the movie largely unnoticed.
But then he has his scene. Not the final scene in the movie, but it feels like it—featuring a monologue that, without spoiling anything, sums up the enormous emotion of the movie (depicted thus far mostly in images and action) in simple, loving, fatherly words. Other movies about youthful romance might use a flash-forward, or a character’s inner monologue, to put the whole thing into a broader context. Call Me by Your Name just needs Stuhlbarg’s words, delivered in such a straightforward way that you don’t realize the emotional wallop of the pack until the scene is over.
Stuhlbarg’s role up to that point is fairly small, as any parent’s might be in a story of a teenager falling in love. A professor living with his French wife in northern Italy on an estate rich in fruit trees and ponds and leisurely lunches, Stuhlbarg’s character could seem academic and remote. But he brings warmth to his briefest scenes, and an obvious affection for the son at the center of the story.
It’s a story of same-sex love, set in 1983, but Call Me by Your Name avoids so many doom-and-gloom tropes of the genre; Chalamet’s Elio is confused and out of place, but there’s never any sense of harm that would come to him by embracing his true feelings. That sense of safety comes from Stuhlbarg—and it not only gives Elio the confidence to express himself but also gives director Luca Guadagnino room to create a lush love story that’s about pain but only the kind achingly familiar to anyone who’s ever felt the heart’s absence.
That final scene makes Stuhlbarg’s essential role in the story clear—and it leaves the audience walking out of the theater thinking about him. Which could be the key to keeping Stuhlbarg in the conversation as the great machinery of awards season lumbers to life. He and Hammer will both be campaigned in the supporting categories, with Chalamet in lead, which puts Stuhlbarg at something of a disadvantage, since he has the smaller and far less flashy role. (At the center of the story, Hammer and Chalamet are both remarkable, and completely deserving of the full awards push they'll each receive as well.)
But Stuhlbarg has the Scene, the one you can imagine being played as the Oscar clip at the ceremony in March—and the one any viewer will instantly recall when seeing Stuhlbarg’s name on a shortlist or "For Your Consideration" mailer.
Supportive Father Figure is less of a hoary Academy trope than Supportive Wife, but it still has a strong history—think Christopher Plummer in Beginners, or Mahershala Ali just last year in Moonlight. Stuhlbarg also has an excellent fall ahead to boost his case, with roles in both Guillermo del Toro’s The Shape of Water and Steven Spielberg’s The Post. It’s possible that Call Me by Your Name might not even be Stuhlbarg’s best performance of the year. But nearly a decade since his breakout role in A Serious Man, Stuhlbarg’s moment for Academy recognition seems to have arrived. And if Call Me by Your Name continues to be as well-received as it had been since its rapturous Sundance premiere, this movie may just be the one to get him over the finish line.
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CALLMEBYYOURNAMEFAN
https://www.garow.me/users/erkinaken/4225893710
my thoughts only
going nowhere
(https://scontent.cdninstagram.com/t51.2885-19/s150x150/21372127_114640965919083_7751548261332156416_a.jpg) by @erkinaken(https://scontent.cdninstagram.com/t51.2885-15/s640x640/sh0.08/e35/20589765_675275466008692_3798105576320270336_n.jpg)
https://www.garow.me/media/1571450361696528490_4225893710
I got a copy of the korean translation of #callmebyyourname #cmbyn
with a beautiful illustration cover, and it's aesthetically so satisfying.
The title changed, and it can translate into "that year, the summer's guest."
and there's THE peach🍑🍑🍑 [in Elio's hand, see??] 😂😂(https://scontent.cdninstagram.com/t51.2885-15/s640x640/sh0.08/e35/20398542_270210383382775_6789780705799831552_n.jpg)
https://www.garow.me/media/1571539586949360017_4225893710
this kind of love and aspiration, @tchalamet @armiehammer
Elio and Oliver in the illustration cover look exactly alike @tchalamet and @armiehammer 😎😎,
which makes everything better and sweeter 🙌🙌(https://scontent-iad3-1.cdninstagram.com/t51.2885-15/e35/20181066_257907148046394_7324179761041768448_n.jpg)
CALLMEBYYOURNAMEFAN by @erkinaken
https://www.garow.me/users/erkinaken/42258937102017/08/01 10:40:58
#CMBYN #CallMeByYourName #Elio #Oliver #laterpeaches #🍑
#elio perlman #oliver ulliva
#andré aciman #armie hammer #timothée chalamet #luca guadagnino
#book #newbook #bookstagram #translation
#film #movie #sonyclassics #lgbt
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(Click here for this fan's other post, page 4 in this thread)
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Ulliva, Ulliva, Ulliva ---it was Oliver calling me by his name
when he'd imitate it's transmogrified sound as spoken by Malfalda
and Anchise; but it'd also be me calling him by his name as well,
hoping he'd call me back to mine, which I'd speak for him to me,
and back to him: Elio, Elio, Elio.
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It’s truly hard to put into words what a revelation Timothée Chalamet is as Elio. The 21-year-old actor is naturally charismatic, but how he communicates Elio’s emotions throughout the picture is simply breathtaking. Even when he’s depicting Elio’s inevitable moments of teenage angst there it’s never false or mannered. He’s a rock of naturalism on Luca Guadagnino’s gorgeous canvas.
Armie Hammer, on the other hand, simply gives the performance of his career.
....Guadagnino’s achievement is a historic landmark for gay male characters in a film of this caliber. Outside of a few short moments in Ismail Merchant and James Ivory’s “Maurice,” and Ang Lee’s “Brokeback Mountain,” the love and intimacy between two male characters has never truly felt this real or emotionally heartbreaking in a theatrical context. It’s almost revolutionary. It’s cinematic art and it will want you to feel as loved as Elio and Oliver feel, even if it’s fleeting. [A]
http://theplaylist.net/armie-hammer-timothee-chalamet-find-love-luca-guadagninos-transcendent-call-name-sundance-review-20170123/
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Sundance 2017 Review
Armie Hammer and Timothée Chalamet
Find Love in Luca Guadagnino's Transcendent
Call Me by Your Name
by Gregory Ellwood
January 23, 2017 8:07 am
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Audiences would never believe it, of course, without the incredible performances of both leading men.
Timothée Chalamet and Armie Hammer in Call Me by Your Name
PARK CITY -- Ever since Oliver arrived at the summer residence of Elio Perlman’s parents in the Italian countryside, the 17-year-old has had something of a crush on the doctorate student seven years his senior. It’s 1983 and Oliver (Armie Hammer) has traveled to Europe for a six-week retreat to work with Elio’s father (Michael Struhlbarg), an esteemed professor specializing in Greco-Roman culture. Elio (Timothée Chalamet) misinterprets Oliver’s own initial courting, but his frustrated heart finally forces him to bravely reveal his feelings. This scene is one of the truly brilliant moments in Luca Guadagnino’s “Call Me By Your Name” which had its world premiere at the 2017 Sundance Film Festival on Sunday night.
Guadagnino and cinematographer Sayombhu Mukdeeprom chronicle the conversation in one extended shot that begins with Oliver and Elio on a bike trip to the local town square. Disembarking their bikes, they circle a war statue with Oliver walking around the farther side and Elio on the one closest to the camera’s eye. It’s framed so when Elio reveals he has been wanting to talk to Oliver about something the barrier around the monument forces Oliver to move further from away from Elio almost teasing the audience that he’ll reject his advances. After a heart-stopping beat he comes around the other side happily telegraphing that the feeling is mutual. The interaction becomes flirtatious when Elio takes a cigarette from Oliver and Guadagnino purposely keeps the camera distant enough so you see the attraction in their body movements and not their faces. Simply, Elio has fallen in love with Oliver and Guadagnino is going to make you fall in love along with him.
We quickly learn Elio is very lucky. He’s the son of an American father and an Italian mother (Amira Casar) who are both incredibly liberal for the time and may realize their son’s infatuation with Oliver before he wants to admit it (a significant departure from the 2007 book by André Aciman on which the film is based). He also cannot keep holding back his sexual desires waiting for Oliver to requite his love. While he pines over Oliver, writing in his notebook that he should have said one thing or another during their multitude of daily interactions, he begins a sexual relationship with Marzia (Esther Garrel), a local girl who warns him beforehand she doesn’t want to get hurt. That’s destined to happen from the moment the words come out of her mouth. While they hook up Elio keeps looking at his watch not wanting to be late for his secret rendezvous with Oliver later that night.
As he’s shown in his the last two films of what he describes as his “desire trilogy,” “I Am Love” and “A Bigger Splash,” Guadagnino is a sensual filmmaker who uses cinematic flourishes to let the narrative unfold at a pace he feels best suits the overall story (those flourishes are assisted by two new original songs by Sufjan Stevens). Guadagnino almost hypnotically lets the audience experience the dance of desire between Elio and Oliver in a masterful manner. When they are together he captures their affection in startling real ways. Guadagnino makes it explicit that their intimacy is more about love than animalistic release. No matter what your personal sexual orientation Guadagnino manages to find those intimate moments whether through a secretive touch, a fumbling first kiss, the stillness before the first move is made, or the eroticism of breaking the physical boundaries that form between all of us. It’s utterly beautiful.
Audiences would never believe it, of course, without the incredible performances of both leading men.
It’s truly hard to put into words what a revelation Chalamet is as Elio. The 21-year-old actor is naturally charismatic, but how he communicates Elio’s emotions throughout the picture is simply breathtaking. Even when he’s depicting Elio’s inevitable moments of teenage angst there it’s never false or mannered. He’s a rock of naturalism on Guadagnino’s gorgeous canvas.
Hammer, on the other hand, simply gives the performance of his career. On the surface Oliver is overly confident, but Hammer gives him depth that is hard to imagine was dictated in the script. After their first night together, a quiet Elio seems to have grown emotionally cold as many who are still uncomfortable with intimacy can react. The look of pained concern on Hammer’s face communicates everything going on in Oliver’s mind without a single word being said. And as much as the film is from Elio’s perspective, Hammer surprisingly makes you root for Oliver’s happiness too.
While there have been some changes in the adaptation from the novel, Guadagnino and co-screenwriters James Ivory and [film editor] Walter Fasano keep the story intact up too a point. Unlike the book, the movie does not tell these characters stories over a 20-year span. It also changes the parents’ reaction to the affair that leads to a touching but perhaps slightly overlong scene of fatherly love and unsolicited life advice.
That slight quibble aside, Guadagnino’s achievement is a historic landmark for gay male characters in a film of this caliber. Outside of a few short moments in Ismail Merchant and James Ivory’s “Maurice,” and Ang Lee’s “Brokeback Mountain,” the love and intimacy between two male characters has never truly felt this real or emotionally heartbreaking in a theatrical context. It’s almost revolutionary. It’s cinematic art and it will want you to feel as loved as Elio and Oliver feel, even if it’s fleeting. [A]
“Call Me By Your Name” was acquired by Sony Pictures Classics before the festival and should hit theaters sometime this year.
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During a Q&A after the screening Luca Guadagnino revealed that Sufjan Stevens surprised him by submitting three songs for the movie and that they listened to them on the set. He also note that “Call Me By Your Name” was the fasted film he’d ever edited. His previous movies took about a year to finesse, but “Call Me” was finished a month after production wrapped (July, 2016). Armie Hammer credited the month he and Timothée Chalamet spent before filming for helping to cement their character’s strong chemistry and Chalamet was grateful to have the novel by André Aciman as a reference.
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https://theplaylist.net/call-name-steals-tiff-2017-opening-night-buzz-20170908/
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Call Me by Your Name
Steals TIFF 2017 Opening Night Buzz
by Gregory Ellwood
September 8, 2017 2:22 am
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Timothée Chalamet and Armie Hammer in Call Me by Your Name
TORONTO -- The official opening night film for the 2017 Toronto International Film Festival was “Borg/McEnroe.” Despite a unique tennis story and the kitsch factor of Shia LaBeouf playing John McEnroe (perhaps a little too on the nose), the were hardly any buzz from Roy Thompson Hall which was filled mostly by festival sponsors. Instead, social media and the rest of the festival was ablaze over the TIFF premiere of “Call Me By Your Name” which earned rave reviews at the 2017 Sundance Film Festival in January (you can read mine here): http://theplaylist.net/armie-hammer-timothee-chalamet-find-love-luca-guadagninos-transcendent-call-name-sundance-review-20170123/
Sony Pictures Classics closed the lid on all North American festival screenings after Sundance. TIFF was the first time it was shown publicly since a large number of the world’s film critics declared the adaptation of André Aciman’s 2007 novel a “masterpiece.” Director Luca Guadagnino and stars Timothée Chalamet and Armie Hammer were on hand as the film earned a standing ovation which you can watch in the video embedded in this story.
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Standing ovation for #callmebyyourname at #tiff #oscars
https://theplaylist.net/call-name-steals-tiff-2017-opening-night-buzz-20170908/
https://www.instagram.com/p/BYw8hJhnsny/
Granted, standing ovations can be somewhat common at TIFF, but not necessarily in the Ryerson Theater where “Call Me” had its Canadian debut. The mandatory ones are usually for the gala premieres at Roy Thompson Hall and over the years this pundit has seen a few very deserving ones (“Silver Linings Playbook”) in that venue and some absolute head scratchers (“Mandela,” “Deepwater Horizon,” etc.). This audience’s reaction, however, was genuine. One woman in my row was audibly crying at the end and there were cries of “Bravo!” when the first credits rolled (it’s worth noting Guadagnino starts to display the credits on the final shot while it’s still emotionally in progress).
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http://www.gramunion.com/callmebyurnameandillcallubymine.tumblr.com/163920289941
http://www.gramunion.com/tagged/michael%20stuhlbarg
During a Q&A after the screening Guadagnino revealed that Sufjan Stevens surprised him by submitting three songs for the movie and that they listened to them on the set. He also note that “Call Me” was the fasted film he’d ever edited. His previous movies took about a year to finesse, but “Call Me” was finished a month after production wrapped (July, 2016). Hammer credited the month he and Chalamet spent before filming for helping to cement their character’s strong chemistry and Chalamet was grateful to have the novel as a reference.
It goes without saying that they hype after Sundance (and a lesser point, Berlin) hasn’t helped “Call Me” with some (cough, male, cough) media members who had to wait to see it at TIFF or a few select few private screenings over the past few weeks (again, emphasis on “some”). Why they thought this was another “Moonlight” is beyond me. They are very different films even if they feature gay subject matter. If anything, “Call Me” is closer in tone and story to “Brokeback Mountain” and even then it’s a stretch. So, yes, there is a slight backlash (Ahem, “Why y’all so jealous? Get your ass to Park City or accept you’re gonna see movies later than others.”), but we’re still confident a substantial number of Academy members will give the picture the Best Picture nomination votes it needs. Now will Chalamet and Guadagnino get the Best Actor and Director nominations they deserve? That’s gonna be a battle SPC may need more help with than usual.
“Call Me By Your Name” opens in limited release on Nov. 24.
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Armie Hammer and Timothée Chalamet have incredible on-screen chemistry as they go back and forth from a playful big brother/little brother vibe to passionate lovers. Both should be in the awards season discussion (Luca Guadagnino as well), but it’s Hammer who really shines. The Oliver role gives him the opportunity to really show off his dramatic chops and leading man charm.
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http://www.businessinsider.com/call-me-by-your-name-review-2017-9
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TORONTO
INTERNATIONAL
FILM FESTIVAL
TIFF 2017 Review
Call Me by Your Name
is a moving and playful love story that showcases
Armie Hammer's star quality
by Jason Guerrasio
Sep. 8, 2017, 9:01 AM
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‘A touching portrait of a summer love affair’ ... Michael Stuhlbarg, Timothée Chalamet and Armie Hammer in Call Me by Your Name
TORONTO -- Following Oscar hype at its world premiere at the Sundance Film Festival earlier this year, “Call Me by Your Name” shows up at the Toronto International Film Festival with the hopes of increasing the buzz. And after its premiere screening here Thursday night, it did just that.
From director Luca Guadagnino (“I Am Love,” “A Bigger Splash”), with a script byJames Ivory, this adaptation of the André Aciman novel is a touching portrait of a summer love affair between student Oliver (Armie Hammer) and the son of the professor that’s taken him in, Elio (Timothée Chalamet).
Guadagnino has dazzled audiences in the past with lush visuals of rural Italy that makes you want to jump on a plane and vacation there. “Call Me by Your Name” is no different, as the “somewhere in Northern Italy” setting is a character all its own in the movie with its hidden ponds, cute towns, and a rustic villa. But what’s different this time around is that with the movie’s setting of the late 1980s, Guadagnino gives us a more playful feel. Similar to “A Bigger Splash,” the movie features fun music and a lot of sexual tension, but in “Call Me By Your Name” there’s no sinister third act. The movie is about sexual discovery and the feeling of finding your first love.
The movie is fueled by Elio’s fondness for Oliver, which turns into a mutual love over the six weeks they are together. Hammer plays the Oliver character as a macho American, who shows up with a confidence that at first intimidates Elio. But by the end, Elio doesn’t want to just sleep with him, he wants to be just like him.
Hammer and Chalamet have incredible on-screen chemistry as they go back and forth from a playful big brother/little brother vibe to passionate lovers. Both should be in the awards season discussion (Guadagnino as well), but it’s Hammer who really shines. The Oliver role gives him the opportunity to really show off his dramatic chops and leading man charm.
The movie might be a little too long (running time is over two hours). By the end it gets to the point where there are about three different endings. But buried in there is a fantastic scene between Chalamet and character actor Michael Stuhlbarg, who plays his father, that is an emotional high of the movie.
“Call Me By Your Name” opens in theaters November 24.
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[youtube=425,350]http://www.youtube.com/watch?v=bby76VN7HI4[/youtube]
CALL ME BY YOUR NAME Press Conference
TIFF 2017
Director Luca Guadagnino,
Armie Hammer & Timothée Chalamet
37:03 Published on Sep 9, 2017(https://yt3.ggpht.com/-ug1q3unWFiE/AAAAAAAAAAI/AAAAAAAAAAA/jIlfOiBOrF4/s88-c-k-no-mo-rj-c0xffffff/photo.jpg)
Actors Armie Hammer and Timothée Chalamet join director Luca Guadagnino at the Toronto International Film Festival TIFF press conference for their movie Call Me By Your Name which had it's world premiere at the festival.
The movie is based on the book (of the same name) by André Aciman.
Plot: 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.
CALL ME BY YOUR NAME
Directed By: Luca Guadagnino
Written By: Luca Guadagnino, James Ivory, Walter Fasano
In Theaters: Nov 24, 2017 Limited
Runtime: 130 minutes
Studio: Sony Pictures Classics
--and now, of course, we learn:(https://68.media.tumblr.com/5385d5c623fba7cd330de9f74523b54c/tumblr_ouc4l4497R1wwjl4jo1_r1_1280.jpg)
(http://static.stereogum.com/uploads/2017/01/IMG_0475_bw-1485544300-640x480.jpg)
23:24 - 25:26
--and we learn this:(http://www.house24.ilsole24ore.com/thumbs/668x501/29/1/properties/Property-42cd73cb53cbc73550c37259429d66f1-16410421.jpg)
26:00 - 29:24
--and this:(http://www.movpins.com/big/MV5BMmExNWJlYWItYWQ0NC00MGRhLWIxMDUtNjE2ZTEzMDRkMGE5XkEyXkFqcGdeQXVyMzI3NjY2ODc/michael-stuhlbarg-and-timothee-chalamet-in-call-me-by-your-name-2017-large-picture.jpg)
29:29 - 31:53
and
34:24 - 35:35
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(http://www.ert.gr/wp-content/uploads/2017/07/tiff-2017-1021x576.jpg)
Armie Hammer’s career has been marred by high-profile bombs, but his impossibly good looks and consistently measured delivery serves him well here as a young man already hardened by living a deception. It’s a fine performance that works well within the character’s limitations.
Elio, on the other hand, is a character of range. He seems to feel free to try on personalities to see what fits best: he has a girlfriend in one scene, and lays in bed with Oliver in the next. Timothée Chalamet evokes so many shades of humanity, portraying a path of youthful self-discovery that is more raw, unhinged, and ultimately honest than many actors could manage. Whether the affair lasts or not, what hangs in the balance is just what kind of man this bright, young boy will become, and what the world will let him be. Mr Chalamet’s multi-faceted performance is one for the ages.
https://www.economist.com/blogs/prospero/2017/09/what-lies-beneath
(https://cdn.static-economist.com/sites/default/files/the-economist-logo.gif)
TIFF 2017 Review
What lies beneath:
Call Me by Your Name
is a work of beauty
Luca Guadagnino’s new film is preoccupied with questions of image and illusion
Prospero
by N.E.G.
September 8, 2017
(https://cdn.static-economist.com/sites/default/files/20170909_BKP514.jpg)
“If you only knew how little I know about things that matter.” “What things that matter?” Armie Hammer and Timothée Chalamet, Call Me by Your Name
TORONTO - ART and beauty are inexorable; Pablo Picasso said that art exists to embellish, polish and “[wash] away from the soul the dust of everyday life”. Luca Guadagnino is one of cinema’s most aesthetically-minded directors; his films often probe the concept of beauty and its role in human relationships. His last film, “A Bigger Splash” (2015), placed two pairs of lovers—played by four gorgeous actors—in a picturesque Mediterranean setting, and watched as their jealousies and rivalries slowly ruined the placid, pleasing surfaces. His newest, “Call Me By Your Name”, recently screened at the Toronto International Film Festival. It features a more heavenly setting, a highly sensual story and a deeper critique of the surfaces on which we focus.
Adapted from the critically acclaimed novel by André Aciman, the film tells of a summer of love for teenaged Elio (Timothée Chalamet), who has been raised in a culture of aesthetic pleasure. His father (Michael Stuhlbarg), a professor, studies Greek statues. A warm but distant intellectual, he gets far more excited about the discovery of an arm—a bronze one, that is—in the ocean than anything his son’s mind or body might be experiencing.
It isn’t long before Elio finds a figure of his own to get excited about. Oliver (Armie Hammer)—a young, handsome American whose skin and hair evoke the golden countryside—comes to work for the professor, staying at their home for the summer. Although Elio, like most 17-year-olds, fiercely guards his vulnerability, Oliver is simply too attractive to ignore. Confident and immovable, Oliver resembles a Greek god in human form, or perhaps Superman (Mr Hammer was once in consideration to play the Man of Steel).
Mr Guadagnino depicts their friendship, and its eventual metamorphosis into something more, slowly and carefully. At first, Elio is simply intrigued by Oliver’s voracity. He watches in fascination as Oliver drinks a glass of apricot juice in one, large gulp, and dances without self-consciousness. They start to spend more time together: first, there are shared bike trips into town, then an afternoon swim. Oliver’s initial confidence belies his reticence, and it is Elio who proves willing to take the risk in initiating a relationship. When Oliver compliments Elio on his intelligence, he replies with affected wistfulness: “If you only knew how little I know about things that matter.” Oliver slyly takes his bait: “What things that matter?”
From there, “Call Me By Your Name” chronicles the secret ecstasies and public frustrations of their romance, maintaining a steadying naturalism that fits the material. There are surprisingly few deep displays of emotion; no love that isn’t measured by pain. Ostensibly, it is the end of the summer, when Oliver will leave them, that hangs over their heads. Yet Mr Guadagnino frames things so obliquely (these characters rarely state what they are actually feeling) that we perceive their fumbling towards and away from love as an internalised oppression. They cannot be who they are: not in 1983 (when the film is set), not when one of them is 17, and not when his father is the other’s employer. This fear laces every kiss with regret.
With such exquisite tension between pain and pleasure, “Call Me By Your Name” is a paradise for skilled actors. Mr Hammer’s career has been marred by high-profile bombs (“The Lone Ranger,” “The Man from U.N.C.L.E.”), but his impossibly good looks and consistently measured delivery serves him well here as a young man already hardened by living a deception. It’s a fine performance that works well within the character’s limitations.
Elio, on the other hand, is a character of range. He seems to feel free to try on personalities to see what fits best: he has a girlfriend in one scene, and lays in bed with Oliver in the next. Mr Chalamet evokes so many shades of humanity, portraying a path of youthful self-discovery that is more raw, unhinged, and ultimately honest than many actors could manage. Whether the affair lasts or not, what hangs in the balance is just what kind of man this bright, young boy will become, and what the world will let him be. Mr Chalamet’s multi-faceted performance is one for the ages.
“Call Me By Your Name” is, above all, interested in appearances. The cinematography itself is well crafted, with lingering shots of lithe young bodies, Italian country houses and orchards of apricots and pomegranates. Mr Guadagnino was astute to choose a story of a forbidden, closeted relationship, a “love that dare not speak its name”. It reminds us that beneath surface impressions lie hidden depths and passions.
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It must be said that Call Me by Your Name is a triumph in every regard. Michael Stuhlbarg’s role as Elio’s father isn’t necessarily a large role in terms of screentime, but he delivers a monologue towards the end of the film that felt like it made time stop. Luca Guadagnino and James Ivory’s script is measured and tight; thoughtful and delicate. Every inch of this movie is expertly crafted, right down to the stunning final shot. It’s at once a universal story of young love and a relatable, emotional story of a homosexual awakening. In that regard it’s a tremendous love story period, but also a winning entry in the legion of queer cinema.
http://collider.com/call-me-by-your-name-review/
(http://cdn.collider.com/wp-content/themes/collider-v3/images/Collider_Logo_Dark.png)
Sundance 2017
Call Me by Your Name
Sundance 2017 Review
Armie Hammer and Timothée Chalamet
Astound in Sensual Triumph
by ADAM CHITWOOD
Monday 23 January 2017
(http://cdn.collider.com/wp-content/uploads/2017/01/call-me-by-your-name-armie-hammer-600x400.jpg)
Days filled with swimming, reading, and eating fresh fruit ... Timothée Chalamet, Michael Stuhlbarg and Armie Hammer in Call Me by Your Name
In my four years attending the Sundance Film Festival, I’m not sure I’ve seen anything as purely rapturous as Call Me by Your Name. The new feature film from I Am Love and A Bigger Splash filmmaker Luca Guadagnino chronicles a summer romance that blossoms between a young boy and a visitor in northern Italy, and by the film’s end it solidifies its place as one of the queer cinema greats alongside Carol, Brokeback Mountain, and Moonlight. The film is a tremendously sensual, hypnotic coming of age/coming out tale of first love. Anchored by a phenomenal breakout performance from Timothée Chalamet, Armie Hammer’s best work yet, and masterful craftsmanship, Call Me by Your Name is an instant addition to the best romances of the 21st century.
Based on the book of the same name by André Aciman, the film takes place in 1983 in Northern Italy, where a 17-year-old boy named Elio is spending the summer in his family’s 17th century villa. His father (Michael Stuhlbarg), a professor of Greco-Roman culture, enlists a research assistant named Oliver (Hammer) to come and spend the summer with his family. Elio is transfixed by Oliver at first sight, but approaches the handsome American warily, keeping him at arm’s length. As the summer continues and Elio and Oliver play a game of chicken, daring one another to make the first romantic overture, the two finally give into their feelings and spark a romance that is passionate, playful, and pure.
Chalamet is nothing short of a revelation as Elio. The actor is probably best known for his work on Homeland or for a brief role in Interstellar, but this is one of the biggest breakthrough performances in recent memory. He imbues Elio with complicated layers—a confident exterior; a precocious charm; a fearful undercurrent. All of these shine through and more and he’s so good in the role that at first you even doubt whether he actually likes Oliver. Of course he’s simply preparing himself for rejection by throwing out the first jabs, but this results in a relationship that is at first delightfully contentious, then playfully so before turning into full on flirtation.
But as a closeted 17-year-old, Elio is still working out his feelings by losing his virginity to a local Italian girl who has the hots for him. Their relationship never comes off as phony, more as an exploration, and there’s a ticking clock plot point towards the end of the film that raises the stakes in hilariously sexy fashion.
As the relationship between Elio and Oliver becomes physical, the film really digs into this as a first love story and a coming out story. Love is universal, so the feelings between Elio and Oliver are the same feelings felt by all, but it’s nice that Guadagnino doesn’t ignore the elephant in the room: that Elio and Oliver’s sexuality is a thing to be hidden at that point in time. There’s a reason their relationship began so contentiously, and Oliver makes reference early in the film that he’s “been good” so far and doesn’t want to do anything to mess that up. It’s heartbreaking, really, to see Elio so miserable at the start of the film, surrounded by such beauty.
But this is no misery porn. The teasing that goes on between the two characters is magnificently handled by Guadagnino, who keeps a playful hand on the proceedings so as not to drown the film in self-serious romance. Summer flings are fun! So are first loves. And while this does blossom into something deeply felt, the summer season and Italian setting add a touch of lightheartedness to the scenes. Moreover, Guadagnino’s focus on sensuality over sexuality imbues the film with a romp vibe with an undeniable allure. One imagines that a more explicit or erotic version of the film would have downplayed how deeply felt the emotions are between Oliver and Elio.
Gorgeously shot by Sayombhu Mukdeeprom (Arabian Nights ), this is a film that you just want to soak up. The Italian scenery is milked for all its worth, and the days filled with swimming, reading, and eating fresh fruit are divine. But the secret weapon to immersing audiences into the world of Call Me by Your Name is some incredible sound design. The footsteps on the gravel roads, the creaking floors in the ancient villa—you not only see this world, you feel it. That only allows the audience to fall deeper into the film’s trance, becoming infatuated with the romance between Elio and Oliver.
It must be said that Call Me by Your Name is a triumph in every regard. Stuhlbarg’s role as Elio’s father isn’t necessarily a large role in terms of screentime, but he delivers a monologue towards the end of the film that felt like it made time stop. Guadagnino and James Ivory’s script is measured and tight; thoughtful and delicate. Every inch of this movie is expertly crafted, right down to the stunning final shot. It’s at once a universal story of young love and a relatable, emotional story of a homosexual awakening. In that regard it’s a tremendous love story period, but also a winning entry in the legion of queer cinema.
Rating: A
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(http://www.antike-am-koenigsplatz.mwn.de/typo3temp/pics/e5f82c5567.jpg)
Overlaying Oliver (Armie Hammer) and Elio (Timothée Chalamet)'s slow-motion courtship is Oliver’s study of classical archaeology, which visually echoes his attraction to Elio, who looks like a Greek bronze statue come to life — delicate aquiline nose, bedroom eyes under a heavy brow and hair just ever-so-slightly mussed. Several times in the film we see him draped across a sofa, the Barberini Faun in a Talking Heads T-shirt, Elio as a gay Pygmalion in reverse.
(https://2.bp.blogspot.com/-TNBPMrmzjig/WKrc9nAQhdI/AAAAAAAAhGY/FtuqSJL5XIcTA2jIasBgsCipJ1ekEy6iACLcB/s1600/67th%2Bannual%2BBerlin%2BInternational%2BFilm%2BFestival.jpg)
https://mic.com/articles/168595/berlinale-review-call-me-by-your-name-is-a-portrait-of-homosexual-intimacy-that-honors-the-book
(https://mic.com/component_assets/images/mic-logo-new.png)
BERLINALE 2017 Review
Call Me by Your Name
is a portrait of homosexual intimacy that honors the book
by John Sherman
@_john_sherman
Published Feb. 14, 2017
(http://cdn2.thr.com/sites/default/files/2017/01/call_me_by_your_name_sundance_still_2_-_publicity_-_h_2017.jpg)
"--as if they’re daring you to desire them." ... Michael Stuhlbarg, Timothée Chalamet and Armie Hammer in Call Me by Your Name
BERLIN -- Call Me by Your Name, based on the 2007 novel of the same title by André Aciman, premiered at Sundance earlier this year, and played this week at the Berlinale to eager crowds.
Set "somewhere in northern Italy" in 1983, the story takes place at the estate of Professor Perlman (Michael Stuhlbarg) and his wife, Annella (Amira Casar), who host a graduate student as a research assistant each summer. Oliver, portrayed by Armie Hammer, is an American student who not only charms the Perlmans, but catches the eye of their 17-year-old son Elio, played by Timothée Chalamet. Hammer stretches the imagination playing a 20-something, particularly in contrast to Chalamet’s lithe, nearly hairless figure (he’s 21 playing 17 but looks even younger) — still, the physical chemistry between them is electric.
Adapting any novel into a film is a unique challenge, as it often leaves viewers and readers at odds, but director Luca Guadagnino’s film achieves much of the spirit that runs through André Aciman’s novel. It may seem tautological to say so about a film based on a book, but Call Me by Your Name is an intensely literary film. The novel drips with the Western intellectual tradition, a fact the film neither loses sight of nor apologizes for — its dialogue is in three languages (in order of appearance: French, English and Italian), and its characters are as conversant in Hellenistic statuary and classical composers as they are 20th-century painting and 1980s pop music. The breadth of this story, from the rich art-historical imagery to the bookshelves' worth of literary reference behind every conversation, has not been diminished in its translation from book to film.
But the literary depth of Call Me by Your Name is set dressing to the soul of the story, which is the relationship between Elio and Oliver. Neither Aciman nor Guadagnino is openly queer — Aciman is married to a woman and Guadagnino has not publicly discussed his orientation [FYI, this is not correct. According to wikipedia, Guadagnino is gay, and in the NYT Sunday Weekend article (August 1 2016), Guadagnino says he lives with a partner who is a filmmaker, although the partner's name is not mentioned--although I have an idea who!--JG.] — but each creates a tender portrait of a relationship between two men who cannot initially admit their affection, neither to one another nor to themselves. Both film and novel capture the unbearable privacy of closeted desire, which proceeds by degrees — a touch, a look, a certain preference that, by design, can be neither quantified nor directly confronted — the hesitant physicality between men who can’t be certain that the other won’t turn and run, or worse. When this tension finally breaks, the emotional and physical release of freedom — freedom to kiss, even simply to stare — is like finally breathing.
The delicacy of this dance is highlighted by interactions Oliver and Elio have with women, whom they pursue directly and forcefully — Elio in order to prove something, at least in part; Oliver perhaps out of a more genuine interest. Once Elio and Oliver finally kiss, the women are reduced to little more than interruptions.
Overlaying Oliver and Elio’s slow-motion courtship is Oliver’s study of classical archaeology, which visually echoes his attraction to Elio, who looks like a Greek bronze statue come to life — delicate aquiline nose, bedroom eyes under a heavy brow and hair just ever-so-slightly mussed. Several times in the film we see him draped across a sofa, the Barberini Faun in a Talking Heads T-shirt, Elio as a gay Pygmalion in reverse.
The film's title sequence features full-color slide images of classical Greek statuary, busts and chests and bodies of idealized young men, an inscrutable smile on every face, hair carved into artful tousles; any one of them could have been carved after Elio. In a scene between Oliver and Elio's father, cataloguing slides of bronze statuary, Elio's father comments on the inviting curvature of the male figures, saying it is "as if they’re daring you to desire them." Oliver gazes at the slides knowingly.
But for all the acceptance of Elio's parents — his mother seems at times to encourage their relationship, and his father makes clear he understands the weight of their affection for one another — Elio and Oliver are free only in darkness, and in private. Even after acknowledging their mutual attraction, in daylight and in public they are always in hiding. It’s only at night — in Oliver’s room, in the woods by the lake, in a pantry, in a dark alley outside the center of town — that they can give in to one another. This exhausted submission is the heart of the queerness of the romance between Oliver and Elio; they touch one another furtively but with determination, asserting a secret shared between them that can only be felt in private.
Viewers may take issue, not unfairly, with Guadagnino’s decision to cast non-queer actors to play queer characters, a choice that on paper feels out of step with progress. Brokeback Mountain starred two straight actors in 2005, and Andrew Haigh's 2011 film Weekend featured an openly gay actor in one of the two lead roles. Call Me by Your Name is a film directed by an ostensibly heterosexual man [not correct--see above, JG] based on a book written by a heterosexual man starring two heterosexual male leads — and yet its emotional resonance persists.
As a viewer, I’m the last to apologize for actors playing below their privilege, and I simply can’t explain how Call Me by Your Name manages to pull it off. Perhaps it’s the increased normalcy of cishomosexuality, particularly between white men, which has erased the "bravery" of playing queer. Perhaps it's the relatively low profile of every actor in the film — Armie Hammer is well-known, but this is neither a typical role for him nor touted as any kind of dramatic breakout. For all its baked-in heterosexuality [again, what?? JG], Guadagnino’s film is a rapturous portrait of homosexual intimacy that is every bit as deep and tender as its source material.
“Call Me By Your Name” opens in theaters November 24.
(https://thumbs.mic.com/ZTFlNjliMjYyZSMvQ2FjTTZQYU1DVUY3TVpmQnNjdG9zeml5Z1FRPS8weDE1Nzo0NzIweDI0NDMvMTYwMHg5MDAvZmlsdGVyczpmb3JtYXQoanBlZyk6cXVhbGl0eSg4MCkvaHR0cHM6Ly9zMy5hbWF6b25hd3MuY29tL3BvbGljeW1pYy1pbWFnZXMvbGd3eHJsYmpxbTV3MDlhZ21zYWM0YnBsdXdveWU1bzV5azVxZGNnc29ienZnbzZvZXJ3YnV5Yzg0cDFycHlweC5qcGc.jpg)
The (partial) cast and crew of Call Me by Your Name
Front Row: Victoire Du Bois (Chiara) Esther Garrel (Marzia) Timothée Chalamet (Elio) André Aciman (Author--and Mounir)
Amira Casar (Annella) Luca Guadagnino (Director)
Center Back Row: Peter Spears (Isaac--and Producer) and, Far Right Back Row: Armie Hammer (Oliver)
Photo: Pascal Le Segretain/Getty Images
FYI:(https://upload.wikimedia.org/wikipedia/commons/c/c1/Luca_Guadagnino_%28cropped%29.jpg)
Luca Guadagnino at the 2017 Berlin Film Festival
https://en.wikipedia.org/wiki/Luca_Guadagnino#/media/File:Luca_Guadagnino_(cropped).jpg
https://en.wikipedia.org/wiki/Luca_Guadagnino
Does this look like a straight man to you?? PUH-leeze!!
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Informative and very readable. I particularly like your clarifications and comments, JG!
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Informative and very readable. I particularly like your clarifications and comments, JG!
Thank you very much, Lee!
And just in case you missed this last addition:
:laugh: :laugh: :laugh: :laugh:
FYI:(https://upload.wikimedia.org/wikipedia/commons/c/c1/Luca_Guadagnino_%28cropped%29.jpg)
Luca Guadagnino at the 2017 Berlin Film Festival
https://en.wikipedia.org/wiki/Luca_Guadagnino#/media/File:Luca_Guadagnino_(cropped).jpg
https://en.wikipedia.org/wiki/Luca_Guadagnino
Does this look like a straight man to you?? PUH-leeze!!
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:laugh: :P :laugh:
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CALLMEBYYOURNAMEFANART
MOVIE POSTERS
#armiehammer #timothéechalamet #cmbyn
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http://www.imdb.com/title/tt5726616/mediaviewer/rm2844273920
(https://www.chinaoilpaintinggallery.com/image/oilpainting/claude-monet/the-olive-tree-wood-in-the-moreno-garden.jpg)
Olive Tree Wood in the Moreno Garden
Claude Monet
Date: 1884
https://en.wikipedia.org/wiki/Moreno_Gardens
https://en.wikipedia.org/wiki/Bordighera
http://www.huffingtonpost.com/michael-schuermann/just-follow-the-monet_b_5641170.html
In the Footsteps of Monet at Bordighera
By Michael Schuermann
08/01/2014 02:42 pm ET
The French painter Claude Monet spent one winter — the early part of 1884 — in the Italian town of Bordighera, having been introduced to this part of the Riviera by his friend Renoir the year before. Monet was 43 at the time, already an accomplished artist with some “signature” paintings under his belt, but by no means the international superstar of his later years and still working to evolve his “mature” style. His financial affairs, too, were largely unsettled — he had already moved to Giverny, but only as a tenant, and would still have to work hard for another five years before he had the funds to buy the house for himself and his large patchwork family.
Most of the townscapes and landscapes that provided the motives for the great impressionist painters can be easily identified in today’s modern world, and although this is generally true for Monet’s works as well (Saint Lazare train station, Rouen Cathedral), it is not the case for Bordighera. This is mainly due to two reasons.
Firstly, Monet appeared to be less interested in the specifics of Bordighera and more in a Platonic ideal of “the south” — intense sunlight, lush vegetation, exotic plants. (For Monet - a child of the North, born in Paris and raised in Normandy — the experience of this “other world” was an important step towards the development of his mature style: his Bordighera paintings appear to have more in common with his famous later works — Rouen Cathedral, the Giverny gardens — than with anything that he had painted up to that date.)
And secondly, because Monet’s painterly interests focused on the gardens of Francesco Moreno, and these gardens — internationally famous during Monet’s time — no longer exist. Moreno was a rich citrus fruit merchant, and when he lost all his money — briefly after Monet’s visit, as it happens — the land was used to build an entire new town of shops and residential homes. Nearly all of modern Bordighera except for the Old Town was built on what was once Moreno’s land.
To retrace Monet’s steps, walk straight from Bordighera train station into Corso Italia — crossing Via Vittorio Emmanuelle II — until you reach Via Romana, already flanked by many sumptuous villas in Monet’s time (although it was just a dirt road then). The road has preserved much of its ancient grandeur and tranquility.
(and etc.)
(https://pbs.twimg.com/profile_images/919851966146101249/ffU0LD8X_400x400.jpg) by Nikko Tan
@chroniclikerrr
@CMBYNFANPAGE
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http://monetsberm.tumblr.com/post/163097200741/bike-rides-to-b-nikko-tan-nikkotan-on-ig
http://www.imgrum.org/media/1576993348156539517_5850831693
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Bike Rides To "B"
Turn around when you think you have seen enough of the Sentiere and walk back to town by taking a left turn into Via dei Colli and another, even sharper left into Via Garnier where, on no. 11, you can find the Villa Garnier ...
(http://images.huffingtonpost.com/2014-08-01-8905.jpg)
... which is featured in more Monet-at-Bordighera paintings than any other building in town, even though you may not recognize it since all you ever see on the canvas is a wall here and a column there. The villa is named after its owner and architect Charles Garnier, the builder of the Paris Opera and the casino at Monte Carlo.
(and etc.)
http://www.huffingtonpost.com/michael-schuermann/just-follow-the-monet_b_5641170.html
(https://upload.wikimedia.org/wikipedia/commons/thumb/9/96/Bordighera_by_Claude_Monet_1884.jpg/745px-Bordighera_by_Claude_Monet_1884.jpg)
https://commons.wikimedia.org/wiki/File:Bordighera_by_Claude_Monet_1884.jpg
Bordighera, Claude Monet 1883, oil on canvas 65 x 81 cm,
The Art Institute of Chicago, Chicago Illinois USA. Riviera Italy.
Painting Description:
The Citta Alta of Bordighera emerges from behind the pine trees.
The canvas was painted by Monet from the Torre dei Mostaccini.
That's better! Better than that--in the novel, the town is never mentioned other than the capital letter 'B',
but when you look Bordighera up on Google Maps, right near the water you find a restaurant:
Monet's Café--perfect!
click for the link:
https://www.google.com/maps/place/18012+Bordighera,+Province+of+Imperia,+Italy/@43.7853098,7.6553045,15z/data=!4m5!3m4!1s0x12cdf3b7493a1e09:0x4e876555b0b2bb3!8m2!3d43.7806979!4d7.6722799
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Scene/Behind the scene--
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(https://pbs.twimg.com/media/DGYRuqsUQAQqafA.jpg)
https://twitter.com/emorybrooklyn
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Scene/Behind the scene--
(Bike Rides To "B")
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(https://68.media.tumblr.com/a5868e837eb84c1ed417bb63c6200897/tumblr_of59nhUvn51tmwudwo2_1280.jpg)
https://fuckyeahtimotheechalamet.tumblr.com/post/151884075656/shooting-call-me-by-your-name-source
https://twitter.com/emorybrooklyn
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CALLMEBYYOURNAMEFANART
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(https://instagram.fewr1-1.fna.fbcdn.net/t51.2885-19/s150x150/17586618_1826030724328758_7458941953455947776_a.jpg) by zarubina.art
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He was going to be a difficult neighbor. Better stay away from him, I thought. To think I had almost fallen for the skin of his hands, his chest, his feet that had never touched a rough surface in their existence--and his eyes, which, when their other, kinder gaze
fell on you, came like the miracle of the Resurrection.
You could never stare long enough but needed
to keep staring to find out why
you couldn't.Call Me By Your Name by André Aciman
Recited/Narrated by Armie Hammer
CALLMEBYYOURNAMEFANART by zarubina.art
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@fleurypowerMARCH 4 2017 79 Likes
#CMBYN #CallMeByYourName #zarubina.art
#elio #elio perlman #oliver #ulliva #laterpeaches 🍑
#andré aciman #armie hammer #timothée chalamet #luca guadagnino
#book #novel #film #movie #sonyclassics #lgbt
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#watercolor #instaart #instagood #artgallery #arthelp
#illustration #artist #sketch #sketchbook
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#peach #blue #brown
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(http://68.media.tumblr.com/b520454c503cc0ff9202bb075b575468/tumblr_nwljvkSAu01qar68yo1_1280.jpg)by electra sinclair
(https://68.media.tumblr.com/79dc3857736534324004bbd4b41cafbc/tumblr_ovsnlyX2F11qar68yo1_1280.jpg)
http://electrasinclair.tumblr.com/post/165001442371/call-me-by-your-name-facebook-instagram
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(https://img08.deviantart.net/32c6/i/2017/214/4/2/elio_perlman_by_keoning-dbimu7w.jpg)
https://keoning.deviantart.com/art/Elio-Perlman-696426620
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☼ welcome to my place ☼
(https://68.media.tumblr.com/avatar_47c75e6495d3_64.png) by anqua.tumblr.com(https://68.media.tumblr.com/b00f8b3439bd8e9bc811dd86da95d744/tumblr_ou6lf6XW7s1ty6stwo1_1280.jpg)
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(http://www.ert.gr/wp-content/uploads/2017/07/tiff-2017-1021x576.jpg)
(https://pbs.twimg.com/media/DJYEnf0UEAMwEZ5.jpg)
[youtube=425,350]http://www.youtube.com/watch?v=QtZ-SgOD5WM[/youtube]
CALL ME BY YOUR NAME Premiere
TIFF 2017
Special Friends on Location:
The Chemistry of
Armie Hammer & Timothée Chalamet
Published on Sep 9, 2017(https://yt3.ggpht.com/-KtdkKviD1k0/AAAAAAAAAAI/AAAAAAAAAAA/msGYWLL7Dpg/s88-c-k-no-mo-rj-c0xffffff/photo.jpg)
(http://cdn02.cdn.justjared.com/wp-content/uploads/2017/09/hammer-tiffprem/armie-hammer-timothee-chalamet-call-me-by-your-name-tiff-01.jpg)
(https://pbs.twimg.com/media/DJKLwG6UEAAFOFd.jpg)
Actors Armie Hammer and Timothée Chalamet at the Toronto International Film Festival TIFF premiere of their movie Call Me By Your Name chat about becoming close friends while shooting on location in Crema, Italy.
The movie is based on the book (of the same name) by André Aciman.
Plot: 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.
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Woah. :o
Yes, we are told this is
a still from the film.(https://pbs.twimg.com/media/DJNuMgEVoAAb8LN.jpg:large)
http://pedropascals.tumblr.com/post/165136161970/call-me-by-your-name-2017-dir-luca-guadagnino
http://www.gramunion.com/v-ltersen.tumblr.com/165115315434
https://twitter.com/badpostchalamet
https://twitter.com/lllooouuuiiis
http://tweetiz.com/pjspears/
#I WANT THIS MOVIE #AND I WANT IT NOW #timothée chalamet #armie hammer #cmbyn
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(https://pbs.twimg.com/media/DJFSWxvXcAAU_DK.jpg)
Elio and Oliver in the Perlmans' Italian summer villa
Illustration by Yann le Bec for @LWLies 71
(aka their Call Me By Your Name issue)
Call Me By Your Name @CMBYNmovie Sep 6
https://twitter.com/CMBYNmovie/media
https://twitter.com/LWLies
[youtube=425,350]http://www.youtube.com/watch?v=qlfW62c2nIQ[/youtube]
Paul McCartney - WINGS - Let 'Em In (1976) - Lyrics
(http://www.house24.ilsole24ore.com/thumbs/668x501/29/1/properties/Property-42cd73cb53cbc73550c37259429d66f1-16410421.jpg)
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Little White Lies 71: The Call Me by Your Name issue
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Little White Lies 71: The Call Me by Your Name issue
£6.00 - On Sale
Little White Lies 71: Call Me by Your Name
In this issue…
Invisible Touch
A conversation with Call Me By Your Name director Luca Guadagnino about how to capture love on film.
Love My Way
Call Me By Your Name stars Armie Hammer and Timothée Chalamet discuss life and love, while we meet up-and-coming French actor Esther Garrel.
First Love
Twelve tall tales of formative movie love from a selection of cinephiles.
Eat a Peach
How fruit and sex have overlapped and intermingled throughout the history of art, literature and culture.
Threads #3
Men’s swimming trunks are placed under the microscope in our column about fashion and film.
Extra Assignments
Three short movie appreciations of A Room With a View, A Nos Amours and A Day in the Country, each intended as vita supplementary viewing for our cover film.
Interviews...
Jane Goldman talks about her intricate writing process ahead of the release of Kingsman: The Golden Circle and The Limehouse Golem; Andy Serkis talks up his beautiful directorial debut, Breathe; Eliza Hittman previews her Brooklyn-set gay coming-of-age drama Beach Rats; and Emily Beecham discusses her breakthrough role in Daphne.
Plus…
Filles de Belle
Belle de Jour is 50 years old this year, and so Caroline Golum recounts the joys of this salacious classic.
Shudders of Pleasure
In praise of Clive Barker and the movie he’ll always likely be remembered for, the S&M-flavoured suburban gore aria, Hellraiser.
http://shop.littlewhitelies.co.uk/product/little-white-lies-71-the-call-me-by-your-name-issue
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Oh my LORD, it just struck me--
You know who Armie looks like?
(Looks like? And sounds like--
that voice!!)
George Peppard! :o(http://media.gettyimages.com/photos/american-actor-george-peppard-circa-1960-picture-id180349120)(http://images.nymag.com/movies/features/armie111114_560.jpg)
(https://pmcdeadline2.files.wordpress.com/2015/08/armie-hammer.jpg?w=605)(https://s-media-cache-ak0.pinimg.com/originals/e9/7f/3b/e97f3b6ec0c2b45b20660182d06bc013.jpg)
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Luca is BRILLIANT!!
(http://logos-download.com/wp-content/uploads/2016/05/The_Guardian_logo_blue-700x123.jpg)
(http://www.ert.gr/wp-content/uploads/2017/07/tiff-2017-1021x576.jpg)
(http://logos-download.com/wp-content/uploads/2016/05/The_Guardian_logo_blue-700x123.jpg)
[youtube=425,350]http://www.youtube.com/watch?v=6NQrUgehtr0[/youtube]
CALL ME BY YOUR NAME Talk
TIFF 2017
Luca Guadagnino
Armie Hammer & Timothée Chalamet
Published on Sep 11, 2017(https://yt3.ggpht.com/-eypWVZ1BJeo/AAAAAAAAAAI/AAAAAAAAAAA/gXs_BZLGUps/s88-c-k-no-mo-rj-c0xffffff/photo.jpg)
(https://pbs.twimg.com/media/DJTzdtaW4AEv6IC.jpg)
In the first of three sessions from the Toronto International Film Festival TIFF, the team behind acclaimed gay romance Call Me By Your Name – actors Armie Hammer and Timothée Chalamet and director Luca Guadagnino – talk to the Guardian 's Benjamin Lee
The movie is based on the book (of the same name) by André Aciman.
Plot: 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.
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(https://i1.wp.com/thelowdownunder.com/wp-content/uploads/2017/04/MIFF-Logo.jpg?w=500)
"What this film has to say about the nature of love, our need to follow our hearts and give ourselves permission to feel, is monumental, and seeing such a young soul navigate that for the first time is equally exhilarating, breathtaking and heartbreaking."
https://www.maketheswitch.com.au/article/review-call-me-by-your-name-beautiful-beyond-words
SWITCH
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MIFF 2017 Review (https://ci3.googleusercontent.com/proxy/AAUUtN1TS23YwgP87HkTkhPe814g2PctirFRCA2Ycgnq8lNGbUBgVq7ao9t22OdewQRYDcgKYqT9nFKcwDo12Pny3KjfLw=s0-d-e1-ft#https://www.maketheswitch.com.au/images/star.png)(https://ci3.googleusercontent.com/proxy/AAUUtN1TS23YwgP87HkTkhPe814g2PctirFRCA2Ycgnq8lNGbUBgVq7ao9t22OdewQRYDcgKYqT9nFKcwDo12Pny3KjfLw=s0-d-e1-ft#https://www.maketheswitch.com.au/images/star.png)(https://ci3.googleusercontent.com/proxy/AAUUtN1TS23YwgP87HkTkhPe814g2PctirFRCA2Ycgnq8lNGbUBgVq7ao9t22OdewQRYDcgKYqT9nFKcwDo12Pny3KjfLw=s0-d-e1-ft#https://www.maketheswitch.com.au/images/star.png)(https://ci3.googleusercontent.com/proxy/AAUUtN1TS23YwgP87HkTkhPe814g2PctirFRCA2Ycgnq8lNGbUBgVq7ao9t22OdewQRYDcgKYqT9nFKcwDo12Pny3KjfLw=s0-d-e1-ft#https://www.maketheswitch.com.au/images/star.png)(https://ci3.googleusercontent.com/proxy/AAUUtN1TS23YwgP87HkTkhPe814g2PctirFRCA2Ycgnq8lNGbUBgVq7ao9t22OdewQRYDcgKYqT9nFKcwDo12Pny3KjfLw=s0-d-e1-ft#https://www.maketheswitch.com.au/images/star.png)
Call Me by Your Name
BEAUTIFUL BEYOND WORDS
by Daniel Lammin
[email protected]
www.twitter.com/DanielLammin
www.instagram.com/dlammin
5th August 2017
(https://images.maketheswitch.com.au/toppic/callmebyyourname2.jpg)
Staggering: His understanding of Elio’s journey is extraordinary, and his commitment to the truth of that journey is a wonder to behold.
Timothée Chalamet in Call Me by Your Name
MELBOURNE -- THERE have been a few moments in my film-going life where I’ve come to the end of a film and found myself unable and unwilling to move because of how deeply affected I was. It only happens rarely, and always takes me by surprise. I say often in my reviews that film is a subjective art form and each individual experience of rapture is its own private moment to cherish. At the end of the screening of Luca Guadagnino’s ‘Call Me By My Name’ at the Melbourne International Film Festival, I found myself in such a moment. I can’t account for anyone else in the cinema and their response, I can only tell you my own, and since it’s been barely an hour since I left the cinema, it’s a moment that I’m still very much recovering from. So please forgive my ramblings as I try to put this experience into words.
Set in the summer of 1983 in Northern Italy, the film looks at six weeks in the life of seventeen year-old Elio Perlman (Timothée Chalamet). His father (Michael Stuhlbarg), a professor of antiquities, invites Oliver (Armie Hammer), a university student, to come and study with him in their family home. Over Oliver’s stay, Elio becomes increasingly infatuated with him, an infatuation that slowly builds into a romance that sends Elio reeling.
Based on the book by André Aciman and written by Oscar-nominee James Ivory, ‘Call Me By Your Name’ is a transcendent, deeply sensual and enormously moving film, one that beguiles you with its beauty before breaking your heart in the most exquisite way imaginable. Guadagnino, best known for ‘I Am Love’ (2009) and ‘A Bigger Splash’ (2015), takes what could easily have been a perfunctory coming-of-age story and weaves it into something almost indescribable, a piece of cinematic poetry that taps right into that which is deep within all of us: the memory of our first love and our first understandings of ourselves as beings capable of desire and being desired. There are no moments of sweeping melodrama or emotion - Elio’s meticulously crafted journey revels in the quiet interior struggles that are rarely ever spoken, especially in young men, those enormous emotions that cause cataclysms in our hearts but the outside world can never be a part of. The queer coming-of-age story it presents is both idealised and remarkably grounded, examining Elio’s exploration of his body and what it is capable of, both in his attraction to Oliver and the hormonal shifts he has to chart. For Guadagnino, it is the tiny, understated details that fascinate, moments of touch or the proximities of bodies within space, and each one speaks volumes.
The craft of the filmmaking is impeccable from the beginning, Sayombhu Mukdeeprom’s sublime cinematography and Samuel Deshors’ extraordinary production design capturing the palpable feeling of that kind of summer we never forget. Every frame of the film shudders with longing and possibility, the air thick with sensuality. Ivory’s screenplay is sparse and specific, far more interested in the meaning around the words than necessarily within them. Guadagnino’s directorial command is stunning, creating a film more like a memory, something organic and private that we hold onto for ourselves and ourselves only. The whole film is a pursuit of honesty and truth, never allowing for moments of emotional indulgence. The first act of the film is so carefully constructed, giving us the time to settle in to Elio’s world, setting the stage for what is about to come.
And it is when ‘Call Me By Your Name’ becomes a love story that the film transcends from the beautiful to the sublime. As Elio and Oliver come together, we are met with a succession of staggeringly beautiful exchanges, moments of piercing honesty that fill your heart with immense joy. They come together in breath-catching, careful moments, each of them (especially Elio) savouring each careful, anticipated step. Some might find the age difference between the two uncomfortable, but at no point does the film, and Elio’s need for Oliver is so enormous and so overwhelming that any concerns fall away almost immediately. What this film has to say about the nature of love, our need to follow our hearts and give ourselves permission to feel is monumental, and seeing such a young soul navigate that for the first time is equally exhilarating, breathtaking and heartbreaking. You cannot help but see yourself in Elio, feel his anguish and confusion, fear and desire, and his overwhelming joy when the object of his desires expresses those same desires for him.
Timothée Chalamet’s performance as Elio is simply staggering, one of the finest performance of the year. The incredibly deep heart and soul of the film lies in his work, shockingly honest and emotionally generous whilst also a technical marvel. His understanding of Elio’s journey is extraordinary, and his commitment to the truth of that journey is a wonder to behold. Armie Hammer finally emerges from supporting roles with his beautiful performance as Oliver, sensual and cocky and tender in all the right ways. His performance sparkles with life, allowing us to be just as infatuated and infuriated with him as Elio. The chemistry between Chalamet and Hammer is just so goddamn remarkable, the screen erupting with electricity every moment they’re together. They find a connection that’s so real that you can’t help but share in their joy at finding one another. And quietly and beautifully in the background are Michael Stuhlbarg and Amira Casar as Elio’s protective, deeply loving parents, with Stuhlbarg towards the end delivering a moment of astounding humanity that had me holding my breath. Both Chalamet and Stuhlbarg deliver Oscar-worthy performances in this film, Chalamet’s easily one of the finest performances of the decade.
I still find myself unable to comprehend what this film made me feel. As I walked to the train afterwards, I just wanted to sit down in the street and sob. You always hope that you might come across a piece of art that captures the true honesty of being alive the way this film does, and I will probably be recovering from the overwhelming impact it has had on me for months to come. Its final minutes left me shaking, sobbing and breathless, tiny moments of pure perfection that I could barely comprehend as I was watching them. It might be one of the most honest portrayals of adolescence ever captured on film, recalling all the pain, possibility and confusion. It is like a song we all know, one we’re all familiar with, but have long forgotten or buried. This film brings us back to that song, and the memory of it made me weep with joy at finding it again.
‘Call Me By My Name’ is a masterpiece, one of the most beautiful films I’ve ever seen. Luca Guadagnino has made a film of enormous humanity, a statement on the nature of love that sends shockwaves through you, especially with the powerhouse performance from Timothée Chalamet. I can’t speak for everyone who saw this film with me, I can only speak for myself and my own experience, but this is one I won’t ever forget. This is why I go to the cinema, to see films that can make me feel as alive as this film did. Queer cinema, and cinema as an art form, is all the better for having it.
RELEASE DATE: 26/12/2017 (AU)
RUN TIME: 2HR 10MIN
CAST:
TIMOTHÉE CHALAMET
ARMIE HAMMER
MICHAEL STUHLBARG
AMIRA CASAR
ESTHER GARREL
VICTOIRE DU BOIS
ELENA BUCCI
VANDA CAPRIOLO
ANTONIO RIMOLDI
MARCO SGROSSO
DIRECTOR:
LUCA GUADAGNINO
PRODUCERS:
RODRIGO TEIXEIRA
PETER SPEARS
LUCA GUADAGNINO
EMILIE GEORGES
MARCO MORABITO
JAMES IVORY
HOWARD ROSENMAN
(https://www.maketheswitch.com.au/images/contributors/daniel.jpg)
Daniel Lammin has worked extensively as a theatre director, playwright and actor, and his passion for storytelling recently led to him graduating from the post-graduate Directing course at NIDA (2011). His very candid approach to film critiquing comes from his high standards in all creative pursuits, and love of movies from an early age.
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CALLMEBYYOURNAMEFANART
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Dreamy❤😢
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#call me by your name #cmbyn #andré aciman #luca guadagnino #lgbt
#timothée chalamet #elio #elio perlman #armie hammer #oliver #ulliva
#portrait #sketch #drawing #art #artist #fanart #imgrum
#movies #film #lgbtmovie #oscar
#later!
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“All the knowledge I possess
everyone else can acquire,
but my heart is exclusively
my own.” Goethe
(http://68.media.tumblr.com/avatar_e3bd6c17f5bc_64.png) by tattooedsiren.tumblr
(http://68.media.tumblr.com/779babe4d4a5412a3d21f1044916eb06/tumblr_ou39s7ogCF1qe1x1eo2_540.gif)
http://tattooedsiren.tumblr.com/post/163814262630/polyrangers-hence-their-ageless-ambiguity-as
http://grantgustin.tk/post/163800214319
The very thought of this suddenly made me want to drop everything I would do today and run to him. I waited about ten minutes, then took out my bike and, despite my promise not to go biking that day, headed out by way of Marzia's home and scaled the steep hillside road as fast as I could. When I reached the piazzetta I realized I had arrived minutes after him.
(http://68.media.tumblr.com/779babe4d4a5412a3d21f1044916eb06/tumblr_ou39s7ogCF1qe1x1eo2_540.gif)
http://tattooedsiren.tumblr.com/post/163814262630/polyrangers-hence-their-ageless-ambiguity-as
http://grantgustin.tk/post/163800214319
He was parking his bike, had already purchased the Herald Tribune, and was heading for the post office--his first errand. "I had to see you," I said as I rushed to him. "Why, something wrong?" "I just had to see you." "Aren't you sick of me?" I thought I was--I was about to say--and I wanted to be--"I just wanted to be with you," I said. Then it hit me: "If you want, I'll go back now," I said.
(http://68.media.tumblr.com/779babe4d4a5412a3d21f1044916eb06/tumblr_ou39s7ogCF1qe1x1eo2_540.gif)
http://tattooedsiren.tumblr.com/post/163814262630/polyrangers-hence-their-ageless-ambiguity-as
http://grantgustin.tk/post/163800214319
He stood still, dropped his hand with the bundle of unsent letters still in it, and simply stood there staring at me, shaking his head. "Do you have any idea how glad I am we slept together?"
Call Me By Your Name by André Aciman
Recited by Armie Hammer
(http://68.media.tumblr.com/779babe4d4a5412a3d21f1044916eb06/tumblr_ou39s7ogCF1qe1x1eo2_540.gif)
http://tattooedsiren.tumblr.com/post/163814262630/polyrangers-hence-their-ageless-ambiguity-as
http://grantgustin.tk/post/163800214319
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Scene/Behind the scene
(https://pixel.nymag.com/imgs/daily/vulture/2017/07/31/call-me-by-your-name-gifs/31-cmbyn-peaches.nocrop.w710.h2147483647.gif)(https://pixel.nymag.com/imgs/daily/vulture/2017/07/31/call-me-by-your-name-gifs/31-cmbyn-peaches.nocrop.w710.h2147483647.gif)
(http://1065.edu.pinggu.com/forum/201708/26/1909129b6mqjlrzwrwgqsj.png)
(https://pbs.twimg.com/media/DDvXId9XoAE9y60.jpg)
http://tweetiz.com/pjspears/
(https://i.pinimg.com/736x/cb/e0/e1/cbe0e187d8edd79ccf84c9a40ede2f50--seymour-affenpinscher.jpg)
But--where's the dog??
(http://www.escardo.eu/demo/fotos/r-01.jpg)
Luncheon of the Boating Party
Pierre-Auguste Renoir
Date: 1881
https://en.wikipedia.org/wiki/Luncheon_of_the_Boating_Party
Luncheon of the Boating Party (1880–1881, French: Le déjeuner des canotiers) is a painting by French impressionist Pierre-Auguste Renoir. Included in the Seventh Impressionist Exhibition in 1882, it was identified as the best painting in the show by three critics. It was purchased from the artist by the dealer-patron Paul Durand-Ruel and bought in 1923 (for $125,000) from his son by Duncan Phillips. It is now in The Phillips Collection in Washington, D.C. It shows a richness of form, a fluidity of brush stroke, and a flickering light.
Description
The painting, combining figures, still-life, and landscape in one work, depicts a group of Renoir's friends relaxing on a balcony at the Maison Fournaise restaurant along the Seine river in Chatou, France. The painter and art patron, Gustave Caillebotte, is seated in the lower right. Renoir's future wife, Aline Charigot, is in the foreground playing with a small dog, an affenpinscher. On the table is fruit and wine.
The diagonal of the railing serves to demarcate the two halves of the composition, one densely packed with figures, the other all but empty, save for the two figures of the proprietor's daughter Louise-Alphonsine Fournaise and her brother, Alphonse Fournaise, Jr, which are made prominent by this contrast. In this painting Renoir has captured a great deal of light. The main focus of light is coming from the large opening in the balcony, beside the large singleted man in the hat. The singlets of both men in the foreground and the table-cloth all work together to reflect this light and send it through the whole composition.
Subjects depicted
As he often did in his paintings, Renoir included several of his friends in Luncheon of the Boating Party. Identification of the sitters was made in 1912 by Julius Meier-Graefe. Among them are the following:
The seamstress Aline Charigot, who is holding an affenpinscher dog, sits near the bottom left of the composition. Renoir married her in 1890, and they had three sons.
Charles Ephrussi—wealthy amateur art historian, collector, and editor of the Gazette des Beaux-Arts—appears wearing a top hat in the background. The younger man to whom Ephrussi appears to be speaking, more casually attired in a brown coat and cap, may be Jules Laforgue, his personal secretary and also a poet and critic.
Actress Ellen Andrée drinks from a glass in the center of the composition. Seated across from her is Baron Raoul Barbier, former mayor of colonial Saigon.
Placed within but peripheral to the party are the proprietor's daughter Louise-Alphonsine Fournaise and her brother, Alphonse Fournaise, Jr., both sporting traditional straw boaters and appearing to the left side of the image. Alphonsine is the smiling woman leaning on the railing; Alphonse, who was responsible for the boat rental, is the leftmost figure.
Also wearing boaters are figures appearing to be Renoir's close friends Eugène Pierre Lestringez, a bureaucrat, and Paul Lhote, himself an artist. Renoir depicts them flirting with the actress Jeanne Samary in the upper righthand corner of the painting.
In the right foreground, Gustave Caillebotte wears a white boater's shirt and flat-topped straw boater's hat as he sits backwards in his chair next to actress Angèle Legault and Italian journalist Adrien Maggiolo. An art patron, painter, and important figure in the impressionist circle, Caillebotte was also an avid boatman and drew on that subject for several works.
Contemporary critical reception
At the Seventh Impressionist Exhibition in 1882, the painting generally received praise from critics. "It is fresh and free without being too bawdy," wrote Paul de Charry in Le Pays, March 10, 1882. In La Vie Moderne (March 11, 1882), Armand Silvestre wrote, "...one of the best things [Renoir] has painted...There are bits of drawing that are completely remarkable, drawing- true drawing- that is a result of the juxtaposition of hues and not of line. It is one of the most beautiful pieces that this insurrectionist art by Independent artists has produced." Alternatively, Le Figaro published Albert Wolff's comment on March 2, 1882: "If he had learned to draw, Renoir would have a very pretty picture..."
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armie hammer peachily recording the CMBYN audiobook (2017)
(https://pbs.twimg.com/media/DGQ8c_GUQAAW-NG.jpg)
(https://pbs.twimg.com/media/DF21OeUVwAAKmpv.jpg)
http://tweetiz.com/pjspears/tweet/891003790509445120
https://twitter.com/badposthammer
PETER SPEARS
IPHONE: LOOK WHO'S RECORDING THE AUDIO BOOK OF CALL ME BY YOUR NAME... ARMIE HAMMER
JULY 28, 2017
@PJSPEARS
Peter Spears (@pjspears)
LATER!
(https://static.tumblr.com/f29afb3cc5cd2d50b46bf67819b93964/g7sfw7g/mSsoui13r/tumblr_static_940nzyiag6os08o4w444ggcsk.png) by fuckmeelio.tumblr and
by eliopearlmans.tumblr
(https://img-s3.onedio.com/id-5784e4dc9ee906321ee1c4e6/rev-0/w-635/f-jpg-gif-webp-webm-mp4/s-e3dcd329e79cc49fa980ef5494934125c9d04624.gif)
Ok, i know the photo isn't of Armey, but the image is great, isn't it?
Click either link immediately below to hear Armey Hammer reading/reciting
the last paragraph of the last page of
André Aciman's Call Me By Your Name
https://www.instagram.com/p/BYOvXZkhyRT/?hl=en&taken-by=armiehammer
http://fuckmeelio.tumblr.com/post/164608400165/armie-hammers-sexy-voice-reading-that-last
https://eliopearlmans.tumblr.com/post/164610074024/fuckmeelio-armie-hammers-sexy-voice-reading-that
I stopped for a second.
If you remember everything, I wanted to say, and if you are really like me, then before you leave tomorrow, or when you're just ready to shut the door of the taxi and have already said goodbye to everyone else and there's not a thing left to say in this life, then, just this once, turn to me, even in jest, or as an afterthought, which would have meant everything to me when we were together, and, as you did back then, look me in the face, hold my gaze, and call me by your name.
Call Me By Your Name by André Aciman
Recited by Armie Hammer
(http://data.whicdn.com/images/31652877/original.gif)
26th August 2017 212 notes
Oh my. :o :o :o
https://www.amazon.com/Call-Me-Your-Name-Novel/dp/B06ZZZXQ9G
Call Me by Your Name: A Novel – Audiobook – Unabridged
André Aciman (Author), Armie Hammer (Narrator), Macmillan Audio (Publisher)
(https://images-na.ssl-images-amazon.com/images/I/51fN96NTQRL._AA300_.jpg)
Pre-order purchase
Releases October 03, 2017
Audiobook
$0.00
Free with your Audible trial
Audio CD
$32.46
1 New from $32.46
©2017 André Aciman (P)2017 Macmillan Audio
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CALLMEBYYOURNAMEFANART
https://www.garow.me/users/erkinaken/4225893710
(I am attributing this
lovely pencil sketch and
scrap of a tag line quote
to this artist because it
seems right. Please
let me know if this is
incorrect, thanks! JG)
my thoughts only
going nowhere
(https://scontent.cdninstagram.com/t51.2885-19/s150x150/21372127_114640965919083_7751548261332156416_a.jpg) by @erkinaken(https://encrypted-tbn0.gstatic.com/images?q=tbn:ANd9GcQY2FG2KzSW8uO9ZhCmFJcfYSy2_DDFELumuetWsxGhfP58rgrO5w)
https://www.garow.me/users/erkinaken/4225893710
http://www.imgrum.co/tag/elio/
"I imagined Elio crying out to Oliver,
begging him to stay with him for the rest of his life.
All those could-have-beens always break me
because they are not to be."
This following sketch clearly by
the artist @erkinaken.(https://scontent.cdninstagram.com/t51.2885-15/s640x640/sh0.08/e35/20633694_161410947742254_9116332067334914048_n.jpg)
http://www.thepicta.com/media/1576152366792870189_4225893710
https://www.garow.me/media/1576152366792870189_4225893710
http://www.thepicta.com/user/erkinaken/4225893710
https://www.garow.me/users/erkinaken/4225893710
"What are you doing there Elio?"
CALLMEBYYOURNAMEFANART by @erkinaken
https://www.garow.me/users/erkinaken/4225893710
1:20pm 08/07/2017
Comments: 3 Likes: 31
Fan Art / Digital Art / Drawings /
#CMBYN #CallMeByYourName #Elio #Oliver #laterpeaches #🍑
#fanart #character #closeup #inspiration #inspired by #elio #elio perlman #oliver #ulliva
#andré aciman #armie hammer #timothée chalamet #luca guadagnino
#book #novel #film #movie #sonyclassics #lgbt
#mydrawing #illustration #illustrations #art #artwork #artworks #artworkoftheday
#doodle #doodles #sketch #sketchaday #pencildrawing #pencildrawings
#drawing #drawingart #drawingaday #drawings
#drawnbyme #✏️ #🍑 #❤️
(https://scontent.cdninstagram.com/t51.2885-19/s150x150/21372127_114640965919083_7751548261332156416_a.jpg)
(Click here for this fan's other posts, pages 4 and 11 in this thread)
(https://scontent.cdninstagram.com/t51.2885-15/s640x640/sh0.08/e35/20589765_675275466008692_3798105576320270336_n.jpg)
https://www.garow.me/media/1571450361696528490_4225893710
I got a copy of the korean translation of #callmebyyourname #cmbyn
with a beautiful illustration cover, and it's aesthetically so satisfying.
The title changed, and it can translate into "that year, the summer's guest."
(https://scontent.cdninstagram.com/t51.2885-19/s150x150/21372127_114640965919083_7751548261332156416_a.jpg)
-
(https://68.media.tumblr.com/3cb3a2b8c53bf53c886c407e5edb1546/tumblr_ootyebpWBr1rco73zo1_r1_500.png)
http://vosijk.co.vu/post/159875588186/youre-the-luckiest-kid-in-the-world-he-said
https://billowyblueshirt.tumblr.com/post/160238913734/alekzandermorozova
http://www.gramunion.com/tagged/elio%20x%20oliver
But of course, coming back to Monet's Berm--
"So this is where Monet came to paint."
"I'll show you at home. We have a book with wonderful reproductions of the area around here."
"Yes, you'll have to show me."
And this happens--
"Better now?" he asked afterward.
I did not answer but lifted my face to his and kissed him again, almost savagely, not because I was filled with passion or even because his kiss still lacked the zeal I was looking for, but because [....]
[(https://pbs.twimg.com/media/DGaDBZBVoAAXURr.jpg)
from Call Me By Your Name taken at a premiere, source unknown.
https://twitter.com/badpostchalamet @badpostchalamet timothée updates
https://twitter.com/apeachpricot @apeachpricot
Similarly--
(http://68.media.tumblr.com/7585ba8a04417d6338e9f50962a199c3/tumblr_otfmtz8cPn1rco73zo2_500.png)
(http://68.media.tumblr.com/44642283dd2dabe8ed73afb10451fd95/tumblr_otfmtz8cPn1rco73zo1_500.png)
http://tattooedsiren.tumblr.com/search/call+me+by+your+name/page/2
What’s liking
when we’re talking about
worshipping?
All from:
Call Me By Your Name by André Aciman
Recited by Armie Hammer
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CALLMEBYYOURNAMEFANART
http://imgrid.net/user/carolamarin.art/
https://twitter.com/alteruendelig
(https://instagram.fewr1-2.fna.fbcdn.net/t51.2885-19/s150x150/22638721_1771070459857923_5491366449601576960_n.jpg) by carola nå
@alteruendelig
(https://pbs.twimg.com/media/DJoh6KCWsAEzAQe.jpg:large)
http://instagram.com/carolamarin.art
https://twitter.com/hashtag/cmbyn
https://twitter.com/alteruendelig
Whom else would I ever be able to call by my name?
by carola nå (handwriting by @lacartaqueno)
Sep 13 2017
#call me by your name #cmbyn #andré aciman #luca guadagnino #lgbt
#timothée chalamet #elio #elio perlman #armie hammer #oliver #ulliva
#portrait #painting #art #artist #fanart #instagram #twitter
#movies #film #lgbtmovie #oscar
#later!
CALLMEBYYOURNAMEFANART by carola nå
@alteruendelig
https://twitter.com/alteruendelig
(https://instagram.fewr1-2.fna.fbcdn.net/t51.2885-19/s150x150/22638721_1771070459857923_5491366449601576960_n.jpg)
The foot that came to rest on mine under the table told me that perhaps I should let it go and assume my father was onto something. "He's no fool," he said later that morning as he was getting ready to head up to B.
"Want me to come with?"
"No, better keep a low profile. You should work on your Haydn today. Later."
"Later."
Marzia called that morning while he was about to leave. He almost winked when he handed me the telephone. There was no hint of irony, nothing that didn't remind me, unless I was mistaken--and I don't think I was--that what we had between us was the total transparency that exists among friends only.
Perhaps we were friends first and lovers second.
But then perhaps this is what lovers are.
[....]
For weeks I had mistaken his stare for barefaced hostility. I was wide of the mark. It was simply a shy man's way of holding someone else's gaze.
We were, it finally dawned on me, the two shyest persons in the world.
(https://pbs.twimg.com/media/DIVOpWiW0AIOBXI.jpg)
https://twitter.com/cmbynmovie
(http://cdn2-www.comingsoon.net/assets/uploads/2017/08/callmeheader.jpg)
(https://pbs.twimg.com/media/DIVnf5zXoAEzWxz.jpg)
Call Me By Your Name by André Aciman
Recited by Armie Hammer
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(http://logok.org/wp-content/uploads/2014/03/Original-MTV-Logo.png)(http://logok.org/wp-content/uploads/2014/03/Original-MTV-Logo.png)(http://logok.org/wp-content/uploads/2014/03/Original-MTV-Logo.png)
(http://www.ert.gr/wp-content/uploads/2017/07/tiff-2017-1021x576.jpg)
(http://logok.org/wp-content/uploads/2014/03/Original-MTV-Logo.png)(http://logok.org/wp-content/uploads/2014/03/Original-MTV-Logo.png)(http://logok.org/wp-content/uploads/2014/03/Original-MTV-Logo.png)
CLICKFORVIDEO:CLICKFORVIDEO:CLICKFORVIDEO:
http://www.mtv.com/video-clips/oste9i/mtvnews-series-armie-hammer-and-timothy-chalamet-x-tiff
(http://68.media.tumblr.com/4c050fea2178f9e1e76f130be6ee93b6/tumblr_owboc6mtTa1qe8tjno2_540.gif)
(http://68.media.tumblr.com/ab68236b4390ad5639e1158e2042e453/tumblr_owboc6mtTa1qe8tjno1_540.gif)
(http://68.media.tumblr.com/c8bddcc5dff575ad897e9a7634a01a4e/tumblr_owboc6mtTa1qe8tjno3_540.gif)
CLICKFORVIDEO:CLICKFORVIDEO:CLICKFORVIDEO:
http://www.mtv.com/video-clips/oste9i/mtvnews-series-armie-hammer-and-timothy-chalamet-x-tiff
CALL ME BY YOUR NAME Interview
TIFF 2017
Special Friends on Location: The Chemistry of
Armie Hammer & Timothée Chalamet
Published on Sep 13, 2017
(http://logok.org/wp-content/uploads/2014/03/Original-MTV-Logo.png)
Actors Armie Hammer and Timothée Chalamet at the Toronto International Film Festival TIFF with MTV's Josh Horowitz talk about filiming and seeing the finished product of Call Me By Your Name and chat about becoming close friends while shooting on location in Crema, Italy.
(http://mtv.mtvnimages.com/arc/1.jpeg)
http://www.mtv.com/video-clips/oste9i/mtvnews-series-armie-hammer-and-timothy-chalamet-x-tiff
http://luca-guadagnino.tumblr.com/post/165364803066/bowie28-josh-horowitz-if-i-were-to-describe-the
http://bowie28.tumblr.com/post/165364324865
https://laterpeaches.tumblr.com/
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CALLMEBYYOURNAMEFANART
(http://68.media.tumblr.com/avatar_95d291388c96_40.png)by Dozer Draws(https://68.media.tumblr.com/6113703890aba189bca25501344c6aed/tumblr_ow87oz7vxx1vrfw77o1_1280.jpg)
http://littledozerdraws.tumblr.com/post/165298588082/them-beautiful-peach-boys-for-my-dear-friend
http://littledozerdraws.tumblr.com/archive
https://drawsaurus.tumblr.com/
them beautiful peach boys for my dear friend
@drawsaurus 🍑
sketch commission for @drawsaurus by Dozer Draws 🍑
218 notes Sept 13, 2017
#call me by your name #elio #oliver #all that peach juice ;0;
#digital art commission by #dozerdraws
#laterpeaches!
(http://68.media.tumblr.com/avatar_95d291388c96_40.png)
CALLMEBYYOURNAMEFANART
(http://68.media.tumblr.com/avatar_95d291388c96_40.png)by Dozer Draws(https://68.media.tumblr.com/51dac36f48da8c5e18b1baab56b48eff/tumblr_oovn13rpML1vrfw77o1_1280.jpg)
http://littledozerdraws.tumblr.com/post/159909360847/sketch-commission-for-drawsaurus
https://drawsaurus.tumblr.com/post/163494358601/littledozerdraws-sketch-commission-for
https://drawsaurus.tumblr.com/image/163494358601
https://drawsaurus.tumblr.com/tagged/commission
https://www.tumblr.com/tagged/call-me-peaches
http://littledozerdraws.tumblr.com/archive
https://drawsaurus.tumblr.com/
all that peach juice
sketch commission for @drawsaurus by Dozer Draws 🍑
217 notes Apr 23rd, 2017
#call me by your name #all that peach juice ;0;
#sketch commission for #dozerdraws
(http://static.tumblr.com/ec55ccf815aac6ea95376c55a42242fa/snqt5yb/Nnkopqc9p/tumblr_static_2iw3iou4elq88kg4wk44co4co.png) by cersell.art
🎠 Mick | 21 | Dutch
(https://68.media.tumblr.com/225945aac99fdd2ff5c6e13241c65100/tumblr_ou4seyQT621uh8v19o1_1280.png)
https://drawsaurus.tumblr.com/post/163783736276/cersell-drawn-on-commission-by-drawsaurus-thank
http://cersell.tumblr.com/post/163769328367/drawn-on-commission-by-drawsaurus-thank-you
https://drawsaurus.tumblr.com/image/164091023156
https://drawsaurus.tumblr.com/tagged/commission
https://www.instagram.com/cersell.art/
https://drawsaurus.tumblr.com/
http://cersell.tumblr.com/
fucking precious moments angel baby
Drawn by cersell.art on commission for @drawsaurus Thank you!
04.08.17 241 notes
#my art #commission work #drawsaurus #call me by your name
/ / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / /
oh jesus i just organised my commissions tag and guys i’ve got a problem
( https://drawsaurus.tumblr.com/tagged/commission )
(MAKING TALENTED PEOPLE DRAW U BEAUTIFUL THINGS IS JUST SO ADDICTIVE)
CALLMEBYYOURNAMEFANART by @drawsaurus
drawsaurus.tumblr.com
https://drawsaurus.tumblr.com/
Fan Art / Digital Art / Drawings /
#CMBYN #CallMeByYourName #sketch commission for #@drawsaurus
#my boys #my good sweet boys
#Elio #Oliver #laterpeaches
#oliver ulliva #elio perlman #armie hammer #timothée chalamet
#seriously #i love this #just so much
#oliver's HAIR #his EYELASHES
#the soft nostalgic summer glow of it all #i love it
#later!!!
(https://68.media.tumblr.com/avatar_3c4a0253b608_40.png)
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I know about the peach. Must've been a pretty big peach. Or someone must've had a pretty small--oh. never mind!
-
I know about the peach. Must've been a pretty big peach. Or someone must've had a pretty small--oh. never mind!
Well, Jeff, it's a big MEME of a peach by now! ::) ;) :laugh:
FYI, a character in the original novel by André Aciman, the Perlman's gardener (named Anchise) is famed for producing lusciously large peaches and apricots. Fruit memes abound. Just so you know. ;)
(https://1.bp.blogspot.com/-2FQdSnWgFP8/V2LPiFNK7cI/AAAAAAADF_Y/lRIfdvUYqWoFxOJfjad1siFICB6LLEdLgCLcB/s1600/call%2Bmy%2Bby%2Byour%2Bname%2Bpeach.png)
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(http://www.ert.gr/wp-content/uploads/2017/07/tiff-2017-1021x576.jpg)
“I met this dashing golden boy, and I found him really, really attractive in the most pure sense of the word. Armie is really a buoyant man with a great talent. He’s never shy. And Oliver in the book is described like a movie star — he charms everybody. So I sent the script and a week later I received a call. And when I spoke to Armie he said, ‘I feel a bit scared by this role.’
http://www.goldenglobes.com/articles/luca-guadagnino-and-armie-hammer-%E2%80%9Ccall-me-your-name%E2%80%9D
(http://www.goldenglobes.com/sites/all/themes/custom/modernglobes/hfpa_logo.png?ovkbdl)
(http://www.goldenglobes.com/sites/all/themes/custom/modernglobes/logo.png?ovkbdl)(http://www.goldenglobes.com/sites/all/themes/custom/modernglobes/images/75.png?ovkbdl)
FESTIVALS
TIFF 2017
Luca Guadagnino and Armie Hammer on
Call Me by Your Name
by Brent Simon
Hollywood Foreign Press Association
September 12, 2017
(http://www.goldenglobes.com/sites/default/files/articles/cover_images/luca_guadagnino-armie_hammer-tiff_0.jpg)
“I met this dashing golden boy, and I found him really, really attractive--” Luca Guadagnino and Armie Hammer, Call Me by Your Name
TORONTO - Stressors that cause fear are something that, in real life, most of us try to avoid. Humans, after all, instinctively seek out that which offers them comfort. But for creatively driven individuals, flagged apprehension can provoke a different response — drawing them toward a project, for reasons sometimes difficult to articulate, like a moth to a flame.
Such was the case with Call Me by Your Name, a coming-of-age period piece which debuted to much buzz at the Sundance Film Festival and arrived at the Toronto Film Festival this week in advance of its awards-season theatrical release this fall. Adapted by James Ivory from André Aciman’s 2007 novel of the same name, director Luca Guadagnino’s 1980s-set film stars Armie Hammer as Oliver, an American college student who spends a summer in Italy doing post-graduate study and finds himself slowly falling into a romantic relationship with the younger teenage son, Elio (Timothée Chalamet), of his hosts.
“I met Armie right after the The Social Network, when I was trying to put together The Bigger Splash,” recalls Guadagnino during a relaxed conversation at TIFF 2017. “I met this dashing golden boy, and I found him really, really attractive in the most pure sense of the word. Armie is really a buoyant man with a great talent. He’s never shy. And Oliver in the book is described like a movie star — he charms everybody. So I sent the script and a week later I received a call. And when I spoke to Armie he said, ‘I feel a bit scared by this role.’ So we walked through it, and spoke about it. I said, ‘Fear is good, fear is like desire — you go toward your fears.’ We finished the call an hour later and he said, ‘Great, I’m in.’”
Hammer, for his part, was drawn to the subtle beauty of Call Me by Your Name, but was also wary — as much about fully understanding the narrative’s nuances as the subject matter itself. His talk with Guadagnino helped clarify those elements, but also led him to realize a deeper truth about the direction he’d like his career to take.
“It was just a beautiful conversation,” says Hammer. “(Luca) helped me see things from a perspective that was different than my own — in a way where I realized that I had to do this movie almost because it did challenge me and make me nervous. Through that conversation that I had with Luca we got on the same page, and it was great.”
The end result of the collaboration, evocatively captured by cinematographer Sayombhu Mukdeeprom, is at once wistful, sensual and melancholic — a beguiling story of summer love which serves as proof that facing uncertainty and anxieties head on can yield wonderful dividends. 🍑
Hollywood Foreign Press Association
(https://i2.wp.com/www.badtaste.it/wp/wp-content/uploads/2017/08/cmbyn_01-1.jpg?w=600&quality=85&strip=all)
L'arco del Torrazzo, Piazza del Duomo, Crema
http://monetsberm.tumblr.com/post/165299262796/stressors-that-cause-fear-are-something-that-in
https://laterpeaches.tumblr.com/
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(http://www.ert.gr/wp-content/uploads/2017/07/tiff-2017-1021x576.jpg)
https://www.popsugar.com/entertainment/Call-Me-Your-Name-Soundtrack-44014429
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How the Dreamy Soundtrack For
Call Me by Your Name
Came Together
by BECKY KIRSCH
September 13 2017
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"Elio is a genius pianist--" and Sufjan Stevens is the genius chronicler. Timothée Chalamet in Call Me by Your Name
Call Me by Your Name has been a festival favorite this year (and will likely become an award season favorite too), and the beauty of the film goes beyond the moving performances of the cast. The Italian setting provides a gorgeous backdrop for the film, which takes place in 1983 and chronicles the romance of 17-year-old Elio (Timothée Chalamet) and 24-year-old Oliver (Armie Hammer). The film also has a memorable, dreamy soundtrack, combining classical music, songs from Sufjan Stevens (including two new songs), and recognizable hits from the '80s (most notably, "Love My Way" by The Psychedelic Furs). During a Q&A at the Toronto Film Festival, director Luca Guadagnino discussed how he chose the music for the film and why Sufjan Stevens almost passed on it entirely.
On how he approached incorporating music in the film: "The temptation is always to not put music in the movie, and that's coming from me, and I put a lot of music in my films. But in this case, basically, the beginning of everything was Elio and his way of being a musician. Elio is a genius pianist. And there is no doubt that in growing up, he will become a pianist. Him being a pianist was important for the classical music to play in the film. So we went into the canon of the piano music that he's playing in the film — Bach, Debussy — and then we go into the music of the period of the film. Then, of course, we wanted to be immersed in the period, 1983, the Summer, the Summer heat, so we started on what were the hits in Italy at the time. What was playing on the radio? What was in heavy rotation on the radio? And it was a pleasure because a lot of these songs were part of my upbringing."
On how Sufjan Stevens became involved: "I thought a voice that was external, of narration, could be great. I thought, 'why don't we have a chronicler, who opens and closes the movie with a thought of introduction and epilogue?' I thought it would be cool if we had not an actor, but a musician. And I love Sufjan, so I approached him for that. And he said, 'forget about it, it's never gonna happen.' So I said, 'OK, what about a song that can be, in a way, playing like that? A song of a musician of today telling the story of someone back in the '80s?' And then he really surprised us, because a couple of months later, when we were shooting, I got an email from his management. And Sufjan not only made a song, but he made two. And also, he made an adaptation for the piano of his beautiful 'Futile Devices.'"
Call Me by Your Name opens Nov. 24, and the official soundtrack will be released on Oct. 20
but you can hear Sufjan Stevens's "Mystery of Love" here:
(http://static.stereogum.com/uploads/2017/01/IMG_0475_bw-1485544300-640x480.jpg)
[youtube=425,350]http://www.youtube.com/watch?v=Kss6WHJrWX0[/youtube]
CALL ME BY YOUR NAME SoundtrackMystery of Love - Sufjan StevensPublished on Aug 8, 2017(https://yt3.ggpht.com/-F0IAuCYGT54/AAAAAAAAAAI/AAAAAAAAAAA/4MR2b1vzMhY/s88-c-k-no-mo-rj-c0xffffff/photo.jpg)
(http://static.stereogum.com/uploads/2017/01/IMG_0475_bw-1485544300-640x480.jpg)
This is simply beautiful.[youtube=425,350]http://www.youtube.com/watch?v=x2dNTjE6ItI[/youtube]
CALL ME BY YOUR NAME SoundtrackFutile Devices - Sufjan StevensPublished on Jul 27, 2011(https://yt3.ggpht.com/-Mll3_yPdZCk/AAAAAAAAAAI/AAAAAAAAAAA/kdghKNz9Mjg/s88-c-k-no-mo-rj-c0xffffff/photo.jpg)
http://monetsberm.tumblr.com/post/165302876186/on-how-sufjan-stevens-became-involved-i-thought
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CALLMEBYYOURNAMEFANART
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"I'll be okay." I slipped a hand into his pants.
"I do love being here with you."
It was my way of saying, I've been happy here as well.
I tried to picture what happy here meant to him:
happy once he got here after imagining what
the place might look like, happy doing his
work on those scorching mornings in heaven,
happy biking back and forth from the translator,
happy disappearing into town every night and
coming back so late, happy with my parents
and dinner drudgery, happy with his
poker friends and all the other friends
he had made in town and about whom
I knew nothing whatsoever?
One day he might tell me.
I wondered what part I
played in the overall
happiness package.Call Me By Your Name by André Aciman
Recited/Narrated by Armie Hammer
CALLMEBYYOURNAMEFANART by finny-red.tumblr.com/
https://finny-red.tumblr.com/September 15 2017 40 Notes
#CMBYN #CallMeByYourName #finny-red.tumblr.com
#elio #elio perlman #oliver #ulliva #laterpeaches 🍑
#andré aciman #armie hammer #timothée chalamet #luca guadagnino
#book #novel #film #movie #sonyclassics #lgbt
#study #art #artwork #draw #drawing #portrait
#illustration #artist #sketch #sketchbook
#eyes #nose #mouth
#happy
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@fleurypower
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☼ welcome to my place ☼
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CALLMEBYYOURNAMEFANART
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(https://assets.tumblr.com/images/anonymous_avatar_40.gif)Anonymous asked:
Could you do a cmbyn fanart?
Love you and your art <3
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I’m sorry it’s sketchy and ugly
but I had to be quick because I have a train to take haha
but here you go ♥♥
When I think back to our last ten days together, I see an early-morning swim, our lazy breakfasts, the ride to town, work in the garden, lunches, our afternoon naps, more work in the afternoon, tennis maybe, after-dinners in the piazzetta, and every night the kind of lovemaking that can run circles around time. Looking back to these days, I don't think there was ever a minute, other than the half hour or so he spent with his translator, or when I managed to steal a few hours with Marzia, when we weren't together.
"When did you know about me?" I asked him one day. I was hoping he'd say, When I squeezed your shoulder and you almost wilted in my arms. Or, When you got wet under your bathing suit that one afternoon when we chatted in your room. Something along those lines.
"When you blushed," he said.
Call Me By Your Name by André Aciman
Recited/Narrated by Armie Hammer
CALLMEBYYOURNAMEFANART by finny-red.tumblr.com
https://finny-red.tumblr.com/
September 15 2017 130 Notes
#CMBYN #CallMeByYourName #finny-red.tumblr.com
#elio #elio perlman #oliver #ulliva #laterpeaches 🍑
#andré aciman #armie hammer #timothée chalamet #luca guadagnino
#book #novel #film #movie #sonyclassics #lgbt
#art #artwork #artist #draw #drawing
#sketch #sketches #sketchbook
#later!
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(https://68.media.tumblr.com/avatar_9d8cbeaff65e_128.png)
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Call Me by Your Name takes place in its own isolated fantasia, a fabulous Italian utopia filled with peach trees, red wine, and fish so big that it takes two hands to carry them into the kitchen. “We wanted it to be perfect,” director Luca Guadagnino says. The big old house that the film was shot in is in Crema, three miles from Guadagnino’s own home, which he shares with his partner of ten years, Ferdinando. (“My relationship is renewing itself every day. Every day is like a new day and the first day. And I’m not saying that to be, like, cheesy but it’s true,” he says lovingly of his partner.) He had originally wanted to purchase the house for himself, but couldn’t quite afford it, so instead, still moved by its beauty, he gave it a life onscreen.
(http://www.ert.gr/wp-content/uploads/2017/07/tiff-2017-1021x576.jpg)
https://www.villagevoice.com/2017/09/12/call-me-by-your-name-and-extraordinary-beauty-of-ordinary-love/
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Call Me by Your Name
and Extraordinary Beauty of Ordinary Love
by ALEX FRANK
September 12 2017
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Armie Hammer and Timothée Chalamet make sweet music in Call Me by Your Name
What would it feel like to see a carefree gay boy on the big screen? American cinema about gay men has generally fallen into several fairly hardened categories: personal struggle (Moonlight and Brokeback Mountain), the devastation of the AIDS crisis (Philadelphia, Angels in America), the battle for rights (The Normal Heart and Milk, which ends with real-life pioneer Harvey Milk’s assassination), over-the-top extravaganza (Hedwig and the Angry Inch, To Wong Foo, Thanks for Everything! Julie Newmar, the filmography of John Waters). This is not to say that all these movies aren’t great or don’t express real pathos about what it means to be gay in the world — they are and they do. But what would it look like if a gay movie was, well, just kind of regular?
We inch closer to a portrayal of unencumbered gayness in the upcoming film Call Me by Your Name, directed by Luca Guadagnino and based on a 2007 novel by André Aciman. Even with its plainspoken and gentle portrait of gay love, the movie has already garnered the kind of buzz generally reserved for more serious or more campy films, emerging as the breakout success at Sundance, and attracting early Oscar buzz. The story revolves around a young man of seventeen, Elio Perlman, played with masterful poise by the relative newcomer Timothée Chalamet, and the will-they-won’t-they of his infatuation with Armie Hammer’s Oliver, who is staying at Elio’s family’s Italian villa as a research assistant for the Perlman father, a professor. When Elio is at last ready to profess his desire for Oliver, he does so forcefully, and without shame or embarrassment when Oliver, at first, rebuffs him. It’s not that there isn’t tension in the movie — indeed, the sexual anxiety between the two young men, who sleep one room away from each other connected by a creaky hallway, is jittery in the best way — but it evokes the type of butterflies that every kind of kid, with every kind of sexuality, has when they meet that first person who makes their heart beat faster. “Oliver and Elio are really free creatures,” says Guadagnino. “I hope that this movie defies the idea that in order to be expressing your own identity you have to fit into a mold.”
Of course, Elio isn’t just any boy anywhere: He is a privileged one, surrounded by bourgeois comforts and loving parents, an atmosphere that allows him a safe space for finding himself that, say, Moonlight ’s Chiron never has access to in his struggle for self-realization. It is 1983, too, the year that AIDS first appeared in a headline on the front page of the New York Times, but before it ravaged entire cities and changed the way we think about sex lives. Over the past two decades, Guadagnino, 46, has won praise for the sheer beauty of his movies, like I Am Love and A Bigger Splash, which are filled with wealthy characters in gorgeous Italian settings. Call Me by Your Name takes place in its own isolated fantasia, a fabulous Italian utopia filled with peach trees, red wine, and fish so big that it takes two hands to carry them into the kitchen. “We wanted it to be perfect,” Guadagnino says. The big old house that the film was shot in is in Crema, three miles from Guadagnino’s own home, which he shares with his partner of ten years, Ferdinando. (“My relationship is renewing itself every day. Every day is like a new day and the first day. And I’m not saying that to be, like, cheesy but it’s true,” he says lovingly of his partner.) He had originally wanted to purchase the house for himself, but couldn’t quite afford it, so instead, still moved by its beauty, he gave it a life onscreen.
But Chalamet is the revelation. The skinny 21-year-old born-and-raised New Yorker is a subtle if eye-catching presence in his previous work, including as the young son of Matthew McConaughey’s character in 2015’s Interstellar. Here, he is the heart and soul. “We had a lunch together a few years ago and this young man was so vivid that I was immediately attracted by him,” says Guadagnino. “Young people have a capacity of wonderment that I am really drawn to. I like wonderment. I wasn’t thinking, ‘Can he act or not?’ I was more thinking, ‘This is the embodiment of Elio.’ ” Act he can, though: So poignantly does he play the anticipation of first love that often he doesn’t even need words; his shyness about Oliver sometimes keeps him from speaking his mind, but every muscle, eye twitch, frustrated collapse into bed, and sigh expresses perfectly what it’s like to love someone and, for so many reasons, not yet know what to do about it. Elio and Oliver are bonded by being Jewish in a place where the religion is practically nonexistent, and even the way Elio plays with his Star of David necklace, worn to match Oliver’s, is evocative. “It’s about letting the characters be without hinging on performance of the lines,” Guadagnino says. “Once you make the screen breathe with life, you can get to the place in which tension grows.”
There are sex scenes in the movie, too, and in this way, perhaps Call Me by Your Name ’s closest analogue is a movie not about gay men, but about gay women: 2013’s French film Blue Is the Warmest Color. But the emphasis is not on lovemaking as much as it is on the flirtatious dance between Oliver and Elio that goes on before and after the hookup. “I wasn’t trying to display erotic acts for the sake of it,” Guadagnino says. The climax doesn’t involve sex at all, but a father-to-son conversation about love and pain that serves as something of the thesis for the movie. After Elio’s Italian mother, Annella (played by a sage Amira Casar), and American father, Mr. Perlman (played by a sweet Michael Stuhlbarg), realize what is going on between their son and Oliver, Mr. Perlman deals with it in a way so poetic and generous and empathetic that it almost feels unreal, particularly if you are a gay man who did not slide so comfortably out of the closet. “I never really came out. I was lucky enough to be who I wanted to be without any hiding ever. [But] maybe people can adopt Elio’s dad as their own if they go through a difficult time with their fathers,” Guadagnino says. The scene is completely counterintuitive to how we expect to see fathers deal with their sons, and though it’s sad to admit in 2017, it still feels almost shocking to see its warmth and tenderness. “It’s about compassion, trust, wisdom.”
Guadagnino is aware of the hard work that earlier films put in to prime theatergoers for the intimacy of Call Me by Your Name . “Audiences were ready for something as sophisticated as the great Moonlight,” he says of the Barry Jenkins–directed movie that won last year’s Best Picture award for its gutting portrayal of a black gay upbringing in Miami, “so I think that a great work of art arrives when it needs to arrive.” And now is the time for Call Me by Your Name, a complicated-but-not-too-complicated ode to the joy of gay love. “I think it’s about not judging the other. That’s something that is interesting to me,” he says. “Not that I don’t think there aren’t unspeakable acts of intolerance all over the world, but I think we really need expressions of tenderness. Maybe this is a powerful political statement. So many walls have been built, but this movie is my way to build bridges.”
http://monetsberm.tumblr.com/post/165262712161/call-me-by-your-name-and-extraordinary-beauty-of
http://monetsberm.tumblr.com
https://laterpeaches.tumblr.com/
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(http://www3.pictures.zimbio.com/gi/Luca+Guadagnino+Portrait+Session+64th+Festival+wnAPn16Qaznx.jpg)
Giuppy D'Aura (L) Luca Guadagnino (C) Ferdinando Cito Filomarino (R) pose for a portrait session
August 5, 2011 64th Festival del Film di Locarno Switzerland
Call Me by Your Name takes place in its own isolated fantasia, a fabulous Italian utopia filled with peach trees, red wine, and fish so big that it takes two hands to carry them into the kitchen. “We wanted it to be perfect,” director Luca Guadagnino says. The big old house that the film was shot in is in Crema, three miles from Guadagnino’s own home, which he shares with his partner of ten years, Ferdinando. (“My relationship is renewing itself every day. Every day is like a new day and the first day. And I’m not saying that to be, like, cheesy but it’s true,” he says lovingly of his partner.) He had originally wanted to purchase the house for himself, but couldn’t quite afford it, so instead, still moved by its beauty, he gave it a life onscreen.
https://www.villagevoice.com/2017/09/12/call-me-by-your-name-and-extraordinary-beauty-of-ordinary-love/
In an office that doubles as a guest bedroom, he writes his scripts at one of two side-by-side leather desks. (His partner of seven years, also an Italian filmmaker, sits at the other.) Guadagnino, who has acquired other apartments in the building, has effectively turned much of it into his moviemaking compound. His production team works in a ground-floor suite that opens onto the cobblestone courtyard-cum-parking lot; he edits his films in a studio just above them. The actors in his films, lodged in nearby B&Bs, zoom over on bicycles and watch movies on a screen mounted to a wall in the regal living room. Doors always seem open; friends and assistants freely wander in and out, careful to avoid disturbing the few families still living in the other wing. “A good creative place,” the director says.
(http://www.schermaglie.it/wp-content/uploads/2015/07/Ferdinando-Cito-Filomarino-e1452453727782.jpg)
Ferdinando Cito Filomarino
Writer | Director | Assistant Director
http://www.imdb.com/name/nm2982028/
https://de.wikipedia.org/wiki/Ferdinando_Cito_Filomarino
Ferdinando Cito Filomarino (b. 1986, 30-31 years old) was born and grew up in Milan. After studying in Boston and London, he studied at the DAMS (Discipline delle Arti, della Musica e dello Spettacolo) in Bologna and completed a work on a film-historical theme. Filomarino did not attend a film school but learned his craft on the set . He gained his first experience in the film as a director and assistant to the film editor at film projects in London.
Crucial for his career as a director was his encounter with Luca Guadagnino, who hired him for his film I Am Love as an assistant director. In Guadagnino's films A Bigger Splash, Call Me by Your Name and in the post-production remake Suspiria, he was Second Unit Director. In 2010, he directed the short film Diarchia, for which he also wrote the screenplay. In the same year, Diarchia received the Pianifica Award at the Locarno International Film Festival, and the Short Filmmaking Award at the Sundance Film Festival and Filomarino, the silver band of the Italian National Syndicate of Film Journalists as the best short film director. He also wrote his own books for his films. In 2013, he directed the documentary L'inganno on the development of Luchino Visconti's film Gruppo di famiglia in un interno. It was Visconti's penultimate film, which was paralyzed on production halfway after a stroke and died two years later. Filomarino himself is a descendant of the Visconti and extensively related to Luchino Visconti.
After another short film, he worked with Sayombhu Mukdeeprom as cinematographer his only feature film so far. In Antonia it is about the life of the Milanese lyricist Antonia Pozzi , who took her life in 1938. The film ran in 2015 in the competition of the festival in Karlovy Vary and received a Special Jury Mention.
Second Unit Director or Assistant Director (5 credits)
2018 Suspiria (second unit director) (post-production)
2017 Call Me by Your Name (second unit director)
2015 A Bigger Splash (second unit director)
2012 The Landlords (second unit director)
2009 I Am Love (second second assistant director)
Re the writer of the Berlinale article in MIC magazine, Page 12 above in this thread: I TOLD YOU! WHAT AN IDIOT!!
https://mic.com/articles/168595/berlinale-review-call-me-by-your-name-is-a-portrait-of-homosexual-intimacy-that-honors-the-book
But the literary depth of Call Me by Your Name is set dressing to the soul of the story, which is the relationship between Elio and Oliver. Neither Aciman nor Guadagnino is openly queer — Aciman is married to a woman and Guadagnino has not publicly discussed his orientation [FYI, this is not correct. According to wikipedia, Guadagnino is gay, and in the NYT Sunday Weekend article (August 1 2016), Guadagnino says he lives with a partner who is a filmmaker, although the partner's name is not mentioned--although I have an idea who!--JG.] — but each creates a tender portrait of a relationship between two men who cannot initially admit their affection, neither to one another nor to themselves. Both film and novel capture the unbearable privacy of closeted desire, which proceeds by degrees — a touch, a look, a certain preference that, by design, can be neither quantified nor directly confronted — the hesitant physicality between men who can’t be certain that the other won’t turn and run, or worse. When this tension finally breaks, the emotional and physical release of freedom — freedom to kiss, even simply to stare — is like finally breathing.
https://mic.com/articles/168595/berlinale-review-call-me-by-your-name-is-a-portrait-of-homosexual-intimacy-that-honors-the-book
Viewers may take issue, not unfairly, with Guadagnino’s decision to cast non-queer actors to play queer characters, a choice that on paper feels out of step with progress. Brokeback Mountain starred two straight actors in 2005, and Andrew Haigh's 2011 film Weekend featured an openly gay actor in one of the two lead roles. Call Me by Your Name is a film directed by an ostensibly heterosexual man [not correct--see above, JG] based on a book written by a heterosexual man starring two heterosexual male leads — and yet its emotional resonance persists.
https://mic.com/articles/168595/berlinale-review-call-me-by-your-name-is-a-portrait-of-homosexual-intimacy-that-honors-the-book
As a viewer, I’m the last to apologize for actors playing below their privilege, and I simply can’t explain how Call Me by Your Name manages to pull it off. Perhaps it’s the increased normalcy of cishomosexuality, particularly between white men, which has erased the "bravery" of playing queer. Perhaps it's the relatively low profile of every actor in the film — Armie Hammer is well-known, but this is neither a typical role for him nor touted as any kind of dramatic breakout. For all its baked-in heterosexuality [again, what?? JG], Guadagnino’s film is a rapturous portrait of homosexual intimacy that is every bit as deep and tender as its source material.
FYI AGAIN:(https://upload.wikimedia.org/wikipedia/commons/c/c1/Luca_Guadagnino_%28cropped%29.jpg)
Luca Guadagnino at the 2017 Berlin Film Festival
https://en.wikipedia.org/wiki/Luca_Guadagnino#/media/File:Luca_Guadagnino_(cropped).jpg
https://en.wikipedia.org/wiki/Luca_Guadagnino
Does this look like a straight man to you?? PUH-leeze!!
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(https://68.media.tumblr.com/fdacaff3d7533b32ee393aa4468a4b6c/tumblr_ow1imoa1bl1qav05wo1_1280.jpg)(https://68.media.tumblr.com/ebb20aa7bfb758e003ca6a64ade91258/tumblr_ow1iqhczI31qav05wo1_1280.jpg)
Armie Hammer for TIFFxHuawei Portrait Studio by Kourosh Keshiri Timothée Chalamet for TIFFxHuawei Portrait Studio by Kourosh Keshiri
http://athinglikethat.tumblr.com/post/165169531884/armie-hammer-for-tiffxhuawei-portrait-studio-by http://athinglikethat.tumblr.com/post/165169591044/timoth%C3%A9e-chalamet-for-tiffxhuawei-portrait-studio
https://laterpeaches.tumblr.com/image/165207248832 https://laterpeaches.tumblr.com/image/165207233959
https://laterpeaches.tumblr.com/ https://laterpeaches.tumblr.com/
SEP 10 2017 SEP 10 2017
TIFF 17 TIFF 17
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(https://68.media.tumblr.com/d525240c6672876bc5a8aa079768ce78/tumblr_ow1iovtju61qav05wo1_1280.jpg)
Luca Guadagnino, Armie Hammer and Timothée Chalamet for TIFFxHuawei Portrait Studio by Kourosh Keshiri
http://athinglikethat.tumblr.com/post/165169566704/luca-guadagnino-armie-hammer-and-timoth%C3%A9e
https://laterpeaches.tumblr.com/image/165207267181
https://laterpeaches.tumblr.com/
SEP 10 2017
TIFF 17
(https://pbs.twimg.com/media/DJTrj4OXkAEvV2y.jpg)
Luca Guadagnino for TIFFxHuawei Portrait Studio by Kourosh Keshiri
http://www.gramunion.com/iblis-chalamet.tumblr.com/165158988819
http://www.tiff.net/the-review/tiff17-portrait-studio-day-2/
https://twitter.com/CMBYNmovie
SEP 10 2017
TIFF 17
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CALLMEBYYOURNAMEFANART
http://thebluepeninsula.tumblr.com/
(https://abs.twimg.com/emoji/v2/72x72/1f351.png)
(http://68.media.tumblr.com/2b02133cf643826aa1f000317c20f05a/tumblr_ov9o4vV0MZ1vw0zkko9_250.png) by thebluepeninsula.tumblr.com
(https://68.media.tumblr.com/ce20d37d3adb61b6e7e92d9d7688eda0/tumblr_ow37jnhSBK1qze3hpo1_1280.jpg)
http://thebluepeninsula.tumblr.com/post/165203733781/i-saw-this-photo-this-morning-and-my-heart-burst
https://laterpeaches.tumblr.com/image/165206848863
i saw this photo this morning and my heart burst and i decided to draw it
CALLMEBYYOURNAMEFANART by thebluepeninsula.tumblr.com
http://thebluepeninsula.tumblr.com/
7:21 pm • 10 September 2017 • 280 notes
#CMBYN #CallMeByYourName #thebluepeninsula.tumblr.com
#elio #elio perlman #oliver #ulliva #laterpeaches 🍑
#andré aciman #armie hammer #timothée chalamet #luca guadagnino
#book #novel #film #movie #sonyclassics #lgbt
#tbh i never *never* thought i'd be out here making cmbyn fan art
#yet here we are
#this was fun & i need to draw more often
#art #artwork #draw #drawing #portrait
##artist #sketch #sketchbook #my art
#eyes #nose #mouth
#happy
(https://abs.twimg.com/emoji/v2/72x72/1f351.png)
(http://68.media.tumblr.com/2b02133cf643826aa1f000317c20f05a/tumblr_ov9o4vV0MZ1vw0zkko9_250.png)
Woah. :o
Yes, we are told this is
a still from the film.(https://pbs.twimg.com/media/DJNuMgEVoAAb8LN.jpg:large)
http://pedropascals.tumblr.com/post/165136161970/call-me-by-your-name-2017-dir-luca-guadagnino
http://www.gramunion.com/v-ltersen.tumblr.com/165115315434
https://twitter.com/badpostchalamet
https://twitter.com/lllooouuuiiis
http://tweetiz.com/pjspears/
#I WANT THIS MOVIE #AND I WANT IT NOW #timothée chalamet #armie hammer #cmbyn
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(http://68.media.tumblr.com/5c1719bb25ab872e1668e17eb1ec351a/tumblr_ow2dbjydzS1qe8tjno1_500.gif)
(http://68.media.tumblr.com/8c512c572c3ae8d977172753f9478cf0/tumblr_ow2dbjydzS1qe8tjno2_500.gif)
(http://68.media.tumblr.com/598be0c933a8346ee2cd360f763ec1be/tumblr_ow2dbjydzS1qe8tjno3_r1_500.gif)
https://laterpeaches.tumblr.com/post/165196337143/bowie28-armie-hammers-uncomfortably-memorable
http://bowie28.tumblr.com/post/165184516335
Don't look into my phone. Career over.
SEPTEMBER 10TH - 205 NOTES - J
Armie Hammer’s Uncomfortably Memorable Parts in Call Me by Your Name
POSTED 6 DAYS AGO
Host Dave Karger actor Armie Hammer, actor Timothee Chalamet and director Luca Guadagnino
of 'Call Me By Your Name' attend The IMDb Studio Hosted By The Visa Infinite Lounge
at The 2017 Toronto International Film Festival at Bisha Hotel & Residences
on September 8, 2017 in Toronto, Canada
(http://www4.pictures.zimbio.com/gi/Day+One+IMDb+Studio+Hosted+Visa+Infinite+Lounge+s0WATx0Ii92l.jpg)
http://www.zimbio.com/pictures/d9H2iKOR3_l/Day+One+IMDb+Studio+Hosted+Visa+Infinite+Lounge/s0WATx0Ii92
(https://i.pinimg.com/736x/b9/2d/35/b92d35a4f7bd533430eeda0b5a3d8aed.jpg)
(http://cdn03.cdn.justjared.com/wp-content/uploads/2017/09/armie-turns/call-my-by-your-name-press-conference-tiff-01.jpg)
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FYI, distinguished author André Aciman and producer Peter Spears of Call Me by Your Name play a visiting gay couple from Chicago in the movie (and who insist in speaking atrocious Italian to the Perlmans)--everyone is saying the scene is hilarious!
(https://upload.wikimedia.org/wikipedia/commons/1/19/Call_Me_By_Your_Name_Berlinale_8609_8610.jpg)
From left: Armie Hammer (Oliver) Timothée Chalamet (Elio) (?) Amira Casar (Annella) André Aciman (Author--and Mounir)
Esther Garrel (Marzia) Victoire Du Bois (Chiara) Peter Spears (Producer--and Isaac)
(https://thumbs.mic.com/ZTFlNjliMjYyZSMvQ2FjTTZQYU1DVUY3TVpmQnNjdG9zeml5Z1FRPS8weDE1Nzo0NzIweDI0NDMvMTYwMHg5MDAvZmlsdGVyczpmb3JtYXQoanBlZyk6cXVhbGl0eSg4MCkvaHR0cHM6Ly9zMy5hbWF6b25hd3MuY29tL3BvbGljeW1pYy1pbWFnZXMvbGd3eHJsYmpxbTV3MDlhZ21zYWM0YnBsdXdveWU1bzV5azVxZGNnc29ienZnbzZvZXJ3YnV5Yzg0cDFycHlweC5qcGc.jpg)
The (partial) cast and crew of Call Me by Your Name
Front Row: Victoire Du Bois (Chiara) Esther Garrel (Marzia) Timothée Chalamet (Elio) André Aciman (Author--and Mounir)
Amira Casar (Annella) Luca Guadagnino (Director)
Center Back Row: Peter Spears (Isaac--and Producer) and, Far Right Back Row: Armie Hammer (Oliver)
Photo: Pascal Le Segretain/Getty Images
(https://2.bp.blogspot.com/-TNBPMrmzjig/WKrc9nAQhdI/AAAAAAAAhGY/FtuqSJL5XIcTA2jIasBgsCipJ1ekEy6iACLcB/s1600/67th%2Bannual%2BBerlin%2BInternational%2BFilm%2BFestival.jpg)
9 February to 18 February 2017
https://en.wikipedia.org/wiki/67th_Berlin_International_Film_Festival
(FYI, American actress Maggie Gyllenhaal was a juror!)
(https://68.media.tumblr.com/8131f96bd8ed0ac355719912f0e1664d/tumblr_ou5qn3pmiU1wwjl4jo1_1280.jpg)
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Can't wait to see this film! Thanks for all your lovely images and words. Crema looks like a wonderful place, just south of the Lake District and east of Milan.
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Can't wait to see this film! Thanks for all your lovely images and words.
Thank you, Lee! And yay! :D I really, really hope you'll be able see it--but we'll find out how "limited" a release it will be in the U.S., ugh. ::)
Crema looks like a wonderful place, just south of the Lake District and east of Milan.
I know that our Paul was a bit worried at first about the relocation from the town of Bordighera (in the Italian province of Liguria on the Italian Riviera) to director Luca Guadagnino's hometown of Crema (in the northern province of Lombardy, but in the movie it is only mentioned as "somewhere in the north of Italy"). Although in André Aciman's 2007 novel the town is only called "B," it's clear it is Bordighera, not only because of the Claude Monet references in the book (Monet went there to paint some very lovely things, and one section of Aciman's book, Part 2, is entitled 'Monet's Berm') but other references which seemed specific and special--like the sea! But the photos and stills taken from the locations, the Perlman family villa (!!) and Sirmione on Lake Garda, which has the "Archaeological site of Grotte di Catullo" look simply ravishing--like you, I cannot wait!
FYI, here's something I just found on line--take a look:
SATURDAY, 16 SEP 2017
Hi! Do you happen to have a list of the locations of the movie? I just discovered I live within an hour of everything, and I wanted to go visit! (Story of my life, they shoot a beautiful movie where I live and I find out a year later >.<) thank you so much for the help!
Well, aren’t you lucky! :)
Fortunately Luca used few locations for the film, mainly around Crema, Moscazzano and Bergamo, so:
Elio's house and most of the biking through the countryside: Moscazzano
Standing in for “B” [Bordighera]: Crema (Piazza Premoli, Piazza Trento e Trieste…)
Train station: Pizzighettone
Fontanili Capralba
Sirmione Lake (most likely Jamaica Beach)
Cascate del Serio
Standing in for Rome: Bergamo, the Agnello D'oro Hotel
If anyone knows of any other locations feel free to comment!
http://monetsberm.tumblr.com/post/165415109261/hi-do-you-happen-to-have-a-list-of-the-locations
https://laterpeaches.tumblr.com/post/165463342951/hi-do-you-happen-to-have-a-list-of-the-locations
And there's this:(http://i.telegraph.co.uk/multimedia/archive/01870/berg-piazza_1870838b.jpg)
DID YOU KNOW?
French writer Stendhal called Bergamo's Piazza Vecchia "the most beautiful square on Earth".
http://www.telegraph.co.uk/travel/destinations/europe/italy/north/8445907/Bergamo-Italy-hotels-restaurants-and-getting-there.html
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Bergamo! Joey and I visited there once in the 90s. We had been in Venice, and took a commuter train to Bergamo, on the advice of a foodie friend. Sure enough, we had made reservations at the Agnello d'Oro!!! It's a very old hotel in the "città alta", or high town.
I recall the very beautiful piazza. Also, dinner at the Agnello d'Oro was spectacular: the specialità was "risotto al profumo di bosca"--an incredibly rich concoction with wild mushrooms and truffles. Although you couldn't eat the plates, you could take them home: the chef designed a new plate yearly with the face of the sun, complimentary with the dish.
I had wondered if the Roman scenes would be included (not mentioned in any review, nor seen in a preview). They're important to the story. Bergamo sitting in for Rome? Molto interessante!
A piu tarde!
(http://www.agnellodoro.it/img/agnello-doro-bergamo-alta-ristorante.jpg)
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Bergamo! Joey and I visited there once in the 90s. We had been in Venice, and took a commuter train to Bergamo, on the advice of a foodie friend. Sure enough, we had made reservations at the Agnello d'Oro!!! It's a very old hotel in the "città alta", or high town.
I recall the very beautiful piazza. Also, dinner at the Agnello d'Oro was spectacular: the specialità was "risotto al profumo di bosca"--an incredibly rich concoction with wild mushrooms and truffles. Although you couldn't eat the plates, you could take them home: the chef designed a new plate yearly with the face of the sun, complimentary with the dish.
I had wondered if the Roman scenes would be included (not mentioned in any review, nor seen in a preview). They're important to the story. Bergamo sitting in for Rome? Molto interessante!
A piu tarde!
(http://www.agnellodoro.it/img/agnello-doro-bergamo-alta-ristorante.jpg)
Well, you were in Heaven then, weren't you, Paul! :laugh: 8)
Later!
(http://theplaylist.net/wp-content/uploads/2016/05/armie-hammer-the-man-from-uncle.jpg)
Poor Armie Hammer (Oliver) in "Rome" (Bergamo??) or--maybe even Hell??--we shall see!
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CALLMEBYYOURNAMEFANART
https://twitter.com/CuZn34
(https://pbs.twimg.com/profile_images/909052678642323457/dJVy_UgD_400x400.jpg) by @CuZn34
(https://pbs.twimg.com/media/DJ2bmtdVwAIFKMJ.jpg:large)
https://twitter.com/hashtag/cmbyn
https://twitter.com/CuZn34
He had, it took me a while to realize, four personalities depending on which bathing suit he was wearing. Knowing which to expect gave me the illusion of a slight advantage. Red: bold, set in his ways, very grown up, almost gruff and ill-tempered--stay away. Yellow: sprightly, buoyant, funny, not without barbs--don't give in too easily; might turn to Red in no time. Green, which he seldom wore: acquiescent, eager to learn, eager to speak, sunny--why wasn't he always like this? Blue: the afternoon he stepped into my room from the balcony, the day he massaged my shoulder, or when he picked up my glass and placed it right next to me.
Today was Red: he was hasty, determined, snappy.
CALLMEBYYOURNAMEFANART by @CuZn34
https://twitter.com/CuZn34
Sep 16 2017 11 Likes
#CMBYN #CallMeByYourName #elio #elio perlman #oliver #ulliva #armie hammer #timothée chalamet
#andré aciman #book #novel #luca guadagnino #film #movie #movies #film
#lgbt #lgbtmovie #sonyclassics #oscar
#painting #art #artist #fanart #twitter
#laterpeaches #🍑
#Red
#later!
(https://pbs.twimg.com/profile_images/909052678642323457/dJVy_UgD_400x400.jpg)
(https://pbs.twimg.com/media/DGTnAIpVwAQB7_B.jpg)
CALLMEBYYOURNAMEFAN
https://www.garow.me/users/erkinaken/4225893710
my thoughts only
going nowhere
(https://scontent.cdninstagram.com/t51.2885-19/s150x150/21372127_114640965919083_7751548261332156416_a.jpg) by @erkinaken(https://scontent.cdninstagram.com/t51.2885-15/s640x640/sh0.08/e35/20589765_675275466008692_3798105576320270336_n.jpg)
https://www.garow.me/media/1571450361696528490_4225893710
I got a copy of the korean translation of #callmebyyourname #cmbyn
with a beautiful illustration cover, and it's aesthetically so satisfying.
The title changed, and it can translate into "that year, the summer's guest."
and there's THE peach🍑🍑🍑 [in Elio's hand, see??] 😂😂(https://scontent.cdninstagram.com/t51.2885-15/s640x640/sh0.08/e35/20398542_270210383382775_6789780705799831552_n.jpg)
https://www.garow.me/media/1571539586949360017_4225893710
this kind of love and aspiration, @tchalamet @armiehammer
Elio and Oliver in the illustration cover look exactly alike @tchalamet and @armiehammer 😎😎,
which makes everything better and sweeter 🙌🙌(https://scontent-iad3-1.cdninstagram.com/t51.2885-15/e35/20181066_257907148046394_7324179761041768448_n.jpg)
CALLMEBYYOURNAMEFAN by @erkinaken
https://www.garow.me/users/erkinaken/42258937102017/08/01 10:40:58
#CMBYN #CallMeByYourName #Elio #Oliver #laterpeaches #🍑
#elio perlman #oliver ulliva
#andré aciman #armie hammer #timothée chalamet #luca guadagnino
#book #newbook #bookstagram #translation
#film #movie #sonyclassics #lgbt
(https://scontent.cdninstagram.com/t51.2885-19/s150x150/21372127_114640965919083_7751548261332156416_a.jpg)
(Click here for this fan's other post, page 4 in this thread)
(http://fc06.deviantart.net/fs71/f/2015/014/3/7/botanical_4_by_cocorie-d8dv9wk.jpg)
Ulliva, Ulliva, Ulliva ---it was Oliver calling me by his name
when he'd imitate it's transmogrified sound as spoken by Malfalda
and Anchise; but it'd also be me calling him by his name as well,
hoping he'd call me back to mine, which I'd speak for him to me,
and back to him: Elio, Elio, Elio.
(https://s-media-cache-ak0.pinimg.com/236x/a1/69/06/a169065f635139f558c239ce0dd0bd78--sun-face-tattoo-sun-worship.jpg)
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(https://pbs.twimg.com/media/DJ2bmtdVwAIFKMJ.jpg:large)
(https://www.starkbros.com/images/dynamic/1454-960x960.jpg)(https://www.starkbros.com/images/dynamic/1454-960x960.jpg)(https://www.starkbros.com/images/dynamic/1454-960x960.jpg)(https://www.starkbros.com/images/dynamic/1454-960x960.jpg)
He was baffled to know that apricot trees existed in, of all places, our orchard. On late afternoons, when there was nothing to do in the house, Mafalda would ask him to climb a ladder with a basket and pick those fruits that were almost blushing with shame, she said. He would joke in Italian, pick one out, and ask, Is this one blushing with shame? No, she would say, this one is too young still, youth has no shame, shame comes with age.
(https://www.starkbros.com/images/dynamic/1454-960x960.jpg)(https://www.starkbros.com/images/dynamic/1454-960x960.jpg)(https://www.starkbros.com/images/dynamic/1454-960x960.jpg)(https://www.starkbros.com/images/dynamic/1454-960x960.jpg)
I shall never forget watching him from my table as he climbed the small ladder wearing his red bathing trunks, taking forever to pick the ripest apricots. On his way to the kitchen--wicker basket, espadrilles, billowy shirt, suntan lotion, and all--he threw me a very large one, saying, "Yours," in just the same way he'd throw a tennis ball across the court and say, "Your serve."
(https://www.starkbros.com/images/dynamic/1454-960x960.jpg)(https://www.starkbros.com/images/dynamic/1454-960x960.jpg)(https://www.starkbros.com/images/dynamic/1454-960x960.jpg)(https://www.starkbros.com/images/dynamic/1454-960x960.jpg)
(https://www.starkbros.com/images/dynamic/1454-960x960.jpg)(https://www.starkbros.com/images/dynamic/1454-960x960.jpg)(https://www.starkbros.com/images/dynamic/1454-960x960.jpg)(https://www.starkbros.com/images/dynamic/1454-960x960.jpg)
Of course, he had no idea what I'd been thinking minutes earlier, but the firm, rounded cheeks of the apricot with their dimple in the middle reminded me of how his body had stretched across the boughs of the tree with his tight, rounded ass echoing the color and the shape of the fruit. Touching the apricot was like touching him. He would never know, just as the people we buy the newspaper from and then fantasize about all night have no idea that this particular inflection on their face or that tan along their exposed shoulder will give us no end of pleasure when we're alone.
(https://www.starkbros.com/images/dynamic/1454-960x960.jpg)(https://www.starkbros.com/images/dynamic/1454-960x960.jpg)(https://www.starkbros.com/images/dynamic/1454-960x960.jpg)(https://www.starkbros.com/images/dynamic/1454-960x960.jpg)
Yours, like Later!, had an off-the-cuff, unceremonious, here, catch quality that reminded me how twisted and secretive my desires were compared to the expansive spontaneity of everything about him. It would never have occurred to him that in placing the apricot in my palm he was giving me his ass to hold or that, in biting the fruit, I was also biting into that part of his body must have been fairer than the rest because--
(https://www.starkbros.com/images/dynamic/1454-960x960.jpg)(https://www.starkbros.com/images/dynamic/1454-960x960.jpg)(https://www.starkbros.com/images/dynamic/1454-960x960.jpg)(https://www.starkbros.com/images/dynamic/1454-960x960.jpg)
(https://pbs.twimg.com/media/DJ2bmtdVwAIFKMJ.jpg:large)
https://twitter.com/hashtag/cmbyn
https://twitter.com/CuZn34
Call Me By Your Name by André Aciman
Recited/Narrated by Armie Hammer
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Timothée Chalamet as Elio (....) is a revelation. His timid reservation sheds away as his sexuality blossoms, exemplified when the camera tracks him dancing through spaces in their 17th-century villa. Whether it's his attraction to Oliver, a female teenager visitor from Paris, or a peach, Chalamet conveys a sense of sexual awakening with flawless authenticity. An immense amount of emotional weight is eventually placed on his shoulders and the result of this is an unforgettably piercing image.
As Oliver, Armie Hammer shows an entirely new side of warmth and charisma. The careful balance of not wanting to emotionally damage Elio then evolving to utter adoration when their relationship progress is acutely conveyed and their chemistry is utterly magnetic. While Michael Stuhlbarg’s character is often in the background, he emerges with the film’s most devastatingly honest scene in a moment of acceptance and guidance in what should be the foundation of every parental guide-book.
https://thefilmstage.com/reviews/sundance-review-call-me-by-your-name-is-an-intoxicatingly-sexy-and-disarmingly-nice-romance/
(http://thefilmstage.com/thefilmstage.png)
Sundance 2017 Review
An extraordinary queer romance:
Armie Hammer and Timothée Chalamet
in Luca Guadagnino's disarmingly nice, intoxicatingly sexy film
Call Me by Your Name
by Jordan Raup
January 24, 2017
(https://pixel.nymag.com/imgs/daily/vulture/2017/07/31/31-call-me-by-your-name.w710.h473.jpg)
As Elio gazes upon him, he frames Oliver:
Timothée Chalamet and Armie Hammer in Call Me by Your Name
PARK CITY -- “I have loved you for the last time,” Sufjan Stevens sings in his original song “Visions of Gideon” in Call Me By Your Name. It’s a moment of both bittersweet happiness and a farewell to a passion that won’t be replicated again for Elio (Timothée Chalamet) as, deep down, he knows his relationship with Oliver (Armie Hammer) is over after his six-week stay in their Italian villa. Luca Guadagnino’s disarmingly nice and intoxicatingly sexy film is an extraordinary queer romance, one that evocatively explores the body and mind’s surrender to lust and love.
Set in a sun-drenched northern Italy town in 1983, the 17-year-old Elio fills up his free summer hours reading, transcribing music, occasionally going out with nearby friends, and not much else. When Oliver, an chiseled older student from Rhode Island in the process of getting his doctorate, shows up to work with Elio’s professor father (Michael Stuhlbarg), he’s immediately smitten by his looks and confidence. Adapted by Guadagnino, James Ivory, and Walter Fasano from André Aciman’s novel, it’s a script of remarkable clarity as we witness this secret language of shifting boundaries.
When Elio and Oliver visit the local town one day, the former remarks about the site in front of them which held one of the most deathly battles of World War I. In an unbroken shot, they walk around opposite sides of the historic site, revealing as few words as possible about their heart’s desires. In between this division there’s the history of thousands of lives that have been lost, each with their own burning passions. For this moment in history, we’re watching two individuals at the height of their own. It’s a quietly staggering scene, one with gestures and glances that speak volumes about their mutual yearning.
(https://68.media.tumblr.com/5385d5c623fba7cd330de9f74523b54c/tumblr_ouc4l4497R1wwjl4jo1_r1_1280.jpg)
“I have loved you for the last time,” Sufjan Stevens sings in his original song “Visions of Gideon” in
Call Me By Your Name. It’s a moment of both bittersweet happiness and a farewell to a passion that
won’t be replicated again for Elio as he knows his relationship with Oliver is over after his six-week stay.
While comparisons to recent queer dramas like Carol and Moonlight will inevitably be evoked due to the depiction of unspoken longing, it’s reductive and diminishing to compare these remarkably divergent films. Guadagnino’s latest has more in common with the calmness and sophistication of an Éric Rohmer film, with its conversations featuring classic literature, music, Greco-Roman art, and the films of Luis Buñuel bandied about. This also applies to its visual approach: in contrast to his previous pair of films, I Am Love and A Bigger Splash, the director’s camera is more patient while still achieving a vulnerable sensuality. Like Rohmer’s work, the film also basks in the splendor of its location as we travel through the northern Italy countryside.
Lucidly shot by Apichatpong Weerasethakul's frequent cinematographer Sayombhu Mukdeeprom, Call Me By Your Name is most fascinated with the allure and seduction of the human form. The opening credits, which display photographs of famous Italian sculptures, foreshadow the physical presence of our leads, particularly Hammer’s Oliver. Guadagnino is a director who clearly loves his actors and superbly conveys this through his perspective. As Elio gazes upon him, he frames Oliver, who is almost always shirtless sporting short shorts, from a low angle as he dances and swims, his imposing sexuality towering over the frame and disarming Elio.
Chalamet, who got big-budget experience in Interstellar and [was impressive] in last year’s Miss Stevens — another film in which his character pursues a romance outside of societal acceptance — is a revelation. His timid reservation sheds away as his sexuality blossoms, exemplified when the camera tracks him dancing through spaces in their 17th-century villa. Whether it's his attraction to Oliver, a female teenager visitor from Paris, or a peach, Chalamet conveys a sense of sexual awakening with flawless authenticity. An immense amount of emotional weight is eventually placed on his shoulders and the result of this is an unforgettably piercing image.
As Oliver, Hammer shows an entirely new side of warmth and charisma. The careful balance of not wanting to emotionally damage Elio then evolving to utter adoration when their relationship progress is acutely conveyed and their chemistry is utterly magnetic. While Stuhlbarg’s character is often in the background, he emerges with the film’s most devastatingly honest scene in a moment of acceptance and guidance in what should be the foundation of every parental guide-book.
To accompany the classical music is a trio songs from the aforementioned Sufjan Stevens, two of them original. Along with employing a new ethereal piano arrangement of “Futile Devices” in a moment of longing, the original songs have the feel of tracks off Carrie & Lowell, albeit with more of a wistful elation. For one of these songs, Guadagnino utilizes one of his few overt directorial flourishes: the effect of a film burn as a lonely Elio contemplates furthering their relationship, then later the visualization of a camera negative when he reflects on the time they have had. Both are fleeting flourishes, appearing only for a few seconds, but indelibly convey the passion inside Elio’s soul.
A feat of accentuated sound design, as hands run down staircases and across bodies, and arresting cinematography, luxuriating in the beauty of Italy and those that occupy it, Call Me By Your Name has the effect of being transported to this specific time and place. It’s a film of overwhelming empathy and playfulness as loneliness turns into gratification and desires are slowly manifested into reality.
[A-]
Call Me By Your Name premiered at the Sundance Film Festival and opens on November 24.
(http://static.stereogum.com/uploads/2017/01/IMG_0475_bw-1485544300-640x480.jpg)
[youtube=425,350]http://www.youtube.com/watch?v=x2dNTjE6ItI[/youtube]
CALL ME BY YOUR NAME SoundtrackFutile Devices - Sufjan StevensPublished on Jul 27, 2011(https://yt3.ggpht.com/-Mll3_yPdZCk/AAAAAAAAAAI/AAAAAAAAAAA/kdghKNz9Mjg/s88-c-k-no-mo-rj-c0xffffff/photo.jpg)
http://monetsberm.tumblr.com/post/165302876186/on-how-sufjan-stevens-became-involved-i-thought
http://monetsberm.tumblr.com
https://laterpeaches.tumblr.com/
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CALLMEBYYOURNAMEFANART
SOURCE FRAGMENTS
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https://feedy.online/article/589329-elio
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https://twitter.com/cmbynmovie
The next morning we went swimming together. [....] Later, as he performed his own version of the dead-man's float, I wanted to hold him, as swimming instructors do when they hold your body so lightly that they seem to keep you afloat with barely a touch of their fingers. Why did I feel older than he was at that moment? I wanted to protect him from everything this morning, from the rocks, from the jellyfish, now that jellyfish season was upon us--
CALLMEBYYOURNAMEFANART
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Dreamy❤😢
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#call me by your name #cmbyn #andré aciman #luca guadagnino #lgbt
#timothée chalamet #elio #elio perlman #armie hammer #oliver #ulliva
#portrait #sketch #drawing #art #artist #fanart #imgrum
#movies #film #lgbtmovie #oscar
#later!
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CALLMEBYYOURNAMEFANART
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IF NOT LATER, WHEN?
(https://static.tumblr.com/b5e28df8266304420a1dae34d559089f/kekmbi4/QRZol9tpa/tumblr_static_18r955m23ef44wgsgks4ks488.png) by billowyblueshirt
titled gifset September 19, 2017 154 notes
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https://billowyblueshirt.tumblr.com/post/165519378734/when-he-wasnt-with-me-i-didnt-much-care-what
http://elioeoliver.tumblr.com/post/165520481242/billowyblueshirt-when-he-wasnt-with-me-i
https://laterpeaches.tumblr.com/
“When he wasn’t with me, I didn’t much care what he did
so long as he remained the exact same person
with others as he has with me.”
Call Me By Your Name by André Aciman
Recited/Narrated by Armie Hammer
19th September 2017 154 notes
#callmebyyourname #cmbyn #andréaciman #lucaguadagnino #lgbt
#timothée chalamet #elio #elio perlman #armie hammer #oliver #ulliva
#book #novel #gaynovel #movies #film #lgbtmovie
#if i have to suffer you all gotta suffer with me
#later!
CALLMEBYYOURNAMEFANART by billowyblueshirt
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IF NOT LATER, WHEN?
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CALLMEBYYOURNAMEFANART
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IF NOT LATER, WHEN?
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Photoset August 26, 2017 354 notes
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http://tattooedsiren.tumblr.com/post/164666591623/billowyblueshirt-call-me-by-your-name-by-andr%C3%A9
“He came. He left.
Nothing else had changed.
I had not changed.
The world hadn’t changed.
Yet nothing would be the same.
All that remains is dreammaking
and strange remembrance.”
Call Me By Your Name by André Aciman
Recited/Narrated by Armie Hammer
26th August 2017 354 notes
#callmebyyourname #cmbyn #andréaciman #lucaguadagnino #lgbt
#timothée chalamet #elio #elio perlman #armie hammer #oliver #ulliva
#book #novel #gaynovel #movies #film #lgbtmovie
#i made this before the trailer #but then i couldn't post it
#i couldn't post this shit after that masterpiece
#later!
CALLMEBYYOURNAMEFANART by billowyblueshirt
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IF NOT LATER, WHEN?
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"Where is the rest of me?"
THIS IS HILARIOUS!
(and endearing!)
Yay! for the Eighties!!
(http://www.movpins.com/big/MV5BNWVlZjE1MzAtNDgwOS00M2RiLTgwY2QtZGUwYWNjZWQ1NTkwXkEyXkFqcGdeQXVyMzI3NjY2ODc/armie-hammer-and-timothee-chalamet-in-call-me-by-your-name-2017-large-picture.jpg)
Armie: "It’s funny, man. When we had our first
wardrobe fitting, they said, “Oh, here are your shorts –”
[hand gesture of a tiny thing being given to him]
"– and so I put them on, and I remember looking down and going,
“Where’s the rest of them?” But honestly by the end of the movie,
I went home – I definitely stole a bunch of shorts from the movie –
I went home and I put on a pair of my own shorts, and I was like,
ugh, what’s this fabric by my knees? I feel so constricted!"
http://nothing2c.tumblr.com/post/165516554976
https://laterpeaches.tumblr.com/
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[youtube=425,350]http://www.youtube.com/watch?v=1XKFnG3sOsM[/youtube]
CALL ME BY YOUR NAME Talk
TIFF 2017
Luca Guadagnino
Armie Hammer & Timothée Chalamet
with host Dave Karger of IMDb
Published on Sep 10, 2017(https://yt3.ggpht.com/-jRqL-EDF_Pg/AAAAAAAAAAI/AAAAAAAAAAA/bm-8knQ83cs/s88-c-k-no-mo-rj-c0xffffff/photo.jpg)
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Armie Hammer's Uncomfortably Memorable Parts in 'Call Me by Your Name' (2:10)Armie Hammer, Timothée Chalamet, and director Luca Guadagnino recall some of the more memorable
wardrobe and dance moments from the set of their romantic drama set in 1980s Italy.http://www.imdb.com/list/ls020486567/videoplayer/vi2148251929?pf_rd_m=A2FGELUUNOQJNL&pf_rd_p=3250311062&pf_rd_r=01JT2J8R7D5AFPW0HGZT&pf_rd_s=right-3&pf_rd_t=15021&pf_rd_i=tt3173408&ref_=tt_tor_ecw_cmb1_sm
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https://laterpeaches.tumblr.com/post/165196337143/bowie28-armie-hammers-uncomfortably-memorable
http://bowie28.tumblr.com/post/165184516335
Don't look into my phone. Career over.
SEPTEMBER 10TH - 205 NOTES - J
Armie Hammer’s Uncomfortably Memorable Parts in Call Me by Your Name
POSTED 6 DAYS AGO
Host Dave Karger actor Armie Hammer, actor Timothee Chalamet and director Luca Guadagnino
of 'Call Me By Your Name' attend The IMDb Studio Hosted By The Visa Infinite Lounge
at The 2017 Toronto International Film Festival at Bisha Hotel & Residences
on September 8, 2017 in Toronto, Canada
(http://www4.pictures.zimbio.com/gi/Day+One+IMDb+Studio+Hosted+Visa+Infinite+Lounge+s0WATx0Ii92l.jpg)
http://www.zimbio.com/pictures/d9H2iKOR3_l/Day+One+IMDb+Studio+Hosted+Visa+Infinite+Lounge/s0WATx0Ii92
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Poor awkward, gangly Armie--
who'd a thunk it? Poor Baby!
(https://media0.giphy.com/media/26n6Oyt3ba5J3kKFG/200.webp#21-grid2)]
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.
Given Guadagnino’s penchant for lush European settings, it’s unsurprising at how utterly gorgeous this film is to look at, not to mention the 1980’s period setting allowing some choice soundtrack cuts, most notably The Psychedelic Furs’ “Love My Way“, to provide an additive to the film’s erotic nature; offsetting this is musician Sufjan Stevens‘ original song contributions which play into the film’s fairytale-like mentality.
(https://giphy.com/gifs/trailer-call-me-by-your-name-26n6N5mZH5obeX03u)
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[youtube=800,450]http://www.youtube.com/watch?v=LGD9i718kBU[/youtube]
https://www.youtube.com/watch?v=LGD9i718kBU
The Psychedelic Furs Love My Way
PsychedelicFursVEVO
(https://yt3.ggpht.com/-tT9N3R56H_Y/AAAAAAAAAAI/AAAAAAAAAAA/KQiCmzQt6iM/s88-c-k-no-mo-rj-c0xffffff/photo.jpg)
Love My Way (1982)
There's an army on the dance floor
It's a fashion with a gun my love
In a room without a door
A kiss is not enough in
Love my way, it's a new road
I follow where my mind goes
They'd put us on a railroad
They'd dearly make us pay
For laughing in their faces
And making it our way
There's emptiness behind their eyes
There's dust in all their hearts
They just want to steal us all
And take us all apart
But not in
Love my way, it's a new road
I follow where my mind goes
Love my way, it's a new road
I follow where my mind goes
Love my way, it's a new road
I follow where my mind goes
So swallow all your tears my love
And put on your new face
You can never win or lose
If you don't run the race
Songwriters: John Ashton / Richard Lofthouse Butler / Timothy Butler / Vincent Davey
Love My Way lyrics © Sony/ATV Music Publishing LLC
In 1982, the band was reduced to a four-piece with the departures of Morris and Kilburn, and moved to the U.S. in search of a producer.[6] The band recorded their next album, "Forever Now", with record producer Todd Rundgren in Woodstock, New York. This album contained "Love My Way", which became another UK chart entry, and also their first US Billboard Hot 100 charting single.
https://en.wikipedia.org/wiki/The_Psychedelic_Furs
https://en.wikipedia.org/wiki/Love_My_Way_(song)
By the way--
In the summer of 1983, Elio and Oliver might have gone to the movies to see--
[youtube=425,350]http://www.youtube.com/watch?v=FcEchaH6EJk[/youtube]
https://www.youtube.com/watch?v=FcEchaH6EJk
Valley Girl (1983)
Modern English I Melt with You
(https://yt3.ggpht.com/-eUygaxpkDso/AAAAAAAAAAI/AAAAAAAAAAA/sgWUW78eZsA/s88-c-k-no-mo-rj-c0xffffff/photo.jpg)
https://en.wikipedia.org/wiki/Valley_Girl_(film)
https://en.wikipedia.org/wiki/Modern_English_(band)
https://en.wikipedia.org/wiki/I_Melt_with_You
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Can't wait to see this film! Thanks for all your lovely images and words. Crema looks like a wonderful place, just south of the Lake District and east of Milan.
Yes, Lee--lovely!L'Arco del Torrazzo, o semplicemente il Torrazzo,
The Arch of Torrazzo, or simply the Torrazzo,
è una monumentale porta rinascimentale di Crema
is a monumental Renaissance gateway in Crema
e mette in comunicazione piazza Duomo con via XX settembre.
and connects Piazza Duomo with Via XX Settembre.
(http://www.viaggiatoriweb.it/wp-content/uploads/2017/05/Il-Palazzo-del-Comune-con-il-Torrazzo.jpg)
(https://imagesvc.timeincapp.com/v3/fan/image?&c=sc&w=1911&h=970&url=https://culturess.com/wp-content/blogs.dir/386/files/2016/04/call-me-by-your-name.jpg)
(https://upload.wikimedia.org/wikipedia/commons/4/43/Torrazzo-leone-san-marco.jpg)
(https://4.bp.blogspot.com/-wNNkUOy5xh4/V0Me60UBVGI/AAAAAAADEyM/sxk9vXfYUvE4ZmcjeU2VEJuwBKYWiNrnACLcB/s1600/armie%2Bhammer%2Bcrema.png)
Mr. and Mrs. Hammer in Crema, Summer 2016
https://it.wikipedia.org/wiki/Arco_del_Torrazzo
AND click here for the latest lovely (nighttime!) image:
https://www.instagram.com/p/BVdf1FKhMeT/?hl=en&taken-by=armiehammer
https://www.instagram.com/armiehammer/?hl=en
(https://instagram.fewr1-1.fna.fbcdn.net/t51.2885-19/s150x150/20184840_320934591695020_4549105372807299072_a.jpg)
armiehammer
Crema Cathedral
June 17 2017
9,017 likesIt's been exactly one year to the day that we wrapped Call Me By Your Name and
here I find myself in the Duomo of Crema, Italy eating a kebab and drinking a beer.
Huh. Life's funny like that I guess.
Yup, he liked it.
He really liked it!
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Sufjan Stevens’ latest album, Carrie & Lowell, was a beautifully simplistic work based on his mother’s death and his reeling emotions of anger, abandonment, loss and love. It will be very interesting to see Stevens tackling a film score, as most of his work is so broad in scope that it lends itself to a cinematic format. So everything should translate well, but it’s exciting to see him fully embrace the format.
https://www.pastemagazine.com/articles/2017/01/sufjan-stevens-scores-indie-film-call-me-by-your-n.html
(https://www.pastemagazine.com/pastemagazine.img/master-header-logo.png)
Sufjan Stevens
Scores Indie Film
Call Me by Your Name
by Pete Mercer
January 9, 2017, 12:05pm
(https://cdn.pastemagazine.com/www/articles/Sufjan%20main.jpg)
Sufjan Stevens scores Call Me by Your Name
Sufjan Stevens, singer/songwriter and creator of the (overly) ambitious 50 States Project, has written and performed the soundtrack for new indie film Call Me by Your Name. The film stars Armie Hammer, Timothée Chalamet and Michael Stuhlbarg, and is based on André Aciman’s 2007 novel of the same name.
Directed by Italian filmmaker Luca Guadagnino, the film follows the love affair between a 24-year-old American scholar visiting Italy, and the 17-year-old Jewish-American boy whose family provides housing for the American while he helps the young boy’s father revise book manuscripts. The film takes place in the 1980s along the Italian Riviera, so expect some really lovely Italian scenery, accompanied by Stevens’ often beautifully melodic music.
Stevens’ latest album, Carrie & Lowell, was a beautifully simplistic work based on his mother’s death and his reeling emotions of anger, abandonment, loss and love. It will be very interesting to see Stevens tackling a film score, as most of his work is so broad in scope that it lends itself to a cinematic format. So everything should translate well, but it’s exciting to see him fully embrace the format.
There is no formal release date for the soundtrack or the film, which hits Sundance on Jan. 22.
FYI: Call Me By Your Name premiered at the Sundance Film Festival and opens on November 24.
To accompany the classical music is a trio songs from the aforementioned Sufjan Stevens, two of them original. Along with employing a new ethereal piano arrangement of “Futile Devices” in a moment of longing, the original songs have the feel of tracks off Carrie & Lowell, albeit with more of a wistful elation. For one of these songs, Guadagnino utilizes one of his few overt directorial flourishes: the effect of a film burn as a lonely Elio contemplates furthering their relationship, then later the visualization of a camera negative when he reflects on the time they have had. Both are fleeting flourishes, appearing only for a few seconds, but indelibly convey the passion inside Elio’s soul.
A feat of accentuated sound design, as hands run down staircases and across bodies, and arresting cinematography, luxuriating in the beauty of Italy and those that occupy it, Call Me By Your Name has the effect of being transported to this specific time and place. It’s a film of overwhelming empathy and playfulness as loneliness turns into gratification and desires are slowly manifested into reality.
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“I have loved you for the last time,” Sufjan Stevens sings in his original song “Visions of Gideon” in
Call Me By Your Name. It’s a moment of both bittersweet happiness and a farewell to a passion that
won’t be replicated again for Elio as he knows his relationship with Oliver is over after his six-week stay.
(http://static.stereogum.com/uploads/2017/01/IMG_0475_bw-1485544300-640x480.jpg)
[youtube=425,350]http://www.youtube.com/watch?v=Kss6WHJrWX0[/youtube]
CALL ME BY YOUR NAME (2017)
Mystery of Love
Sufjan Stevens
Armie Hammer & Timothée Chalamet
Published on Aug 8, 2017
(http://static.stereogum.com/uploads/2017/01/IMG_0475_bw-1485544300-640x480.jpg)
[youtube=425,350]http://www.youtube.com/watch?v=x2dNTjE6ItI[/youtube]
CALL ME BY YOUR NAME SoundtrackFutile Devices - Sufjan StevensPublished on Jul 27, 2011(https://yt3.ggpht.com/-Mll3_yPdZCk/AAAAAAAAAAI/AAAAAAAAAAA/kdghKNz9Mjg/s88-c-k-no-mo-rj-c0xffffff/photo.jpg)
http://monetsberm.tumblr.com/post/165302876186/on-how-sufjan-stevens-became-involved-i-thought
http://monetsberm.tumblr.com
https://laterpeaches.tumblr.com/
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CALLMEBYYOURNAMEFANART
BOOK COVERS
#armiehammer #timothéechalamet #cmbyn
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LITTLE FISTS
dany · she/her · xix
perderá su rumbo en tu mirada
y
se le olvidará la vida amándote
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http://czrenys.tumblr.com/post/163141577073/oldfashionedvillain-alternate-book-cover-and
http://czrenys.tumblr.com/archive
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"It's a long story, so bear with me, Pro." Suddenly Oliver had become serious. "Many Latin words are derived from the Greek. In the case of 'apricot,' however, it's the other way around; the Greek takes over from Latin. The Latin word was praecoquum, from pre-coquere, pre-cook, to ripen early, as in 'precocious,' meaning premature.
(https://www.starkbros.com/images/dynamic/1454-960x960.jpg)(https://www.starkbros.com/images/dynamic/1454-960x960.jpg)(https://www.starkbros.com/images/dynamic/1454-960x960.jpg)(https://www.starkbros.com/images/dynamic/1454-960x960.jpg)
"The Byzantines borrowed praecox, and it became prekokkia or berikokki, which is finally how the Arabs must have inherited it as al-birquq."
(https://www.starkbros.com/images/dynamic/1454-960x960.jpg)(https://www.starkbros.com/images/dynamic/1454-960x960.jpg)(https://www.starkbros.com/images/dynamic/1454-960x960.jpg)(https://www.starkbros.com/images/dynamic/1454-960x960.jpg)
My mother, unable to resist his charm, reached out to him and tousled his hair and said, "Che muvi star!"
"He is right, there is no denying it," said my father under his breath, as though mimicking the part of a cowered Galileo forced to mutter the truth to himself.
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"Courtesy of Philology 101," said Oliver.
All I kept thinking of was apricock precock, precock apricock.
(https://www.starkbros.com/images/dynamic/1454-960x960.jpg)(https://www.starkbros.com/images/dynamic/1454-960x960.jpg)(https://www.starkbros.com/images/dynamic/1454-960x960.jpg)(https://www.starkbros.com/images/dynamic/1454-960x960.jpg)
One day I saw Oliver sharing the same ladder with the gardener, trying to learn all he could about Anchise's grafts, which explained why our apricots were larger, fleshier, juicier than most apricots in the region. He became fascinated with the grafts, especially when we discovered that the gardener could spend hours sharing everything he knew about them with anyone who cared to ask.
Call Me By Your Name by André Aciman
Recited/Narrated by Armie Hammer
Oliver is the latest in a string of annual research assistants joining Professor Perlman (Michael 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.
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It’s 1983, “somewhere in Northern Italy.” The height of summer, and all of the neighborhood teenagers are in heat. Elio Perlman (Timothée Chalamet, keeping the promise he showed in “Miss Stevens” last September) is still a virgin. A 17-year-old American whose father, a local celebrity, is an eminent professor specializing in Greco-Roman culture (Michael Stuhlbarg), Elio has sprouted from the soil like the apricot trees that surround his family’s villa, and he’s impatiently waiting to bloom. Scrawny enough to be mistaken for a child but sophisticated enough to be mistaken for a man, Elio is a multilingual music prodigy who’s more comfortable with Bach and Berlioz than he is in his own body. He knows everything and nothing. But he’s about to get one hell of an education. (....)
Guadagnino lives for the climactic portion of this story, when feelings are finally transmuted into action and Oliver’s true nature breaks through the marble bust of his body (Armie Hammer’s warmth in these scenes is extraordinary). The details are best experienced for yourself, but it’s safe to say that movie lives up to the book’s steamy reputation, and Chalamet and Hammer throw themselves at each other with the clumsy abandon of first love. Growingly increasingly divorced from its source material as it goes along, the final beats of Guadagnino’s adaptation galvanize two hours of simmering uncertainty into a gut-wrenchingly wistful portrait of two people trying to find themselves before it’s too late.
http://www.indiewire.com/2017/01/call-me-by-your-name-review-armie-hammer-luca-guadagnino-sundance-2017-1201772350/
(http://www.indiewire.com/wp-content/uploads/2016/05/iw.jpg?w=397)
Sundance 2017
Call Me by Your Name
Sundance 2017 Review
Luca Guadagnino Delivers A Queer Masterpiece
Hot on the heels of A Bigger Splash the filmmaker returns with a film that's worthy of comparisons to Carol and Moonlight
by David Ehrlich
@davidehrlich
Monday 23 January 2017 3:15 pm
(https://media.timeout.com/images/103710041/image.jpg)
‘He’s about to get one hell of an education’ ... Michael Stuhlbarg, Timothée Chalamet and Armie Hammer in Call Me by Your Name
“Is it better to speak or to die?” That’s the core question of “Call Me By Your Name,” which surfaces in a scene where a character reads the words of Marguerite of Navarre in “The Heptaméron,” but it’s an idea at the heart of all queer narratives. It’s been especially present in queer cinema, where muteness and survival are often the most bittersweet bedfellows. But “Call Me By Your Name” not only quotes Marguerite’s words, it suffuses them into every fiber of its being. It’s a great film because of how lucidly it poses her question, and an essential one because of how courageously it answers it.
Directed by Luca Guadagnino with all of his usual cool (“I Am Love”) and adapted from André Aciman’s beloved 2007 novel of the same name, the rapturous “Call Me By Your Name” nearly rates alongside recent LGBT phenomenons “Carol” and “Moonlight,” matching the artistry and empathy with which those new masterworks untangled the repressive desire of same-sex attraction.
It’s 1983, “somewhere in Northern Italy.” The height of summer, and all of the neighborhood teenagers are in heat. Elio Perlman (Timothée Chalamet, keeping the promise he showed in “Miss Stevens” last September) is still a virgin. A 17-year-old American whose father, a local celebrity, is an eminent professor specializing in Greco-Roman culture (Michael Stuhlbarg), Elio has sprouted from the soil like the apricot trees that surround his family’s villa, and he’s impatiently waiting to bloom. Scrawny enough to be mistaken for a child but sophisticated enough to be mistaken for a man, Elio is a multilingual music prodigy who’s more comfortable with Bach and Berlioz than he is in his own body. He knows everything and nothing. But he’s about to get one hell of an education.
Every summer, Elio’s father flies out a graduate student to stay at the villa and help him with his research — this year’s intern is Oliver (Armie Hammer, as sensational here as he was in “The Social Network,” but similarly a touch too old for the part). Oliver is 24 and his body is an epic unto itself, as big as any one of the ancient statues that have been dredged up from the local seas. Arrogant, eager, and almost suspiciously handsome for an aspiring historian, the mysterious new visitor often seems as though he got lost on his way to a Patricia Highsmith novel. While much of the film feels stretched between the feverish eros of Bertolucci, the budding warmth of Mia Hansen–Løve, and the affected stoicism of James Ivory (who, at 88, has a co-writing credit on this screenplay), a thin shadow of suspense creeps along the outer edges of each frame, priming viewers for a very different kind of pivot than the one Guadagnino deployed during the third act of “A Bigger Splash.”
Elio and Oliver grow closer as the summer sinks toward its dog days — at first they share only a bathroom, the skinny adolescent looking at his unpredictable new friend as though he can’t understand how they could be the same species, let alone be interested in the same thing. But commonalities and semi-secrets soon emerge: For one thing, they’re both Jews in a land of goys. Oliver, no doubt aware that he looks like the winner of Hitler’s master race, wears a Star of David necklace underneath his shirt, a barely visible emblem of his otherness. The Perlmans, on the other hand, are what Elio’s father describes as “Jews of discretion” (one of the funnier lines in a movie that’s laced with a sharp sense of humor), but the strangeness of celebrating Hanukkah within spitting distance of Vatican City eventually makes its mark.
As the film progresses, Elio and Oliver begin to share more tangible things: Bike rides, errant touches, an unknown desire to have sex with one another (that last one is a biggie). Crucially, however, Elio is as conflicted about his own passions as he is those of the boy next door. His tastes are molten and volatile — he performs the same piano piece in a wildly different style every time he plays it, much to Oliver’s amused frustration. When he’s not busy gawking at his brawny infatuation, he’s enthusiastically trying to deflower the French girl down the street (Esther Garrell, of the New Wave Garrells), who wears her wardrobe of summer dresses like she’s trying to shame away the other seasons.
Telling this story with the same characteristically intoxicating capriciousness that has come to define his work, Guadagnino doesn’t dwell on looks of questionably requited longing. He’s not Todd Haynes and — with the possible exception of a long take mid-movie that follows the two leads around a fountain and endows the space between them with a palpably physical sense of attraction and denial — he doesn’t try to be. Instead, he stays attuned to the raw energy of trying to feel someone out without touching them, of what it’s like to live through that one magical summer where the weather is the only part of your world that doesn’t change every day.
Rippling with nervously excited piano compositions and shot with immeasurable sensuality by Thai cinematographer Sayombhu Mukdeeprom (“Uncle Boonmee Who Can Recall His Past Lives” and “Arabian Nights”), “Call Me By Your Name” is a full-bodied film that submits all of its beauties to the service of one simple truth: The more we change, the more we become who we are. Like the Latin prefixes that Oliver and Mr. Perlman trace back to their roots or the antiquated artworks that resonate because of how much the world has changed since their creation, Elio learns that growth — however wild or worrisome it might seem at the time — is the greatest gift that he can give himself.
Watching him slowly come to that realization is an unforgettable and enormously moving experience because of how the film comes to realize it, too. Guadagnino lives for the climactic portion of this story, when feelings are finally transmuted into action and Oliver’s true nature breaks through the marble bust of his body (Hammer’s warmth in these scenes is extraordinary). The details are best experienced for yourself, but it’s safe to say that movie lives up to the book’s steamy reputation, and Chalamet and Hammer throw themselves at each other with the clumsy abandon of first love. Growingly increasingly divorced from its source material as it goes along, the final beats of Guadagnino’s adaptation galvanize two hours of simmering uncertainty into a gut-wrenchingly wistful portrait of two people trying to find themselves before it’s too late. As Elio’s father puts it in a heart-stopping monologue that every parent might want to memorize for future use: “Don’t make yourself feel nothing so as not to feel anything. What a waste.”
Leaving us with one of the gorgeous new songs that Sufjan Stevens wrote for the film, this achingly powerful story — a brilliant contribution to the queer cinema canon — breathes vibrant new life into the answer that Marguerite of Navarre gave to her own question. “I would counsel all such as are my friends to speak and not die,” she said, “for ’tis a bad speech that cannot be mended, but a life lost cannot be recalled.”
Grade: A
“Call Me By Your Name” premiered in the Premieres section of the 2017 Sundance Film Festival. Sony Pictures Classics will release it later this year.
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“Is it better to speak or to die?” That’s the core question of “Call Me By Your Name,” which surfaces in a scene where a character reads the words of Marguerite of Navarre in “The Heptaméron,” but it’s an idea at the heart of all queer narratives. It’s been especially present in queer cinema, where muteness and survival are often the most bittersweet bedfellows. But “Call Me By Your Name” not only quotes Marguerite’s words, it suffuses them into every fiber of its being. It’s a great film because of how lucidly it poses her question, and an essential one because of how courageously it answers it.
(....)
Leaving us with one of the gorgeous new songs that Sufjan Stevens wrote for the film, this achingly powerful story — a brilliant contribution to the queer cinema canon — breathes vibrant new life into the answer that Marguerite of Navarre gave to her own question. “I would counsel all such as are my friends to speak and not die,” she said, “for ’tis a bad speech that cannot be mended, but a life lost cannot be recalled.”
(https://upload.wikimedia.org/wikipedia/commons/8/84/Marguerite_d%27Angoul%C3%AAme.jpg)
https://en.wikipedia.org/wiki/Marguerite_de_Navarre
Marguerite de Navarre
Her brother became King of France, as Francis I,
and the two siblings were responsible for the
celebrated intellectual and cultural court and
salons of their day in France.
She was the wife of Henry II of Navarre and
was the grandmother of Henry III of Navarre
who became Henry IV of France.
https://en.wikipedia.org/wiki/Heptam%C3%A9ron
Heptaméron
From Wikipedia, the free encyclopedia
The Heptaméron is a collection of 72 short stories written in French by Marguerite of Navarre (1492–1549), published posthumously in 1558. It has the form of a frame narrative and was inspired by The Decameron of Giovanni Boccaccio. It was originally intended to contain one hundred stories covering ten days just as The Decameron does, but at Marguerite’s death it was only completed as far as the second story of the eighth day. Many of the stories deal with love, lust, infidelity, and other romantic and sexual matters. One was based on the life of Marguerite de La Rocque, a French noblewoman who was punished by being abandoned with her lover on an island off Quebec.
The collection first appeared in print in 1558 under the title Histoires des amans fortunez edited by Pierre Boaistuau, who took considerable liberties with the original version, using only 67 of the stories, many in abbreviated form, and omitting much of the significant material between the stories. He also transposed stories and ignored their grouping into days as envisaged by the author. A second edition by Claude Gruget appeared only a year later in which the editor claimed to have “restored the order previously confused in the first impression”. Also the prologues and epilogues to each short story left out by Boaistuau were put back and the work was given, for the first time, the title Heptaméron (from the Greek ἑπτά – “seven” and ἡμέρα – “day”) due to the seven-day time frame into which the first 70 short stories are grouped.
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(http://cdn04.cdn.justjared.com/wp-content/uploads/2017/02/hammer-newclip3/watch-armie-hammer-and-timothee-chalamet-in-new-call-me-by-your-name-clip2-22.jpg)
(https://www.berlinale.de/media/bilder/2017/boulevard_2017/1302/130217_bd_2859_IMG_FIX_1200x800.jpg)
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(https://thumbs.mic.com/ZTFlNjliMjYyZSMvQ2FjTTZQYU1DVUY3TVpmQnNjdG9zeml5Z1FRPS8weDE1Nzo0NzIweDI0NDMvMTYwMHg5MDAvZmlsdGVyczpmb3JtYXQoanBlZyk6cXVhbGl0eSg4MCkvaHR0cHM6Ly9zMy5hbWF6b25hd3MuY29tL3BvbGljeW1pYy1pbWFnZXMvbGd3eHJsYmpxbTV3MDlhZ21zYWM0YnBsdXdveWU1bzV5azVxZGNnc29ienZnbzZvZXJ3YnV5Yzg0cDFycHlweC5qcGc.jpg)
The (partial) cast and crew of Call Me by Your Name
Front Row: Victoire Du Bois (Chiara) Esther Garrel (Marzia) Timothée Chalamet (Elio) André Aciman (Author--and Mounir)
Amira Casar (Annella) Luca Guadagnino (Director)
Center Back Row: Peter Spears (Isaac--and Producer) and, Far Right Back Row: Armie Hammer (Oliver)
Photo: Pascal Le Segretain/Getty Images
(https://2.bp.blogspot.com/-TNBPMrmzjig/WKrc9nAQhdI/AAAAAAAAhGY/FtuqSJL5XIcTA2jIasBgsCipJ1ekEy6iACLcB/s1600/67th%2Bannual%2BBerlin%2BInternational%2BFilm%2BFestival.jpg)
9 February to 18 February 2017
https://en.wikipedia.org/wiki/67th_Berlin_International_Film_Festival
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Timothée reminds me so much of Romann Berrux, who plays Fergus in Outlander.
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Timothée reminds me so much of Romann Berrux, who plays Fergus in Outlander.
(https://outlanderonline.files.wordpress.com/2017/03/2017-03-26-1.png?w=900)(http://www.numerique.it/wp-content/uploads/2017/02/CM_LOfficiel17_05.jpg)
Yes, they are very like, if not brothers, then cousins. Timothée's father is French, so--there you have it!
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More interior shots
CHEZ VILLA PERLMAN:
Just lovely!!
:o :D :D 8)https://it.luxuryestate.com/italia/lombardia/cremona
https://it.luxuryestate.com/p16410421-villa-in-vendita-moscazzano
VILLA A MOSCAZZANO, CREMONA
(https://68.media.tumblr.com/32a6db8ab51eb0e57e89bd347064bb45/tumblr_obscebpRn11vcmvdlo1_1280.jpg)
https://callmebyyourname-movie.tumblr.com/post/148827656746/luca-guadagnino-director-of-call-me-by-your-name?is_related_post=1#notes
https://callmebyyourname-movie.tumblr.com/image/148827656746
(https://pbs.twimg.com/media/C_tOwVwW0AA13hg.jpg)
http://www.imgsta.com/media/hammeralbania/1595287580956551767_3517438216
http://www.imgsta.com/tag/cmbyn
Villa di 1400 mq in vendita via roma, Moscazzano, Cremona, Lombardia
Villa of 1400 sqm for sale via roma, Moscazzano, Cremona, Lombardy
(https://68.media.tumblr.com/cce294cc7c38ea7742437bd044f918a9/tumblr_ollv6bqCXs1sn68q5o8_1280.jpg)
(https://68.media.tumblr.com/96688baf8d4a9b13c626451a176eacd8/tumblr_ollv6bqCXs1sn68q5o9_1280.jpg)
(https://68.media.tumblr.com/5223c19272b9be98d9832a9a2b8e28f7/tumblr_ollv6bqCXs1sn68q5o10_r1_1280.jpg)
(https://68.media.tumblr.com/ecf40898d0087e191a3530c86a51b60b/tumblr_ollv6bqCXs1sn68q5o4_1280.jpg)
(https://68.media.tumblr.com/7cc9902028ba05785c6a8a2d8b09389c/tumblr_ollv6bqCXs1sn68q5o1_1280.jpg)
(https://68.media.tumblr.com/6469e44545e998529ec48135c80baba6/tumblr_ollv6bqCXs1sn68q5o2_1280.jpg)
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http://www.gramunion.com/monetsberm.tumblr.com/157539593566
Want to live in Elio's house? Yup, Villa Perlman is YOURS if you want it, for €1,800,000 or US$2,135,000, just a bike ride of 11km or 6 miles south of Crema, where Luca Guadagnino lives! :laugh: :laugh:
In the photo of the front elevation, Elio's bedroom is the upstairs corner on the right. 20 rooms, 5 bathrooms, spacious salon, library, dining room, impressive staircase, frescoes, and, of course,
an Oliver with his own bicycle comes with the price, I'm assuming--!
https://it.luxuryestate.com/italia/lombardia/cremona
https://it.luxuryestate.com/p16410421-villa-in-vendita-moscazzano
VILLA A MOSCAZZANO, CREMONA
(https://pbs.twimg.com/media/C_tOwVwW0AA13hg.jpg)
http://www.imgsta.com/media/hammeralbania/1595287580956551767_3517438216
http://www.imgsta.com/tag/cmbyn
Villa di 1400 mq in vendita via roma, Moscazzano, Cremona, Lombardia
Villa of 1400 sqm for sale via roma, Moscazzano, Cremona, Lombardy
By the way, here's Elio dreamily looking out the ground floor window
immediately below his (and then Oliver's) bedroom window:
(https://www.berlinale.de/media/filmstills/2017_2/panorama_12/201712831_2_IMG_FIX_700x700.jpg)
--and I think that if you jumped into that open ground floor window
you would be in the Grand Salon, looking at Elio's piano in the foreground:
(http://www.awardsdaily.com/wp-content/uploads/2017/08/5-878x494.jpg)
http://www.awardsdaily.com/2017/08/28/beautiful-new-stills-released-call-name/
--and then, of course, there's this little welcoming tour here:
[youtube=425,350]http://www.youtube.com/watch?v=5B89tJUc_f0[/youtube]
https://www.youtube.com/watch?v=5B89tJUc_f0
CALL ME BY YOUR NAME (2017)
ELIO MEETS OLIVER
Armie Hammer & Timothée Chalamet
Published on Feb 10, 2017
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He was still dressed and I wasn't. I loved being naked before him. Then he kissed me, and kissed me again, deeply this second time, as if he too was finally letting go. At some point I realized he'd been naked for a long while, though I hadn't noticed him undress, but there he was, not a part of him wasn't touching me. Where had I been? I'd been meaning to ask the tactful health question, but that too seemed to have been answered a while ago, because when I finally did find the courage to ask him, he replied, "I already told you, I'm okay." "Did I tell you I was okay too?" "Yes." He smiled.
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I looked away, because he was staring at me, and I knew I was flushed, and I knew I'd made a face, though I still wanted him to stare at me even if it embarrassed me, and I wanted to keep staring at him too as we settled in our mock wrestling position, his shoulders rubbing my knees. How far we had come from the afternoon when I'd taken off my underwear and put on his bathing suit and thought this was the closest his body would ever come to mine. Now this. I was on the cusp of something, but I also wanted it to last forever, because I knew there'd be no coming back from this.
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When it happened, it happened not as I'd dreamed it would, but with a degree of discomfort that forced me to reveal more of myself than I cared to reveal. I had an impulse to stop him, and when he noticed, he did ask, but I didn't answer, or didn't know what to answer, and an eternity seemed to pass between my reluctance to make up my mind and his instinct to make it up for me. From this moment on, I thought, from this moment on--I had, as I'd never before in my life, the distinct feeling of arriving somewhere very dear, of wanting this forever, of being me, me, me, me, and no one else, just me, of finding in each shiver that ran down my arms something totally alien and yet by no means unfamiliar, as if all this had been part of me all my life and I'd misplaced it and he had helped me find it.
(http://www.amormariano.com.br/wp-content/uploads/30_04_2014__19_54_4679329f755175cfdf83a4a763986b51e42dbb8_640x480.jpg)(http://silviaviolet.files.wordpress.com/2011/04/c2ac.jpg?w=535g)(http://www.amormariano.com.br/wp-content/uploads/30_04_2014__19_54_4679329f755175cfdf83a4a763986b51e42dbb8_640x480.jpg)(http://silviaviolet.files.wordpress.com/2011/04/c2ac.jpg?w=535g)
The dream had been right--this was like coming home, like asking, Where have I been all my life? which was another way of asking, Where were you in my childhood, Oliver? which was yet another way of asking, What is life without this? which was why, in the end, it was I, and not he, who blurted out, not once, but many, many times, You'll kill me if you stop, you'll kill me if you stop, because it was also my way of bringing full circle the dream and the fantasy, me and him, the longed for words from his mouth to my mouth back into his mouth, swapping words from mouth to mouth, which was when I must have begun obscenities that he repeated after me, softly at first, till he said, "Call me by your name and I'll call you by mine," which I'd never done in my life before and which, as soon as I said my own name as though it were his, took me to a realm I never shared with anyone in my life before, or since.
Call Me By Your Name by André Aciman
Recited/Narrated by Armie Hammer
https://soundcloud.com/macaudio-2/call-me-by-your-name-by-andre-aciman-read-by-armie-hammer
(http://www.amormariano.com.br/wp-content/uploads/30_04_2014__19_54_4679329f755175cfdf83a4a763986b51e42dbb8_640x480.jpg)(http://silviaviolet.files.wordpress.com/2011/04/c2ac.jpg?w=535g)(http://www.amormariano.com.br/wp-content/uploads/30_04_2014__19_54_4679329f755175cfdf83a4a763986b51e42dbb8_640x480.jpg)(http://silviaviolet.files.wordpress.com/2011/04/c2ac.jpg?w=535g)
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PETER SPEARS
https://twitter.com/pjspears?lang=en
Elio and Oliver's first night together, as read by Armie Hammer
[on Soundcloud NOW]
(Call Me By Your Name audiobook drops Oct 3.)
SEPT 21, 2017
@PJSPEARS
Peter Spears (@pjspears)
(http://fontslogo.com/wp-content/uploads/2013/03/soundcloud-Logo-Font.jpg)
CLICK HERE TO HEAR:
https://soundcloud.com/macaudio-2/call-me-by-your-name-by-andre-aciman-read-by-armie-hammer
ALSO FOUND:
https://twitter.com/pjspears?lang=en
https://laterpeaches.tumblr.com/
http://monetsberm.tumblr.com/
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The dream had been right--this was like coming home, like asking, Where have I been all my life? which was another way of asking, Where were you in my childhood, Oliver? which was yet another way of asking, What is life without this? which was why, in the end, it was I, and not he, who blurted out, not once, but many, many times, You'll kill me if you stop, you'll kill me if you stop, because it was also my way of bringing full circle the dream and the fantasy, me and him, the longed for words from his mouth to my mouth back into his mouth, swapping words from mouth to mouth, which was when I must have begun obscenities that he repeated after me, softly at first, till he said, "Call me by your name and I'll call you by mine," which I'd never done in my life before and which, as soon as I said my own name as though it were his, took me to a realm I never shared with anyone in my life before, or since.
Call Me By Your Name by André Aciman
Recited/Narrated by Armie Hammer
https://soundcloud.com/macaudio-2/call-me-by-your-name-by-andre-aciman-read-by-armie-hammer
(http://www.amormariano.com.br/wp-content/uploads/30_04_2014__19_54_4679329f755175cfdf83a4a763986b51e42dbb8_640x480.jpg)(http://silviaviolet.files.wordpress.com/2011/04/c2ac.jpg?w=535g)(http://www.amormariano.com.br/wp-content/uploads/30_04_2014__19_54_4679329f755175cfdf83a4a763986b51e42dbb8_640x480.jpg)(http://silviaviolet.files.wordpress.com/2011/04/c2ac.jpg?w=535g)
LATER!
(https://static.tumblr.com/f29afb3cc5cd2d50b46bf67819b93964/g7sfw7g/mSsoui13r/tumblr_static_940nzyiag6os08o4w444ggcsk.png) by fuckmeelio.tumblr and
by eliopearlmans.tumblr
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Ok, i know the photo isn't of Armey, but the image is great, isn't it?
Click either link immediately below to hear Armey Hammer reading/reciting
the last paragraph of the last page of
André Aciman's Call Me By Your Name
https://www.instagram.com/p/BYOvXZkhyRT/?hl=en&taken-by=armiehammer
http://fuckmeelio.tumblr.com/post/164608400165/armie-hammers-sexy-voice-reading-that-last
https://eliopearlmans.tumblr.com/post/164610074024/fuckmeelio-armie-hammers-sexy-voice-reading-that
I stopped for a second.
If you remember everything, I wanted to say, and if you are really like me, then before you leave tomorrow, or when you're just ready to shut the door of the taxi and have already said goodbye to everyone else and there's not a thing left to say in this life, then, just this once, turn to me, even in jest, or as an afterthought, which would have meant everything to me when we were together, and, as you did back then, look me in the face, hold my gaze, and call me by your name.
Call Me By Your Name by André Aciman
Recited by Armie Hammer
(http://data.whicdn.com/images/31652877/original.gif)
26th August 2017 212 notes
Oh my. :o :o :o
https://www.amazon.com/Call-Me-Your-Name-Novel/dp/B06ZZZXQ9G
Call Me by Your Name: A Novel – Audiobook – Unabridged
André Aciman (Author), Armie Hammer (Narrator), Macmillan Audio (Publisher)
(https://images-na.ssl-images-amazon.com/images/I/51fN96NTQRL._AA300_.jpg)
Pre-order purchase
Releases October 03, 2017
Audiobook
$0.00
Free with your Audible trial
Audio CD
$32.46
1 New from $32.46
©2017 André Aciman (P)2017 Macmillan Audio
armie hammer peachily recording the CMBYN audiobook (2017)
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(https://pbs.twimg.com/media/DF21OeUVwAAKmpv.jpg)
http://tweetiz.com/pjspears/tweet/891003790509445120
https://twitter.com/badposthammer
PETER SPEARS
IPHONE: LOOK WHO'S RECORDING THE AUDIO BOOK OF CALL ME BY YOUR NAME... ARMIE HAMMER
JULY 28, 2017
@PJSPEARS
Peter Spears (@pjspears)
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http://www.vulture.com/2017/09/just-20-descriptions-of-armie-hammers-voice.html?utm_source=tw&utm_medium=s3&utm_campaign=sharebutton-t
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20 Descriptions of Armie Hammer's Voice
in the Call Me By Your Name Audiobook
By Hunter Harris
@hunteryharris
September 21, 2017 6:14 pm
(https://pixel.nymag.com/imgs/daily/vulture/2017/09/21/21-armie-hammer.w710.h473.jpg)
Armie Hammer. Photo: Matt Winkelmeyer/Getty Images
You’ll be in tears by the end of André Aciman’s 2007 novel Call Me By Your Name. Turning that last page feels like being rudely cast out of the love story between Elio and Oliver, two men who must be together, who have to be together, because, in the words of Faith Evans, “I never knew there was a love like this before.” But if you’re going to be heartbroken, at least let it be via Call Me By Your Name’s audiobook, read gorgeously by the upcoming film adaptation’s star, Armie Hammer, whose voice is the audio equivalent of ordering a Lyft Line and having it all to yourself.
In this new excerpt from the audiobook, out October 3, teenage Elio (played in the film by Timothée Chalamet) describes having sex for the very first time with Oliver (Hammer), the 24-year-old graduate student studying under his father for the summer. Elio’s had a crush on Oliver for weeks, and in this scene, we finally learn the significance of the book’s title. In this excerpt (and at all times), Hammer’s voice is brimming with such melody that, if you listen to it long enough, you can probably get drunk off it. Because you’ll need a way to explain to your friends why you have to cancel on your plans because you have a date with Armie Hammer’s voice, here are 20 descriptions of that supernatural sound:
1. Armie Hammer’s voice sounds a little like Jon Hamm’s voice, if Jon Hamm’s voice was dunked in honey.
2. Hearing Armie Hammer say “fuck” in the Call Me By Your Name audiobook makes it totally fine that he had to say “Let’s gut the friggin’ nerd” in The Social Network, because, you know what, some things are just worth the wait.
3. To hear Armie Hammer say “languorous” is to feel like Obama is still president, he’s just taking a vacation, but he and Michelle will be back in the White House soon.
4. Armie Hammer’s voice is the physical manifestation of those wooden decorative signs at Marshall’s or TJ Maxx that sell for $24.99 that say “Your Husband Called And Said It’s Ok To Buy Anything You Want.” Armie Hammer’s voice sounds like the fantasy of luxury.
5. Sometimes, when Armie Hammer is in the heat of a particularly vivid description, Armie Hammer’s voice sounds a little like the man who does the Men’s Wearhouse commercials. You know, the guy who says, “You’re going to like the way you look,” and now you kinda want to Google the nearest Men’s Wearhouse. You know, just in case.
6. I suspect that Armie Hammer’s voice would smell like linguini, seasoned with Tasmanian pepper and lemon with Parmesan cheese on top. I’d need to speak with Armie Hammer in person to confirm this.
7. You know when you’re a regular somewhere? And there’s a long line, but, say, the barista or the clerk or the tailor motions you around the long line because they’ve got your order ready? That’s what Armie Hammer’s voice sounds like.
8. Armie Hammer’s voice is so deep and viscous it sounds like when Beyoncé performs “Love on Top” live and she sings the chorus again and again and again and again, but that last time she sings “Baby it’s you,” she switches it up and goes to a lower key!
9. Armie Hammer’s voice sounds like it’s soaked in maple syrup and — surprise! — you’re at Bubby’s, and there’s no line, and lucky for you, your James Beard pancakes with peaches have just arrived to your table.
10. Armie Hammer’s voice sounds as euphonious as Oprah’s voice, which is quite possibly the highest compliment you could ever pay another human.
11. The way Armie Hammer says “kiss” feels like you have literally been kissed, not by his lips, but by the sun itself. You took a picture of this sun-kissing, posted it to Instagram, and you’ve gotten a lot of likes.
12. The way Armie Hammer says, “Call me by your name and I’ll call you by mine,” feels like a shared secret too tender for this savage and cacophonous place called the internet, but here we are.
13. Armie Hammer’s voice feels like when you’ve decided to take a nap, but to hell with setting an alarm! You’ll wake up when you wake up, and everyone texting you will have to deal with it!
14. Armie Hammer’s voice sounds like when the violins come in on Nelly’s “Grillz,” which is to say that it sounds like the ideal combination of highbrow and lowbrow.
15. Armie Hammer’s voice sounds like the opposite of that swish-swish a nylon sweatsuit made in the ’80s, because Armie Hammer has never worn nylon, he exclusively wears corduroy or linen.
16. The timbre of Armie Hammer’s voice is identical to the timbre of the bells ringing on the last day of school, when you could dump the entire contents of your backpack into the dumpster right in front of the teacher who wouldn’t round your 89 percent up to an A-.
17. Armie Hammer sounds so sumptuous and moneyed, you might think you’ve paid off all of your student loans.
18. Armie Hammer’s voice inexplicably sounds like he’s both speaking to you and listening to you and deeply interested in every fleeting thought that pops into your head, even the ones about Mother!
19. Hearing Armie Hammer’s voice is like going to the salon and getting a really good shampoo, where they use a little bit of tea tree oil and massage your temples and then say it’s on the house.
20. There’s such melody in Armie Hammer’s voice that the devil has to work overtime to get a new Nickelback song in the world, just so everything stays in balance.
SEPT 21, 2017
Elio and Oliver's first night together, as read by Armie Hammer
[on Soundcloud NOW]
(Call Me By Your Name audiobook drops Oct 3.)
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CLICK HERE TO HEAR:
https://soundcloud.com/macaudio-2/call-me-by-your-name-by-andre-aciman-read-by-armie-hammer
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I'm not sure I could handle the cognitive dissonance of hearing Armie reading the story, which is from Elio's point of view.
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I'm not sure I could handle the cognitive dissonance of hearing Armie reading the story, which is from Elio's point of view.
You know, I'm not only totally ok with it, I love it, because I believe Oliver is speaking the words back to Elio, the words Elio has just first spoken. I mean, how Call Me by Your Name is that??
(Of course it's not absolutely necessary to believe that Oliver has returned--like our Mikaela just *knew* (in London Spy ) that Alex was safe, living in the U.S. and waiting for the perfect moment to contact Danny ;D--but it is nice to think it so!)
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"Elio."
"Yes?"
"What are you doing?"
"Reading."
"No, you're not."
"Thinking, then."
"About?"
I was dying to tell him.
"Private," I replied.
"So you won't tell me?"
"So I won't tell you."
"So he won't tell me," he repeated, pensively, as if explaining to someone about me.
How I loved the way he repeated what I myself had just repeated. It made me think of a caress, or a gesture, which happens to be totally accidental the first time but becomes intentional the second time and more so yet the third.
(....)
"I'm not telling," I said.
"Then I'm going back to sleep," he'd say.
My heart was racing. He must have known.
Profound silence again. Moments later:
"This is heaven."
And I wouldn't hear him say another word for at least an hour.
Call Me By Your Name by André Aciman
Recited/Narrated by Armie Hammer
(https://pbs.twimg.com/media/DGTnAIpVwAQB7_B.jpg)
(https://68.media.tumblr.com/ce20d37d3adb61b6e7e92d9d7688eda0/tumblr_ow37jnhSBK1qze3hpo1_1280.jpg)
http://thebluepeninsula.tumblr.com/post/165203733781/i-saw-this-photo-this-morning-and-my-heart-burst
https://laterpeaches.tumblr.com/image/165206848863
(https://pbs.twimg.com/media/DJNuMgEVoAAb8LN.jpg:large)
http://pedropascals.tumblr.com/post/165136161970/call-me-by-your-name-2017-dir-luca-guadagnino
http://www.gramunion.com/v-ltersen.tumblr.com/165115315434
https://twitter.com/badpostchalamet
https://twitter.com/lllooouuuiiis
http://tweetiz.com/pjspears/
#I WANT THIS MOVIE #AND I WANT IT NOW #timothée chalamet #armie hammer #cmbyn
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You know, I'm not only totally ok with it, I love it, because I believe Oliver is speaking the words back to Elio, the words Elio has just first spoken. I mean, How Call My by Your Name is that??
Excellent point! (But still...)
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I'm not sure I could handle the cognitive dissonance of hearing Armie reading the story, which is from Elio's point of view.
You know, I'm not only totally ok with it, I love it, because I believe Oliver is speaking the words back to Elio, the words Elio has just first spoken. I mean, how Call Me by Your Name is that??
Excellent point! (But still...)
Think of it this way; as gifted, as talented our boy Timmy Chalamet is, his (post--??) millennial speech (gabble?) is not exactly the greatest instrument to voice Aciman's (Elio's) precise (not to say pretentious) torrent of fevered, logorrheic eloquence. But Oliver (I mean Armey!)--I mean, GOD, that measured, honeyed blond baritone is perfect!!
And--I wasn't at all wrong in saying Armey is a 21st century doppelganger of George Peppard-- LOOK! but especially LISTEN! to the video immediately below. Talk about honeyed blond baritone!
The strong, lovely, logical, totally-understandable-but-never-overly-enunciated accent is again, perfect, and it sounds exactly like Armey (although, in the clip, Peppard IS slightly overly enunciating by mocking, in a playful way, Tiffany's, John McGiver's lovely salesclerk, the jokey situation). By the way, can you guess that I have become a rabid Armey fan? Ok, it's true, I cop to it. ::) :laugh: :laugh:
(Apropos of nothing in particular, re ONE of the three distinct accents in this great scene at Tiffany's in Breakfast at Tiffany's: the accent of wonderful character actor, John McGiver (a born and raised New Yorker who went to Regis High School on 84th Street)--people now disparage 'Mid-Atlantic' accents from the 30's, 40's, 50's (and yes, 60's and 70's) as being artificial or stagey or contrived, but when I was a child (born in 1954) there were a lot of New Yorkers who really spoke like that--little old ladies, rich people, salesclerks like John McGiver, school teachers, EDUCATED people, but they are all dead now, NOBODY talks like that anymore, more's the pity.)
[youtube=425,350]http://www.youtube.com/watch?v=rVFi-yeTe5g[/youtube]
Breakfast at Tiffany's (1961)
George Peppard, Audrey Hepburn
& John McGiver
Published on Oct 08, 2011
Oh my LORD, it just struck me--
You know who Armie looks like?
(Looks like? And sounds like--
that voice!!)
George Peppard! :o(http://media.gettyimages.com/photos/american-actor-george-peppard-circa-1960-picture-id180349120)(http://images.nymag.com/movies/features/armie111114_560.jpg)
(https://pmcdeadline2.files.wordpress.com/2015/08/armie-hammer.jpg?w=605)(https://s-media-cache-ak0.pinimg.com/originals/e9/7f/3b/e97f3b6ec0c2b45b20660182d06bc013.jpg)
SEPT 21, 2017
Elio and Oliver's first night together, as read by Armie Hammer
[on Soundcloud NOW]
(Call Me By Your Name audiobook drops Oct 3.)
(http://fontslogo.com/wp-content/uploads/2013/03/soundcloud-Logo-Font.jpg)
CLICK HERE TO HEAR:
https://soundcloud.com/macaudio-2/call-me-by-your-name-by-andre-aciman-read-by-armie-hammer
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The Semiotics of the Bathing Suit
https://en.wikipedia.org/wiki/Semiotics
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https://www.garow.me/media/1571539586949360017_4225893710
CALLMEBYYOURNAMEFANART
https://twitter.com/CuZn34
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https://twitter.com/hashtag/cmbyn
https://twitter.com/CuZn34
He had, it took me a while to realize, four personalities depending on which bathing suit he was wearing. Knowing which to expect gave me the illusion of a slight advantage. Red: bold, set in his ways, very grown up, almost gruff and ill-tempered--stay away. Yellow: sprightly, buoyant, funny, not without barbs--don't give in too easily; might turn to Red in no time. Green, which he seldom wore: acquiescent, eager to learn, eager to speak, sunny--why wasn't he always like this? Blue: the afternoon he stepped into my room from the balcony, the day he massaged my shoulder, or when he picked up my glass and placed it right next to me.
Today was Red: he was hasty, determined, snappy.
CALLMEBYYOURNAMEFANART by @CuZn34
https://twitter.com/CuZn34
Sep 16 2017 11 Likes
#CMBYN #CallMeByYourName #elio #elio perlman #oliver #ulliva #armie hammer #timothée chalamet
#andré aciman #book #novel #luca guadagnino #film #movie #movies #film
#lgbt #lgbtmovie #sonyclassics #oscar
#painting #art #artist #fanart #twitter
#laterpeaches #🍑
#Red
#later!
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http://www.nytimes.com/2011/01/06/garden/06Domestic.html?mcubz=3
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Domestic Lives
The Day He Knew Would Come
By ANDRÉ ACIMAN
JAN. 5, 2011
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Sometimes the writer and his sons would invent errands to avoid reaching home too soon. A favorite was a visit to the
Christmas tree vendors on 110th Street. Credit Richard Perry/The New York Times
THE doors to their bedrooms are always shut, their bathroom always empty. On weekends, when you wake up in the morning, the kitchen is as clean as you left it last night. No one touched anything; no one stumbled in after partying till the wee hours to heat up leftovers, or cook a frozen pizza, or leave a mess on the counter while improvising a sandwich. The boys are away now.
Two decades ago there were two of us in our Upper West Side home. Then we were many. Now, we’re back to two again.
I knew it would happen this way. I kept joking about it. Everyone joked. Joking was my way of rehearsing their absence, of immunizing myself like King Mithridates, who feared being poisoned and learned to take a tiny dose of poison on the sly each day.
Even in my happiest moments I knew I was rehearsing. Waiting for my eldest son’s school bus, standing on the corner of 110th Street and Broadway at 6:20 p.m. while leaning against the same mailbox with a warm cup of coffee each time — all this was rehearsal. Even straining to spot the yellow bus as far up as 116th Street and thinking it was there when in fact I hadn’t seen it at all was part of rehearsing. Everything was being logged, nothing forgotten.
When the bus would finally appear, the driver, an impatient Vietnam veteran, would dash down Broadway, either squeaking to a halt if the light was red before 110th or hurtling across to 109th to let some of the students out. The bus, from Horace Mann, trailed the one from the Riverdale Country School by a few seconds every evening. I’d remember that, just as I’d remember the reedy voice of the beggar squatting outside Starbucks, or my son’s guarded squirm when I’d hug him in view of the schoolmates who watched from the school bus window.
By late November it was already dark at 6 p.m. As always, coffee, mailbox, traffic. Our ritual never changed, even in the cold. Together, we’d walk down 110th Street and talk. Sometimes we needed to buy something along the way, which made our time together last longer. Sometimes we made up errands to avoid reaching home too soon, especially after Thanksgiving when all three sons and I would walk over to the Canadian Christmas tree vendors and chat them up about prices. And sometimes I’d tell my eldest that it helped to talk about the day when we wouldn’t be able to take these walks together. Of course, he’d pooh-pooh me each time, as I would pooh-pooh his own anxieties about college. He liked rituals. I liked rehearsing. Rituals are when we wish to repeat what has already happened, rehearsals when we repeat what we fear might yet occur. Maybe the two are one and the same, our way to parley and haggle with time.
Sometimes, in winter, when it’s dark, and the feel, the lights and the sound of the city can so easily remind me of the bus stop at 6:20 p.m., I’ll still head out to 110th Street and stand there awhile and just think, hoping it might even hurt.
But it never hurts. Partly because I’ve rehearsed everything so thoroughly that scarcely an unchecked memory can slip through or catch me off guard, and partly because I’ve always suspected there was more sentiment than feeling in my errands to 110th Street.
Besides, e-mail and cellphones kept my eldest son, in college, present at all times. And there were his twin brothers who still lived at home and would continue to do so for two more years, shielding me from his absence. Together the twins and I still walked by the tree vendors on 110th Street and still put off buying anything until it was almost Christmas Eve. Things hardly changed. We removed one leaf from the dining table, my eldest’s dirty running shoes disappeared from our hallway, and his bedroom door remained shut, for days sometimes. Life had become quiet. Everyone had space. In the morning, on his way to class in Chicago, he always managed to call. A new ritual had sprung.
Then this past September, the twins left as well. Suddenly a half gallon of milk lasts eight days, not just one. We don’t buy sausages or peanut butter or stock all manner of cereals that have more sugar than wheat. There is no one to rush home and cook for, or edit college applications for, or worry about when they’re not back past 3 a.m. No sorting though dirty socks, no mediating the endless bickering about who owns which shirt, no setting my alarm clock to ungodly hours because someone can’t hear his alarm clock in the morning, no making sure they have 12 No. 2 pencils, and not just two.
All things slow down to what their pace had been two decades earlier. My wife and I are rediscovering things we didn’t even know we missed. We can stay out as long as we wish, go away on weekends, travel abroad, have people over on Sunday night, even go to the movies when we feel like it, and never again worry about doing laundry after midnight because the boys refuse to wear the same jeans two days in a row. The gates are thrown open, the war is over, we’re liberated.
Months after they’d left, I finally realized that the one relationship I had neglected for so many years was none other than my relationship with myself. I missed myself. I and me had stopped talking, stopped meeting, lost touch, drifted apart. Now, 20 years later, we were picking up where we’d left off and resumed unfinished conversations. I owned myself.
One evening, while preparing dinner with my wife, I went a step further and realized I had committed the unmentionable: I had stopped thinking of the three persons who are still dearer than life itself. I did not miss them and, stranger yet, hadn’t thought of them all day. Is the human heart this callous? Can out of sight, out of mind apply to one’s children as well? Really?
I was almost ready to pass the cruelest verdict on myself when I suddenly came across something I could never have foreseen, much less rehearsed. A young couple with twins in a stroller was crossing the street in a rush, precisely where the school bus used to stop. As I watched them chat with one of the Canadians at the Christmas tree stall, I suddenly wished I was in the young father’s place with my own twins, 10 years, five years ago, even last year. We’d buy something warm to drink across the street then rush to say hi to the tree vendors. Now it seemed I’d lost the right to walk up to them.
I envied the couple with the twins. And, as though to prod the knife deeper into the wound, for a moment I allowed myself to think that this is 20 years ago, I’ve just gotten married, my children are not born yet, and our new, three-bedroom apartment feels far too vacant for just the two of us. I stare at the couple and am thinking ahead for them, or ahead for myself, it’s not clear which, picturing the good things that have yet to come, even telling myself that the time for the 6:20 bus lies so very, very far away that it’s almost impudent to conjure it up just now.
And then I finally saw things for what they were. Just as the boys came and went this Christmas, this is how it always is and has been: things come and then they go, and however we bicker with time and put all manner of bulwarks to stop it from doing the one thing it knows, the best thing is learning how to give thanks for what we have. And at Christmas I was thankful; their bedroom doors were open again. But I knew, even as I welcomed the flurry of bags and boxes and hugs and yelps, that a small, sly corner of my mind was already dreading and rehearsing that morning in January when they’d all head back to the airport.
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André Aciman, a professor of comparative literature at the City University of New York Graduate Center, is the author, most recently, of “Eight White Nights,” a novel.
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CALLMEBYYOURNAMEFANART
BOOK COVERS
#armiehammer #timothéechalamet #cmbyn
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Ana Paula · she/her · 21
brazilian · cis · ISFP
Ravenclaw, Lawful Good, etc, etc
TURNS OUT THAT
LONELY PEOPLE
ARE ALL THE SAME
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http://edwardnygmaa.tumblr.com/
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I'm not sure I could handle the cognitive dissonance of hearing Armie reading the story, which is from Elio's point of view.
:o :o :o :o
He likes it! He likes it!
(https://pbs.twimg.com/profile_images/726550105378050049/MkIT5mTF.jpg) André Aciman
@aaciman
6:13 AM - 23 Sep 2017
15 Retweets 65 Likes
https://twitter.com/aaciman?lang=en
https://twitter.com/aaciman/status/911579370896142337
Armie's incandescent reading:
20 Descriptions of Armie Hammer's Voice
in the Call Me By Your Name Audiobook
September 21, 2017 6:14 pm
(https://pixel.nymag.com/imgs/daily/vulture/2017/09/21/21-armie-hammer.w710.h473.jpg)
Armie Hammer. Photo: Matt Winkelmeyer/Getty Images
There’s such melody in Armie Hammer’s voice that the devil has to work overtime to get a new Nickelback song in the world, just so everything stays in balance.
vulture.com
http://www.vulture.com/2017/09/just-20-descriptions-of-armie-hammers-voice.html?utm_source=tw&utm_medium=s3&utm_campaign=sharebutton-t
SEPT 21, 2017
Elio and Oliver's first night together, as read by Armie Hammer
[on Soundcloud NOW]
(Call Me By Your Name audiobook drops Oct 3.)
(http://fontslogo.com/wp-content/uploads/2013/03/soundcloud-Logo-Font.jpg)
CLICK HERE TO HEAR:
https://soundcloud.com/macaudio-2/call-me-by-your-name-by-andre-aciman-read-by-armie-hammer
Oh my. :o :o :o
https://www.amazon.com/Call-Me-Your-Name-Novel/dp/B06ZZZXQ9G
Call Me by Your Name: A Novel – Audiobook – Unabridged
André Aciman (Author), Armie Hammer (Narrator), Macmillan Audio (Publisher)
(https://images-na.ssl-images-amazon.com/images/I/51fN96NTQRL._AA300_.jpg)
Pre-order purchase
Releases October 03, 2017
Audiobook
$0.00
Free with your Audible trial
Audio CD
$32.46
1 New from $32.46
©2017 André Aciman (P)2017 Macmillan Audio
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Ha! We figured!!!
(https://pbs.twimg.com/profile_images/726550105378050049/MkIT5mTF.jpg) André Aciman
@aaciman
7:18 AM - 26 Oct 2016
3 Retweets 27 Likes
https://twitter.com/aaciman?lang=en
https://twitter.com/aaciman/status/791282872879546369
I'll be giving a talk in Bordighera this weekend. Can't wait. It's my favorite spot in the planet.
(https://pbs.twimg.com/media/Cvszb5mXgAAlqpf.jpg:large)
(https://pbs.twimg.com/profile_images/919851966146101249/ffU0LD8X_400x400.jpg) by Nikko Tan
@chroniclikerrr
@CMBYNFANPAGE
(https://scontent-sea1-1.cdninstagram.com/t51.2885-15/s480x480/e35/c257.0.565.565/20066785_102561950415480_5065485957910757376_n.jpg?ig_cache_key=MTU2MDM0OTQ3MjUzNjU2MTQ0Mg%3D%3D.2.c)
http://www.imgrum.org/media/1576993348156539517_5850831693
http://www.imgrum.org/user/cmbynfanpage/5850831693
(http://68.media.tumblr.com/c34f906b2ec158f9a3b3fa7526a3d432/tumblr_ot8que4mN61sn68q5o1_1280.jpg)
http://monetsberm.tumblr.com/post/163097200741/bike-rides-to-b-nikko-tan-nikkotan-on-ig
http://www.imgrum.org/media/1576993348156539517_5850831693
http://www.imgrum.org/user/cmbynfanpage/5850831693
https://twitter.com/chroniclikerrr
Bike Rides To "B"
(https://upload.wikimedia.org/wikipedia/commons/thumb/9/96/Bordighera_by_Claude_Monet_1884.jpg/745px-Bordighera_by_Claude_Monet_1884.jpg)
https://commons.wikimedia.org/wiki/File:Bordighera_by_Claude_Monet_1884.jpg
Bordighera, Claude Monet 1883, oil on canvas 65 x 81 cm,
The Art Institute of Chicago, Chicago Illinois USA. Riviera Italy.
Painting Description:
The Citta Alta of Bordighera emerges from behind the pine trees.
The canvas was painted by Monet from the Torre dei Mostaccini.
That's better! Better than that--in the novel, the town is never mentioned other than the capital letter 'B',
but when you look Bordighera up on Google Maps, right near the water you find a restaurant:
Monet's Café--perfect!
click for the link:
https://www.google.com/maps/place/18012+Bordighera,+Province+of+Imperia,+Italy/@43.7853098,7.6553045,15z/data=!4m5!3m4!1s0x12cdf3b7493a1e09:0x4e876555b0b2bb3!8m2!3d43.7806979!4d7.6722799
Turn around when you think you have seen enough of the Sentiere and walk back to town by taking a left turn into Via dei Colli and another, even sharper left into Via Garnier where, on no. 11, you can find the Villa Garnier ...
(http://images.huffingtonpost.com/2014-08-01-8905.jpg)
... which is featured in more Monet-at-Bordighera paintings than any other building in town, even though you may not recognize it since all you ever see on the canvas is a wall here and a column there. The villa is named after its owner and architect Charles Garnier, the builder of the Paris Opera and the casino at Monte Carlo.
(and etc.)
http://www.huffingtonpost.com/michael-schuermann/just-follow-the-monet_b_5641170.html
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We know, we know!!!
::) ::) ::) ::) ::)
(https://pbs.twimg.com/profile_images/1255015267/familyDSC_5411_2_400x400.jpg) Peter Spears
@pjspears
6:29 AM - 23 Sep 2017
34 Retweets 201 Likes
https://twitter.com/pjspears?lang=en&lang=en
https://twitter.com/pjspears/status/911583278163009539
Fans of the novel Call Me By Your Name: when you see the film, keep an 👁 out for author André Aciman who makes a cameo appearance.
#CMBYN https://twitter.com/hashtag/CMBYN?src=hash
FYI, distinguished author André Aciman and producer Peter Spears of Call Me by Your Name play a visiting gay couple from Chicago in the movie (and who insist in speaking atrocious Italian to the Perlmans)--everyone is saying the scene is hilarious!
(https://upload.wikimedia.org/wikipedia/commons/1/19/Call_Me_By_Your_Name_Berlinale_8609_8610.jpg)
From left: Armie Hammer (Oliver) Timothée Chalamet (Elio) (?) Amira Casar (Annella) André Aciman (Author--and Mounir)
Esther Garrel (Marzia) Victoire Du Bois (Chiara) Peter Spears (Producer--and Isaac)
(https://2.bp.blogspot.com/-TNBPMrmzjig/WKrc9nAQhdI/AAAAAAAAhGY/FtuqSJL5XIcTA2jIasBgsCipJ1ekEy6iACLcB/s1600/67th%2Bannual%2BBerlin%2BInternational%2BFilm%2BFestival.jpg)
9 February to 18 February 2017
https://en.wikipedia.org/wiki/67th_Berlin_International_Film_Festival
(FYI, American actress Maggie Gyllenhaal was a juror!)
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(http://68.media.tumblr.com/2cf9aaa96ec0941635a8cde9b93f17d0/tumblr_owrpmleUHD1qfemg2o1_1280.jpg)
http://edwardnygmaa.tumblr.com/post/165677104704/call-me-by-your-name-will-be-at-the-rio-film
http://edwardnygmaa.tumblr.com/
http://www.festivaldorio.com.br/br/filmes/call-me-by-your-name
Me chame pelo seu nome
Verão de 1983, norte da Itália. Elio Perlman, um jovem ítalo-americano de 17 anos, passa seus dias na vila de sua família, um antigo casarão do século XVII. Seus dias são repletos de composições ao piano e flertes com sua amiga Marzia. Um dia, Oliver, um charmoso homem de 24 anos, chega para ajudar o pai de Elio em sua pesquisa sobre cultura greco-romana. Sob o sol do verão italiano, Elio e Oliver descobrem a beleza do despertar de novos desejos que irão mudar as suas vidas para sempre. Exibido no Sundance Film Festival e na mostra Panorama do Festival de Berlim, 2017.
Call me by your name
Summer of 1983, northern Italy. Elio Perlman, a 17-year-old Italian-American young man, spends his days in the village of his family, an old 17th century manor house. His days are filled with piano compositions and flirtations with his friend Marzia. One day, Oliver, a charming 24-year-old man, comes to help Elio's father in his research on Greco-Roman culture. Under the Italian summer sun, Elio and Oliver discover the beauty of the awakening of new desires that will change their lives forever. Shown at the Sundance Film Festival and Panorama show at the Berlin Film Festival, 2017.
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http://people.com/celebrity/armie-hammer-james-woods-age-gap-call-me-by-your-name/
(https://www.timeinc.com/wp-content/uploads/2014/02/people_logo2.svg)
Armie Hammer Calls Out James Woods
for Slamming Gay Movie Romance:
You Dated a ’19-Year-Old When You Were 60′
BY ALE RUSSIAN
@RUSSIAN_ALE
POSTED ON SEPTEMBER 11, 2017 AT 2:20PM EDT
(https://peopledotcom.files.wordpress.com/2017/09/james-woods-1.jpg?w=2000)
Armie Hammer is calling James Woods out for a hypocritical tweet about his upcoming movie.
The Call Me By Your Name actor responded to Woods when he dissed the critically acclaimed gay romance movie on Twitter, connecting it to a group who believes pedophilia should be legal.
Woods quoted a tweet criticizing the age gap between Hammer’s 24-year-old character and his 17-year-old love interest (played by Timothée Chalamet) and said it was indecent.
“As they quietly chip away the last barriers of decency,” the Ghosts of Mississippi actor tweeted, adding the North American Man/Boy Love Association hashtag.
(https://pbs.twimg.com/profile_images/796482667340382211/CoV8077b_400x400.jpg) James Woods
@RealJamesWoods
7:01 PM - 10 Sep 2017
Reply 879 Retweet 1.4K Like 2.5K
As they quietly chip away the last barriers of decency.
#NAMBLA https://twitter.com/chadfelixg/status/907060330056097792
https://twitter.com/RealJamesWoods/status/907061616197464064
Hammer quickly responded, calling out the actor for dating 19-year-old Ashley Madison when Woods was 59 for more than six years starting in 2007. He later broke up with Madison and started dating 20-year-old Kristen Bauguess in 2013 when he was 66.
(https://pbs.twimg.com/profile_images/779856784668319745/9pTj7ejH_400x400.jpg) Armie Hammer
@armiehammer
11:26 AM - Sep 11, 2017
1,924 Replies 14,295 Retweets 64,544 likes
Didn't you date a 19 year old when you were 60.......?
https://twitter.com/armiehammer/status/907264016489132034?ref_src=twsrc%5Etfw&ref_url=http%3A%2F%2Fpeople.com%2Fcelebrity%2Farmie-hammer-james-woods-age-gap-call-me-by-your-name%2F
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(http://scontent.cdninstagram.com/t51.2885-15/e35/21909266_1662534413780383_3338916822974988288_n.jpg)
https://twitter.com/cmbynmovie?lang=en
http://www.pictaram.org/post/BZbiWl0lDs2
http://www.pictaram.org/elioandoliver
elioandoliver
(http://scontent.cdninstagram.com/t51.2885-19/s150x150/21435435_242745009581572_4558964599084285952_a.jpg)
🍑 call me by your name 🍑
( @elioandoliver )
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Like so many classic love stories, this one unfolds with the suspense of a thriller. Will Elio's passion ever be reciprocated by the one he worships? If it is, will they leap over fear and taboo to consummate their desire? And if they do, will they be exhilarated or repelled by that consummation? They have only six weeks to find out.
http://www.washingtonpost.com/wp-dyn/content/article/2007/03/21/AR2007032102069.html
(https://upload.wikimedia.org/wikipedia/commons/thumb/9/93/The_Logo_of_The_Washington_Post_Newspaper.svg/2000px-The_Logo_of_The_Washington_Post_Newspaper.svg.png)
Love That
Knows No
Boundaries
By Charles Kaiser
Thursday, March 22, 2007
(https://static01.nyt.com/images/2007/02/25/books/acim450.jpg)
André Aciman
CALL ME BY YOUR NAME
By André Aciman
Farrar Straus Giroux. 248 pp. $23
If you have ever been the willing victim of obsessive love -- a force greater than yourself that pulls you inextricably toward the object of your desire -- you will recognize every nuance of André Aciman's superb new novel, "Call Me by Your Name."
The story unfolds in the spacious home of an academic who hosts a new student every year on the Italian coast, near Genoa. One summer's visitor is a charming 24-year-old American named Oliver, the kind of person for whom everything seems effortless: "He was okay with being Jewish . . . He was okay with his body, with his looks, with his antic backhand, with his choice of books, music, films, friends." The servants are as beguiled by him as the professor and his wife. Only one member of the household is paralyzed by his arrival: the professor's 17-year-old son, Elio.
This boy is also the book's precocious narrator, and he is quick to recognize the nature of his predicament: "I was afraid when [Oliver] showed up, afraid when he failed to, afraid when he looked at me, more frightened yet when he didn't." Elio immediately decides that he and Oliver are soul brothers: "I liked how our minds seemed to travel in parallel, how we instantly inferred what words the other was toying with but at the last moment held back." But he is tormented by the mystery of exactly where their connection will lead them -- and the reader quickly comes to share the intensity of his curiosity.
Like so many classic love stories, this one unfolds with the suspense of a thriller. Will Elio's passion ever be reciprocated by the one he worships? If it is, will they leap over fear and taboo to consummate their desire? And if they do, will they be exhilarated or repelled by that consummation? They have only six weeks to find out.
The boys' stratagems of avoidance and entrapment (often indistinguishable from each other) unfold inside an exceptionally literate household. Aciman has perfect pitch for everything from the beauty of the languid Italian countryside to the perils of unbridled adolescent passion: "I wanted him dead . . . so that if I couldn't stop thinking about him and worrying about when would be the next time I'd see him, at least his death would put an end to it. I wanted to kill him myself, even, so as to let him know how much his mere existence had come to bother me . . . I didn't know what I was afraid of, nor why I worried so much, nor why this thing that could so easily cause panic felt like hope sometimes and, like hope in the darkest moments, brought such joy, unreal joy, joy with a noose tied around it."
At the dinner table, the boys compete to hide their passion beneath their erudition. The conversation ranges from an explanation of Haydn's "Seven Last Words of Christ" to the etymology of the word "apricot."
The book is explicit without ever being prurient, and the feelings the narrator describes are both homoerotic and universal: "Are 'being' and 'having' thoroughly inaccurate verbs in the twisted skein of desire, where having someone's body to touch and being that someone we're longing to touch are one and the same, just opposite banks on a river that passes from us to them, back to us and over to them again this perpetual circulation where the chambers of the heart, like the trapdoors of desire, and the wormholes of time, and the false-bottomed drawer we call identity share a beguiling logic according to which the shortest distance between real life and the life unlived, between who we are and what we want, is a twisted staircase designed with the impish cruelty of M.C. Escher . . . He was my secret conduit to myself -- like a catalyst that allows us to become who we are, the foreign body, the pacer, the graft, the patch that sends all the right impulses, the steel pin that keeps a soldier's bone together, the other man's heart that makes us more us than we were before the transplant."
Almost 60 years ago, Gore Vidal published "The City and the Pillar." Although Vidal has always eschewed the word, the novel's characters advanced the argument that "gay" describes an act rather than a person. The protagonists of Aciman's novel do that more convincingly that anyone Vidal ever created. The beauty of Aciman's writing and the purity of his passions should place this extraordinary first novel within the canon of great romantic love stories for everyone.
Charles Kaiser is the author of "The Gay Metropolis," which will be published in an updated edition this summer (2007)
Also see:
In a first novel that abounds in moments of emotional and physical abandon, this may be the most wanton of his moves: [André Aciman's] narrative, brazenly, refuses to stay closed. It is as much a story of paradise found as it is of paradise lost. (....) Nobody gets clocked with a tire iron. No one betrays the other.
Even the fate of mundanely inanimate things like a ripe peach or a pair of worn bathing trunks become sweetly perverse yet spellbinding in Aciman’s approach of storytelling. Trust me when I say that after reading this book, you will never look at peaches or swimming trunks in the same way ever again.
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CALLMEBYYOURNAMEFANART
http://www.pictaram.org/sirayy
(https://abs.twimg.com/emoji/v2/72x72/1f351.png)
(http://scontent.cdninstagram.com/t51.2885-15/e35/21373469_3071763206194621_8362949246898405376_n.jpg) by @sirayy
(http://scontent.cdninstagram.com/t51.2885-15/e35/21436301_778632149007569_8206215891583500288_n.jpg)
http://www.pictaram.org/post/BYvMvIrBqFS
http://www.pictaram.org/sirayy
"You okay?"
"Me okay."
There was absolutely nothing to say. With my toes, I reached over to his toes and touched them. Then, without thinking, I slipped my big toe in between his big toe and his second toe. He did not recoil, he did not respond. I wanted to touch each toe with my own. Since I was sitting to his left, these were probably not the toes that had touched me at lunch the other day. It was his right foot that was guilty. I tried to reach it with my right foot, all the while avoiding touching both his knees, as if something told me knees were off bounds.
"What are you doing?" he finally asked.
"Nothing."
Call Me By Your Name by André Aciman
Recited/Narrated by Armie Hammer
CALLMEBYYOURNAMEFANART by @sirayy
http://www.pictaram.org/sirayy
Sep 7, 2017 1:05 AM 11 Notes, 243 Likes
Fan Art / Digital Art / Drawings / @sirayyg
#CMBYN #CallMeByYourName
#elio #elio perlman #oliver #ulliva #laterpeaches 🍑
#andré aciman #armie hammer #timothée chalamet #luca guadagnino
#book #novel #film #movie #sonyclassics #lgbt
#art #artwork #artist #digital art #digitalart
#digitalpainting #fanart #fanartdigital
(https://abs.twimg.com/emoji/v2/72x72/1f351.png)
(http://scontent.cdninstagram.com/t51.2885-15/e35/21373469_3071763206194621_8362949246898405376_n.jpg)
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CALLMEBYYOURNAMEFANART
http://www.pictaram.org/sirayy
(https://abs.twimg.com/emoji/v2/72x72/1f351.png)
(http://scontent.cdninstagram.com/t51.2885-15/e35/21373469_3071763206194621_8362949246898405376_n.jpg) by @sirayy
(http://scontent.cdninstagram.com/t51.2885-15/e35/21373469_3071763206194621_8362949246898405376_n.jpg)
http://www.pictaram.org/post/BYw3CbyBvYU
https://topsy.one/hashtag.php?q=cmbyn
https://twitter.com/search?q=cmbyn
http://www.pictaram.org/sirayy
He got under the covers too and, before I knew it, started to undress me. I had worried about how I'd go about undressing, how, if he wasn't going to help, I'd do what so many girls did in the movies, take off my shirt, drop my pants, and just stand there, stark-naked, arms hanging down, meaning: This is who I am, this is how I'm made, here, take me, I'm yours. But his move had solved the problem. He was whispering, "Off, and off, and off, and off," which made me laugh, and suddenly I was totally naked, feeling the weight of the sheet on my cock, not a secret left in the world, because wanting to be in bed with him was my only secret and here I was sharing it with him.
Call Me By Your Name by André Aciman
Recited/Narrated by Armie Hammer
CALLMEBYYOURNAMEFANART by @sirayy
http://www.pictaram.org/sirayy
Sep 8, 2017 2:34 AM 13 Notes, 265 Likes
Fan Art / Digital Art / Drawings / @sirayyg
#CMBYN #CallMeByYourName
#elio #elio perlman #oliver #ulliva #laterpeaches 🍑
#andré aciman #armie hammer #timothée chalamet #luca guadagnino
#book #novel #film #movie #sonyclassics #lgbt
#art #artwork #artist #digital art #digitalart
#digitalpainting #fanart #fanartdigital
(https://abs.twimg.com/emoji/v2/72x72/1f351.png)
(http://scontent.cdninstagram.com/t51.2885-15/e35/21373469_3071763206194621_8362949246898405376_n.jpg)
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CALLMEBYYOURNAMEFANART
http://www.pictaram.org/sirayy
(https://abs.twimg.com/emoji/v2/72x72/1f351.png)
(https://scontent.cdninstagram.com/t51.2885-15/e35/22427572_398844643867237_1168592534599892992_n.jpg) by @sirayy
(http://scontent.cdninstagram.com/t51.2885-15/e35/21878991_511354025881119_1164500586113007616_n.jpg)
http://www.pictaram.org/post/BZTyn4wBWS1
http://www.pictaram.org/sirayy
When he came down for breakfast he was wearing my bathing suit. No one would have given it another thought since everyone was always swapping suits in our house, but this was the first time he had done so and it was the same suit I had worn that very dawn when we'd gone for a swim. Watching him wearing my clothes was an un-bearable turn-on. And he knew it. It was turning both of us on.
Call Me By Your Name by André Aciman
Recited/Narrated by Armie Hammer
CALLMEBYYOURNAMEFANART by @sirayy
http://www.pictaram.org/sirayy
Sep 21, 2017 6 Notes, 410 Likes
Fan Art / Digital Art / Drawings / @sirayyg
#CMBYN #CallMeByYourName
#elio #elio perlman #oliver #ulliva #laterpeaches 🍑
#andré aciman #armie hammer #timothée chalamet #luca guadagnino
#book #novel #film #movie #sonyclassics #lgbt
#art #artwork #artist #digital art #digitalart
#digitalpainting #fanart #fanartdigital
(https://abs.twimg.com/emoji/v2/72x72/1f351.png)
(http://scontent.cdninstagram.com/t51.2885-15/e35/21373469_3071763206194621_8362949246898405376_n.jpg)
The Semiotics of the Bathing Suit
https://en.wikipedia.org/wiki/Semiotics
(https://68.media.tumblr.com/54112993c407895aa949d985c36cf41b/tumblr_owlqshuOa21wwydymo1_500.png)
(https://pixel.nymag.com/imgs/daily/vulture/2017/07/31/call-me-by-your-name-gifs/31-cmbyn-guitar-book.nocrop.w710.h2147483647.gif)
(https://scontent.cdninstagram.com/t51.2885-15/s640x640/sh0.08/e35/20398542_270210383382775_6789780705799831552_n.jpg)
https://www.garow.me/media/1571539586949360017_4225893710
CALLMEBYYOURNAMEFANART
https://twitter.com/CuZn34
(https://pbs.twimg.com/profile_images/909052678642323457/dJVy_UgD_400x400.jpg) by @CuZn34
(https://pbs.twimg.com/media/DJ2bmtdVwAIFKMJ.jpg:large)
https://twitter.com/hashtag/cmbyn
https://twitter.com/CuZn34
He had, it took me a while to realize, four personalities depending on which bathing suit he was wearing. Knowing which to expect gave me the illusion of a slight advantage. Red: bold, set in his ways, very grown up, almost gruff and ill-tempered--stay away. Yellow: sprightly, buoyant, funny, not without barbs--don't give in too easily; might turn to Red in no time. Green, which he seldom wore: acquiescent, eager to learn, eager to speak, sunny--why wasn't he always like this? Blue: the afternoon he stepped into my room from the balcony, the day he massaged my shoulder, or when he picked up my glass and placed it right next to me.
Today was Red: he was hasty, determined, snappy.
CALLMEBYYOURNAMEFANART by @CuZn34
https://twitter.com/CuZn34
Sep 16 2017 11 Likes
#CMBYN #CallMeByYourName #elio #elio perlman #oliver #ulliva #armie hammer #timothée chalamet
#andré aciman #book #novel #luca guadagnino #film #movie #movies #film
#lgbt #lgbtmovie #sonyclassics #oscar
#painting #art #artist #fanart #twitter
#laterpeaches #🍑
#Red
#later!
(https://pbs.twimg.com/profile_images/909052678642323457/dJVy_UgD_400x400.jpg)
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HA!! Very funny!
:laugh: :laugh: :laugh: :laugh:
(https://images-na.ssl-images-amazon.com/images/M/MV5BMGQ0MmIxMzYtMjEzZi00ZGFiLWE0OGEtNDBmOTczNGQ0MTZiL2ltYWdlXkEyXkFqcGdeQXVyNjgwMzA2MDA@._V1_.jpg)
https://fuckyeahtimotheechalamet.tumblr.com/post/145451758691/from-esther-garrels-instagram
https://fuckyeahtimotheechalamet.tumblr.com/image/145451758691
http://m.imdb.com/title/tt5726616/mediaviewer/rm1071922176
https://www.instagram.com/esthergarrel/?hl=en
(https://abs.twimg.com/emoji/v2/72x72/1f351.png)
(https://scontent.cdninstagram.com/t51.2885-15/e35/22427572_398844643867237_1168592534599892992_n.jpg) by @sirayy
(http://scontent.cdninstagram.com/t51.2885-15/e35/21878991_511354025881119_1164500586113007616_n.jpg)
http://www.pictaram.org/post/BZTyn4wBWS1
http://www.pictaram.org/sirayy
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Sufjan Stevens
Luca Guadagnino for Fantastic Man Magazine No. 26 (Amsterdam)
(http://asthmatickitty.com/wp-content/uploads/2010/08/sufjan_stevens_-_photo_credit_denny_renshaw_-_4533.jpg)(http://www.interviewmagazine.com/files/2009/12/01/img-sufjan-6_12412346803.jpg)(http://asthmatickitty.com/wp-content/uploads/2010/08/sufjan_stevens_-_photo_credit_denny_renshaw_-_4533.jpg)(http://www.interviewmagazine.com/files/2009/12/01/img-sufjan-6_12412346803.jpg)
(http://www.impattosonoro.it/wp-content/themes/impatto-theme/images/1401x788-sufjan_stevens_-_photo_cred.jpg)
(http://img.wennermedia.com/social/rs-189648-sufjan_stevens_-_photo_cred.jpg)
Have you met him (Sufjan Stevens)?
"I wrote to him and invited him over to my house to see the film
when it was finished, as he was coming to Italy anyway. So, the
doorbell rings, and this stunningly beautiful man is at the door.
I mean, I’d seen pictures of him, but in reality he is beyond
handsome! Those eyes!"
(http://www.impattosonoro.it/wp-content/themes/impatto-theme/images/1401x788-sufjan_stevens_-_photo_cred.jpg)
(http://asthmatickitty.com/wp-content/uploads/2010/08/sufjan_stevens_-_photo_credit_denny_renshaw_-_4533.jpg)(http://www.interviewmagazine.com/files/2009/12/01/img-sufjan-6_12412346803.jpg)(http://asthmatickitty.com/wp-content/uploads/2010/08/sufjan_stevens_-_photo_credit_denny_renshaw_-_4533.jpg)(http://www.interviewmagazine.com/files/2009/12/01/img-sufjan-6_12412346803.jpg)
http://monetsberm.tumblr.com/post/165737466756/luca-guadagnino-for-fantastic-man-magazine
http://monetsberm.tumblr.com/
SEP 25, 2017
https://en.wikipedia.org/wiki/Fantastic_Man_(magazine)
http://www.fantasticman.com/magazine
Sufjan Stevens’ latest album, Carrie & Lowell, was a beautifully simplistic work based on his mother’s death and his reeling emotions of anger, abandonment, loss and love. It will be very interesting to see Stevens tackling a film score, as most of his work is so broad in scope that it lends itself to a cinematic format. So everything should translate well, but it’s exciting to see him fully embrace the format.
https://www.pastemagazine.com/articles/2017/01/sufjan-stevens-scores-indie-film-call-me-by-your-n.html
(https://www.pastemagazine.com/pastemagazine.img/master-header-logo.png)
Sufjan Stevens
Scores Indie Film
Call Me by Your Name
by Pete Mercer
January 9, 2017, 12:05pm
(https://cdn.pastemagazine.com/www/articles/Sufjan%20main.jpg)
Sufjan Stevens scores Call Me by Your Name
Sufjan Stevens, singer/songwriter and creator of the (overly) ambitious 50 States Project, has written and performed the soundtrack for new indie film Call Me by Your Name. The film stars Armie Hammer, Timothée Chalamet and Michael Stuhlbarg, and is based on André Aciman’s 2007 novel of the same name.
Directed by Italian filmmaker Luca Guadagnino, the film follows the love affair between a 24-year-old American scholar visiting Italy, and the 17-year-old Jewish-American boy whose family provides housing for the American while he helps the young boy’s father revise book manuscripts. The film takes place in the 1980s along the Italian Riviera, so expect some really lovely Italian scenery, accompanied by Stevens’ often beautifully melodic music.
Stevens’ latest album, Carrie & Lowell, was a beautifully simplistic work based on his mother’s death and his reeling emotions of anger, abandonment, loss and love. It will be very interesting to see Stevens tackling a film score, as most of his work is so broad in scope that it lends itself to a cinematic format. So everything should translate well, but it’s exciting to see him fully embrace the format.
There is no formal release date for the soundtrack or the film, which hits Sundance on Jan. 22.
FYI: Call Me By Your Name premiered at the Sundance Film Festival and opens on November 24.
To accompany the classical music is a trio songs from the aforementioned Sufjan Stevens, two of them original. Along with employing a new ethereal piano arrangement of “Futile Devices” in a moment of longing, the original songs have the feel of tracks off Carrie & Lowell, albeit with more of a wistful elation. For one of these songs, Guadagnino utilizes one of his few overt directorial flourishes: the effect of a film burn as a lonely Elio contemplates furthering their relationship, then later the visualization of a camera negative when he reflects on the time they have had. Both are fleeting flourishes, appearing only for a few seconds, but indelibly convey the passion inside Elio’s soul.
A feat of accentuated sound design, as hands run down staircases and across bodies, and arresting cinematography, luxuriating in the beauty of Italy and those that occupy it, Call Me By Your Name has the effect of being transported to this specific time and place. It’s a film of overwhelming empathy and playfulness as loneliness turns into gratification and desires are slowly manifested into reality.
(https://68.media.tumblr.com/5385d5c623fba7cd330de9f74523b54c/tumblr_ouc4l4497R1wwjl4jo1_r1_1280.jpg)
“I have loved you for the last time,” Sufjan Stevens sings in his original song “Visions of Gideon” in
Call Me By Your Name. It’s a moment of both bittersweet happiness and a farewell to a passion that
won’t be replicated again for Elio as he knows his relationship with Oliver is over after his six-week stay.
(http://static.stereogum.com/uploads/2017/01/IMG_0475_bw-1485544300-640x480.jpg)
[youtube=425,350]http://www.youtube.com/watch?v=Kss6WHJrWX0[/youtube]
CALL ME BY YOUR NAME (2017)
Mystery of Love
Sufjan Stevens
Armie Hammer & Timothée Chalamet
Published on Aug 8, 2017
(http://static.stereogum.com/uploads/2017/01/IMG_0475_bw-1485544300-640x480.jpg)
[youtube=425,350]http://www.youtube.com/watch?v=x2dNTjE6ItI[/youtube]
CALL ME BY YOUR NAME SoundtrackFutile Devices - Sufjan StevensPublished on Jul 27, 2011(https://yt3.ggpht.com/-Mll3_yPdZCk/AAAAAAAAAAI/AAAAAAAAAAA/kdghKNz9Mjg/s88-c-k-no-mo-rj-c0xffffff/photo.jpg)
http://monetsberm.tumblr.com/post/165302876186/on-how-sufjan-stevens-became-involved-i-thought
http://monetsberm.tumblr.com
https://laterpeaches.tumblr.com/
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CALLMEBYYOURNAMEFANMERCH
http://lito-and-hernando.tumblr.com/
https://callmebyyourname-movie.tumblr.com/
My 'little white lies' magazine finally arrived!!!
Beyond happy rn!!!
(http://68.media.tumblr.com/d603041da3bddad4f19460ea04bde86e/tumblr_owl6z7MXQM1uxiu8lo4_1280.jpg)
https://callmebyyourname-movie.tumblr.com/post/165566359581/lito-and-hernando-my-lwl-magazine-finally#notes
http://lito-and-hernando.tumblr.com/post/165550015653/my-lwl-magazine-finally-arrived-beyond-happyhttps://feedy.online/article/589329-elio
(http://68.media.tumblr.com/a51ad65140caaa5fcadc9379ff32dd32/tumblr_owl6z7MXQM1uxiu8lo1_1280.jpg)
https://callmebyyourname-movie.tumblr.com/post/165566359581/lito-and-hernando-my-lwl-magazine-finally#notes
http://lito-and-hernando.tumblr.com/post/165550015653/my-lwl-magazine-finally-arrived-beyond-happy
(http://68.media.tumblr.com/dcaf281aa8dc29b59d05a3618a82b081/tumblr_owl6z7MXQM1uxiu8lo2_1280.jpg)
https://callmebyyourname-movie.tumblr.com/post/165566359581/lito-and-hernando-my-lwl-magazine-finally#notes
http://lito-and-hernando.tumblr.com/post/165550015653/my-lwl-magazine-finally-arrived-beyond-happyhttps://feedy.online/article/589329-elio
(http://68.media.tumblr.com/25e9bbcb930cc85c0eed1cf2c543f67f/tumblr_owl6z7MXQM1uxiu8lo3_1280.jpg)
https://callmebyyourname-movie.tumblr.com/post/165566359581/lito-and-hernando-my-lwl-magazine-finally#notes
http://lito-and-hernando.tumblr.com/post/165550015653/my-lwl-magazine-finally-arrived-beyond-happy
(https://pbs.twimg.com/media/DJFSWxvXcAAU_DK.jpg)
Elio and Oliver in the Perlmans' Italian summer villa
Illustration by Yann le Bec for @LWLies 71
(aka their Call Me By Your Name issue)
Call Me By Your Name @CMBYNmovie Sep 6
https://twitter.com/CMBYNmovie/media
https://twitter.com/LWLies
http://shop.littlewhitelies.co.uk/product/little-white-lies-71-the-call-me-by-your-name-issue
Little White Lies 71: The Call Me by Your Name issue
(http://images.bigcartel.com/theme_images/34358983/LWLies_logo_Subscribe-02.jpg?auto=format&fit=max&h=1000&w=1000)
(http://images.bigcartel.com/product_images/202560370/p.001_Cover_70_NO_SPINE_RGB_barcode4.jpg?auto=format&fit=max&h=1000&w=1000)
https://twitter.com/search?q=%23CallMeByYourName%2C
https://twitter.com/SonyPicturesUK
Little White Lies 71: The Call Me by Your Name issue
£6.00 - On Sale
Little White Lies 71: Call Me by Your Name
In this issue…
Invisible Touch
A conversation with Call Me By Your Name director Luca Guadagnino about how to capture love on film.
Love My Way
Call Me By Your Name stars Armie Hammer and Timothée Chalamet discuss life and love, while we meet up-and-coming French actor Esther Garrel.
First Love
Twelve tall tales of formative movie love from a selection of cinephiles.
Eat a Peach
How fruit and sex have overlapped and intermingled throughout the history of art, literature and culture.
Threads #3
Men’s swimming trunks are placed under the microscope in our column about fashion and film.
Extra Assignments
Three short movie appreciations of A Room With a View, A Nos Amours and A Day in the Country, each intended as vita supplementary viewing for our cover film.
Interviews...
Jane Goldman talks about her intricate writing process ahead of the release of Kingsman: The Golden Circle and The Limehouse Golem; Andy Serkis talks up his beautiful directorial debut, Breathe; Eliza Hittman previews her Brooklyn-set gay coming-of-age drama Beach Rats; and Emily Beecham discusses her breakthrough role in Daphne.
Plus…
Filles de Belle
Belle de Jour is 50 years old this year, and so Caroline Golum recounts the joys of this salacious classic.
Shudders of Pleasure
In praise of Clive Barker and the movie he’ll always likely be remembered for, the S&M-flavoured suburban gore aria, Hellraiser.
http://shop.littlewhitelies.co.uk/product/little-white-lies-71-the-call-me-by-your-name-issue
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This is a great, great interview!
LUCA, I LOVE YOU!
:D :-* :D :-*
(http://cdn.collider.com/wp-content/uploads/2017/09/call-me-by-your-name-luca-guadagnino-interview.jpg)
(http://www.ert.gr/wp-content/uploads/2017/07/tiff-2017-1021x576.jpg)
(http://cdn.collider.com/wp-content/themes/collider-v3/images/Collider_Logo_Dark.png)
[youtube=425,350]http://www.youtube.com/watch?v=ybvPdWLQs6I[/youtube]
CALL ME BY YOUR NAME
TIFF 2017 - COLLIDER Interview
Luca Guadagnino
Armie Hammer & Timothée Chalamet
with interviewer Steve 'Frosty' Weintraub of COLLIDER
Published on Sep 19, 2017(http://cdn.collider.com/wp-content/themes/collider-v3/images/Collider_Logo_Dark.png)
(http://cdn.collider.com/wp-content/uploads/2017/09/call-me-by-your-name-luca-guadagnino-interview.jpg)
http://collider.com/call-me-by-your-name-luca-guadagnino-interview-extended-cut/
Director Luca Guadagnino
Reveals His First Cut of
‘Call Me by Your Name’
Was 4 Hours Long
BY STEVE 'FROSTY' WEINTRAUB
SEPTEMBER 18, 2017
While at this year’s Sundance Film Festival, I saw one film that absolutely floored me in every possible way and is still my number one film of the year: director Luca Guadagnino’s Call Me by Your Name. Featuring a fantastic screenplay by Guadagnino and James Ivory, powerful performances from the entire cast, amazing cinematography by Sayombhu Mukdeeprom, and brilliance from every other department, Call Me by Your Name is one of those rare films where everything is just perfect and you walk out of the theater remembering why you love movies.
If you haven’t yet heard of the film, based on the novel by André Aciman, the coming-of-age drama stars Timothée Chalamet (Interstellar) as a precocious 17-year-old American-Italian boy who’s on summer vacation with his family at their Italian villa. When a charming American scholar (Armie Hammer) comes to work with the boy’s father (Michael Stuhlbarg), a summer romance sparks that awakens feelings of first love, brilliantly and sensually captured by Guadagnino. Trust me when I say you need to see this film when it’s released in North America on November 24th. For more on read Adam Chitwood’s glowing review at Sundance (scroll below).
While at this year’s Toronto International Film Festival (TIFF) I got to sit down with Armie Hammer, Timothée Chalamet and Luca Guadagnino for an exclusive video interview. They talked about if they had any idea the reviews would be so positive and enthusiastic, how they managed to make the movie feel authentic and real, and that even though Guadagnino normally takes a long time to edit his movies this was done in record time. However, the big surprise of the interview was Guadagnino revealing he had a version of the film that was four hours long! After you see the movie you’ll understand why I was so excited to hear about the existence of an extended cut.
Check out what they had to say in the player above and below is exactly what we talked about.
Armie Hammer, Timothée Chalamet and Luca Guadagnino:
--Did they have any idea while they were making the movie that the reaction would be so positive and enthusiastic?
--The film feels authentic and real. Was it all in the script? Was it found during the rehearsal process?
--What did Guadagnino learn from early screenings that impacted the finished film? Talks about how he usually spends a long time editing his films but he cut this one in record time.
--He reveals he originally had a 4 hour cut of the film!
ALSO SEE:
It must be said that Call Me by Your Name is a triumph in every regard. Michael Stuhlbarg’s role as Elio’s father isn’t necessarily a large role in terms of screentime, but he delivers a monologue towards the end of the film that felt like it made time stop. Luca Guadagnino and James Ivory’s script is measured and tight; thoughtful and delicate. Every inch of this movie is expertly crafted, right down to the stunning final shot. It’s at once a universal story of young love and a relatable, emotional story of a homosexual awakening. In that regard it’s a tremendous love story period, but also a winning entry in the legion of queer cinema.
http://collider.com/call-me-by-your-name-review/
(http://cdn.collider.com/wp-content/themes/collider-v3/images/Collider_Logo_Dark.png)
Sundance 2017
Call Me by Your Name
Sundance 2017 Review
Armie Hammer and Timothée Chalamet
Astound in Sensual Triumph
by ADAM CHITWOOD
Monday 23 January 2017
(http://cdn.collider.com/wp-content/uploads/2017/01/call-me-by-your-name-armie-hammer-600x400.jpg)
Days filled with swimming, reading, and eating fresh fruit ... Timothée Chalamet, Michael Stuhlbarg and Armie Hammer in Call Me by Your Name
In my four years attending the Sundance Film Festival, I’m not sure I’ve seen anything as purely rapturous as Call Me by Your Name. The new feature film from I Am Love and A Bigger Splash filmmaker Luca Guadagnino chronicles a summer romance that blossoms between a young boy and a visitor in northern Italy, and by the film’s end it solidifies its place as one of the queer cinema greats alongside Carol, Brokeback Mountain, and Moonlight. The film is a tremendously sensual, hypnotic coming of age/coming out tale of first love. Anchored by a phenomenal breakout performance from Timothée Chalamet, Armie Hammer’s best work yet, and masterful craftsmanship, Call Me by Your Name is an instant addition to the best romances of the 21st century.
Based on the book of the same name by André Aciman, the film takes place in 1983 in Northern Italy, where a 17-year-old boy named Elio is spending the summer in his family’s 17th century villa. His father (Michael Stuhlbarg), a professor of Greco-Roman culture, enlists a research assistant named Oliver (Hammer) to come and spend the summer with his family. Elio is transfixed by Oliver at first sight, but approaches the handsome American warily, keeping him at arm’s length. As the summer continues and Elio and Oliver play a game of chicken, daring one another to make the first romantic overture, the two finally give into their feelings and spark a romance that is passionate, playful, and pure.
Chalamet is nothing short of a revelation as Elio. The actor is probably best known for his work on Homeland or for a brief role in Interstellar, but this is one of the biggest breakthrough performances in recent memory. He imbues Elio with complicated layers—a confident exterior; a precocious charm; a fearful undercurrent. All of these shine through and more and he’s so good in the role that at first you even doubt whether he actually likes Oliver. Of course he’s simply preparing himself for rejection by throwing out the first jabs, but this results in a relationship that is at first delightfully contentious, then playfully so before turning into full on flirtation.
But as a closeted 17-year-old, Elio is still working out his feelings by losing his virginity to a local Italian girl who has the hots for him. Their relationship never comes off as phony, more as an exploration, and there’s a ticking clock plot point towards the end of the film that raises the stakes in hilariously sexy fashion.
As the relationship between Elio and Oliver becomes physical, the film really digs into this as a first love story and a coming out story. Love is universal, so the feelings between Elio and Oliver are the same feelings felt by all, but it’s nice that Guadagnino doesn’t ignore the elephant in the room: that Elio and Oliver’s sexuality is a thing to be hidden at that point in time. There’s a reason their relationship began so contentiously, and Oliver makes reference early in the film that he’s “been good” so far and doesn’t want to do anything to mess that up. It’s heartbreaking, really, to see Elio so miserable at the start of the film, surrounded by such beauty.
But this is no misery porn. The teasing that goes on between the two characters is magnificently handled by Guadagnino, who keeps a playful hand on the proceedings so as not to drown the film in self-serious romance. Summer flings are fun! So are first loves. And while this does blossom into something deeply felt, the summer season and Italian setting add a touch of lightheartedness to the scenes. Moreover, Guadagnino’s focus on sensuality over sexuality imbues the film with a romp vibe with an undeniable allure. One imagines that a more explicit or erotic version of the film would have downplayed how deeply felt the emotions are between Oliver and Elio.
Gorgeously shot by Sayombhu Mukdeeprom (Arabian Nights ), this is a film that you just want to soak up. The Italian scenery is milked for all its worth, and the days filled with swimming, reading, and eating fresh fruit are divine. But the secret weapon to immersing audiences into the world of Call Me by Your Name is some incredible sound design. The footsteps on the gravel roads, the creaking floors in the ancient villa—you not only see this world, you feel it. That only allows the audience to fall deeper into the film’s trance, becoming infatuated with the romance between Elio and Oliver.
It must be said that Call Me by Your Name is a triumph in every regard. Stuhlbarg’s role as Elio’s father isn’t necessarily a large role in terms of screentime, but he delivers a monologue towards the end of the film that felt like it made time stop. Guadagnino and James Ivory’s script is measured and tight; thoughtful and delicate. Every inch of this movie is expertly crafted, right down to the stunning final shot. It’s at once a universal story of young love and a relatable, emotional story of a homosexual awakening. In that regard it’s a tremendous love story period, but also a winning entry in the legion of queer cinema.
Rating: A
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Wow. Quite a schedule the boys have in the next week to week-and-a-half: London (BFI), Rio (FdR) and NYC (NYFF). :o :o :o
(https://scontent-sea1-1.cdninstagram.com/t51.2885-19/s150x150/21878799_382150318866705_6472398698688020480_n.jpg) anything hammer
( @anythinghammer )
1:34pm 09/26/2017
2 Retweets 22 likes
#NEW ☆ 'Call me by your name' will be at BFI London Film Festival in October - Armie and Timmy are confirmed.
http://www.pictame.com/user/anythinghammer/5801238368
(https://scontent-sea1-1.cdninstagram.com/t51.2885-15/s480x480/e35/21911267_134998180457163_36171338393583616_n.jpg?ig_cache_key=MTYxMjM5ODQ4ODAxNjM1MDMyNg%3D%3D.2)
http://www.pictame.com/media/1612398488016350326_5801238368
And...
(http://68.media.tumblr.com/3904fbbd52384c9fab09272730463bc0/tumblr_owratyqgJY1sn68q5o1_1280.jpg)
(http://68.media.tumblr.com/df93033e266d9c0d5f6cf150303e5632/tumblr_owratyqgJY1sn68q5o2_r1_1280.png)
http://monetsberm.tumblr.com/post/165667734591/qas-with-luca-guadagnino-and-armie-hammer
(http://68.media.tumblr.com/2cf9aaa96ec0941635a8cde9b93f17d0/tumblr_owrpmleUHD1qfemg2o1_1280.jpg)
http://edwardnygmaa.tumblr.com/post/165677104704/call-me-by-your-name-will-be-at-the-rio-film
http://edwardnygmaa.tumblr.com/
http://www.festivaldorio.com.br/br/filmes/call-me-by-your-name
Me chame pelo seu nome
Verão de 1983, norte da Itália. Elio Perlman, um jovem ítalo-americano de 17 anos, passa seus dias na vila de sua família, um antigo casarão do século XVII. Seus dias são repletos de composições ao piano e flertes com sua amiga Marzia. Um dia, Oliver, um charmoso homem de 24 anos, chega para ajudar o pai de Elio em sua pesquisa sobre cultura greco-romana. Sob o sol do verão italiano, Elio e Oliver descobrem a beleza do despertar de novos desejos que irão mudar as suas vidas para sempre. Exibido no Sundance Film Festival e na mostra Panorama do Festival de Berlim, 2017.
Call me by your name
Summer of 1983, northern Italy. Elio Perlman, a 17-year-old Italian-American young man, spends his days in the village of his family, an old 17th century manor house. His days are filled with piano compositions and flirtations with his friend Marzia. One day, Oliver, a charming 24-year-old man, comes to help Elio's father in his research on Greco-Roman culture. Under the Italian summer sun, Elio and Oliver discover the beauty of the awakening of new desires that will change their lives forever. Shown at the Sundance Film Festival and Panorama show at the Berlin Film Festival, 2017.
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FYI. Yup. I can totally see it. ::) :laugh: ;)
(https://pbs.twimg.com/profile_images/605605714187272193/I7axLfVq_bigger.jpg) Em
@antheases
1:34pm 09/26/2017
55 Retweets 194 likes
https://twitter.com/antheases/status/894149839109279744
"armie is more innocent than timmy in real life" -
luca guadagnino commenting on the actors' age difference
(https://s-media-cache-ak0.pinimg.com/originals/c5/a6/e6/c5a6e6a8334e5f1556505384d09924e6.jpg)
Luca was trying to warn us. It all makes sense now.
http://monetsberm.tumblr.com/post/165739207326/armie-is-more-innocent-than-timmy-in-real-life
Omg. Total Innocent!
(http://68.media.tumblr.com/6616c5819f4a35e99ce437dc2b5fdd58/tumblr_owr6hgu0GZ1sn68q5o1_1280.jpg)
Armie Hammer for TIFFxHuawei Portrait Studio by Kourosh Keshiri
http://monetsberm.tumblr.com/image/165665126161
http://monetsberm.tumblr.com/
SEP 10 2017
TIFF 17
(https://68.media.tumblr.com/fdacaff3d7533b32ee393aa4468a4b6c/tumblr_ow1imoa1bl1qav05wo1_1280.jpg)(https://68.media.tumblr.com/ebb20aa7bfb758e003ca6a64ade91258/tumblr_ow1iqhczI31qav05wo1_1280.jpg)
Armie Hammer for TIFFxHuawei Portrait Studio by Kourosh Keshiri Timothée Chalamet for TIFFxHuawei Portrait Studio by Kourosh Keshiri
http://athinglikethat.tumblr.com/post/165169531884/armie-hammer-for-tiffxhuawei-portrait-studio-by http://athinglikethat.tumblr.com/post/165169591044/timoth%C3%A9e-chalamet-for-tiffxhuawei-portrait-studio
https://laterpeaches.tumblr.com/image/165207248832 https://laterpeaches.tumblr.com/image/165207233959
https://laterpeaches.tumblr.com/ https://laterpeaches.tumblr.com/
SEP 10 2017 SEP 10 2017
TIFF 17 TIFF 17
(https://68.media.tumblr.com/d525240c6672876bc5a8aa079768ce78/tumblr_ow1iovtju61qav05wo1_1280.jpg)
Luca Guadagnino, Armie Hammer and Timothée Chalamet for TIFFxHuawei Portrait Studio by Kourosh Keshiri
http://athinglikethat.tumblr.com/post/165169566704/luca-guadagnino-armie-hammer-and-timoth%C3%A9e
https://laterpeaches.tumblr.com/image/165207267181
https://laterpeaches.tumblr.com/
SEP 10 2017
TIFF 17
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LATER ON THE SAME DAY....
(https://pbs.twimg.com/media/DJS-TtPWsAEa_e7.jpg)
and to reiterate: Luca is a lovely, lovely, SO SMART man!
(http://www.ert.gr/wp-content/uploads/2017/07/tiff-2017-1021x576.jpg)
(https://yt3.ggpht.com/-H1m38Y1pMrM/AAAAAAAAAAI/AAAAAAAAAAA/aAyNHR2XuTI/s88-c-k-no-mo-rj-c0xffffff/photo.jpg)(https://yt3.ggpht.com/-H1m38Y1pMrM/AAAAAAAAAAI/AAAAAAAAAAA/aAyNHR2XuTI/s88-c-k-no-mo-rj-c0xffffff/photo.jpg)(https://yt3.ggpht.com/-H1m38Y1pMrM/AAAAAAAAAAI/AAAAAAAAAAA/aAyNHR2XuTI/s88-c-k-no-mo-rj-c0xffffff/photo.jpg)(https://yt3.ggpht.com/-H1m38Y1pMrM/AAAAAAAAAAI/AAAAAAAAAAA/aAyNHR2XuTI/s88-c-k-no-mo-rj-c0xffffff/photo.jpg)(https://yt3.ggpht.com/-H1m38Y1pMrM/AAAAAAAAAAI/AAAAAAAAAAA/aAyNHR2XuTI/s88-c-k-no-mo-rj-c0xffffff/photo.jpg)
[youtube=425,350]http://www.youtube.com/watch?v=mwYkESu-vXY[/youtube]
CALL ME BY YOUR NAME (2017)
VARIETY STUDIO Interview withArmie Hammer, Timothée Chalamet,& Luca Guadagninoat TIFF 2017Published on Sep 27, 2017(https://yt3.ggpht.com/-H1m38Y1pMrM/AAAAAAAAAAI/AAAAAAAAAAA/aAyNHR2XuTI/s88-c-k-no-mo-rj-c0xffffff/photo.jpg)
Armie Hammer Reveals Why 'Call Me By Your Name' Made Him 'Nervous as a Performer'
Director Luca Guadagnino and stars Armie Hammer and Timothée Chalamet stopped by the Variety Studio Presented by AT&T at the Toronto International Film Festival to talk about their new movie, "Call Me By Your Name."
(http://cdn.collider.com/wp-content/uploads/2017/09/call-me-by-your-name-luca-guadagnino-interview.jpg)
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[youtube=425,350]http://www.youtube.com/watch?v=ybvPdWLQs6I[/youtube]
https://www.youtube.com/watch?v=ybvPdWLQs6I
CALL ME BY YOUR NAME
TIFF 2017 - COLLIDER Interview
Luca Guadagnino
Armie Hammer & Timothée Chalamet
with interviewer Steve 'Frosty' Weintraub of COLLIDER
Published on Sep 19, 2017
(http://cdn.collider.com/wp-content/themes/collider-v3/images/Collider_Logo_Dark.png)
(http://cdn.collider.com/wp-content/uploads/2017/09/call-me-by-your-name-luca-guadagnino-interview.jpg)
http://collider.com/call-me-by-your-name-luca-guadagnino-interview-extended-cut/
and, months earlier at Sundance:
Re Call Me by Your Name, Armie Hammer specifically mentions Brokeback Mountain (and Art as "a change agent") at 3:00 - 3:34
[youtube=425,350]http://www.youtube.com/watch?v=e4Y2EpDXwZo[/youtube]
CALL ME BY YOUR NAME (2017)
Interview with
Armie Hammer, Timothée Chalamet,
Luca Guadagnino & Michael Stuhlbarg
at the Sundance Film Festival
Uploaded Apr 10, 2017
(https://yt3.ggpht.com/-H1m38Y1pMrM/AAAAAAAAAAI/AAAAAAAAAAA/aAyNHR2XuTI/s88-c-k-no-mo-rj-c0xffffff/photo.jpg)
http://variety.com/video/armie-hammer-gay-drama-call-me-by-your-name-kiss-scene-sundance/
Armie Hammer: ‘Call Me by Your Name’s’ First Kiss Scene Felt ‘Organic and Special’
Director Luca Guadagnino and stars Armie Hammer, Timothée Chalamet, and Michael Stuhlbarg discussed their gay love story “Call Me by Your Name,” and how art can be an agent of change.
“The shooting of the actual scene of the first kiss — it felt as organic and special and great as every other shot that we did on this movie,” Hammer said, adding that he hopes we’ve evolved sociologically since “Brokeback Mountain” was released to controversy in 2005 to see “the truth that’s present in every moment of desire.”
The foursome were at the Variety Studio, presented by Orville Redenbacher’s, at the Sundance Film Festival.
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[youtube=425,350]http://www.youtube.com/watch?v=ouVC4Oo69Pw[/youtube]
The Sheltering Sky (1990)
John Malkovich, Debra Winger
Directed by Bernardo Bertolucci
(photo montage with Josephine Baker singing Nuit D'Algier)
genia106
Published on Jun 28, 2014
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and to reiterate: Luca is a lovely, lovely, SO SMART man! (especially at 3:40 - 4:41 below....)
[youtube=425,350]http://www.youtube.com/watch?v=mwYkESu-vXY[/youtube]
https://www.youtube.com/watch?v=mwYkESu-vXY
CALL ME BY YOUR NAME (2017)
VARIETY STUDIO Interview with
Armie Hammer, Timothée Chalamet,
& Luca Guadagnino
at TIFF 2017
Published on Sep 27, 2017
(https://yt3.ggpht.com/-H1m38Y1pMrM/AAAAAAAAAAI/AAAAAAAAAAA/aAyNHR2XuTI/s88-c-k-no-mo-rj-c0xffffff/photo.jpg)
(https://pixel.nymag.com/imgs/daily/vulture/2017/08/01/1-call-me-by-your-name-2.w710.h473.2x.jpg)
(https://pbs.twimg.com/media/DIztWMvXgAMwqO4.jpg:large)
http://armie-hammer.com/photos/thumbnails.php?album=269
https://twitter.com/search?q=%23CallMeByYourName%2C
(https://68.media.tumblr.com/da9bcef4b8fc3137c85ebde5da3e1efd/tumblr_ovrpqg21w81t6bixlo1_500.jpg)(https://68.media.tumblr.com/da9bcef4b8fc3137c85ebde5da3e1efd/tumblr_ovrpqg21w81t6bixlo1_500.jpg)
https://allywantstofly.tumblr.com/post/164978769932/whatever-happens-between-us-elio-i-just-want
https://eliopearlmans.tumblr.com/
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Oliver and Elio circle each other for, well, hours, as Guadagnino returns again and again to stress Oliver’s earthy appetites – he gulps his food, sucks down eggs and throws back juice – and Elio’s carnal desires, diverted into sex with his local girlfriend Marzia.
https://www.screendaily.com/reviews/call-me-by-your-name-sundance-review/5114034.article
(http://newsite.zeitgeistlondon.co.uk/wp-content/uploads/2013/12/ScreenDaily.png)
Sundance 2017
Call Me by Your Name
Sundance 2017 Review
Luca Guadagnino tantalises, seduces, teases with a
sensuousness which threatens to climax throughout
by FIONNUALA HALLIGAN
CHIEF FILM CRITIC
January 23 2017
(http://cdn2.thr.com/sites/default/files/2017/01/call_me_by_your_name_sundance_still_2_-_publicity_-_h_2017.jpg)
‘Young Elio collapses into love’ ... Michael Stuhlbarg, Timothée Chalamet and Armie Hammer in Call Me by Your Name
Call Me By Your Name is an intensely languorous seduction from Luca Guadagnino, set in 1983 “somewhere in Northern Italy”, in a ripe, sun-dappled palazzo belonging to a casually multi-lingual American professor of antiquities, his wife and smart, intuitive, intellectually-precocious 17 year-old son, Elio (Timothée Chalamet). When 24 year-old graduate student Oliver (Armie Hammer) arrives for a six-week internship, young Elio collapses into love; it’s a beautiful, supremely touching performance from Chalamet which gives this surprisingly safe story its moving purity.
Call Me By Your Name wears its intellectual credentials on its sleeve; it’s a film which sucks in references to art, literature, poetry, linguistics, Jewish identity, and exhales lengthy al-fresco lunches, meticulous production design and dripping over-ripe fruit, a luscious metaphor for the forbidden romance at its core. Adapted from André Aciman’s memoirs, this hot summer flush of first love in a milieu vacated by Bertolucci’s Stealing Beauty stakes its place in film history with Chalamet’s Elio, buffeted by the all-too-real confusion, pain and ecstasy of falling in love.
Guadagnino’s follow-up to 2015’s A Bigger Splash (and the concluding part of a trilogy which started with I Am Love ) may prettify the pill, but 131 minutes of picture postcard Italy is a challenge for wide commercial play, even with the director’s art house cachet.
The film’s moving conclusion – Elio’s father, played by Michael Stuhlbarg, delivering painful wisdom coupled with an exquisitely-held closing shot – will help word of mouth, but this film will need to be marketed carefully. Prospects may be healthier in English-language-friendly markets (SPC pre-bought US rights prior to the Sundance premiere). Certainly, Italians are unlikely to react well to another reductive Guadagnino depiction of their countrymen as colourful village idiots.
One of Call Me By Your Name ’s unexpected pleasures is the recreation of 1983 in the Italian countryside: it might seem as if this is a timeless place (Mussolini on the walls, etc), but the costumes (swimming trunks, Talking Heads t-shirts), the music (The Psychedelic Furs), and the retro dancing is a pleasure and helps engage the mind when the film becomes snared in sun- and moon-dappled swims, bicycle rides, and aforementioned al fresco lunches and breakfasts. With all that entertaining and all those fruit trees to groom, it’s lucky this affluent family has domestic staff on hand.
Oliver and Elio circle each other for, well, hours, as Guadagnino returns again and again to stress Oliver’s earthy appetites – he gulps his food, sucks down eggs and throws back juice – and Elio’s carnal desires, diverted into sex with his local girlfriend Marzia (a warm performance from Esther Garrel).
The summer seems endless, the camera prowls around, the temperature rises, and the viewer can be forgiven, with all this gorging sensuousness, for expecting the much-teased consummation to be rich in carnality. It’s disappointing that Guadagnino shirks the moment, politely cutting to a shot of a tree. In a year in which gay love has broken through cinematically (Moonlight ), gay sex is still avoided. (It’s interesting to witness the difference between Call Me By Your Name and the frankly explicit British film God’s Own Country.)
Guadagnino never disappoints when it comes to beauty or parading his credentials as an aesthete, whether that be via Sayombhu Mukdeeprom’s visuals, or the piano-driven score so reminiscent of I Am Love, or quoting Montaigne in French. Timothée Chalamet plays the guitar and several versions of Bach on the piano with a precocity which makes his character so beguiling.
But there is always something here to look at or listen to, even when Guadagnino isn’t so ostensibly showing off. He tantalises, seduces, teases with a sensuousness which, even if it doesn’t climax in human flesh, bursts forth in a sequence involving a peach, which may irrevocably alter how viewers perceive this rich fruit going forward.
Production companies: RT Features, Frenesy Film Company, La Cinéfacture
International distribution: Memento Film Sales. US distribution: Sony Pictures Classics
Producers: Peter Spears, Luca Guadagnino, Emilie Georges, Rodrigo Teixeira, Marco Morabito
Executive producers: James Ivory, Howard Rosenman, Tom Dolby, Nicholas Kaiser, Lourenço Sant’Anna, Francesco Melzi d’Eril, Derek Simonds, Margarethe Baillou
Screenplay: James Ivory, Luca Guadagnino, and Walter Fasano, from the novel by André Aciman
Cinematography: Sayombhu Mukdeeprom
Production design: Samuel Deshors
Editor: Walter Fasano
Music: Sufjan Stevens
Main cast: Armie Hammer, Timothée Chalamet, Michael Stuhlbarg, Amira Casar, Esther Garel, Victoire Du Bois, Vanda Capriolo, Antonio Rimoldi
http://www.metacritic.com/movie/call-me-by-your-name/critic-reviews
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Luca Guadagnino for Fantastic Man Magazine No. 26
(https://pbs.twimg.com/media/DKmxtprXcAA4eya.jpg)
"I think I'll make another film in the future about the characters in Call Me by Your Name. I'd love to make a cycle of films based on them. How they grow up. Will they meet again? What happens when they meet again?"
Director Luca Guadagnino delivers an interview vérité in the new issue of @ManFantastic ahead of the worldwide release of his spectacularly romantic new movie Call Me by Your Name.
#LucaGuadagnino #CallMeByYourName
#FantasticMan #Cinema #Art #Culture #KarlaOtto
http://www.buro247.ua/instagram/karlaotto/570496
Luca Guadagnino for Fantastic Man Magazine No. 26
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https://twitter.com/cmbynupdates/status/912455803969425414
http://www.webberrepresents.com/news/?item=9213
Luca Guadagnino for Fantastic Man Magazine No. 26 (Amsterdam)
(http://asthmatickitty.com/wp-content/uploads/2010/08/sufjan_stevens_-_photo_credit_denny_renshaw_-_4533.jpg)(http://www.interviewmagazine.com/files/2009/12/01/img-sufjan-6_12412346803.jpg)(http://asthmatickitty.com/wp-content/uploads/2010/08/sufjan_stevens_-_photo_credit_denny_renshaw_-_4533.jpg)(http://www.interviewmagazine.com/files/2009/12/01/img-sufjan-6_12412346803.jpg)
Have you met him (Sufjan Stevens)?
"I wrote to him and invited him over to my house to see the film
when it was finished, as he was coming to Italy anyway. So, the
doorbell rings, and this stunningly beautiful man is at the door.
I mean, I’d seen pictures of him, but in reality he is beyond
handsome! Those eyes!"
(http://www.impattosonoro.it/wp-content/themes/impatto-theme/images/1401x788-sufjan_stevens_-_photo_cred.jpg)
(http://asthmatickitty.com/wp-content/uploads/2010/08/sufjan_stevens_-_photo_credit_denny_renshaw_-_4533.jpg)(http://www.interviewmagazine.com/files/2009/12/01/img-sufjan-6_12412346803.jpg)(http://asthmatickitty.com/wp-content/uploads/2010/08/sufjan_stevens_-_photo_credit_denny_renshaw_-_4533.jpg)(http://www.interviewmagazine.com/files/2009/12/01/img-sufjan-6_12412346803.jpg)
http://monetsberm.tumblr.com/post/165737466756/luca-guadagnino-for-fantastic-man-magazine
http://monetsberm.tumblr.com/
SEP 25, 2017
https://en.wikipedia.org/wiki/Fantastic_Man_(magazine)
http://www.fantasticman.com/magazine
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Peter Spears @pjspears Aug 13
https://twitter.com/pjspears
Producer, "Call Me By Your Name"
The day it all began--the table read of CMBYN script.
#victoiredubois #amiracasar @RealChalamet me #lucaguadagnino @armiehammer #michaelstuhlbarg
(https://pbs.twimg.com/media/DHGxFPLVYAAx8lZ.jpg)
http://www.imdb.com/title/tt5726616/fullcredits/
Armie Hammer ... Oliver
Timothée Chalamet ... Elio
Michael Stuhlbarg ... Mr. Perlman
Amira Casar ... Annella
Esther Garrel ... Marzia
Victoire Du Bois ... Chiara
Andre Aciman ... Mounir (as André Aciman)
Peter Spears ... Isaac (and Producer)
Luca Guadagnino ... Director
But of course we know where that fabulous loggia with the refectory table is located--
https://www.nytimes.com/2016/08/01/t-magazine/luca-guadagnino-home-italy-interior-design.html
(http://a1.nyt.com/assets/foundation/20140108-142003/images/logos/nyt-logo-185x26.svg)
The director Luca Guadagnino’s exquisitely art-directed movies have become something of an obsession among interior designers.
But his ultimate set is his own apartment in a 17th-century palazzo outside of Milan. The property had been empty for 40 years before
Guadagnino spent six months renovating it. With the help of painters, he created custom paint colors for each room.
https://www.nytimes.com/slideshow/2016/08/01/t-magazine/luca-guadagnino-milan-home-interior-design/s/01tmag-luca-slide-E6UZ.html
(https://static01.nyt.com/images/2016/08/01/t-magazine/01tmag-luca-slide-HP6L/01tmag-luca-slide-HP6L-superJumbo.jpg)
https://www.nytimes.com/slideshow/2016/08/01/t-magazine/luca-guadagnino-milan-home-interior-design/s/01tmag-luca-slide-HP6L.html
Guadagnino says his next house will have a garden. Photo: Mikael Olsson
(http://68.media.tumblr.com/6edf1e7bdbe9c97e6e15a295d1c95ce1/tumblr_oba594vWpJ1uui69bo8_1280.png)
https://www.nytimes.com/2016/08/01/t-magazine/luca-guadagnino-home-italy-interior-design.html
Light floods the loggia, on the second floor of the palazzo. Gio Ponti Superleggera chairs by Cassina flank the dining table,
with vintage Danish chairs in the foreground. The ornately painted door is original to the building. Credit Mikael Olsson
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"I think I'll make another film in the future about the characters in Call Me by Your Name. I'd love to make a cycle of films based on them. How they grow up. Will they meet again? What happens when they meet again?"
Do you know?? I've been thinking this! The very last five pages of the book (at the end of Part 4, "Ghost Spots") have a very open-ended quality, no?? Obviously Luca, André and producer Peter Spears have talked about it. Shades of director Richard Linklater's Before Sunrise (1995), Before Sunset (2004) and Before Midnight (2013), which I have always loved!
FYI: Richard Linklater: No one’s ruling out a Before quadrilogy, FEBRUARY 27, 2017,
http://ew.com/movies/2017/02/27/richard-linklater-before-sunset-trilogy/
Celine (Julie Delpy): "Baby. You are going to miss that plane." (talk-singing along with Nina Simone to Jesse)
Jesse (Ethan Hawke): "I know." (laughs)
[youtube=425,350]http://www.youtube.com/watch?v=ip9PgKmil0s[/youtube]
Before Sunset (2004)
Julie Delpy & Ethan Hawke
(by director Richard Linklater)
Published on Apr 9, 2015
Luca Guadagnino for Fantastic Man Magazine No. 26
(https://pbs.twimg.com/media/DKmxtprXcAA4eya.jpg)
"I think I'll make another film in the future about the characters in Call Me by Your Name. I'd love to make a cycle of films based on them. How they grow up. Will they meet again? What happens when they meet again?"
Director Luca Guadagnino delivers an interview vérité in the new issue of @ManFantastic ahead of the worldwide release of his spectacularly romantic new movie Call Me by Your Name.
#LucaGuadagnino #CallMeByYourName
#FantasticMan #Cinema #Art #Culture #KarlaOtto
http://www.buro247.ua/instagram/karlaotto/570496
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Very nice!!!
(https://68.media.tumblr.com/avatar_4a913e03c21d_64.png) mcavocados
Sep 27th, 2017
43 Notes
http://mcavocados.tumblr.com/
http://mcavocados.tumblr.com/post/165802623554/a-very-exciting-news-for-those-who-are-going-to
https://callmebyyourname-movie.tumblr.com/post/165805359336/mcavocados-a-very-exciting-news-for-those-who-are
A very exciting news for those who are going to NYFF screening of CMBYN;
Not only Luca, Armie and Timmy are going, also Michael is joining our three amigos for Q&As
#uh I wanna go damn it
(http://68.media.tumblr.com/df93033e266d9c0d5f6cf150303e5632/tumblr_owratyqgJY1sn68q5o2_r1_1280.png)
(http://68.media.tumblr.com/dc08c7c78d22006c82113cc6c9964b62/tumblr_owybe8QubZ1qigg1lo1_1280.jpg)(http://68.media.tumblr.com/cfd1c56eac112ffa207ead5e62ff7329/tumblr_owybe8QubZ1qigg1lo2_1280.jpg)
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CALLMEBYYOURNAMEFANART
https://twitter.com/chroniclikerrr
https://yotagram.com/cmbyn_art/
(https://abs.twimg.com/emoji/v2/72x72/1f351.png)
(https://pbs.twimg.com/profile_images/950728960211525632/2JE5oVOl_400x400.jpg) by Nikko Tan
@chroniclikerrr
(https://scontent-iad3-1.cdninstagram.com/t51.2885-15/e35/21984670_151234002140552_3972133918827610112_n.jpg)
https://yotagram.com/p/1611937636757317796/
https://yotagram.com/cmbyn_art/
https://twitter.com/chroniclikerrr
Monet's Berm
(Sampled the colors from Monet's paintings in Bordighera)
CALLMEBYYOURNAMEFANART by Nikko Tan
@chroniclikerrr
https://twitter.com/chroniclikerrr
https://twitter.com/hashtag/callmebyyourname?lang=en
Sep 26, 2017 0 Notes, 35 Likes
Fan Art / Digital Art / Drawings / Nikko Tan / @chroniclikerrr
#CMBYN #CallMeByYourName
#elio #elio perlman #oliver #ulliva #laterpeaches 🍑
#andré aciman #armie hammer #timothée chalamet #luca guadagnino
#book #novel #film #movie #sonyclassics #lgbt
#art #artwork #artist #digital art #digitalart
#digitalpainting #fanart #fanartdigital
#cmbyn_art #monet
(https://abs.twimg.com/emoji/v2/72x72/1f351.png)
(https://pbs.twimg.com/profile_images/919851966146101249/ffU0LD8X_400x400.jpg)
(https://pbs.twimg.com/profile_images/919851966146101249/ffU0LD8X_400x400.jpg) by Nikko Tan
@chroniclikerrr
@CMBYNFANPAGE
(https://scontent-sea1-1.cdninstagram.com/t51.2885-15/s480x480/e35/c257.0.565.565/20066785_102561950415480_5065485957910757376_n.jpg?ig_cache_key=MTU2MDM0OTQ3MjUzNjU2MTQ0Mg%3D%3D.2.c)
http://www.imgrum.org/media/1576993348156539517_5850831693
http://www.imgrum.org/user/cmbynfanpage/5850831693
(http://68.media.tumblr.com/c34f906b2ec158f9a3b3fa7526a3d432/tumblr_ot8que4mN61sn68q5o1_1280.jpg)
http://monetsberm.tumblr.com/post/163097200741/bike-rides-to-b-nikko-tan-nikkotan-on-ig
http://www.imgrum.org/media/1576993348156539517_5850831693
http://www.imgrum.org/user/cmbynfanpage/5850831693
https://twitter.com/chroniclikerrr
Bike Rides To "B"
(https://pbs.twimg.com/profile_images/919851966146101249/ffU0LD8X_400x400.jpg) by Nikko Tan
@chroniclikerrr
(https://pbs.twimg.com/media/DG3tH8OUIAEf9mf.jpg)
https://twitter.com/search?q=%23CallMebyYourName
https://twitter.com/chroniclikerrr
(https://pbs.twimg.com/media/DG3tH8SUwAATRHH.jpg)
https://twitter.com/search?q=%23CallMebyYourName
https://twitter.com/chroniclikerrr
Elio finds Oliver down at the rocks
https://twitter.com/chroniclikerrr
https://twitter.com/hashtag/callmebyyourname?lang=en
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(https://pbs.twimg.com/media/DK2ZulHWkAEQWxd.jpg:large)
https://twitter.com/KitKowalski/status/913555345666125824
https://twitter.com/hashtag/callmebyyourname?lang=en
They have no mercy...
5:05 PM - 28 Sep 2017
#ArmieHammer #CallMeByYourName #cmbyn #outmagazine
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A very exciting news for those who are going to NYFF screening of CMBYN;
Not only Luca, Armie and Timmy are going, also Michael is joining our three amigos for Q&As
!!!!!
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A very exciting news for those who are going to NYFF screening of CMBYN;
Not only Luca, Armie and Timmy are going, also Michael is joining our three amigos for Q&As
!!!!!
YAY! ;D ;D
(https://i.ytimg.com/vi/pizi-l4aBr0/maxresdefault.jpg)
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OLIVIER ZAHM — A swimming pool is a strong symbol.
LUCA GUADAGNINO — In Hockney’s painting, there’s the tension of the surface and what is beneath the exploding splash in the pool, which is incredibly sexual. I remember the first time I saw it, as well as a second painting with a guy swimming underwater. I was maybe 14. That’s when I began to understand my own sexuality. In a way, I was upset by those paintings. I could hardly look at them because they’re so much about what is below the surface, at a deeper level of desire and sexuality. Hockney questioned this through the lens of his own homosexuality, which really hit me.
http://purple.fr/magazine/fw-2015-issue-24/luca-guadagnino/
(http://purple.fr/app/themes/purple/assets/images/lg_purplediary.svg)
purple MAGAZINE
— F/W 2015 issue 24
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LUCA GUADAGNINO
on independent cinema
film director
interview and portrait by OLIVIER ZAHM
OLIVIER ZAHM — How did you start in cinema?
LUCA GUADAGNINO — I started as a critic. Actually, I started as a cinephile. I always looked at films, lots of them.
OLIVIER ZAHM — What is the first film you remember?
LUCA GUADAGNINO — I remember my first impression of a screen, which had nothing to do with the actual film when I was five years old. It was the desert in Lawrence of Arabia, by David Lean — years after the film came out. I was in my mother’s lap, in a big theater in Ethiopia. I’ve always been very enthusiastic about cinema, someone who really lives in it. I always thought about and tried to understand all the threads that make film — cinema history, the relationship to the viewer, etc. So I got a degree in the history of cinema, in Rome.
OLIVIER ZAHM — Rome was the Italian capital of cinema.
LUCA GUADAGNINO — Once. It’s totally finished. I think the language of cinema has been greatly lost. I don’t want to sound grumpy or nostalgic, as if it was better then. But the art of cinema has passed away from moving images and people talking and has been replaced by special effects.
OLIVIER ZAHM — Why do you think that the language of cinema has been lost?
LUCA GUADAGNINO — The capacity of a film to interpret reality and create different visions of it for those watching — not simply showing people or emotions, but going further, creating a sort of social consciousness about an issue. That’s what we’re losing. I think it’s a sad moment, compared with what cinema was before. One in a hundred films will now interpret reality through the language of cinema. It’s like painting, which came from the avant-garde, then passed through the crises of the ’60s and ’70s only to return to the figure. Now, there seems to be a kind of nostalgia for cinema to be like the novel. But film was never like a novel. Cinema is made up of images put together with other images to create a related idea. What’s lacking is the interpretation of the void between the images. For example, when Jean-Luc Godard portrayed a couple in a crisis, you saw it through an idea Godard had about the crisis of cinema itself. He tells a simple story of a bourgeois couple, but at a higher level, via deeper meaning, he presents something critical about the form, which back then already engendered feelings about its death.
OLIVIER ZAHM — Your documentary film Bertolucci on Bertolucci is a symphony of interviews with him. There’s a moment, from the ’80s I guess, when Bertolucci, speaking about Pasolini, says that the language of cinema is no longer the language of reality because the language of reality is television. What would be the language of reality today, if not cinema?
LUCA GUADAGNINO — It could be the Internet. But it’s a challenge for myself as a filmmaker: what is my subjective capacity to see reality with eyes wide open, with a mind ready to observe and think like an artist, which in cinema means to get away from the star system and the production of mass divertissement — entertainment.
OLIVIER ZAHM — What do you think about the digital revolution?
LUCA GUADAGNINO — The digital revolution is a great democratic achievement, but it’s fake. The problem is how to be thoughtful within the orgy of image production that increases all around us — which, to be honest, makes me want to stop producing images.
OLIVIER ZAHM — You mean it’s destructive to cinema?
LUCA GUADAGNINO — Yes. And to reality — the reality of making images that are worth watching and thinking about. Not just anyone can create an image. I don’t want to be elitist. I think images, and those who make them, should be strongly invested in and reflect and interpret reality, and not simply reiterate the status quo.
OLIVIER ZAHM — I didn’t know Bertolucci started out as Pasolini’s assistant, as I learned in your film. Nor did I realize he was so deeply influenced by him. Aren’t you a very late son of Pasolini?
LUCA GUADAGNINO — Thank you. I speak for myself, but it’s important for me, whether I’m working with stars and fashion brands and making fashion films, or simply taking pictures for fun — I’m always aware of what I’m doing in the middle of all this, and I don’t stop being critical.
OLIVIER ZAHM — You like to work in fashion, too.
LUCA GUADAGNINO — Absolutely, but my process is always analytical. That has to do with my childhood. I remember being fascinated by things my mother and my Aunt Isabella had — for example, a beat-up old Hermès bag. I was interested in the form and started to become conscious of such things, which is what drew me into the fashion world. But it all comes from fascination. And in fashion I met many inspiring people, such as Raf Simons, Francesco Russo — great artists who bring something beyond the imposition of capital to produce, produce, produce. It’s about form, inventing form, reinterpreting form.
OLIVIER ZAHM — But the fashion world produces nonstop moving images, short movies, videos, of which maybe not even 1% have any relevance.
LUCA GUADAGNINO — I agree completely. It’s incredibly sad, but the same pertains to the clothes. What’s the form? What percent of mass-produced clothes makes sense as a silhouette that says anything about us, who we are, and where we are going? Maybe 1%, you are right.
OLIVIER ZAHM — Not a lot, but maybe enough!
LUCA GUADAGNINO — Going back to my roots, even when objects and materials come from the codified world of luxury images, I try to frame them in a perspective of reality. I don’t know if I succeed, but I don’t like drama in film. In making a film, the imperative becomes the study. Drama shouldn’t be the center of cinema, as it is for theater. In cinema, we must interpret psychological and exterior realities.
OLIVIER ZAHM — Isn’t your approach to cinema political?
LUCA GUADAGNINO — Oh, yeah. Everything is political. Even the false idea that there are no more ideologies, which is extremely ideological, but also cruel because to call an end to ideology suggests that we live in a world with no hope besides well-being and accessibility, which is the purest triumph of ideology. I’m thinking about my next movie, A Bigger Splash, which is about four people trying to escape or go toward one another.
OLIVIER ZAHM — It’s about a community of lovers?
LUCA GUADAGNINO — In a way. Of lovers and haters. What is the language of reality of this film? Is it about privilege? I think it’s about the neuroses of a world in which everything is post-ideological but at the same time hyper-ideological. How do you behave in a world where everything is supposed to be okay, where there is no possibility to confront your ideas with someone else’s? How can you create antagonism and different perspectives where there is none?
OLIVIER ZAHM — Why did you choose to remake a cult French movie, La Piscine, from 1969, which reunited Alain Delon and Romy Schneider. Schneider had dramatically broken-up with Delon and married German director and actor Harry Meyen in Berlin. She had a child; she was out of cinema. Alain Delon asked the filmmaker to book her for this role. The original film is not so good, but you get the true emotions of two people, and it’s in this emotional experience that cinema creates another, possibly its own, dimension.
LUCA GUADAGNINO — That’s exactly it. Its reality isn’t in the drama, or in the constructed idea of love between two characters, but in the past experience of love that Alain Delon and Schneider brought to the screen. They were a famous couple who split up and got back together in front of the camera.That’s one of the reasons for its incredible success in France and Germany. And this is why I also love this film.
OLIVIER ZAHM — But it’s impossible to recreate that situation!
LUCA GUADAGNINO — Absolutely. After I made lo sono L’Amore [I Am Love], I was approached by Olivier Courson and Ron Halpern, from StudioCanal, who were dreaming about reviving La Piscine. I was a bit skeptical because the original, by Jacques Deray, was made during a period when the greatest filmmakers of the Nouvelle Vague were making amazing films, interpreting reality, and questioning the concept of cinema. Deray, who was also the director of Borsalino, among other films, was more into American film noir and French action films or spy films.
OLIVIER ZAHM — But, La Piscine is not a political movie!
LUCA GUADAGNINO — This film was about the typical problems of bourgeois betrayal. I grew up with Jean-Luc Godard and the Nouvelle Vague, but not the commercial films of the ’60s and ’70s. So why should I do a remake of a film that comes from a world that’s so far from me? Of course, behind the curtain of bourgeois betrayal — and murder — there remains universal desire. Which is what? How do you show such basic elements of the emotional subconscious as desire and jealousy? I tried to understand that and asked myself, What’s the desire to kill the father? Or to kill a figure that has been your guide? Not like in the ’60s, when they were trying to kill fathers as a trope of conservatism. The father of today does not censure his son, and gives sons and daughters the permission to do anything he would like to do himself. I wanted to talk about how people today cannot sustain the imperative of jouissance — enjoyment — but must restore a sense of order by killing the father of jouissance. I interpreted that story with four people in a clash of desire. And that’s what led me to a movie that is now completely different from Jacques Deray’s La Piscine. Of course, I borrowed my title from David Hockney, which is completely different.
OLIVIER ZAHM — From Hockney’s painting of a swimming pool and his film about himself, each called A Bigger Splash.
LUCA GUADAGNINO — For me, Hockney still represents the voice of the counterculture.
OLIVIER ZAHM — And the swimming pool is a symbol of unconscious desire, in painting, in movies.
LUCA GUADAGNINO — I often put swimming pools in films. In Amore, there’s a swimming pool where a guy hits his head and dies. Here, I wonder if there isn’t something about myself in such an image: I can’t swim. I have a big fear. If you put me into water, I drown. I guess I prefer going toward fear than running away from it.
(http://static.purple.fr/2015/10/Dakota-Johnson-A-Bigger-Splash-photo-Jack-English.jpg)
Ralph Fiennes and Dakota Johnson in A Bigger Splash, 2015, a film by Luca Guadagnino. Photo Jack English
OLIVIER ZAHM — A swimming pool is a strong symbol.
LUCA GUADAGNINO — In Hockney’s painting, there’s the tension of the surface and what is beneath the exploding splash in the pool, which is incredibly sexual. I remember the first time I saw it, as well as a second painting with a guy swimming underwater. I was maybe 14. That’s when I began to understand my own sexuality. In a way, I was upset by those paintings. I could hardly look at them because they’re so much about what is below the surface, at a deeper level of desire and sexuality. Hockney questioned this through the lens of his own homosexuality, which really hit me. So to shuffle the cards, I think Hockney’s great painting is also symbolic of the unconscious representation of homosexual desire — but using heterosexual couples. I tried to put a bit of Hockney’s perverted vision of a surface in a sort of non-straight undercurrent reference to him.
OLIVIER ZAHM — Are you optimistic about the evolution of cinema? From Paris, we have the feeling that Italian cinema in the ’70s was the most beautiful, from Pasolini to Fellini to Rossellini, even compared with the Nouvelle Vague, which was more a statement about cinema.
LUCA GUADAGNINO — Not to be nationalistic, but I agree with you.
OLIVIER ZAHM — Those films are richly influential. But it’s also true that Italy has lost its touch in cinema. How do you see the situation, as you’re one of the new names? I’m sure that there are others we may not know of, actually, because Italy’s quite, um…
LUCA GUADAGNINO — Provincial?
OLIVIER ZAHM — You’ve been international from the beginning. You use international actors; you travel; you show your films in New York…
LUCA GUADAGNINO — I don’t consider myself an Italian cinéaste, to be honest.
OLIVIER ZAHM — Are you an African one, as you grew up in Ethiopia?
LUCA GUADAGNINO — Hopefully, an African one. I wish I could be considered an Algerian director. My mother is Algerian. I was born in Palermo in 1971, but I grew up in Ethiopia. I came to Italy when I was seven. In my mind, deep emotions and visual landscapes are from Ethiopia and not Palermo or any place in Italy. I arrived in Italy as an outsider, even as a kid, when I went to school and was darker than the average Italian. I was “discriminated” against, as you’d say in today’s world of political correctness.
OLIVIER ZAHM — They were prejudiced against you?
LUCA GUADAGNINO — Yeah, yeah. People called me “the nigger,” so I always felt outside the center. That’s why I was so drawn to film. I was very alone. I went to see films alone. I was developing my own sexuality, which in a way was also off-center, and that made me feel a bit outside, too, though not so much. I also strongly recognize and support the civil rights movement, but I’m not an insider of that, either.
OLIVIER ZAHM — Do you support the gay and lesbian movement?
LUCA GUADAGNINO — The Western civil rights movement, like the LGBT civil rights, the right to marry — all that stuff is very important to me, and it’s a scandal that it’s not allowed in Italy, for instance. But I’m not a militant. My entire career, if I can use such a word, has involved being completely independent, to the point that, in 2005, I decided to produce myself because I didn’t want to engage in conversations with the Italian cinema establishment, which might try to dictate my way of making films.
OLIVIER ZAHM — Did you raise money on your own?
LUCA GUADAGNINO — I’m a believer that if you want something, as Truman Capote said, you’re going to get it. So I’m really doing it. Yes, I do it.
OLIVIER ZAHM — This is your rebellious side.
LUCA GUADAGNINO — No, it’s my risky side. I like to take risks.
OLIVIER ZAHM — So would you define yourself as an independent filmmaker?
LUCA GUADAGNINO — Completely. I work with international actors, film crews, and scenarios, including some from Italy; but I don’t really belong to commecial cinema, or to Italian cinema. Nevertheless, I come from Roberto Rossellini, Luchino Visconti, Federico Fellini, Francesco Rosi, Bertolucci, and Bellocchio, and that incredible 25 years of cinema — ’50s, ’60s, and ’70s — created at the highest level, by filmmakers who were inspired by the most remote lands, especially Rossellini and Bertolucci. That incredible legacy has been transformed into the irrelevant cinema we make today. I’ve thought a lot about that and have a couple of ideas. First, the younger filmmakers of this generation, operating in the ’70s, were engaged in the post-’68 idea of overthrowing the old order, using the power of youth in its moment, which of course never lasts. They also thought what they were doing was eternal, so they did not feel the importance of transmitting knowledge. In a way, it was a generation of immensely great but narcissistic artists in the cinema world.
OLIVIER ZAHM — Thinking they could incarnate their youth?
LUCA GUADAGNINO — Forever, without thinking that knowledge has to be passed on, at least to continue the evolutionary process.
OLIVIER ZAHM — Didn’t Pasolini do that for Bertolucci, and educate him?
LUCA GUADAGNINO — Pasolini did, but when he was killed, it was also killed. They killed the only one who wanted to transmit something to the younger generation in Italy.
OLIVIER ZAHM — Do you have an idea or a personal theory about the murder of Pasolini?
LUCA GUADAGNINO — I think the guy who claimed to have killed him did it out of sexual depravity. I think it was a plot, perpetrated against him because he was at the center of Italian culture but very provocative to the system — Pasolini was not a marginal writer — and he was razed from the face of the earth.
OLIVIER ZAHM — So there was no transmission from his generation?
LUCA GUADAGNINO — No transmission from the generation who should have transmitted Pasolini’s ideas. Everything shut down. But the second very important name for transmission was in the ’70s — Roger Corman, the great B-movie filmmaker. Corman directed and produced many films that empowered other young filmmakers.
OLIVIER ZAHM — Such as?
LUCA GUADAGNINO — Jonathan Demme, Martin Scorsese, John Milius, to name a few. Knowledge needs to be transmitted; otherwise it dies without evolving. But then there is an industry problem.
OLIVIER ZAHM — Television?
LUCA GUADAGNINO — Exactly. Berlusconi came to power in the ’90s, but his influence came when he started national television in the ’80s, which changed everything, empowering the language of television over cinema. Who are the important Italian directors today? They are from the MTV generation more than anything. I don’t know if you’ve seen Paolo Sorrentino’s The Great Beauty or Il Divo, his last film. Those films want to say they come from the Fellini legacy, but they exhibit only a superficial understanding of Fellini, seen through the lens of advertisements, commercials, publicity, and video clips. I don’t think a young audience today necessarily wants fast editing and a camera that does this and that. I think even a young audience wants to see images that tell them something about reality.
OLIVIER ZAHM — About their reality?
LUCA GUADAGNINO — Yes. Absolutely.
OLIVIER ZAHM — Are you optimistic that cinema can still be a language of reality?
LUCA GUADAGNINO — Well, the Portuguese director Miguel Gomes has made two fantastic films, Tabu and Arabian Nights, which just came out. He spent a year trying to understand where his country stands, and made films that are topically and visually great. That alone is an amazing achievement. So I’m very optimistic. People everywhere think about images and about reality and should be able to make films that use the language of cinema in this unfortunately boring world in which “cinema de papa” still rules.
OLIVIER ZAHM — Do you consider your beautiful documentary about Bertolucci — made of a combination of extracts of interviews — a film?
LUCA GUADAGNINO — I do.
OLIVIER ZAHM — So reality takes the form of a documentary film on another filmmaker.
LUCA GUADAGNINO — Yes. I mean a documentary can do just that, so long as it’s not the documentary style now taught, which is a kind of reconstructed television documentary. Werner Herzog made some of the greatest films in the ’70s, but his documentaries, such as one about the death penalty, On Death Row, and the one about the grizzly bear man, Grizzly Man, or the one on the Iraq War, are amazing. We should endorse that kind of energy in younger filmmakers. I produced a film called Antonia by a 26-year-old filmmaker, which is about a wonderful Italian poet in the ’30s who killed herself at age 28 and has never been recognized.
OLIVIER ZAHM — Because we’re in such a situation, with so many moving images that don’t mean anything, it’s time to be radical again. In your documentary, Bertolucci says that when he was 23 or 24, making a movie was like writing a poem. Now, 40 or 50 years later, can we still start from there?
LUCA GUADAGNINO — Absolutely.
OLIVIER ZAHM — In that case, maybe the connection with the past is not entirely gone.
LUCA GUADAGNINO — That depends on where you are and on the capacity of an industry to recognize it. One of the great recent French films, Alain Guiraudie’s Stranger by the Lake, from 2013, is a beautiful sort of mystery film, set near a lake where a community of gay men go for casual sex and a murder occurs. When a film like that appears at Cannes, has lots of César nominations, and sells worldwide, that’s a radical movie today.
OLIVIER ZAHM — What about the brillant young French-Canadian filmmaker Xavier Dolan?
LUCA GUADAGNINO — I’m a bit suspicious of Xavier Dolan, for one reason: he does too many films. I do not believe in hyperactivity. I like the idea of reflection. I think Mommy, for instance, is a typical post-Almodóvar female drama, shot in the clever, intelligent way of today, with an awareness of the iPhone generation. Is it a gimmick having to do with the tool? Or does the tool affect the way the images are put together? I was very upset when Mommy — what a title! — was awarded the Jury Prize in Cannes. It basically contradicted Godard’s lesson that such an orgy of images is the end of language and then was rewarded for being an orgy of images.
OLIVIER ZAHM — Maybe because it’s a film that celebrates the orgy of images as a new language of cinema for the younger generation born with the Internet?
LUCA GUADAGNINO — Possibly. I guess that makes me a grumpy old man, and maybe Xavier Dolan is right.
OLIVIER ZAHM — Well, you can’t deny the freedom in Mommy, where the tool of his generation pushes moving images beyond cinema — with young people trying to find freedom and escape the family, the mother, as well as superficial love and fake relations. Maybe it’s a typical teenager movie. I use him just as an example of a filmmaker who doesn’t necessarily care about the history of cinema, but who makes a movie that mostly uses the new technology of images in order to tell a story.
LUCA GUADAGNINO — Absolutely, but moving forward, would it represent something more than just being an outburst of desire in moving images? I wonder if Xavier Dolan or anyone who does the same is really thinking about what it means to create an image in motion? But maybe I’m wrong. We’ll see!
OLIVIER ZAHM — It’s perhaps a bit extreme to say that cinema was the language of the 20th century, and we have no artistic language for today.
LUCA GUADAGNINO — Possibly. But looking at cinema history is still extremely important today, in a period of confusion.
END
A Bigger Splash is an erotic thriller with a international cast, including Tilda Swinton, Ralph Fiennes, Dakota Johnson, and Matthias Schoenaerts. It opens in 2015.
https://en.wikipedia.org/wiki/Olivier_Zahm
Olivier Zahm (born September 1963 in Paris, France) is a French fashion journalist, blogger, photographer, and magazine editor. He is the founder, owner and editor of the French fashion and culture magazine Purple
(http://static.fashionpost.jp/article/wp-content/uploads/2014/08/20140830OLIVIER-ZAHM-DIARY5.jpg)
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Playing Oliver, [Hammer] tells me, didn’t come entirely naturally. “I’m not sure I could have done it unless I’d reached a certain level of understanding with Luca. It was really a matter of him beating it all into my thick skull. There were all these kinks and fetishes that I didn’t understand. Like, why does he want to eat the peach? Why does he say ‘Call me by your name and I’ll call you by mine’? If I didn’t understand those things, I wouldn’t have the character.”
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https://www.theguardian.com/film/2017/sep/28/armie-hammer-call-me-by-your-name-there-were-all-these-fetishes-i-didnt-understand
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Armie Hammer on gay romance
Call Me by Your Name
‘There were fetishes I didn’t understand’
by Ryan Gilbey
Thursday 28 September 2017 11.26 EDT
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Hammer seems dazed by the uniformly ecstatic notices the film has received, his enthusiasm for discussing Call Me By Your Name
is understandably boundless
Armie Hammer strides in to the press room a few minutes early, catching the eight or nine assembled journalists mid-conversation. There can be no ignoring him. Cartoonishly handsome, with a big square slab of jaw and a grin that arrives a couple of seconds before he does, he is also 6ft 5in tall. “What did I miss, what’s happening, something funny?” asks the 31-year-old actor. Gesturing at a colleague’s bulbous yellow microphone, I explain that I was remarking on its resemblance to a lemon and pointing out that it would have been more fitting if it were a peach. “Ah,” smiles Hammer. “Why do I have the feeling I’m going to be getting this a lot?”
His suspicion is correct. A peach figures only briefly in the rhapsodic gay coming-of-age story Call Me by Your Name, but that hasn’t stopped the scene in question defining the picture in the minds of those who see it. It is Elio (Timothée Chalamet), the precocious 17-year-old son of an American professor, who uses the fruit as a masturbatory aid; his older lover, Oliver (Hammer), who is staying with the family in northern Italy as the professor’s research assistant, merely raises it to his lips afterwards, perhaps contemplating TS Eliot’s question from The Love Song of J Alfred Prufrock (“Do I dare to eat a peach?”) or wondering whether it’s going to count as one of his five-a-day.
Though Call Me by Your Name is deliciously sunny and sensuous, it has a proper sensitivity toward the pain, as well as the pleasure, of first love, as might be expected from Luca Guadagnino, the director of I Am Love and A Bigger Splash. Hammer seems dazed by the uniformly ecstatic notices the film has received. “I’m waiting for the other shoe to drop,” he says, pulling up a chair. Practically the only criticism so far, however, came last month from the actor James Woods, who expressed his disapproval by tweeting: “As they quietly chip away the last barriers of decency. #NAMBLA.” (The hashtag referred to North American Man/Boy Love Association, a paedophile advocacy group.) The next morning, Hammer replied: “Didn’t you date a 19-year-old when you were 60 …?” Miaow.
Hammer is joined by Chalamet, who is 10 years his junior. After all they’ve done on screen, it’s no surprise to see them goofing around and exchanging big, unembarrassed smackers. When asked if he has ever experienced the sort of love chronicled in the movie, Chalamet assumes a wistful tone: “I have, actually. It was the summer I was working with this actor named Armie Hammer …”
Several hours later, I get Hammer to myself. He shakes my hand hesitantly; he is recovering from having recently torn off his pectoral muscle while working out. Indeed, his Instagram feed is a catalogue of injuries and hospital visits, among the snaps of how much legroom he has in first class and assorted portraits of “the Hammily” (as he refers to his wife, the TV host Elizabeth Chambers, with whom he runs a chain of Texan bakeries called Bird, and their two children).
Playing Oliver, he tells me, didn’t come entirely naturally. “I’m not sure I could have done it unless I’d reached a certain level of understanding with Luca. It was really a matter of him beating it all into my thick skull. There were all these kinks and fetishes that I didn’t understand. Like, why does he want to eat the peach? Why does he say ‘Call me by your name and I’ll call you by mine’? If I didn’t understand those things, I wouldn’t have the character.”
When explanations didn’t do the trick, Guadagnino resorted to film clips. For one scene, he showed Hammer a few minutes of Debra Winger in Bertolucci’s The Sheltering Sky : there is a lost look she gives that he felt was well-suited to the scene after Oliver and Elio have had sex for the first time. “I didn’t take it as ‘I want you to do it like this,’” Hammer explains. “It was more: ‘Do you see what’s going on in her head? Do you see her loss and confusion? That’s what I want you to feel. That’s what I think Oliver would be going through. Do you agree?’ I was, like: ‘I really do. Let me see how I can interpret that.’”
Oliver is Hammer’s third gay role, following Clyde Tolson in Clint Eastwood’s J Edgar and the writer James Lord in Final Portrait, but if that represents a risk, no one seems to have told him. “None of my team has ever said: ‘I don’t know if it’s gonna be good for you to play a gay character.’ So I can only assume we are working our way through that stigma,” he says. Then again, he has a history of following his instincts. Though he hails from “old money” (his great-grandfather, Armand Hammer, was an art collector, philanthropist, Republican party donor and head of Occidental Petroleum), he defied his parents’ wishes by pursuing an acting career. Were they angry? “Yeah.” How did that feel? “I was committed and I was prepared to deal with whatever the consequences of that might be. I mean, they weren’t ever not taking my phone calls or anything. I just had to prove to them that my reason for becoming an actor wasn’t so that I didn’t have to carry on going to school.” Did they want him to go into the family business? “Or college, at least, you know?” he laughs.
There was disappointment early on when George Miller’s proposed 2007 Justice League movie, in which he had been cast as Batman, fell apart. Depending on who you listen to, you can blame the writers’ strike, or the fact that Christopher Nolan didn’t want a parallel Batman running around on screen while The Dark Knight was still a going concern. But Hammer’s break came eventually with his dual portrayal of the Winklevoss twins, squaring off against Mark Zuckerberg in The Social Network. Left unmonitored, Hammer’s preppy quality can shade into blandness, as it did in The Man from UNCLE and The Lone Ranger, but his choices are usually too offbeat to allow that to happen. He was part of the shoot-’em-up ensemble of Ben Wheatley’s Free Fire (and will shortly be seen fighting subterranean monsters in the same director’s Freakshift), while his bright, Tom Cruise-esque gnashers were hidden entirely as Amy Adams’s aloof husband in Tom Ford’s Nocturnal Animals.
His enthusiasm for discussing Call Me By Your Name is understandably boundless but I wonder how the experience of universal acclaim compares with those times when it was withheld. After all, Hammer has starred in two pictures that were, for very different reasons, among the most vilified of recent years. First, he played the title character in The Lone Ranger alongside Johnny Depp as Tonto. Disney shut down production when the budget ballooned; by the time it was back on track, the smell of blood, or rather turkey, was in the air. The idiosyncratic western was never really given a chance by most critics, though the late Philip French called it “handsome, exciting, affectionate” and compared it favourably to Buster Keaton’s The General.
Hammer sighs when I ask him to compare its reception to Call Me By Your Name ’s. “It’s apples and oranges. Different kinds of movies, different kinds of monsters. That being said, this has been terrific, so to be part of a project like this, I’m happy for myself, for Timmy, for Luca…” He goes on to list several other people for whom he feels happy.
Does he have faith that The Lone Ranger will be rediscovered or reclaimed in years to come? “I don’t know, man.” Another sigh. “That’s really beyond my scope of consciousness. I got to make the movie, it was one of the best times of my life. It’s like someone says in Call Me By Your Name : ‘You got to have the experience. Whatever comes after …’” He trails off. Was The Lone Ranger simply too strange to ever enjoy the kind of success needed to justify a $215m budget? All he will say is: “It’s quirky, for sure.” Maybe he’s simply learned to live with the anger he felt when he accused critics in 2013 of deciding “to slit the jugular of our movie.”
The civil rights drama The Birth of a Nation, in which Hammer played a slave owner, died for entirely different reasons. Its reception at Sundance in 2016, where it was bought by Fox Searchlight for $17.5m, was every bit as positive as the one afforded there this year to Call Me By Your Name. Then details emerged of the 1999 rape accusation against its star and director, Nate Parker. Though Parker was exonerated, his accuser later took her life. What had been a surefire Oscar contender was hastily buried in the light of this revelation. Surely Hammer has some feelings or opinions about the film’s fate?
“I don’t really know because I haven’t followed everything that’s been going on. I haven’t really been reading anything. I’ve been busy. We’ve been kinda doing this thing. I know that we got to make a movie that at the time felt like it was something very important. I don’t even really know what happened. There are people over at Fox Searchlight who are paid to worry about that sort of thing.” He doesn’t exactly say “I only work here”, but the implication is clear. “Actors come in at the 11th hour and we just stand in front of the camera and do our job,” he says. Another big grin – or is it the same one he’s been wearing all along? – and he’s off.
Call Me By Your Name is at the London Film Festival 9-11 October and released in the UK 27 October.
• This article was amended on the 29 September 2017. An earlier version mistakenly stated that it was Armie Hammer’s Russian grandfather, Armand Hammer, who was head of Occidental Petroleum. It was in fact his great-grandfather and he was born in New York, the son of Russian emigres.
AND ALSO SEE:
Luca is BRILLIANT!!(http://logos-download.com/wp-content/uploads/2016/05/The_Guardian_logo_blue-700x123.jpg)
(http://www.ert.gr/wp-content/uploads/2017/07/tiff-2017-1021x576.jpg)
(http://logos-download.com/wp-content/uploads/2016/05/The_Guardian_logo_blue-700x123.jpg)
[youtube=425,350]http://www.youtube.com/watch?v=6NQrUgehtr0[/youtube]
https://www.youtube.com/watch?v=6NQrUgehtr0
CALL ME BY YOUR NAME Talk
TIFF 2017
Luca Guadagnino
Armie Hammer & Timothée Chalamet
Published on Sep 11, 2017
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In the first of three sessions from the Toronto International Film Festival TIFF, the team behind acclaimed gay romance Call Me By Your Name – actors Armie Hammer and Timothée Chalamet and director Luca Guadagnino – talk to the Guardian 's Benjamin Lee
The movie is based on the book (of the same name) by André Aciman.
Plot: 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.
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A film that makes you yearn for a love that will hurt you as much as it hurts Elio, Call Me by Your Name teaches us that there is a deep meaning in the world that’s worth being open to. It also makes it impossible to hear someone say ‘later’ and not associate it with the sweet scent of endless possibility which comes with a great love that didn’t need to last forever to be real; Call Me by Your Name gently teaches us that a moment or a summer is enough and that time and romance are entirely relative.
(https://2.bp.blogspot.com/-TNBPMrmzjig/WKrc9nAQhdI/AAAAAAAAhGY/FtuqSJL5XIcTA2jIasBgsCipJ1ekEy6iACLcB/s1600/67th%2Bannual%2BBerlin%2BInternational%2BFilm%2BFestival.jpg)
9 February to 18 February 2017
http://berlinfilmjournal.com/2017/02/berlinale-2017-review-call-me-by-your-name-by-luca-guadagnino/
(http://berlinfilmjournal.com/wp-content/uploads/2016/12/BerlinFilmJOURNAL-logo-small-e1391620395584.jpg)
Berlinale 2017
Call Me by Your Name
Berlinale 2017 Review
Like his last film A Bigger Splash, Luca Guadagnino excels in the creation of cinematic
moments so beautiful and so rich that you want to frame and conserve them forever.
by Hannah Bahl
February 2017
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‘One of the most perfect, casually intellectual, liberal families ever to grace the big screen' ... Michael Stuhlbarg, Timothée Chalamet
and Armie Hammer in Call Me by Your Name
There are those rare films that suddenly make a very cold Berlinale day feel warm by adding a different colour to life, like a filter on an old polaroid picture. Call Me by Your Name, which is now being shown in Berlin after its premiere at Sundance, is one of them. The film, which is adapted from André Aciman's novel of the same title, is set in a small town “somewhere in Italy in 1983,” where the intellectual family of seventeen-year-old Elio (Timothée Chalamet) have their summer vacation house, and where Elio is destined to fall, ever so gently, into a painfully exquisite love affair.
We arrive in this Italian summer haven where the peaches are ripe and someone is always making pasta, together with the American student, Oliver (Armie Hammer), who will be the summer assistant of Elio’s father, Mr. Perlman (Michael Stuhlbarg), an archeologist. After a few casual Heidegger quotes and classical music interludes it soon becomes apparent that Oliver is visiting the summer house of one of the most perfect, casually intellectual, liberal families ever to grace the big screen.
As the minutes fly by, it becomes seemingly impossible not to fall for each of the characters, and the desperate desire to step into the movie to become a part of this family’s cosmos becomes almost unbearable. You end up yearning to read the newspaper with them, sit at the table during one of their endless summer night patio dinners, listen to Elio playing piano or become part of a discussion about the semantics of the word ‘apricot’ in the morning.
Luca Gudagnino creates a world in which reading books and simply being, is enough. By emphasising the smallest details such as Oliver failing to crack an egg at the breakfast table, he gives everything meaning without making it too obviously ‘meaningful.’ As a director he displays a kindness towards the characters reminiscent of the carefully observant camera-style of Richard Linklater in Boyhood. Consequently, Gudagnino shows us that it is the ordinary things that matter and that we have to allow ourselves to take the time to notice them, like the old woman snapping peas in front of a house when the boys ask for a glass of water on the way to the lake.
(https://2.bp.blogspot.com/-F3_0FPazSVk/V1WIeDT9bXI/AAAAAAADFWY/-uitC4xI-GcxoQsgsubldfMmDuTgI6gWACLcB/s1600/ARMIE%2BHAMMER%2BSHORT%2BSHORTS%2B2.png)
The importance of paying attention to the smallest details is pronounced by the graceful foundation of Elio and Olivers’ characters. Oliver is the classic American. When he leaves he always randomly and nonchalantly throws a ‘later’ into the conversation, which becomes a running gag over the course of the film. In a sense this ‘later’ is the most fitting personification of Oliver (an outstanding performance by Armie Hammer): with his Ryan Gosling-esque cockiness he implies in his ‘later’ a bittersweet promise that persistently lingers in the air throughout the film.
Elio (an incredibly sensitive portrait by Timothée Chalamet) is quite the opposite of the loud, self-aware Oliver. He doesn’t quite know who he is or what he wants yet. Reading books and writing music, carefully observing the actions around him, Elio looks like a boy who could have fallen straight out of a song written by The Cure. So when Oliver asks him in their first encounter what he’s doing the whole summer Elio’s answer is simple, yet it carries a fierce, dramatic undertone, he replies: “waiting for the summer to end.” This indicates that deep down, Elio already has an idea of what this could mean, however, as with all great love stories, the rules of attraction are not that simple, or surmisable in just one sentence.
Clearly cherishing his ensemble, Luca Guadagnino establishes a level of carefully orchestrated intimacy in the relationships between his characters which makes their care-free existence all the more enticing. Consequently, Call Me by Your Name encourages a deep-seated desire for the internet to collapse so that we can all go back to reading books and become sensual, analogue beings, dancing to ’80s music, instead of just mindlessly swiping left and right.
Like his last film, A Bigger Splash, Guadagnino excels in the creation of cinematic moments so beautiful and so rich that you want to frame and conserve them forever. However, where the beauty of certain scenes felt a bit forced in A Bigger Splash, in Call Me by Your Name Guadagnino manages to create an incredible level of lightheartedness which lifts the film to heights rarely found in modern cinema and which linger with you well after the credits roll. At its best, Call Me by Your Name has a casual effortlessness that hardly feels constructed at all. These scenes never seem to be staged or orchestrated, they simply happen naturally and poignantly, like when Oliver and Elio ride their bikes or spend some time at the pool together.
Finding an endearing rhythm between its visual language and its accompanying soundtrack, Call Me by Your Name employs a smart variety of songs including classical tunes, nostalgic ’80s hits and two compositions created especially for the film by Sufjan Stevens. The importance of the music was explained by Guadagnino at the Berlinale press conference:
“When we were working on the script, we asked ourselves how we could encompass the voice of the book into the cinematic language and we were playing with the idea to use a third person narrator but this didn’t feel quite right. We then decided to use the music as a commentator of Elio’s character and Sufjan Stevens’ approach to emotion is unsentimental and really raw.“
The skill to which he deftly applies musical accompaniment to his film is encapsulated within the use of the iconic track Love My Way by The Psychedelic Furs. Guadagnino’s use of the track brings to life a feeling reminiscent of the moment when you received your first carefully arranged mixtape from someone who really meant something to you, a feeling perhaps long forgotten.
A love letter to time and to letting things flow at their own tempo, Guadagnino gives Elio and Oliver the space to find each other without rushing them or assigning them to any queer genre film tick boxes. Yes, the first kiss between the characters is clumsy but we empathise with it, understanding that falling for someone and revealing yourself can be a hellishly awkward experience. There is a subtle beauty in letting two people find each other without forcing it. Certainly, the most striking element in the development of these two characters is how Guadagnino allows them to grow and become more aware of themselves, while slowly leading them to each other completely naturally.
This subtlety is further reinforced by the gaze of the camera which is always an accomplice of the two leading males. The camera is on the boys side, something which becomes glaringly obvious in the more intimate scenes in which Elio and Oliver have sex and Guadagnino makes the smart and conscious decision not to show too much – leaving the audience with their own ideas and defining Elio and Oliver’s intimacy as something sacred.
Although the film clearly focuses on the budding romance between Elio and Oliver, the two are supported by a tremendous cast including Michael Stuhlbarg who plays Elio’s father with an intellectual kindness that resembles Robin Williams in Dead Poets Society. He observes without comment, yet you can see that he knows exactly what’s going on at any given moment. This gives his character an underlying grace, and fashions him into a model liberal father.
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Indeed, in one of the last scenes in the movie in which he explains during a midnight conversation with Elio why it is always worth falling in love, his performance has the potential to equal Robin Williams’ desk-monologue in Dead Poets. It is this scene that gives Elio the agency to be who he is without having to ‘come out’ and brings home the message that in the end, feelings are not about being gay or straight, they’re about allowing yourself to have compassion for someone else and to make yourself vulnerable.
A film that makes you yearn for a love that will hurt you as much as it hurts Elio, Call Me by Your Name teaches us that there is a deep meaning in the world that’s worth being open to. It also makes it impossible to hear someone say ‘later’ and not associate it with the sweet scent of endless possibility which comes with a great love that didn’t need to last forever to be real; Call Me by Your Name gently teaches us that a moment or a summer is enough and that time and romance are entirely relative.
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We arrive in this Italian summer haven where the peaches are ripe and someone is always making pasta, together with the American student, Oliver (Armie Hammer), who will be the summer assistant of Elio’s father, Mr. Perlman (Michael Stuhlbarg), an archeologist. After a few casual Heidegger quotes and classical music interludes it soon becomes apparent that Oliver is visiting the summer house of one of the most perfect, casually intellectual, liberal families ever to grace the big screen.
As the minutes fly by, it becomes seemingly impossible not to fall for each of the characters, and the desperate desire to step into the movie to become a part of this family’s cosmos becomes almost unbearable. You end up yearning to read the newspaper with them, sit at the table during one of their endless summer night patio dinners, listen to Elio playing piano or become part of a discussion about the semantics of the word ‘apricot’ in the morning.
IF NOT LATER, WHEN?
(https://static.tumblr.com/b5e28df8266304420a1dae34d559089f/kekmbi4/QRZol9tpa/tumblr_static_18r955m23ef44wgsgks4ks488.png) by billowyblueshirt
Photoset August 26, 2017 354 notes
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https://billowyblueshirt.tumblr.com/post/164638055299/call-me-by-your-name-by-andr%C3%A9-aciman-he-came-he
http://tattooedsiren.tumblr.com/post/164666591623/billowyblueshirt-call-me-by-your-name-by-andr%C3%A9
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On how Sufjan Stevens became involved: "I thought a voice that was external, of narration, could be great. I thought, 'why don't we have a chronicler, who opens and closes the movie with a thought of introduction and epilogue?' I thought it would be cool if we had not an actor, but a musician. And I love Sufjan, so I approached him for that. And he said, 'forget about it, it's never gonna happen.' So I said, 'OK, what about a song that can be, in a way, playing like that? A song of a musician of today telling the story of someone back in the '80s?' And then he really surprised us, because a couple of months later, when we were shooting, I got an email from his management. And Sufjan not only made a song, but he made two. And also, he made an adaptation for the piano of his beautiful 'Futile Devices.'"
Sufjan Stevens’ latest album, Carrie & Lowell, was a beautifully simplistic work based on his mother’s death and his reeling emotions of anger, abandonment, loss and love. It will be very interesting to see Stevens tackling a film score, as most of his work is so broad in scope that it lends itself to a cinematic format. So everything should translate well, but it’s exciting to see him fully embrace the format.
To accompany the classical music is a trio songs from the aforementioned Sufjan Stevens, two of them original. Along with employing a new ethereal piano arrangement of “Futile Devices” in a moment of longing, the original songs have the feel of tracks off Carrie & Lowell, albeit with more of a wistful elation. For one of these songs, Guadagnino utilizes one of his few overt directorial flourishes: the effect of a film burn as a lonely Elio contemplates furthering their relationship, then later the visualization of a camera negative when he reflects on the time they have had. Both are fleeting flourishes, appearing only for a few seconds, but indelibly convey the passion inside Elio’s soul.
(https://www.hollywoodbowl.com/sites/default/files/styles/performance_slideshow/public/program_photos/sufjan_new_950x347.png?itok=PH32iwxE)
[youtube=850,475]http://www.youtube.com/watch?v=wVZUBMUekck[/youtube]
Sufjan Stevens "John My Beloved" (Official Audio)
From the album CARRIE & LOWELL
Asthmatic Kitty Records
Published on Mar 30, 2015
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John My Beloved
Are we to speak, first day of the week
Stumbling words at the bar
Beauty blue eyes, my order of fries
Long Island kindness and wine
Beloved of John, I get it all wrong
I read you for some kind of poem
Covered in lines, the fossils I find
Have they no life of their own?
So can we pretend sweetly
Before the mystery ends?
I am a man with a heart that offends
With its lonely and greedy demands
There’s only a shadow of me; in a matter of speaking I'm dead
Such a waste, your beautiful face
Stumbling carpet arise
Go follow your gem, your white feathered friend
Icarus, point to the sun
If history speaks of two baby teeth
I’m painting the hills blue and red
They said beware, Lord hear my prayer
I’ve wasted my throes on your head
So can we be friends sweetly
Before the mystery ends?
I love you more than the world can contain
In its lonely and ramshackle head
There’s only a shadow of me; in a matter of speaking I'm dead
I’m holding my breath
My tongue on your chest
What can be said of my heart?
If history speaks, the kiss on my cheek
Where there remains but a mark
Beloved my John, so I’ll carry on
Counting my cards down to one
And when I am dead, come visit my bed
My fossil is bright in the sun
So can we contend, peacefully
Before my history ends?
Jesus I need you, be near me, come shield me
From fossils that fall on my head
There’s only a shadow of me; in a matter of speaking I'm dead
(https://www.hollywoodbowl.com/sites/default/files/styles/performance_slideshow/public/program_photos/sufjan_new_950x347.png?itok=PH32iwxE)
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The skill to which he deftly applies musical accompaniment to his film is encapsulated within the use of the iconic track Love My Way by The Psychedelic Furs. Guadagnino’s use of the track brings to life a feeling reminiscent of the moment when you received your first carefully arranged mixtape from someone who really meant something to you, a feeling perhaps long forgotten.
Clearly cherishing his ensemble, Luca Guadagnino establishes a level of carefully orchestrated intimacy in the relationships between his characters which makes their care-free existence all the more enticing. Consequently, Call Me by Your Name encourages a deep-seated desire for the internet to collapse so that we can all go back to reading books and become sensual, analogue beings, dancing to ’80s music, instead of just mindlessly swiping left and right.
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.
Given Guadagnino’s penchant for lush European settings, it’s unsurprising at how utterly gorgeous this film is to look at, not to mention the 1980’s period setting allowing some choice soundtrack cuts, most notably The Psychedelic Furs’ “Love My Way“, to provide an additive to the film’s erotic nature; offsetting this is musician Sufjan Stevens‘ original song contributions which play into the film’s fairytale-like mentality.
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[youtube=425,350]http://www.youtube.com/watch?v=LGD9i718kBU[/youtube]
The Psychedelic Furs Love My Way
PsychedelicFursVEVO
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Love My Way (1982)
There's an army on the dance floor
It's a fashion with a gun my love
In a room without a door
A kiss is not enough in
Love my way, it's a new road
I follow where my mind goes
They'd put us on a railroad
They'd dearly make us pay
For laughing in their faces
And making it our way
There's emptiness behind their eyes
There's dust in all their hearts
They just want to steal us all
And take us all apart
But not in
Love my way, it's a new road
I follow where my mind goes
Love my way, it's a new road
I follow where my mind goes
Love my way, it's a new road
I follow where my mind goes
So swallow all your tears my love
And put on your new face
You can never win or lose
If you don't run the race
Songwriters: John Ashton / Richard Lofthouse Butler / Timothy Butler / Vincent Davey
Love My Way lyrics © Sony/ATV Music Publishing LLC
In 1982, the band was reduced to a four-piece with the departures of Morris and Kilburn, and moved to the U.S. in search of a producer.[6] The band recorded their next album, "Forever Now", with record producer Todd Rundgren in Woodstock, New York. This album contained "Love My Way", which became another UK chart entry, and also their first US Billboard Hot 100 charting single.
https://en.wikipedia.org/wiki/The_Psychedelic_Furs
https://en.wikipedia.org/wiki/Love_My_Way_(song)
By the way--
In the summer of 1983, Elio and Oliver might have gone to the movies to see--
[youtube=425,350]http://www.youtube.com/watch?v=FcEchaH6EJk[/youtube]
Valley Girl (1983)
Modern English I Melt with You
(https://yt3.ggpht.com/-eUygaxpkDso/AAAAAAAAAAI/AAAAAAAAAAA/sgWUW78eZsA/s88-c-k-no-mo-rj-c0xffffff/photo.jpg)
https://en.wikipedia.org/wiki/Valley_Girl_(film)
https://en.wikipedia.org/wiki/Modern_English_(band)
https://en.wikipedia.org/wiki/I_Melt_with_You
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This press conference (back in February)
is very worthwhile to watch/listen--
starts at 13:13 (move your cursor)
Luca is brilliant as ever, always more
than interesting. Fascinating that
Timothée had been connected to the
film for more than three years, visiting
with James Ivory in Claverack, NY!
André has interesting things to say
also re love and--well, take a look!
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[youtube=630,350]http://www.youtube.com/watch?v=lbKE2or_VDk&t=2211s[/youtube]
https://www.youtube.com/watch?v=lbKE2or_VDk&t=2211s
CALL ME BY YOUR NAME
BERLINALE 2017 Press Conference
Luca Guadagnino
Armie Hammer, Timothée Chalamet
André Aciman, Amira Casar
and Producer Peter Spears
Published on Sep 19, 2017
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The (partial) cast and crew of Call Me by Your Name
Front Row: Victoire Du Bois (Chiara) Esther Garrel (Marzia) Timothée Chalamet (Elio) André Aciman (Author--and Mounir)
Amira Casar (Annella) Luca Guadagnino (Director)
Center Back Row: Peter Spears (Isaac--and Producer) and, Far Right Back Row: Armie Hammer (Oliver)
Photo: Pascal Le Segretain/Getty Images
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9 February to 18 February 2017
https://en.wikipedia.org/wiki/67th_Berlin_International_Film_Festival
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Interesting--the last image of Timothée/Elio in Call Me By Your Name
might be inspired be this last scene in Jean Renoir's A Day in the Country ??
Oh! Oh! Oh! This is going to hurt--(https://68.media.tumblr.com/5385d5c623fba7cd330de9f74523b54c/tumblr_ouc4l4497R1wwjl4jo1_r1_1280.jpg)
http://www.gramunion.com/callmebyurnameandillcallubymine.tumblr.com/163920289941
http://www.gramunion.com/tagged/michael%20stuhlbarg
(https://hopeliesat24framespersecond.files.wordpress.com/2011/03/reno901.jpg)
[youtube=745,350]http://www.youtube.com/watch?v=oaRajFYJT2E[/youtube]
https://www.youtube.com/watch?v=oaRajFYJT2E
Jean Renoir at Work: A Day in the Country -- Partie de campagne (1936)
https://en.wikipedia.org/wiki/Partie_de_campagne
(https://yt3.ggpht.com/-bAO3oL1xzsU/AAAAAAAAAAI/AAAAAAAAAAA/cGhVsSgnY9g/s88-c-k-no-mo-rj-c0xffffff/photo.jpg)
criterioncollection
Published on Feb 13, 2015
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CALLMEBYYOURNAMEFANART
https://twitter.com/mellowbeat__
(https://abs.twimg.com/emoji/v2/72x72/1f351.png)
(https://pbs.twimg.com/profile_images/901012823798566912/fIUK4b24_400x400.jpg)by @mellowbeat__
(https://pbs.twimg.com/media/DK-b-GxUMAAh7eV.jpg)
https://twitter.com/mellowbeat__/status/914120757533229056
https://twitter.com/mellowbeat__
(https://pbs.twimg.com/media/DLESI86VAAAVoii.jpg)
https://twitter.com/mellowbeat__/status/914532208253165568
https://twitter.com/mellowbeat__
The stealth and and stubbornness of his caresses sent chills down my spine. A sudden giddiness overtook me. No, I wasn't going to cry, this wasn't a panic attack, it wasn't a "swoon," and I wasn't going to come in my shorts either, though I liked this very, very much, especially when the arch of his foot lay on top of my foot. When I looked at my dessert plate and saw the chocolate cake speckled with raspberry juice, it seemed to me that someone was pouring more and more red sauce than usual, and that the sauce seemed to be coming from the ceiling above my head until it suddenly hit me that it was streaming from my nose. I gasped, and quickly crumpled my napkin and brought it to my nose, holding my head as far back as I could. "Ghiaccio, ice, Mafalda, per favore, presto," I said, softly, to show that I was in perfect control of the situation. "I was up at the hill this morning. Happens all the time," I apologizing to the guests.
There was a scuffle of quick sounds as people rushed in and out of the dining room. I had shut my eyes. Get a grip, I kept saying to myself, get a grip. Don't let your body give the whole thing away.
"Was it my fault?" he asked when he stopped into my bedroom after lunch.
I did not reply. "I'm a mess, aren't I?"
He smiled and said nothing.
Call Me By Your Name by André Aciman
Recited/Narrated by Armie Hammer
(https://pbs.twimg.com/media/DGaDBZBV0AE7ezw.jpg)
A few scenes from Call Me By Your Name taken at a premiere, source unknown.
https://twitter.com/badpostchalamet @badpostchalamet timothée updates
https://twitter.com/apeachpricot @apeachpricot
CALLMEBYYOURNAMEFANART by @mellowbeat__
https://twitter.com/mellowbeat__
Sept 30 and Oct 01, 2017
#CMBYN #CallMeByYourName #Elio #Oliver #laterpeaches #🍑
#elio perlman #oliver #ulliva
#andré aciman #armie hammer #timothée chalamet #luca guadagnino
#book #novel #film #movie #sonyclassics #lgbt
#art #artwork #artist #illustration
(https://abs.twimg.com/emoji/v2/72x72/1f351.png)
(https://pbs.twimg.com/profile_images/901012823798566912/fIUK4b24_400x400.jpg)
CALLMEBYYOURNAMEFANART
https://twitter.com/mellowbeat__
(https://abs.twimg.com/emoji/v2/72x72/1f351.png)
(https://pbs.twimg.com/profile_images/901012823798566912/fIUK4b24_400x400.jpg)by @mellowbeat__
(https://pbs.twimg.com/media/DIPIOR5UIAE3eJM.jpg)
https://twitter.com/i/moments/809183241286496256
https://twitter.com/mellowbeat__/status/901784510546587649
https://twitter.com/mellowbeat__
https://twitter.com/yorkeos
"I was waiting for you," I said.
"I thought you'd gone to sleep.
I even thought you didn't want to."
"No. Waiting. I just turned the lights off."
I looked up to our house. The window shutters were all closed.
I bent down and kissed him on his neck. It was the first time
I had kissed him with feeling, not just desire.
He put his arm around me.
Harmless, if anyone saw.Call Me By Your Name by André Aciman
Recited/Narrated by Armie Hammer
CALLMEBYYOURNAMEFANART by @mellowbeat__
https://twitter.com/mellowbeat__August 27, 2017
#CMBYN #CallMeByYourName #Elio #Oliver #laterpeaches #🍑
#elio perlman #oliver #ulliva
#andré aciman #armie hammer #timothée chalamet #luca guadagnino
#book #novel #film #movie #sonyclassics #lgbt
#art #artwork #artist #illustration
(https://abs.twimg.com/emoji/v2/72x72/1f351.png)
(https://pbs.twimg.com/profile_images/901012823798566912/fIUK4b24_400x400.jpg)
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(https://pbs.twimg.com/profile_images/1255015267/familyDSC_5411_2_400x400.jpg) Peter Spears
@pjspears
4:41 PM - 28 Sep 2017
16 Retweets 79 Likes
https://twitter.com/pjspears?lang=en&lang=en
https://twitter.com/pjspears/status/911583278163009539
Oh hey, if you're in NYC October 28th, come see us at this Producers Guild event. Lots of great folks scheduled to speak.
Produced By
@Produced_By
https://twitter.com/Produced_By/status/913537560131096576
(https://pbs.twimg.com/profile_images/907384816684998656/J2eZ8XON_400x400.jpg)
https://twitter.com/Produced_By
This film could be a breakout title for
@SonyPictures. Producer @pjspears + actor
@RealChalamet talk @CMBYNFilm --
https://buff.ly/2hsnzQM
(https://pbs.twimg.com/media/DK2JkZ4VAAEf3Sq.jpg)
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(http://www.dwarsligger.nl/wp-content/uploads/boekdb/4e24df0eaa1274.08933839.jpg)
(http://www.dwarsliggers.thaumas.nl/wp-content/uploads/2013/01/Andre-Aciman-Noem-me-bij-jouw-naam.jpg)
(http://www.dwarsligger.nl/wp-content/uploads/boekdb/4e24df0eaa1274.08933839.jpg)
http://www.dwarsligger.nl/boek/noem-me-bij-jouw-naam/
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(https://images-na.ssl-images-amazon.com/images/I/41zSKFCqOcL._SX340_BO1,204,203,200_.jpg)(https://images-na.ssl-images-amazon.com/images/I/41zSKFCqOcL._SX340_BO1,204,203,200_.jpg)(https://images-na.ssl-images-amazon.com/images/I/41zSKFCqOcL._SX340_BO1,204,203,200_.jpg)
(http://1.bp.blogspot.com/-PjXbTN5OCmY/UoHVDSQt4FI/AAAAAAAALts/xQdgh1Eq3hE/s1600/plus+tard+ou+jamais+andr%C3%A9+aciman.jpg)(http://1.bp.blogspot.com/-PjXbTN5OCmY/UoHVDSQt4FI/AAAAAAAALts/xQdgh1Eq3hE/s1600/plus+tard+ou+jamais+andr%C3%A9+aciman.jpg)
(https://images-na.ssl-images-amazon.com/images/I/41zSKFCqOcL._SX340_BO1,204,203,200_.jpg)(https://images-na.ssl-images-amazon.com/images/I/41zSKFCqOcL._SX340_BO1,204,203,200_.jpg)(https://images-na.ssl-images-amazon.com/images/I/41zSKFCqOcL._SX340_BO1,204,203,200_.jpg)
https://www.amazon.fr/Plus-tard-jamais-Andre-Aciman/dp/2879295750/ref=sr_1_1
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Pokliči me po svojem imenu Call me by your name Pokliči me po svojem imenu
(https://i.cdn.nrholding.net/16595294/1000/1000)(https://i.cdn.nrholding.net/16595294/1000/1000)
Pokliči me po svojem imenu Call me by your name Pokliči me po svojem imenu
https://www.mimovrste.com/romani/webhiddenbrand-andre-aciman-poklici-me-po-svojem-imenumehka
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(http://www3.pictures.zimbio.com/gi/Call+Name+Photo+Call+67th+Berlinale+International+5y1KF6hwWJkx.jpg)
I WANTED SOMETHING ISOLATED FROM ANY CONTACT WITH THE REAL WORLD,
I WANTED TO FOCUS JUST ON TWO INDIVIDUALS WHO ARE VERY ATTRACTED
TO EACH OTHER AND FALL IN LOVE, POSSIBLY FOR LIFE.
— André Aciman on writing Call Me by Your Name
https://laterpeaches.tumblr.com/post/165893274754/i-wanted-something-isolated-from-any-contact-with
http://bowie28.tumblr.com/post/165837355526
https://laterpeaches.tumblr.com/
http://bowie28.tumblr.com/
(To want to hear André Aciman's quote, scroll to the video immediately below; the clip is from 35:50 - 36:39.)
(http://moviesandmore.at/wp-content/uploads/2017/02/berlinale2017-logo.jpg)
(https://www.berlinale.de/media/bilder/2017/boulevard_2017/1302/130217_bd_2936_IMG_FIX_1200x800.jpg)
[youtube=630,350]http://www.youtube.com/watch?v=lbKE2or_VDk&t=2211s[/youtube]
https://www.youtube.com/watch?v=lbKE2or_VDk&t=2211s
CALL ME BY YOUR NAME
BERLINALE 2017 Press Conference
Luca Guadagnino
Armie Hammer, Timothée Chalamet
André Aciman, Amira Casar
and Producer Peter Spears
Published on Sep 19, 2017
(https://www.berlinale.de/media/bilder/2017/boulevard_2017/1302/130217_bd_2936_IMG_FIX_1200x800.jpg)
(https://2.bp.blogspot.com/-TNBPMrmzjig/WKrc9nAQhdI/AAAAAAAAhGY/FtuqSJL5XIcTA2jIasBgsCipJ1ekEy6iACLcB/s1600/67th%2Bannual%2BBerlin%2BInternational%2BFilm%2BFestival.jpg)
9 February to 18 February 2017
https://en.wikipedia.org/wiki/67th_Berlin_International_Film_Festival
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This is a possible fragment
of the song we will hear at
the end of the film--well,
we will know in two days--
(https://68.media.tumblr.com/5385d5c623fba7cd330de9f74523b54c/tumblr_ouc4l4497R1wwjl4jo1_r1_1280.jpg)(http://static.stereogum.com/uploads/2017/01/IMG_0475_bw-1485544300-640x480.jpg)
(http://static.stereogum.com/uploads/2017/01/IMG_0475_bw-1485544300-640x480.jpg)(https://68.media.tumblr.com/5385d5c623fba7cd330de9f74523b54c/tumblr_ouc4l4497R1wwjl4jo1_r1_1280.jpg)
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
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(https://images-na.ssl-images-amazon.com/images/I/81y4noYynYL.jpg)
https://www.amazon.de/Ruf-mich-bei-deinem-Namen/dp/3423138947
(http://weltbild.scene7.com/asset/vgw/ruf-mich-bei-deinem-namen-109329288.jpg)
(http://scontent.cdninstagram.com/t51.2885-15/s640x640/sh0.08/e35/20478451_1528295500584165_51901669000085504_n.jpg)
http://www.imgrum.org/tag/AndreAciman
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Timothée and Armie at NYFF
Tuesday October 3 2017
(https://pbs.twimg.com/media/DLRG-4mXUAAsyzb.jpg)
(http://media.gettyimages.com/photos/actors-timothee-chalamet-and-armie-hammer-attend-a-screening-of-call-picture-id857322142?k=6&m=857322142&s=594x594&w=0&h=L3iNoEJLKe8ktBhzEQrzxoDinEwR4v_8JM-PRsZUBg0=)
(https://pbs.twimg.com/media/DLRG-4jXkAUwOih.jpg)
(http://68.media.tumblr.com/52b8892eb1b665b9c85b5e73748b120e/tumblr_oxa2g0XfAz1sn68q5o1_500.jpg)
(http://68.media.tumblr.com/df2161bf5421931d8df1d76e272cac4b/tumblr_oxa2g0XfAz1sn68q5o2_1280.jpg)
(http://78.media.tumblr.com/fced7dbaa4f146c21b9718c33316e787/tumblr_oxnul3fm6E1qej1i6o4_1280.jpg)
(http://78.media.tumblr.com/26aa54584423c64430097102f7121977/tumblr_oxnul3fm6E1qej1i6o3_1280.jpg)
(http://78.media.tumblr.com/fc81e0876874999a0568f50a4d4eb7f5/tumblr_oxnul3fm6E1qej1i6o2_1280.jpg)
(http://78.media.tumblr.com/b1d059a502d32845f536bca294ad5b2d/tumblr_oxnul3fm6E1qej1i6o1_1280.jpg)
(http://68.media.tumblr.com/d99684b2b69f2c26b63d944d379dd5ca/tumblr_oxa2g0XfAz1sn68q5o3_1280.jpg)
(http://68.media.tumblr.com/56e2a0a5c0796eb53b0af62b5b8e4176/tumblr_oxa2g0XfAz1sn68q5o4_1280.jpg)
(https://68.media.tumblr.com/df7abdf5d314a57c9a624239d346050e/tumblr_oxa759mcmV1sn68q5o1_1280.jpg)
http://blog.thefilmstage.com/post/166289685666/armie-hammer-and-timoth%C3%A9e-chalamet-at-the-55th-new
http://monetsberm.tumblr.com/post/166289930646/thefilmstage-armie-hammer-and-timoth%C3%A9e-chalamet
http://monetsberm.tumblr.com/post/166027311461/timoth%C3%A9e-and-armie-at-nyff
http://monetsberm.tumblr.com/
...And Luca!
(http://68.media.tumblr.com/eef0bfc01f3a5bfb08c9f0d962ab00d3/tumblr_oxa2o7oYsy1sn68q5o1_1280.jpg)
(http://78.media.tumblr.com/26397bca2e01533b58f744255548a0b7/tumblr_oxa2o7oYsy1sn68q5o2_1280.jpg)
http://monetsberm.tumblr.com/post/166027458441/armie-timoth%C3%A9e-and-luca-at-nyff
http://monetsberm.tumblr.com/
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And--the server's down!!
The internet is broken!!
:laugh: :laugh: :laugh: :laugh:
The Art of Seduction:
Armie Hammer & the Hottest Movie of the Season
"I KNOW THAT I WILL CARRY THE EXPERIENCE OF MAKING THIS MOVIE FOR THE REST OF MY LIFE.
I DON’T WANT TO SAY MOVIES CAN CHANGE THE WORLD, BUT IF WE CAN CHANGE ONE PERSON’S
PERSPECTIVE, WE CAN CHANGE THAT PERSON’S WORLD."
— Armie Hammer on Call Me by Your Name
https://laterpeaches.tumblr.com/post/165985913183/i-know-that-i-will-carry-the-experience-of-making
http://bowie28.tumblr.com/post/165852864145
https://laterpeaches.tumblr.com/
http://bowie28.tumblr.com/
(https://pbs.twimg.com/media/DK2ZulHWkAEQWxd.jpg:large)
(https://www.out.com/sites/out.com/files/2017/09/29/armie-hammer-x750.jpg)
(https://www.out.com/sites/out.com/files/2017/09/29/02-armie-hammer.jpg)
https://www.out.com/out-exclusives/2017/10/02/art-seduction-armie-hammer-hottest-movie-season
(http://68.media.tumblr.com/1922705757ac2cb1b25dda3f1a149a56/tumblr_ox1tkpNMgU1wx4tjzo2_r1_540.png)
(http://68.media.tumblr.com/e4f4f39f75db8307e4e7e0786a990dc0/tumblr_ox1tkpNMgU1wx4tjzo3_r1_540.png)
(http://68.media.tumblr.com/0b3f00118c9d67c683a238883248c6a5/tumblr_ox1tkpNMgU1wx4tjzo5_r1_540.png)
(http://68.media.tumblr.com/3448d00827b53d0109e5d996b2c460a3/tumblr_ox1tkpNMgU1wx4tjzo6_r1_540.png)
http://monetsberm.tumblr.com/post/165870563616/laterpeaches-i-know-that-i-will-carry-the
http://monetsberm.tumblr.com/
(https://pbs.twimg.com/media/DK2ZulHWkAEQWxd.jpg:large)
https://twitter.com/KitKowalski/status/913555345666125824
https://twitter.com/hashtag/callmebyyourname?lang=en
They have no mercy...
5:05 PM - 28 Sep 2017
#ArmieHammer #CallMeByYourName #cmbyn #outmagazine
-
https://www.out.com/out-exclusives/2017/10/04/art-seduction-armie-hammer-hottest-movie-season
(https://upload.wikimedia.org/wikipedia/commons/2/2e/Out_Magazine_Logo.svg)
The Art of Seduction:
Armie Hammer & the Hottest Movie of the Season
"I KNOW THAT I WILL CARRY THE EXPERIENCE OF MAKING THIS MOVIE FOR THE REST OF MY LIFE.
I DON’T WANT TO SAY MOVIES CAN CHANGE THE WORLD, BUT IF WE CAN CHANGE ONE PERSON’S
PERSPECTIVE, WE CAN CHANGE THAT PERSON’S WORLD."
— Armie Hammer on Call Me by Your Name
(https://www.out.com/sites/out.com/files/2017/10/02/01-armie-hammer.jpg)
Star Armie Hammer,
director Luca Guadagnino & novelist André Aciman on
Call Me by Your Name 's passionate road
to the screen.
BY AARON HICKLIN
WED, 2017-10-04 07:12
Is there a sexier book than Call Me by Your Name, André Aciman’s 2007 paean to eros awoken during a sultry, sensuous Italian summer? “This novel is hot,” wrote Stacey D’Erasmo in the first line of her review for The New York Times, echoing the sentiments of the book’s legions of fans for whom it quickly became a touchstone of adolescent gay longing with a satisfying twist—one often denied in our coming-out narratives: Desire is rewarded; hunger is sated. Boy gets boy. In the novel’s most famous scene, boy also gets peach—a kind of dry run for what the narrator, Elio Perlman, fantasizes about doing with Oliver, a research assistant staying at his family’s summer villa on the Italian Riviera.
That scene, which plays out across several pages with potent intensity, almost didn’t make it into the novel. Aciman thought about cutting it, then left it to his editor to decide. Something similar happened after Luca Guadagnino, best known for exquisite meditations on passions both thwarted and unbridled in movies like I Am Love, signed on to direct the movie. “I was tempted to remove it from the script,” he confesses. “In the book, it is so strong and explicit that I thought it was a metaphor, something that couldn’t exist in real life.” Although he ultimately decided it would be coy to delete the scene, Guadagnino grappled with how to depict it. “I was struggling with the possibility that you can masturbate yourself with such a fruit,” he explains. “So I grabbed a peach and I tried, and I have to say—it works.” It wasn’t only Guadagnino who needed to understand the mechanics of making love to a piece of fruit. “I went to Timothée [Chalamet, who plays Elio], and said, ‘We shoot the scene, because I tried it and it worked.’ And he said, ‘I tried, too, and I already knew it worked.’ ”
Funny as the anecdote is, it also illuminates the way in which Guadagnino engages with his actors. After all, this isn’t American Pie, and the scene with the peach feels as naked and vulnerable as cinema gets, and as drenched in symbolism as a Renaissance painting. “I’ve never been so intimately involved with a director before,” says Armie Hammer, who plays Oliver, the all-American object of Elio’s fantasies. “Luca was able to look at me and completely undress me. He knew every single one of my insecurities, every time I needed to be pushed, and when I needed to be protected.” It was a rare experience for the actor, who had wanted to work with Guadagnino for many years. “I probably fell in love with Luca the same way Elio fell in love with [my character] Oliver,” he says. “I looked at him with amazement.” The feeling was mutual. “I fell in love with Armie when I saw him in The Social Network,” says Guadagnino, who has a buoyant, infectious energy. “And then I had the privilege of meeting him, and I fell in love again. And I’ve never recovered from falling in love with him.”
(https://www.out.com/sites/out.com/files/2017/09/29/02-armie-hammer.jpg)
Suffice to say, this is not how most directors typically talk, but then, working with Guadagnino is not like working with most directors. “It’s like stepping through the Looking Glass,” says producer Peter Spears, who optioned Aciman’s novel before it was published after seeing an early galley in 2007. “The guys came early and we were all living in this town in northern Italy, and Luca would cook for us each night,” he recalls. “You are not going to a set or a soundstage—you are literally living and breathing this.” Chalamet, taking a break from the set of Woody Allen's as-yet-untitled new movie, recalls weeks on location taking guitar and piano lessons and “soaking in the vibe of the town.”
Such proximity to each other, and to the specific environment of the movie, created a rare bond that carried into the film. Spears describes a sequestered world in which the usual artifice of a film set falls away to the point where the line between the actors and the characters they play becomes blurred and porous. For Hammer the challenge was its own reward. “So much of this movie is about stripping everything away and exposing yourself,” he says. “I grew up in conservative white America, where you just don’t talk about yourself, your desires, wanting to express your sensuality—it’s taboo. To be fully immersed in Luca’s world was just an incredible gift.”
It’s a gift for the audience, too. To borrow from D’Erasmo, this film is hot. Much of it takes place around a pool, and the camera is not bashful, lingering on the tuft of hair below Oliver’s neck or Elio’s lithe, glabrous body with the same tender pleasure with which it captures a sleepy town square in the golden light of a late summer’s day. The sumptuous cinematography by Sayombhu Mukdeeprom conjures heat, sun, skin, scent. As in the book, you hear the hum of the cicadas, smell the pine sap. Who wouldn’t fall in love in such an enchanted place?
“I think location is character,” says Guadagnino. “I really aim for portraying it in the most precise way.” As a result, the movie thrums with the nostalgic tug of time and place in keeping with the novel’s Proustian spirit, and its period, 1983. “Luca is without doubt the most epicurean individual I’ve ever met,” says Hammer. “He flows through the ether as if he wants to consume and make love to everything.” And, like the epicure he is, Guadagnino takes his time, allowing the intimacy to build gradually into a crescendo, swept along by Ravel’s deeply romantic “Une Barque sur L’Ocean,” and a set of lovely new songs by Sufjan Stevens. When, in a provincial town on the eve of a wrenching separation, the two men find themselves in a small bar dancing to the Psychedelic Furs’ “Love My Way,” you can be forgiven for feeling that you, too, had just relived the whole tumultuous experience of first love.
While true to its spirit, the sweetly giddy bar scene is not drawn from the book. Instead it’s a musical madeleine from Guadagnino’s own youth. “I’m not trying to make people weep, but I didn’t dance with an Armie Hammer,” he says. “I danced by myself in my bedroom.” There are movies, after all, and then there is real life. Yet, asked how difficult it was to be a young gay man in 1980s Italy, Guadagnino, who was raised in Ethiopia by his Nigerian mother and Sicilian father before moving to Palermo, is nonchalant, almost contrary. “It wasn’t difficult at all,” he says. “I never had to do any coming out because I was always myself.” The third child of five, he says his family left him largely to his own devices. “I grew up worshipping artists who were fiercely and dangerously themselves—Truman Capote, Rainer Fassbinder—and with them it wasn’t about ‘don’t ask, don’t tell.’ It’s about punching you in the face because I am an individual and a wild card in my own self—I don’t belong to a repertoire of behavior that I need to stick with.” He was reading Thomas Mann’s Buddenbrooks at the age of 12, and its literary aestheticism continues to influence his work today.
(https://www.out.com/sites/out.com/files/2017/09/29/cmbyn1-armie-hammer.jpg)
It may be Guadagnino’s punchiness that saves Call Me by Your Name from the compromises that a different director might have made. “I could have made this movie with much more money if I put an antagonist in the script,” he says. “Many financiers said to me that it needed someone who would contrast with Elio and Oliver, so that the force of love would triumph.” Luckily for us, he did not not succumb to that cliché. The film’s most quietly radical attitude is to present the family not as a locus for oppression but as the very opposite. In one deeply satisfying scene we get to see that Elio’s father has always known—and approved—of his son’s liaison. “Someone said to me, ‘Wow, Mr. Perlman is such a radical father,’ ” recalls Hammer. “I stopped them and said, ‘If his speech to his son about knowing yourself, and being OK with yourself because it doesn’t matter, is a radical position for a father, then may we all be radicalized.” For Guadagnino, Mr. Perlman epitomizes a maternal compassion, one shared with the novel’s female characters. “I like to think this is a movie about the family as a place of protection and evolution and transformation,” he says. “A place where you relieve your kids—you don’t oppress them by forcing them to stick to your own cultural rules.”
Much as we might wish all fathers to be like Mr. Perlman, the reality is that many are more like James Woods. Shortly after its premiere in Toronto in September, the Trump-supporting actor attacked the movie on Twitter, posting, “As they quietly chip away the last barriers of decency,” alongside the hashtag #NAMBLA, the acronym for the North American Man/Boy Love Association, which advocates pedophilia. After Hammer tweeted back, “Didn’t you date a 19-year-old when you were 60.......?”, the actor Amber Tamblyn weighed in with a killer tweet of her own: “James Woods tried to pick me and my friend up at a restaurant once,” she wrote. “He wanted to take us to Vegas. ‘I’m 16’ I said. ‘Even better’ he said.” Woods later responded to say that Tamblyn was a liar, and that sex with a 17-year-old was illegal. Quite apart from the fact that the age of sexual consent in Italy is 14 (16 if it’s with someone in a position of authority, like a teacher), the tweet served to illuminate the stubbornly puritanical lens through which many Americans view teenage sexuality as something to be repressed. The movie makes the opposite case. Hammer recalls a signature moment during the peach scene that might well serve as the film’s thesis. “Elio turns to Oliver and says, ‘I’m sick, aren’t I?’, and Oliver says, ‘You’re not sick. I wish everyone was as sick as you.’ ”
When Hammer was offered the role of Oliver, he demurred at first. “It seemed so subtle, so personal, and so real that I didn’t know if I could do that as an actor,” he says. “I didn’t know if I had it in me to give such a tender performance. It scared me.” Guadagnino was prepared for that. “He assuaged all my apprehensions by helping me to realize that fear and desire are part and parcel,” says Hammer, aware that his casting may confound audiences more familiar with his turns in brash blockbusters like The Man From U.N.C.L.E. or The Lone Ranger. Although it’s not the first time he’s played a gay character—he was J. Edgar Hoover’s lover in Clint Eastwood’s 2011 biopic J. Edgar—Oliver is a more emotionally complex character than he’s used to. The change in tempo suits him. Earlier this year Hammer appeared in Stanley Tucci’s Final Portrait, about the life of the artist Alberto Giacometti, and in early 2018 he will be seen in Hotel Mumbai, opposite Dev Patel, which focuses on the 2008 Mumbai terror attacks. A new movie, Mimi Leder’s On the Basis of Sex, in which he plays the husband of Ruth Bader Ginsburg, starts filming shortly. “I think when I started having success in this business, largely as a result of The Social Network, people thought, Big, tall, handsome guy, let’s get him in front of a franchise, let’s make some big movies!, but it just didn’t pan out as everyone thought it would,” he says. “That ended up being a blessing in disguise, because I got to consciously shift gears after The Man From U.N.C.L.E. and make these little movies that would push me. I hope this movie will lead to more of the same, and I hope people don’t necessarily associate me with the guy who wants to make big movies.”
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Of course, one reason small movies don’t become big movies is that they take artistic risks. Call Me by Your Name could have been a more chaste film, but also a very different one. “If we were super worried about that stuff, we’d have made a lot of changes in the script years earlier and probably got the money to make a much more inferior film,” notes Spears. Yet making the movie was not easy. After Spears secured the rights in 2007, the project idled in limbo, caught between the need to shoot in Italy during the summer and capricious schedules. Three sets of directors and writers were attached before Guadagnino took it on. “Almost every summer there was an incarnation of the movie that would come together in the winter, be on the runway by spring, and then inevitably something would happen and the whole thing would fall apart for another year,” recalls Spears.
That the movie was made at all may be something of a minor miracle, but that the book exists in the first place is a circumstance of accident, not design. Aciman had been grappling with a different story in 2005, and started writing Call Me by Your Name as a distraction that unfurled into a 250-page novel in the space of three months. “I wanted to be in a villa in Italy inspired by Monet’s paintings, and I decided to write about a house by the beach,” he recalls. “There’s an alley of pine, and a car comes. That was the beginning, and I wasn’t going to go beyond that, but one thing led to another.”
He elaborates, “A young man steps out of the car, and there’s a 17-year-old kid who is the son of the owner of the house. And that was it, really—I was not going to go any further than that. I was not going to write another book, but I got carried away. Occasionally, I’d think, OK, this is where we stop, it’s going to get too lascivious, but then I would continue.”
Aciman is straight, yet who can accuse this deeply lyrical writer of appropriating gay experience, given how well he writes about it? When, early in the book, Elio imagines Oliver entering his room and lying on top of him, Aciman takes the reader to the heart of gay sexual awakening: “The words that came to me as I pressed my eyes shut were, ‘This is like coming home, like coming home after 10 years away among Trojans and Lestrygonians, like coming home to a place where everyone is like you, where people know, they just know—coming home as when everything falls into place and you suddenly realize that for almost two decades all you’d been doing was fiddling with the wrong combination.”
Who, having been a queer adolescent, cannot relate to that thrill of self-recognition, or the desire to find your place among others like you? It’s a testament to the particular gift of Guadagnino that the soul of the novel has been so ravishingly transmitted to the screen. “The transposition is so direct and so real and persuasive that as the writer I found myself saying, ‘Wow, they’ve done better than the book,’ ”
says Aciman.
It’s no coincidence that the script was written by James Ivory, who made his own contribution to the coming-out genre as the director of the 1987 movie Maurice, based on E.M. Forster’s novel of the same name. Forster only allowed Maurice to be published after his death, but what’s remarkable about the book is Forster’s insistence on a happy ending: Those outside of the closet fare better than those locked in. When it was published, many critics attacked it as unrealistic, but Forster’s optimism seems prescient now.
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Despite the initial shame that Elio feels after consummating his desire for Oliver, we know that he, too, will flourish by embracing the fullness of his identity.
“This is a boy who feels attractive and does not feel that there is anything wrong with that,” says Aciman. “I didn’t want the parents to be difficult. I didn’t want him to have friends who would make fun of him.”
Like Moonlight, last year’s indie that roared, there is already Oscar buzz building around Call Me by Your Name. Although very different movies, they share a fascination with the enduring resonance of first love. “As Luca says about Moonlight, a piece of art arrives when we’re ready for it,” says Spears. “So maybe in some ways we were waiting for the time to be right for this movie. It’s just a story about two people who fall in love for the first time, without waiting for the other shoe to drop, expecting something horrible to befall them, and a price to pay for loving authentically.”
For Hammer, the movie has already left its mark—on him. “I know that I will carry the experience of making this movie for the rest of my life,” he says. “I don’t want to say movies can change the world, but if we can change one person’s perspective, we can change that person’s world.”
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Peter Spears @pjspears 7:39 AM - 28 Sep 2017
https://twitter.com/pjspears?lang=en
TBT. BTS Making movies. Italy 2016/1983 Call Me By Your Name
So, after seeing the movie at NYFF last night, I realized that, like Elio, I found that I had been faking being 'adult' for what seemed like years, and that, suddenly, I found myself unable to make my own way home, and, after feeding a gettone into the antiquated telephone, I needed to call Mom and ask her, tearfully, to pick me up from the station near Bergamo.
I also need to see the four hour version of the movie right away, please. Without people who feel it 'necessary' to loudly applaud during the last shot with Timothée staring into the fire just because Luca quietly put the movie title in the lower left of the frame, so no one could hear Sufjan's singing, or figure out his lyrics. Thanks.
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(https://pbs.twimg.com/profile_images/1255015267/familyDSC_5411_2_400x400.jpg) Peter Spears
@pjspears
3:41 PM - 4 Oct 2017
5 Retweets 60 Likes
https://twitter.com/pjspears?lang=en&lang=en
https://twitter.com/pjspears/status/915708403888066560
This.
(https://pbs.twimg.com/profile_images/915641529011724290/OWQmC8X9_bigger.jpg) Armie Hammer Global
@ArmieHGlobal
3:23 PM - 4 Oct 2017
29 Retweets 106 Likes
https://twitter.com/ArmieHGlobal
https://twitter.com/ArmieHGlobal/status/915703978368880640
Call Me By Your Name posters in the subway in London (https://abs.twimg.com/emoji/v2/72x72/1f351.png) (https://abs.twimg.com/emoji/v2/72x72/1f499.png)
(https://pbs.twimg.com/profile_images/906222921840041984/8b2p9_KX_bigger.jpg) iana @ LFF
@yorgosIanthimos
3:19 PM - 4 Oct 2017
54 Retweets 194 Likes
https://twitter.com/yorgosIanthimos
https://twitter.com/yorgosIanthimos/status/915702858229714945
king’s cross st pancras !!
SHES HERE AND SHES BEAUTIFUL
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[youtube=780,750]http://www.youtube.com/watch?v=bTYUyDjVCRU[/youtube]
https://www.youtube.com/watch?v=bTYUyDjVCRU
Maurice Ravel: Miroirs III. Une Barque sur L'Ocean (1904-1905)
(pianist André Laplante)
Sounds familiar....
https://en.wikipedia.org/wiki/Maurice_Ravel
https://en.wikipedia.org/wiki/Miroirs
https://en.wikipedia.org/wiki/Andr%C3%A9_Laplante
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[youtube=800,350]http://www.youtube.com/watch?v=KLDe2cuViq8[/youtube]
https://www.youtube.com/watch?v=KLDe2cuViq8
Now THIS is the
interview we wanted
Wednesday evening!
Luca Guadagnino | Call Me by Your Name Press Conference | NYFF55
Film Society of Lincoln Center
Published on Oct 4, 2017
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Call Me by Your Name, director Luca Guadagnino and screenwriter James Ivory’s tender adaptation of André Aciman's novel is one of the year’s cinematic sensations. In a press conference, the director discussed his favorite movie romances, the Maurice Pialat film that inspired him most, À Nos Amours (1983) how musician Sufjan Stevens acts as a narrator in Call Me by Your Name, and more.
A story of summer love unlike any other, the sensual new film from the director of I Am Love, set in 1983, charts the slowly ripening romance between Elio (Timothée Chalamet), an American teen on the verge of discovering himself, and Oliver (Armie Hammer), the handsome older grad student whom his professor father (Michael Stuhlbarg) has invited to their vacation home in Northern Italy. Adapted from the wistful novel by André Aciman, Call Me by Your Name is Guadagnino’s most exquisitely rendered, visually restrained film, capturing with eloquence the confusion and longing of youth, anchored by a remarkable, star-making performance by Chalamet, always a nervy bundle of swagger and insecurity, contrasting with Hammer’s stoicism. A Sony Pictures Classics release. Special thanks to French Cultural Services.
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https://theplaylist.net/call-me-by-your-name-luca-guadagnino-20171005/
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film society lincoln center NYFF55/2017
Call Me by Your Name
Luca Guadagnino Discusses Avoiding Cliches, Costumes & Narration
by Joe Blessing
October 5, 2017 12:22 pm
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Luca Guadagnino speaks at NYFF55 film society lincoln center about his film Call Me by Your Name
NEW YORK -- One of the most anticipated films playing at the New York Film Festival is Luca Guadagnino’s “Call Me By Your Name.” An adaptation of the beloved novel by Andrè Aciman, “Call Me By Your Name” tells a story of sexual awakening and growth starring Armie Hammer and Timothee Chalamet as two young men who meet on the sun-drenched Italian coast in the summer of 1983. Sensual and sensitive, the film abjures the tragic element found in many gay romances and instead tells a joyous story of fleeting and formative young love. Guadagnino came to Lincoln Center to present his film and fielded questions from the press.
On clichés in the coming-of-age genre
Guadagnino shared that he was initially resistant to directing the film but that one reason he relished the chance was to correct flaws he saw in most coming-of-age films. He complained about the mechanistic way such films present growth as a result of resolving certain preconceived dilemmas, like choosing between two lovers. “The idea that there is a contrast against the lovers is a construct that is so artificial, that there has to be somebody that is going to contrast and that the love will triumph, or in the gay canon, the love will triumph and be bittersweet, or it will not triumph.”
While trying to avoid those clichés, he was inspired by the work of Maurice Pialat, specifically his 1983 film “A Nos Amours.” Guadagnino said, “What is great about Pialat’s cinema, is the capacity that he has always had to avoid the traps of a narrative and to be at the center of his characters and to really let live the flesh and bone and blood and sperm and every other kind of biological fluid to his characters in a way that is really connected with the audience because we are like the people on the screen.”
He continued that a specific goal for him was “that I wanted to show to myself that I could tell the story from the perspective of someone like Pialat instead of the perspective of three acts.”
Later, Guadagnino was asked about love stories on film that inspired him and he mentioned Hitchcock’s “Vertigo” (showing “the morbidity of love”), “L’Atalante” by Jean Vigo, and “Voyage to Italy,” by Roberto Rossellini.
On capturing 1983 through costume design
Guadagnino said, “It was very important for us for the movie not to look period, for the movie not to look like a reflection on the 80s, the way cinema usually does, when it becomes period. It’s very difficult to resist the temptation of thinking of a period from our perspective, our idea of the 80s.” He elaborated on “2001” as an example of projecting current tendencies into the future only for the reality to look totally different and also on the extreme stylization of “Dick Tracy” as valid approaches, but said “what I prefer for myself is to be invisible. Which is probably the greatest of the artifices, to reconstruct something that is not there anymore but to try to be close to what it was.”
Guadagnino and his team achieved this verisimilitude through extensive research, with an assist from the residents of Crema, both his hometown and a shooting location for the film. “One thing we did, Crema is a very small village, so we found the opportunity to enter other people’s houses and they gave us their pictures of their ’80s. So we had a big, big book and we discovered a lot, for instance, not all the ladies had big shoulders, not all the ladies had big hair. This is something that has sort of become canon for ’80s representation, but it’s not exactly how it was. And again, the Maurice Pialat film was a great guide because that is a 1983 film.”
“Call Me By Your Name” was acquired by Sony Pictures Classics; it will be released in the U.S. November 24.
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[youtube=650,350]http://www.youtube.com/watch?v=S_D8bjc4SmE[/youtube]
Why Did You Shoot an Entire Feature Using Only One Lens?Luca Guadagnino and Walter Fasano
director/co-writer/producer and co-writer/editor of
CALL ME BY YOUR NAME
discuss their decision to shoot the film with one lens.MovieMaker Magazine
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Sundance 2017
Sundance 2017 Review
Armie Hammer Finally Gets The Role He Deserves In The Fantastic
Call Me by Your Name
by MIKE RYAN
https://twitter.com/mikeryan
24 January 2017
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Loving and respectful and tender ... Timothée Chalamet, Michael Stuhlbarg and Armie Hammer in Call Me by Your Name
There’s a scene near the end of Call Me By Your Name, which premiered this week at the Sundance Film Festival, where Michael Stuhlbarg’s character delivers some of the most touching and heartfelt advice to his son, Elio (Timothée Chalamet), that I’ve ever seen on a movie screen. It’s the kind of scene that stops a viewer dead in his or her tracks because we know we’re watching something so special. Then we can’t help but think how many lives wouldn’t have been damaged if everyone had a parent this empathetic and wise. (I’ll come back to this.)
Armie Hammer's breakout role came by playing the Winklevoss twins in 2010’s now-classic The Social Network. (And it is crazy that movie is now pushing seven years old.) And he played the roles perfectly as brash, imposing and being able to deliver a cocky one-liner. But then Hollywood couldn’t quite figure out what to do with him.
His follow-up was as Clyde Tolson in Clint Eastwood's J. Edgar, a role and movie that looked much more interesting on paper than the drab result that Eastwood delivered. The Lone Ranger flopped at the box office, but this wasn’t Hammer’s fault – that movie is impossibly weird and strangely violent in comparison to how it was marketed and has already been reassessed as something unique and unusual in today’s blockbuster landscape. But even though Hammer might have those leading man, blockbuster movie looks, that’s not really where his talents lie.
(Strangely, one of my favorite performances from Hammer came when he played himself in the Entourage movie, of all things. This is not an actor who’s afraid to make fun of himself.)
The Man From U.N.C.L.E. is underrated (I like this movie quite a bit), but I’m not convinced Hammer sporting a thick Russian accent is the best use of his talents. And in Nocturnal Animals, he’s the dickish, rich cheating husband that I was afraid Hammer was about to be typecast as forever.
Finally, finally, director Luca Guadagnino (A Bigger Splash) realized a way to use Hammer’s talents appropriately in Call Me By Your Name.
Hammer plays Oliver, an academic who is living with the Perlman family in Northern Italy circa 1983. Oliver is tall, handsome, seemingly confident, charming and sometimes a little arrogant. (A running joke in the film is when Oliver leaves a conversation he will just say “later” and takes off.) Elio soon finds himself intrigued by Oliver, and slowly that intrigue turns into something else that Elio is confused by, yet he can’t help himself from taking action.
There’s a beautiful scene when Elio tells Oliver about his feelings, staged around a small circular World War I memorial as the two keep getting further and further away from each other, than meeting on the other side. Oliver has feelings for Elio as well, but cautions that nothing can happen and advises Elio to just forget this was ever brought up and to continue on like nothing has ever happened.
Of course, that doesn’t last long. It starts with some innocent kissing in a field, then soon becomes scheduled rendezvous in remote locations for fear of getting caught by Elio’s parents (which would be devastating for both Elio and Oliver). Both actors are wonderful, but was Hammer does here is majestic. He could easily come off as the older creep, but that doesn’t happen. Hammer’s performance is loving and respectful and tender. He’s not taking advantage of Elio – Oliver genuinely has feelings for him – but is also deeply concerned this might be too much for the young man. The way this is all handled is touching and beautiful.
(I’d be remiss if I didn’t mention another recurring joke: Oliver’s dancing. Oh, he’s a big fan of the Psychedelic Furs’ “Love My Way” and breaks into maybe the funniest little ‘80s dance I’ve ever seen, mostly due to watching the impossibly tall Hammer in his short ‘80s shorts breaking into the lamest of dances– but yet he sells it with such gumption, if I saw this happening in real life it would be impossible not to just join in with him.)
At the beginning of this piece I mentioned Michael Stuhlbarg’s advice to Elio. I am not a parent, but I feel like I might make a better parent someday after watching this. Maybe it should be required viewing for new parents. Without giving too much away, it’s a master class in empathy in a situation where saying the wrong thing at this moment could damage Elio forever. It’s a statement on what we do to ourselves as we get older to protect ourselves emotionally, but in return slowly losing the passion that made us feel – losing the emotions that made us human and instead of burying those emotions, we should cherish them. It’s something only an older person can say to a younger person, and maybe something only the older person can even understand. Call Me By Your Name is a triumph of humanity.
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Though viewers are sure to read much into the strange chemistry taking shape between Elio and Oliver, Luca Guadagnino concentrates his attention on the surface: a freshly prepared Italian breakfast, tree branches heavy with ripe fruit, the glowing sun on honeyed skin. But even as he indulges our senses with such details, the subtext becomes impossible to ignore.
http://variety.com/2017/film/reviews/call-me-by-your-name-review-1201966646/
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Sundance 2017
Call Me by Your Name
Sundance 2017 Review
I Am Love director Luca Guadagnino weaves a beguiling tale of first love
as Armie Hammer and Timothée Chalamet share a steamy Italian summer
by Peter Debruge
@AskDebruge
Monday 23 January 2017 12:15AM PT
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Though Elio and his family have spent many a summer in Lombardy, something is different about this one —
Michael Stuhlbarg, Timothée Chalamet and Armie Hammer in Call Me by Your Name
As numerous are the ways in which Luca Guadagnino’s latest (and most personal) film, “Call Me by Your Name,” advances the canon of gay cinema, none impresses more than the fact that it’s not necessarily a gay movie at all — at least, not in the sense of being limited to LGBT festivals and audiences. Rather, the “I Am Love” director’s ravishingly sensual new film, adapted from André Aciman’s equally vivid coming-out/coming-of-age novel, is above all a story of first love — one that transcends the same-sex dynamic of its central couple, much as “Moonlight” has.
Acquired by Sony Pictures Classics shortly before its Sundance premiere, this Proustian account of an Italo-American 17-year-old’s transformative summer may not be as commercial as “Moonlight,” but it ought to be a word-of-mouth art-house hit all the same — especially when talk turns to what teenage Elio Perlman (Timothée Chalamet) and American summer guest Oliver (Armie Hammer) do with a ripe peach.
Had the film been made in 1983, when the book is set, or 2007, when it was published, the steamy forbidden-fruit scene would surely have landed an NC-17 rating. Today, neither audiences nor the MPAA seem quite so squeamish about such demonstrations of passion, no matter how nontraditional. If anything, the scandalous moment should only help the film to reach its fullest potential audience — as will its sun-blissed Northern Italy location.
Embracing the spirit, if not the letter of Aciman’s novel, Guadagnino and co-writers Walter Fasano and James Ivory (of the Merchant Ivory dynasty that brought us “Maurice” and “A Room With a View”) have resituated the action ever so slightly to Lombardy. The film takes place at the Perlmans’ vacation home, a spacious old villa not unlike the one seen in the Patricia Highsmith-esque, Guadagnino-produced short “Diarchy.” Every summer, Elio’s professor father (Michael Stuhlbarg) hires a promising young doctoral student to assist with his research. This year, the Jewish family’s house guest is a 24-year-old golden boy of the kind that might once have graced the pages of Physique Pictorial magazine.
Oliver’s arrival stirs something in Elio, though the teen is slow to confront his feelings. On one hand, he’s compelled to spend as much time with the newcomer as possible, serving as his guide on bike rides to town and frequent trips to the local swimming hole. At the same time, he’s protective of his own feelings, unsure how to read Oliver’s casual American attitude (the way his hand caresses Elio’s shoulder, or the aloof “Later” with which he signs off every conversation).
Though viewers are sure to read much into the strange chemistry taking shape between Elio and Oliver, Guadagnino concentrates his attention on the surface: a freshly prepared Italian breakfast, tree branches heavy with ripe fruit, the glowing sun on honeyed skin. But even as he indulges our senses with such details, the subtext becomes impossible to ignore.
Though Elio and his family have spent many a summer in Lombardy, something is different about this one — that much is clear in the way Elio interacts with longtime girlfriend Marzia (Esther Garrel). They’ve known each other since childhood and are so comfortable around one another, it seems a logical next step that they might choose to lose their virginity with one another. But Elio holds back temporarily, bragging to Oliver that he and Marzia could have had sex after a late-night swim, just to see what kind of reaction it gets.
Oliver is interested, but is clearly wary of acting on his desires, since Elio is not only inexperienced, but also his boss’ son. This seductive outsider correctly anticipates that anything physical that might happen between him and Elio will have a lasting impact on the young man’s sexual identity. And yet, the pair brazenly peacock for one another, parading around shirtless and leaving the doors to their shared bathroom ajar — an improvised mating ritual echoed by a low insect buzz that fills the soundtrack.
As played by Hammer, Oliver is the smoldering embodiment of cocky self-confidence, and yet, there’s an endearing vulnerability in the way he needs for Elio to make the first move — setting the tempo for the deliciously tentative courtship dance between them. Meanwhile, relative newcomer Chalamet combines the intellectual precocity and hot-blooded animal energy of a young Louis Garrel, circa “the Dreamers,” distinguishing himself via the character’s mastery of three languages (English, French, and Italian) and two musical instruments (guitar and piano).
As Elio and Oliver’s attraction become more brazen, the question remains how much of their “special friendship” registers with Elio’s parents. The boy’s mother (Amira Casar) certainly picks up on the impact Oliver has had on her son, even going so far as to suggest that the two spend a few days alone together before Oliver ships off to New Jersey. As for Elio’s father, Guadagnino has done justice to one of the book’s key passages, crafting an exquisite scene in which Stuhlbarg’s character bares his soul via a terrific monologue delivered after the boy returns home — putting to rest a question subtly raised earlier in the film, when a homoerotic slide show doubles as a hesitant proposition of sorts.
No matter how intellectually progressive the Perlman family is, no father has ever said something so open-minded and eloquent to his son, and yet, the film offers this conversation as a gift to audiences who might have desperately needed to hear it in their own lives. This splendid conversation makes such an impact, the film could have ended there (the novel follows the characters for years more), though Guadagnino does supply a bittersweet coda that implies how the two leads look back on that summer — further suggesting that the film isn’t a literal rendering of Elio’s experience, but a bittersweet embellishment of his memory. These were the days that shaped him, marked by the intense tastes, textures, and odors that Guadagnino so effectively amplifies for the viewer’s benefit.
Back in Italy, some critics have held Guadagnino’s work in advertising and brand promotions against him, whereas here in the States, audiences hold no such grudges, responding instead to the director’s cinematic virtuosity. Even as he beguiles us with mystery, Guadagnino recreates Elio’s life-changing summer with such intensity that we might as well be experiencing it first-hand. It’s a rare gift that earns him a place in the pantheon alongside such masters of sensuality as Pedro Amodóvar and François Ozon, while putting “Call Me by Your Name” on par with the best of their work.
Sundance Film Review: 'Call Me by Your Name'
Reviewed at Sundance Film Festival (Premieres), Jan. 22, 2017. Running time: 132 MIN.
PRODUCTION: A Sony Pictures Classics release of a RT Features, Frenesy Film Co., La Cinéfacture production. (International sales: Memento Films, Paris.) Producers: Peter Spears, Luca Guadagnino, Emilie Georges, Rodrigo Teixeira, Marco Morabito. Executive producers: James Ivory, Howard Rosenman, Tom Dolby, Naima Abed, Nicholas Kaiser, Lourenço Sant'Anna, Sophie Mas, Francesco Melzi d'Eril, Derek Simonds, Margarethe Baillou.
CREW: Director: Luca Guadagnino. Screenplay, James Ivory, Guadagnino, Walter Fasano. Camera (color, widescreen): Sayombhu Mukdeeprom. Editor: Walter Fasano. Music: Sufjan Stevens.
WITH: Armie Hammer, Timothée Chalamet, Michael Stuhlbarg, Amira Casar, Esther Garrel, Victoire Du Bois, Vanda Capriolo, Antonio Rimoldi, Elena Bucci, Marco Sgrosso.
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http://variety.com/2017/film/global/james-ivory-why-wont-u-s-actors-do-nude-scenes-starting-with-call-me-by-your-name-stars-1202581485/
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James Ivory
on
Call Me by Your Name
and
Why American Male Actors Won’t Do Nude Scenes
(EXCLUSIVE)
by Nick Vivarelli
@NickVivarelli
OCTOBER 6, 2017 4:20AM PT
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The city of Florence feted director-writer James Ivory this week with its Fiorino d’Oro prize and three days of celebrations for the 30th anniversary of “A Room With a View,” the triple-Oscar-winning film that proved to be a game-changer for Ivory and his longtime producer and partner in life, Ismail Merchant. “A Room With a View” paved the way for their work on Hollywood pics such as “The Remains of the Day,” and was groundbreaking in its depiction of male nudity – a topic about which Ivory, who wrote the screenplay for new gay coming-of-age film “Call Me by Your Name,” directed by Luca Guadagnino, has strong feelings.
Ivory, 89, spoke with Variety from Florence. Here are excerpts from the interview, edited for concision and clarity.
One of the things that’s been pointed out about “Room” is the nudity in the scene when three men strip naked, jump in a lake, and start splashing and wrestling. It’s a type of carefree male nudity which you recently said hadn’t been seen onscreen before, and hasn’t been seen since. How deliberate was that?
My idea of the Sacred Lakes sequence, as it is called, was that it really had to be as Forster described it. We’d never really been bound by the studio requirements on things like nudity, so I said, “Let’s just do it, and what is seen is seen.” It was not even a “yes or no” decision. I had no idea that scene would get so much attention. It gets tremendous amounts of laughter. I had no idea that it was such a comical scene as well.
So it wasn’t a deliberate attempt to do something different.
I just figured, “Let it be.” I’ve always thought that about nudity. There are moments when I think the story demands it, and if you don’t get it you feel sort of short-changed. And I’ve felt that way about some other films as well, particularly “Maurice.” That said, I’m glad we broke some sort of barrier. But it all depends on nationalities. For instance, if you were to make that film today and you had American actors, it would be in their contract that they could not be shown nude. But in those days — in the ’80’s and these were all British actors — they didn’t give a damn!
There are two American actors in “Call Me by Your Name.” Armie Hammer has said he was nervous about all the nudity that was originally in the script.
Certainly in my screenplay there was all sorts of nudity. But according to Luca, both actors had it in their contract that there would be no frontal nudity, and there isn’t, which I think is kind of a pity. Again, it’s just this American attitude. Nobody seems to care that much, or be shocked, about a totally naked woman. It’s the men. This is something that must be so deeply cultural that one should ask: “Why?”
Can you talk about the part you played in the long journey of “Call Me by Your Name”?
Some friends of mine [producers Peter Spears and Howard Rosenman] bought the screen rights to the novel by Andre Aciman, and were trying in various ways to make it into a film. They couldn’t find a director and eventually they picked Luca, who then apparently said: “Let me co-direct it with James Ivory.” So they came and asked me and I said OK, but I also said: “If I’m going to direct it, then I want to write a screenplay.” That took several months, and that’s the screenplay that they then raised money on to finally make the film. Then at a certain point it was decided that they wanted just one director, and it was going to be Luca. I didn’t mind that much. I was still very much involved. We were working together right up to the point of the shoot.
You’ve often said that after “A Room With a View” you could have done anything. You chose to make “Maurice,” a passion project that your regular screenwriter, Ruth Prawer Jhabvala, didn’t want to write. What was the urgency of “Maurice” for you? Did it have something to do with a desire to put a gay romance onscreen?
Not in that sense, no. Because of the many years spent in India, I had re-read “A Passage to India,” and that made me curious about all the rest of Forster’s novels. And in time I came to “Maurice” [a posthumously published E.M. Forster novel about same-sex love]. We had just made “A Room With a View” and I thought: “This is the other side of the coin.” As a story it’s again about muddled young people who are ready to live a lie rather than live truthfully, and I thought the two of them really go together.
“Maurice” has been considered too gay for its time, which may explain why even though it won a prize in Venice, reaction to the film was quite muted.
In New York nobody dwelled on that aspect. But in England, where almost every important film critic was gay, they came out against the film. Their reactions to it were extraordinary! You’d think that they would have been supportive, but they were afraid to be supportive.
The London Times reportedly wondered whether “so defiant a salute to homosexual passion should really be welcomed during a spiraling AIDS crisis.”
That’s the thing. That sums up a hidden attitude on the part of gay writers for those papers.
Do you think the climate has changed enough, perhaps thanks to “Moonlight,” so that “Call Me by Your Name” won’t suffer from the type of muted response that “Maurice” was met with?
I think so. It’s already happening. Every time “Call Me” is shown at a film festival, people are raving about it.
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[youtube=700,350]http://www.youtube.com/watch?v=JCJquKusENs[/youtube]
https://www.youtube.com/watch?v=JCJquKusENs
Luca Guadagnino | Call Me by Your Name
NYFF Live discussion | NYFF55
with stars
Timothée Chalamet, Armie Hammer,
and Michael Stuhlbarg
Film Society of Lincoln Center
Published on Oct 7, 2017
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In between a pair of sold-out screenings that earned standing ovations, the team behind Call Me by Your Name—director Luca Guadagnino and stars Timothée Chalamet, Armie Hammer, and Michael Stuhlbarg—joined us for an NYFF Live discussion [and on Facebook]. In a conversation moderated by Nigel M. Smith, they talked about their idyllic summer in Italy, the adaptation process, how the casting came together, their favorite classic films, if we might ever see a sequel, and more. Call Me by Your Name opens on November 24 courtesy of Sony Pictures Classics.
A story of summer love unlike any other, the sensual new film from the director of I Am Love, set in 1983, charts the slowly ripening romance between Elio (Timothée Chalamet), an American teen on the verge of discovering himself, and Oliver (Armie Hammer), the handsome older grad student whom his professor father (Michael Stuhlbarg) has invited to their vacation home in Northern Italy. Adapted from the wistful novel by André Aciman, Call Me by Your Name is Guadagnino’s most exquisitely rendered, visually restrained film, capturing with eloquence the confusion and longing of youth, anchored by a remarkable, star-making performance by Chalamet, always a nervy bundle of swagger and insecurity, contrasting with Hammer’s stoicism. A Sony Pictures Classics release. Special thanks to French Cultural Services.
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(http://www4.pictures.zimbio.com/gi/Armie+Hammer+Nigel+Smith+55th+New+York+Film+KgsE847iK0Ul.jpg)
(http://media.gettyimages.com/photos/michael-stuhlbarg-timothee-chalamet-and-armie-hammer-attend-nyff-live-picture-id857659234?k=6&m=857659234&s=594x594&w=0&h=MbrLKItXjtmUvScWjHKWg98r_zDLI6GK7mNOQiZSg48=)
Also: https://www.facebook.com/NYFilmFest/videos/1575588282498937/?hc_ref=ARSan8jkeLchqnHOzfYeOgny98_2WlYWGhQATdQZXFXmueiRlJmTMex-EeaX6kicAK0
https://www.facebook.com/CallMeByYourNameFilm/
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By now, I think I’ve made clear my disdain for the beautifying of gay life for the sake of pandering to those who find it inherently unseemly. The idea that in order to be considered fully human, one must reduce his or her humanity is fundamentally absurd. If a straight person’s motive is to hate the sin but love the sinner, I’m not going to help them carry out their cockamamie logic for the sake of keeping everyone feeling comfortable.
So on that very crucial level, Call Me By Your Name does not work for me, does not speak to me, does not speak for me. On almost every other level, though, it does.
This is a sumptuous, lovely film, a perfectly rendered memory of a perfect moment in its characters’ lives. It captures something Elio and Oliver would hold onto forever if memories were tangible, and it makes you feel privileged for consuming it in a way that allows you to go back and replay it exactly as it happened. Call Me By Your Name is a triumph of aesthetics over politics in a time when art is more likely than ever to be judged for what it represents instead of what it actually does.
https://themuse.jezebel.com/call-me-by-your-name-and-the-art-of-compromise-1819157333
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film society lincoln center NYFF55/2017
Luca Guadagnino's
Call Me by Your Name
and the Art of Compromise
by Rich Juzwiak
Friday Oct 6 2017 2:20pm
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“Grow up. I’ll see you at midnight.” At film society lincoln center NYFF55: Timothee Chalamet in Luca Guadagnino's Call Me by Your Name
NEW YORK -- Just when Luca Guadagnino’s Call Me By Your Name is about to give what you want—what it’s spent over an hour building up to—it cruelly denies it. As principal characters Oliver (Armie Hammer) and the decidedly younger Elio (Timothee Chalamet) begin to consummate the sexual tension that’s been building since Oliver entered the frame in the movie’s first few minutes, Guadagnino’s camera turns toe and glides off. It pans away from the bed they’re on to peer out of the nearby window, settling on a tree as Oliver and Elio exchange sighs. No mere cut, the stylistic anomaly that is this tracking shot in a film otherwise devoid of them is a deliberate move that seems to signal modesty if we’re being charitable (and sexual shame on the part of an openly gay filmmaker, if we aren’t).
Guadagnino has gone on to explain just how pointed this decision was. Shortly after his film debuted at Sundance this year to a rapturous response, in an interview with The Hollywood Reporter he was asked about the lack of explicit sex in his movie. The director responded:
I wasn’t interested at all. The tone would’ve been very different from what I was looking for. I wanted the audience to completely rely on the emotional travel of these people and feel first love. I didn’t want the audience to find any difference or discrimination toward these characters. It was important to me to create this powerful universality, because the whole idea of the movie is that the other person makes you beautiful—enlightens you, elevates you. The other is often confronted with rejection, fear or a sense of dread, but the welcoming of the other is a fantastic thing to do, particularly in this historical moment.
The idea that in order to foster “universality” and shield characters in a same-sex affair from malignant discrimination (or merely the benign detection of difference) bespeaks a form of covering—a term coined by writer Kenji Yoshino to describe the suppression of integral parts of one’s personhood (in Yoshino’s context: sexuality and race) in order to be accepted by greater straight society. “To cover is to tone down a disfavored identity to fit into the mainstream,” wrote Yoshino in his 2006 book Covering: The Hidden Assault on Our Civil Rights.
Covering is a highly effective tactic—respectability politics that removed sex from sexuality were crucial in the ultimate victory of marriage equality. But it’s also a massive burden on queer people to manage and compartmentalize their sexuality in a world where heterosexuality and heteronormativity are so unavoidable that they’re as integral to life and easy to take for granted as the air we breathe.
Now, Call Me By Your Name is an unmistakably gay romance featuring two men who have sex unmistakably. Vintage Will & Grace it ain’t. We aren’t looking at an entirely neutered portrayal of gay partnership—there is, in fact a scene that occurs the day after Oliver and Elio have sex, in which Oliver drops to his knees, briefly fellates Elio and then retreats (he says it’s to test Elio’s virility but it’s clearly mostly to fuck with him). Neither this nor the slight consummation scene, though, have quite the intensity or grit of an earlier scene portraying hetero sex, in which Elio fucks a girl around his age named Marzia (Esther Garrel), at least partially to take his obsessive mind off of Oliver. We watch him pumping on top of her for a while, his back to the camera, and then apologizing profusely when he comes too soon.
Further, Guadagnino frequently zigs when the source material compels him to zag. A scene in the book in which Oliver and Elio shit in front of each other, reifying their bond, is perhaps unsurprisingly nowhere to be found, and the movie’s already infamous scene, in which Elio masturbates with a peach under his boxers, comes devoid of the book’s payoff: Oliver eating it with Elio’s semen in it. In the film, Elio starts crying before Oliver can take a bite.
By now, I think I’ve made clear my disdain for the beautifying of gay life for the sake of pandering to those who find it inherently unseemly. The idea that in order to be considered fully human, one must reduce his or her humanity is fundamentally absurd. If a straight person’s motive is to hate the sin but love the sinner, I’m not going to help them carry out their cockamamie logic for the sake of keeping everyone feeling comfortable.
So on that very crucial level, Call Me By Your Name does not work for me, does not speak to me, does not speak for me. On almost every other level, though, it does.
This is a sumptuous, lovely film, a perfectly rendered memory of a perfect moment in its characters’ lives. It captures something Elio and Oliver would hold onto forever if memories were tangible, and it makes you feel privileged for consuming it in a way that allows you to go back and replay it exactly as it happened. Its vivid pastel hues repeatedly evoke watercolor paintings. Its actors’ vitality and chemistry imbue its world of extraordinary luxury with realism. For me, Call Me By Your Name is a triumph of aesthetics over politics in a time when art is more likely than ever to be judged for what it represents instead of what it actually does. I do not love its methods of selling itself as palatable, but I very much enjoy the overall product.
Besides, Call Me By Your Name was always going to be marked by compromise. What’s so special about its source material, André Aciman’s 2007 novel of the same name, is, in fact, not its love story, which is rather spare and generic (24-year-old philosophy student Oliver stays for the summer with two scholars in their Northern Italy summer home, has an affair with their 17-year-old son). What’s truly distinctive about the book is the narrator Elio’s anxious, stream-of-conscious narrative that picks through every bit of minutiae in Oliver’s behavior, interrogating his intentions, his feelings, the actual meaning behind his every move. A seven-word note that Oliver writes Elio—“Grow up. I’ll see you at midnight.”—yields two pages of dissection from Elio in Aciman’s novel. In Guadagnino’s movie, Elio merely reads it once in voiceover.
In its method of storytelling, Aciman’s book ultimately speaks to how much of our objects of desire are projections of our own imagination—Oliver remains a sparsely sketched mystery throughout even after his feelings for Elio are mutual, even after Elio has filled over 200 pages with his hypotheses and responses. In that sense, Guadagnino’s aforementioned summation of the movie’s theme—“the other person makes you beautiful—enlightens you, elevates you”—is not a precise replication of Aciman’s but its inverse. It’s a subtle but crucial distinction: Aciman suggests that you make the other person beautiful. Though the book is largely set in the early ’80s (as is the movie, entirely), the idea that what we desire is so informed by our own minds remains extremely relevant in the age of geolocation apps, when so many men meet their partners on the basis of a few textually exchanged words and some still photographs, their minds filling in the blanks and ultimately leading them to share space with the actual human behind the image they’ve created.
Via the movie’s rendering in flesh of what exist as just ideas in the book, we get much more of a sense of the connection between Elio and Oliver. Armey Hammer is beaming with charisma, his character’s every invitation to Elio (to go into town, to go swimming) ratchets up the sexual tension in a far more straightforward, palatable way than the jittery, is-he-or-isn’t-he way it plays out in the book. Timothee Chalamet carries Elio with a deeper self-assuredness than the book allows—the kid is, after all, a genius who plays multiple instruments and speaks multiple languages. His subtle declaration of love for Oliver on a piazetta comes out as matter-of-fact in the movie, whereas in the book it gushes out like champagne that’s been shaken since it was bottled. And though Oliver’s age is never specified, Hammer would never be mistaken for 24 (he’s now 31). The considerably increased age difference from the book’s seven years makes Oliver’s mentorship and his treatment of Elio as an equal more poignant.
It’s easy to get swept up in the film’s many riches—the outdoor scenery is so lush with greenery you can practically smell the grass, and there’s a scene that takes place at a lake that’s one big gorgeous blue-green ombre. Everything—the sky, the water, the mountains—falls on its unique point between those two colors. And then maybe at some point, you’ll realize like I did that this in many ways beyond its portrayal of sex, this is the most mainstream user-friendly version of a gay relationship possible. Two impossibly good-looking, charismatic white guys have an effortlessly loving bond while swaddled in affluence with nothing better to do then feed their brains with books and their souls with each other. They devote their summer to leisure and waste not a second. The closest thing this film has to an antagonist is the limited nature of their time together (Elio’s parents, especially his father, are so compassionate it’s almost surreal). It untangles the struggle and turmoil from the typical depictions of same-sex romance. This is far from everyone’s reality, but then Call Me By Your Name is a fantasy, as most movies are.
Moments before the film ends, a now-absent Oliver proves his enduring love to Elio by declaring, “I remember everything!” It was Call Me By Your Name ’s execution of rose-colored retrospect that I related to far beyond its depiction of a gay relationship, and it was its invoking of the melancholy of time’s passage that pressed out my sadness. By now, I should be used to the inevitable malaise that sets in at the end of August, and yet it hits me just as hard, year after year.
It is the transmission of halcyon and the ensuing tragedy of its evaporation that Guadagnino nails in his adaptation. In the book, Oliver refers to the place “right on the tiled edge of the pool” at Elio’s house, where he sunbathes everyday, as “heaven.” I don’t remember him calling it that in the movie, but he doesn’t need to because it’s obvious that’s what it is.
Call Me By Your Name is currently playing the New York Film Festival and will open in New York and Los Angeles on November 24.
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FYI, young director Ferdinando Cito Filomarino (31 years old in November) is the significant other of Luca Guadagnino---
also FYI, the film below stars Louis Garrel, who is the brother of Esther Garrel (Marzia in Call Me by Your Name ).
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[youtube=700,350]http://www.youtube.com/watch?v=bXUccvoXriA[/youtube]
https://www.youtube.com/watch?v=bXUccvoXriA Full Movie at 18:59
DIARCHIA (2010)
Written and Directed By
Ferdinando Cito Filomarino
(who also directed) ANTONIA (2015)
Produced By
Luca Guadagnino
with stars
Louis Garrel, Riccardo Scamarcio,
and Alba Rohrwacher
anselrigardi
Published on Oct 22, 2013
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Prix Pianifica at Locarno 2010
Best Director of a Short Film at Nastri d'Argento 2011 (Italian Syndacate of Film Critics)
Nominated as Best Short Film at European Film Awards 2010
Honorable Mention at Sundance Film Festival 2011
Luc (Louis Garrel) and Giano (Riccardo Scamarcio) are traveling through the woods when a storm breaks, forcing them to take shelter in Luc's villa. Gradually and insidiously, a competition emerges between them, with terrible consequences.
Luc e Giano sono in macchina in un bosco quando la pioggia li porta a chiudersi nella villa di uno dei due. Lentamente cresce un'insidiosa competizione fra i due, con gravi conseguenze.
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(http://media.gettyimages.com/photos/riccardo-scamarcio-ferdinando-cito-filomarino-and-alba-rohrwacher-picture-id103285242)
http://newcelluloid.com/2015/06/26/diarchy-2010/
Also:
http://www.filmitalia.org/p.aspx?t=film&l=en&did=58198
http://www.imdb.com/title/tt1695771/
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Ferdinando Cito Filomarino
Writer | Director | Assistant Director
http://www.imdb.com/name/nm2982028/
https://de.wikipedia.org/wiki/Ferdinando_Cito_Filomarino
Ferdinando Cito Filomarino (b. 1986, 30-31 years old) was born and grew up in Milan. After studying in Boston and London, he studied at the DAMS (Discipline delle Arti, della Musica e dello Spettacolo) in Bologna and completed a work on a film-historical theme. Filomarino did not attend a film school but learned his craft on the set . He gained his first experience in the film as a director and assistant to the film editor at film projects in London.
Crucial for his career as a director was his encounter with Luca Guadagnino, who hired him for his film I Am Love as an assistant director. In Guadagnino's films A Bigger Splash, Call Me by Your Name and in the post-production remake Suspiria, he was Second Unit Director. In 2010, he directed the short film Diarchia, for which he also wrote the screenplay. In the same year, Diarchia received the Pianifica Award at the Locarno International Film Festival, and the Short Filmmaking Award at the Sundance Film Festival and Filomarino, the silver band of the Italian National Syndicate of Film Journalists as the best short film director. He also wrote his own books for his films. In 2013, he directed the documentary L'inganno on the development of Luchino Visconti's film Gruppo di famiglia in un interno. It was Visconti's penultimate film, which was paralyzed on production halfway after a stroke and died two years later. Filomarino himself is a descendant of the Visconti and extensively related to Luchino Visconti.
After another short film, he worked with Sayombhu Mukdeeprom as cinematographer his only feature film so far. In Antonia it is about the life of the Milanese lyricist Antonia Pozzi , who took her life in 1938. The film ran in 2015 in the competition of the festival in Karlovy Vary and received a Special Jury Mention.
Second Unit Director or Assistant Director (5 credits)
2018 Suspiria (second unit director) (post-production)
2017 Call Me by Your Name (second unit director)
2015 A Bigger Splash (second unit director)
2012 The Landlords (second unit director)
2009 I Am Love (second second assistant director)
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Giuppy D'Aura (L) Luca Guadagnino (C) Ferdinando Cito Filomarino (R) pose for a portrait session
August 5, 2011 64th Festival del Film di Locarno Switzerland
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CALLMEBYYOURNAMEFANART
http://www.pictaram.org/sirayy
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(http://68.media.tumblr.com/321ff147287c49b7a9baed1b188d520b/tumblr_oxc35kTVWB1qflffco1_1280.jpg) by @sirayy
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(http://68.media.tumblr.com/c09583a6433fc891999066d3f33fa74a/tumblr_oxc35kTVWB1qflffco4_1280.jpg)
http://timotheschalamet.tumblr.com/post/166065659739/i-just-wanna-say-that-this-is-the-cutest-shit
https://twitter.com/hashtag/callmebyyourname?lang=en
https://www.pictaram.org/post/BZ2k8e5hxU3
http://www.pictaram.org/sirayy
"What happened last night?"
film society lincoln center NYFF55/2017
CALLMEBYYOURNAMEFANART by @sirayy
http://www.pictaram.org/sirayy
Oct 5, 2017 18 Notes, 433 Likes
Fan Art / Digital Art / Drawings / @sirayyg
#CMBYN #CallMeByYourName #nyff
#elio #elio perlman #oliver #ulliva #laterpeaches 🍑
#andré aciman #armie hammer #timothée chalamet #luca guadagnino
#book #novel #film #movie #sonyclassics #lgbt
#art #artwork #artist #digital art #digitalart
#digitalpainting #fanart #fanartdigital
(https://abs.twimg.com/emoji/v2/72x72/1f351.png)
(http://68.media.tumblr.com/321ff147287c49b7a9baed1b188d520b/tumblr_oxc35kTVWB1qflffco1_1280.jpg)
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Can you believe??
Timmy is already in London,
signing autographs--and
Luca is in Rio--HOW can
they do it??
:o :o(http://68.media.tumblr.com/8438c6e8e5674564a1c2e10d236a5838/tumblr_oxijosh1pE1qe8tjno2_500.jpg)
(http://68.media.tumblr.com/07be0b2b189259dd30fd67e6fec73640/tumblr_oxijosh1pE1qe8tjno1_500.jpg)
Timmy with a fan in London on Oct 8, 2017 + clip
https://laterpeaches.tumblr.com/post/166187244928/bowie28-armieharnmer-i-cant-even-describe-how
http://bowie28.tumblr.com/post/166183807990
Wow. Quite a schedule the boys have in the next week to week-and-a-half: London (BFI), Rio (FdR) and NYC (NYFF). :o :o :o
(https://scontent-sea1-1.cdninstagram.com/t51.2885-19/s150x150/21878799_382150318866705_6472398698688020480_n.jpg) anything hammer
( @anythinghammer )
1:34pm 09/26/2017
2 Retweets 22 likes
#NEW ☆ 'Call me by your name' will be at BFI London Film Festival in October - Armie and Timmy are confirmed.
http://www.pictame.com/user/anythinghammer/5801238368
(https://scontent-sea1-1.cdninstagram.com/t51.2885-15/s480x480/e35/21911267_134998180457163_36171338393583616_n.jpg?ig_cache_key=MTYxMjM5ODQ4ODAxNjM1MDMyNg%3D%3D.2)
http://www.pictame.com/media/1612398488016350326_5801238368
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Superfan 'MonetsBerm'
is in Rio, and met with
Luca!
(http://68.media.tumblr.com/9c0572901196e7b51dca83c64a35e3ee/tumblr_oxfn4cerp61sn68q5o2_1280.jpg)
"Soooo, I met Luca tonight. I gave him my copy of the book to sign and told him I had seen the film early in the morning and he was like: “Did you like it?” And I said of course, it’s amazing! He smiled. Then I said I had been waiting since february to see it. He looked me in the eye, smiled, put his hand on my shoulder and said: “Thank you!” And then I died :) He was sooo lovely and warm, tho I could tell he was exhausted, poor thing. Saw the film again, laughed and cried again (it was even better the second time around), and again Timothée floored me. Sigh… Then at the end Sony gave us this cute t-shirt that I’ll wear for the rest of my life!
I wasn’t able to ask him any questions about the film because he wasn’t at the press screening this morning and there was no Q&A after the premiere tonight. He spoke with some major media vehicles at the hotel and that was it. I met him very, very briefly. I’m sorry! :/
Bottom line: Today was a VERY good day!!"
http://monetsberm.tumblr.com/post/166129815926/soooo-i-met-luca-tonight-i-gave-him-my-copy-of
(http://68.media.tumblr.com/4147e818640df4c8cb88d283d3586364/tumblr_oxfn4cerp61sn68q5o1_1280.jpg)(http://68.media.tumblr.com/6a97ce580d8ab40041751a3bc0a431a4/tumblr_oxfn4cerp61sn68q5o3_1280.jpg)(http://68.media.tumblr.com/8fbcb53481dfb562ca24467597f36f53/tumblr_oxfn4cerp61sn68q5o4_1280.jpg)
(http://68.media.tumblr.com/2cf9aaa96ec0941635a8cde9b93f17d0/tumblr_owrpmleUHD1qfemg2o1_1280.jpg)
http://edwardnygmaa.tumblr.com/post/165677104704/call-me-by-your-name-will-be-at-the-rio-film
http://edwardnygmaa.tumblr.com/
http://www.festivaldorio.com.br/br/filmes/call-me-by-your-name
Me chame pelo seu nome
Verão de 1983, norte da Itália. Elio Perlman, um jovem ítalo-americano de 17 anos, passa seus dias na vila de sua família, um antigo casarão do século XVII. Seus dias são repletos de composições ao piano e flertes com sua amiga Marzia. Um dia, Oliver, um charmoso homem de 24 anos, chega para ajudar o pai de Elio em sua pesquisa sobre cultura greco-romana. Sob o sol do verão italiano, Elio e Oliver descobrem a beleza do despertar de novos desejos que irão mudar as suas vidas para sempre. Exibido no Sundance Film Festival e na mostra Panorama do Festival de Berlim, 2017.
Call me by your name
Summer of 1983, northern Italy. Elio Perlman, a 17-year-old Italian-American young man, spends his days in the village of his family, an old 17th century manor house. His days are filled with piano compositions and flirtations with his friend Marzia. One day, Oliver, a charming 24-year-old man, comes to help Elio's father in his research on Greco-Roman culture. Under the Italian summer sun, Elio and Oliver discover the beauty of the awakening of new desires that will change their lives forever. Shown at the Sundance Film Festival and Panorama show at the Berlin Film Festival, 2017.
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CALLMEBYYOURNAMEFANNOTES
http://monetsberm.tumblr.com/
(https://abs.twimg.com/emoji/v2/72x72/1f351.png)
HEART OF HEARTS
(http://static.tumblr.com/bb4d1c19bdcce6228a2b371d682fe708/tniclml/9vUovelhg/tumblr_static_66yl159ff44kckgw0ckogocws.jpg) by monetsberm.tumblr.com
Superfan 'MonetsBerm' is in Rio--
(http://68.media.tumblr.com/2cf9aaa96ec0941635a8cde9b93f17d0/tumblr_owrpmleUHD1qfemg2o1_1280.jpg)
http://monetsberm.tumblr.com/post/166204423746/tomorrow-will-be-my-fifth-and-last-screening-of
SUNDAY, 8 OCT 2017
monetsberm:
Tomorrow will be my fifth and last screening of CMBYN and I’ve been having early withdrawal symptoms since the third time I watched it. This film truly is like a drug, the more you see it the more you love it and want to see it again, and again and again.
Some things I kept thinking about on my way to the hotel tonight after round number 4 (spoilers):
- The scene where Elio’s mom reads the “is it better to speak or die” tale, in German, to Elio and Mr. Perlman, simultaneously
translating it to English. Elio is laying on both their laps, and she’s running her fingers through his hair. After Elio says he’d never have the courage to ask such a question, Mr. Perlman tells him: “Hey… Elly Belly. You know you can always talk to us”. SO much love and understanding in that one scene, it melts my heart.
- When Elio breaks down at the end of the peach scene and Oliver holds him, comforts him, kisses his tears away and Elio says into his shoulder, with a small, broken voice: “I don’t want you to go…” I always cry with him.
- I felt really sorry for Marzia. Much more than I thought I’d. She’s a lovely girl and she deserved better. Also Esther Garrel. Phew.
- The way they change from Italian to French to English mid-sentence is lovely.
- Elio’s: “Andiamo, Americano!” ("Come on, American!") and “Tregua?” ("Truce?") Cute, cute, cute.
- Oliver’s undying love for The Psychedelic Furs added 10 years to my life.
- The foot massage scene. Elio moaning and his: “You’ll kill me if you do that…” while running his fingers down Oliver’s neck. The kind of stuff dreams are made of.
- “Can I kiss you?” “Yes please” spoken in low, breathless voices.
- Elio is so fucking hot I want to punch him in the face. He smokes a lot and looks gorgeous doing it.
- Armie portrays Oliver’s sensitivity/vulnerability in such a wonderful way. He touches Elio as if he was something very precious, and thank God his “Are you ok?” “Does this make you happy?” are all there in the film.
- From the moment [Sufjan Stevens's] “Mystery of Love” starts playing to the moment the film fades to black I’m crying non stop. This will never change.
- The screening today was full of beautiful gay men from all ages, accompanied by their friends and lovers, all happy and excited to see the film. My heart was full of joy for them.
http://monetsberm.tumblr.com/post/166204423746/tomorrow-will-be-my-fifth-and-last-screening-of
http://elioeoliver.tumblr.com/post/166211138457/monetsberm-tomorrow-will-be-my-fifth-and-last
https://laterpeaches.tumblr.com/post/166214706598/monetsberm-tomorrow-will-be-my-fifth-and-last
Oct 8, 2017 134 Notes
#CMBYN #CallMeByYourName #Festival do Rio #monetsberm
#elio #elio perlman #oliver #ulliva #laterpeaches 🍑
#andré aciman #armie hammer #timothée chalamet #luca guadagnino
#book #novel #film #movie #sonyclassics #lgbt
(https://abs.twimg.com/emoji/v2/72x72/1f351.png)
HEART OF HEARTS
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http://matholcroft.tumblr.com/post/166214683059
http://matholcroft.tumblr.com/
http://monetsberm.tumblr.com/post/166216041096
http://monetsberm.tumblr.com/
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'You do know that you live in a state
where the age of consent is 16, right….?
Ok. Now shut up.'
('And thank you for your service to our country')
https://twitter.com/armiehammer?lang=en
(http://i.dailymail.co.uk/i/pix/2017/10/09/06/4528B7B200000578-4961620-Clap_back_However_Hammer_slapped_back_on_Twitter_by_stating_You_-a-34_1507526601544.jpg)
http://www.dailymail.co.uk/tvshowbiz/article-4961620/Armie-Hammer-defends-relationship-Call-Name.html
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Armey Hammer gamely plays along and gives the perfect supporting performance. He knows the film isn’t his, and mirroring Oliver’s attitude toward Elio, the actor stands back, letting Timothée Chalamet find his rhythm. The young actor gives an emotionally raw performance, easily acting as the audience surrogate. It is a performance that improves as the film goes on, and during the final devastating shot, as Sufjan Stevens plays, it feels as if he has come of age alongside Elio.
(http://cdn.entertainment-focus.com/wp-content/uploads/2017/08/Webp.net-resizeimage-3-5-770x433.jpg)
http://culturefly.co.uk/call-me-by-your-name-bfi-london-film-festival-review/
(http://culturefly.co.uk/wp-content/uploads/2015/09/cultureflynewlogo.png)
BFI LONDON FILM FESTIVAL REVIEW
Call Me by Your Name
★★★★★
by HENRY BEVAN
OCTOBER 8, 2017
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As Sufjan Stevens plays, Timothée Chalamet gives an emotionally raw performance in Call Me by Your Name
“Is it better to speak or to die?” asks Armie Hammer’s Oliver, the 24-year-old summer intern for Michael Stuhlbarg’s Professor Perlman. Oliver is quoting an old tale, but the meaning is clear: he is referring to his burgeoning relationship with Elio (Timothée Chalamet), Professor Perlman’s 17-year-old son. Both characters are conflicted about their feelings, confused at what they mean and what they could do. Call Me By Your Name is about love and loss, of living in the moment and understanding some things cannot be understood. It is a transformative film, one that’ll make you remember the last time you entwined fingers with someone you love.
Based on André Aciman’s novel, brilliantly adapted by James Ivory who distills the internal monologue into visual sequences, Call Me By Your Name is unlike any other romance movie. Through vague title cards (“Somewhere in Northern Italy”) and intricate sound design, director Luca Guadagnino (A Bigger Splash) makes this romance decidedly universal. While some will be disappointed by the lack of onscreen homosexual sex, the camera panning towards an open window accompanied by squelches and slurps is suggestive in a way showing the act wouldn’t be. It’s an inviting movie designed to appeal to anyone who has unexpected all-consuming love, and the director strives for maintaining intimacy and universality.
He only admits to the film’s setting because he wants an excuse to clothe his cast in the bare minimum. Their topless torsos revealing how vulnerable the characters feel about their new love. By stripping away any assumptions the audience can make about the characters, Guadagnino lets us imprint ourselves on the situation, with only Oliver’s enviable shirts and his Star of David necklace suggesting a life outside of this bottled romance.
Their relationship has a physical start and end date, marked, as these things are, by public transportation. Oliver arrives suddenly by taxi and departs by train, the trailing carriages symbolising that even though their time together is over, their love remains. A slower film than A Bigger Splash, Guadagnino lets us absorb the images with a series of long takes, soaking us with this romance.
During one scene the characters examine and fawn over an ancient statue, admiring its dimensions. It’s a moment of self-awareness as Hammer has a body the Ancient Greeks and Romans would be proud to flaunt. The camera objectifies him because he is Elio’s object of affection. It never becomes pornographic, as Sayombhu Mukdeeprom’s cinematography is sensual and loving, caressing everything from the actors to the buildings to the fruit.
Hammer gamely plays along and gives the perfect supporting performance. He knows the film isn’t his, and mirroring Oliver’s attitude toward Elio, the actor stands back, letting Chalamet find his rhythm. The young actor gives an emotionally raw performance, easily acting as the audience surrogate. It is a performance that improves as the film goes on, and during the final devastating shot, as Sufjan Stevens plays, it feels as if he has come of age alongside Elio.
Stuhlbarg and Amira Casar play the supporting but concerned parents well, and Esther Garrel captures the complex emotions love can cause as she offers Elio an olive branch. For some, Call Me By Your Name may be too slow, but it’s like watching a candle burn. As the flame slowly dances down the wick and the wax melts, you feel yourself being ensnared. Once the flame reaches the end, you feel transformed.
(http://culturefly.co.uk/wp-content/uploads/2015/09/cultureflylogocf.jpg)
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Luca Guadagnino’s telling of the development of this romance, which changes both Elio and Oliver, is like the feeling of getting gently drunk. It’s smooth but a little dizzying. He fills every scene with life. Trees are heavy with fruit; people are always eating; the chirping of crickets a constant soundtrack. He thrusts life at you and wills his characters to live theirs. Long summer days drift away in a gentle routine of swimming, cycling and nothing, but each day that passes with feelings unvoiced is a day lost — they will never have it back.
(http://cdn.entertainment-focus.com/wp-content/uploads/2017/08/Webp.net-resizeimage-3-5-770x433.jpg)
https://www.empireonline.com/movies/call-name/review/
(https://tomjbeasley.files.wordpress.com/2015/06/empirebanner.png?w=585)
BFI LONDON FILM FESTIVAL REVIEW
Call Me by Your Name
★★★★★
by Olly Richards
9 Oct 2017 09:36
(http://www.awardsdaily.com/wp-content/uploads/2017/08/5-878x494.jpg)
In Call Me by Your Name Timothée Chalamet plays Elio as a person still forming, not scared by his feelings but surprised. In a film in which
every performance is terrific, Chalamet makes the rest look like they’re acting.
It’s the early 1980s. Elio is living an idyllic existence in Italy with his parents. One summer, his charmed life is disturbed by Oliver, who comes to spend six weeks with the family, helping Elio’s father. They are six weeks that will change Elio’s life forever.
In his last film, A Bigger Splash, Luca Guadagnino stuck four attractive people in a remote holiday home and set off a sort of lustful Hunger Games, where sex was a weapon in a battle for dominance. Call Me By Your Name is similar in its set-up, but the opposite in how it plays out. It puts two strangers in another impossibly glamorous, isolated home and lights the fuse on their attraction, but this one burns long and slow, not fast and angry. Based on André Aciman’s novel, it’s a romance overwhelming in its intensity, a heart that swells until it has to burst.
Elio (Timothée Chalamet) is 17 years old and living in the Italian countryside with his artsy parents (Michael Stuhlbarg and Amira Casar). Handsome, but more boyish than he perhaps believes, Elio is confident and smart, liked by everyone who meets him. Every room he enters is his. But he is thrown off balance by the arrival of Oliver (Armie Hammer), a twentysomething who has come to stay to assist Elio’s father in his work. Oliver looks like the American ideal distilled into a single man. And with his charm, looks and presence outstripped, Elio is immediately transfixed.
Guadagnino’s telling of the development of this romance, which changes both parties, is like the feeling of getting gently drunk. It’s smooth but a little dizzying. He fills every scene with life. Trees are heavy with fruit; people are always eating; the chirping of crickets a constant soundtrack. He thrusts life at you and wills his characters to live theirs. Long summer days drift away in a gentle routine of swimming, cycling and nothing, but each day that passes with feelings unvoiced is a day lost — they will never have it back.
The screenplay, written by James Ivory, is elegant and full of small surprises. The level of attention given to even the smallest of characters means so many of them have an impact even with minimal screen time — Elio’s brief girlfriend breaks your heart with a handful of lines. What few vocal emotional outpourings are present are earned — a paternal monologue by Stuhlbarg in the final minutes is as verbose as the film gets and, good lord, it makes it count (bring tissues). But much is conveyed in the many silences which are entrusted to an excellent cast.
Chalamet is the centre and he gives the kind of performance that immediately sends you to Google to find out where the hell this kid came from (he may be familiar from Interstellar or Homeland). All Elio’s teenage emotions are raw on Chalamet’s skin. He plays him as a person still forming, not scared by his feelings but surprised. In a film in which every performance is terrific, Chalamet makes the rest look like they’re acting. He alone would make the film worth watching, but he’s just one of countless reasons.
"A full-hearted
romantic
masterpiece."
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Yet it’s on the shoulders of Armie Hammer and Timothée Chalamet that the film lives and dies. Their chemistry is intoxicating, as they dance around each other, quick-witted and trying to decipher the meaning within their relationship. Chalamet is a delight, precocious and yet vulnerable, sensitive and sarcastic and as bright as the North Star. Hammer is the perfect foil, tall and imposing, yet so wholesome and all-American it’s impossible not to be as charmed by him as Elio quickly is.
(http://cdn.entertainment-focus.com/wp-content/uploads/2017/08/Webp.net-resizeimage-3-5-770x433.jpg)
http://moviemarker.co.uk/call-me-by-your-name-lff-2017/
(https://pbs.twimg.com/profile_images/628342622432665600/cqOIV7Nc.jpg)
BFI LONDON FILM FESTIVAL REVIEW
Call Me by Your Name
#LFF 2017
★★★★★
by Hannah Woodhead
https://hewoodhead.co.uk/
9 Oct 2017
(https://www.filmlinc.org/wp-content/uploads/2017/08/Call-Me-By-Your-Name-1-1600x900-c-default.jpg)
Timothée Chalamet and Armie Hammer in Call Me by Your Name--a familiar sense of pain to anyone who has ever experienced that similar
unique misery of loving an impossible thing.
The coming-of-age story of first love and self-discovery is a genre we see repeated throughout cinematic history time and time again. It takes an exceptional talent to break the mold, but with Call Me By Your Name, director Luca Guadagnino has managed to achieve the unlikely, breathing new life into a genre plagued by cliches and a fear to take risks.
Beautifully adapted by James Ivory from André Aciman’s novel of the same name, Call Me By Your Name tells the story of seventeen-year-old Elio (Timothée Chalamet), whose summer vacation in northern Italy is interrupted by the arrival of American graduate student Oliver (Armie Hammer), who will stay for six weeks to Elio’s archeologist father (Michael Stuhlbarg). Oliver’s arrival is met with skepticism by Elio, who is displaced from his bedroom and simultaneously irritated and intrigued by his presence. Over the course of the summer, a romance unfolds between Oliver and Elio, set against the dreamy backdrop of the Tuscan countryside. It’s as picture-perfect as a setting comes (one most of us only dream of for our first love) and matched by a beautiful score by master of melancholy Sufjan Stevens, the film has charm in droves. You can practically smell the sweetness of the peach trees and taste the sweat that hangs like dew in the Tuscan summer heat – Guadagnino really brings his story to life through scenery and direction, making it as all-consuming as the subject matter itself.
Yet it’s on the shoulders of Hammer and Chalamet that the film lives and dies. Their chemistry is intoxicating, as they dance around each other, quick-witted and trying to decipher the meaning within their relationship. Chalamet is a delight, precocious and yet vulnerable, sensitive and sarcastic and as bright as the North Star. Hammer is the perfect foil, tall and imposing, yet so wholesome and all-American it’s impossible not to be as charmed by him as Elio quickly is. Hammer brings surprising warmth and depth to Oliver so that the story is as much as him growing as it is the teenage Elio. In finding each other they find the safety and security to mature, and their bittersweet summer romance will bring a familiar sense of pain to anyone who has ever experienced that similar unique misery of loving an impossible thing.
Michael Stuhlbarg is also pitch-perfect as Elio’s eccentric but warm father, who provides his son with infinite wisdom about love. Portrayals of positive father/son relationships in LGBT films are all too rare, and this one feels particularly poignant. Elio and Oliver’s story is just that – a story about two men who happen to fall in love. The taboo of their relationship is not gender but the seven-year age gap between them, and the ultimate tragedy of its fleeting nature. “Better to have tried and failed,” remarks Oliver early in the film. It’s a comment both he and Elio will take to heart.
There is a universality to the themes of longing, loneliness, and desire, and it’s refreshing to see such an honest, fearless, and unapologetically hopeful LGBT story told. Many screenwriters and directors could (and should) take notes from Luca Guadagnino’s masterful playbook. Call Me By Your Name is a rich, visual treat, but its tenderness and charm solidify it as one of the best films of 2017.
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[youtube=800,450]http://www.youtube.com/watch?v=10cBzSMFXvY[/youtube]
https://www.youtube.com/watch?v=10cBzSMFXvY
SOMEWHERE between
Rio and London, Luca has
SHAVED his beard! :laugh:
Call Me by Your Name Press Conference | BFI London Film Festival 2017
Esther Garrel, Timothée Chalamet,
Armie Hammer and Luca Guadagnino
HeyUGuys
Published on Oct 9, 2017
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Actors Armie Hammer, Timothée Chalamet and Esther Garrel join director Luca Guadagnino at the London press conference in full for their movie Call Me by Your Name.
The movie is based on the book by André Aciman.
Plot: 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.
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THERE'S AN ARMIE ON THE DANCE FLOOR!
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[youtube=710,473]http://www.youtube.com/watch?time_continue=42&v=dJ_p4Z_yVpM[/youtube]
https://www.youtube.com/watch?time_continue=42&v=dJ_p4Z_yVpM
(https://pixel.nymag.com/imgs/fashion/daily/2017/10/11/11-armie-hammer.w710.h473.jpg)
LOVE MY WAY, IT'S A NEW ROAD
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CALL ME BY YOUR NAME
RELEASE DATES
UK 27 October 2017
Ireland 27 October 2017
USA 24 November 2017
Canada 8 December 2017
Thailand 14 December 2017 (limited)
Sweden 22 December 2017
Australia 26 December 2017
France 17 January 2018
Brazil 18 January 2018
Poland 26 January 2018
Italy 1 February 2018 (Premiere?)
Greece 8 February 2018
Germany 1 March 2018
http://www.imdb.com/title/tt5726616/releaseinfo?linkId=43379176
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(https://78.media.tumblr.com/8f8c9dcfc35995508f2ed2c933fbfaf4/tumblr_oxnyfd4s7J1sn68q5o1_1280.jpg)
http://monetsberm.tumblr.com/post/166290180296/realchalamet-will-be-recognized-with-the
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(https://78.media.tumblr.com/cb47b35b900f8c0a58e14e97e3b16c84/tumblr_oxdunamtk11w9fd12o3_400.gif)(https://78.media.tumblr.com/f2b3aa029cc3b3875046761f6ce60eb8/tumblr_oxdunamtk11w9fd12o5_400.gif)
(https://78.media.tumblr.com/737dc7273228d45e353abe3eee8240b0/tumblr_oxdunamtk11w9fd12o1_400.gif)(https://78.media.tumblr.com/a2d0c05d63145a20792f64930b9f410d/tumblr_oxdunamtk11w9fd12o2_400.gif)
https://laterpeaches.tumblr.com/post/166310149783
https://8oty.tumblr.com/post/166098011282
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(https://78.media.tumblr.com/b4ff19b081dd5dc4f550090b608fa137/tumblr_oxolvrYUMs1wx4tjzo8_400.gif)
"TREGUA?" ("TRUCE?")
(https://www.filmlinc.org/wp-content/uploads/2017/08/Call-Me-By-Your-Name-1-1600x900-c-default.jpg)
[youtube=710,473]http://www.youtube.com/watch?v=ZOoMGAL9rCQ[/youtube]
https://www.youtube.com/watch?v=ZOoMGAL9rCQ
(https://www.filmlinc.org/wp-content/uploads/2017/08/Call-Me-By-Your-Name-1-1600x900-c-default.jpg)
"TREGUA?" ("TRUCE?")
(https://78.media.tumblr.com/0ae186e7b8a6ea40ac49cfcd50ede79d/tumblr_oxolvrYUMs1wx4tjzo2_400.gif)
https://laterpeaches.tumblr.com/post/166294645768/call-me-by-your-name-2017-exclusive-clip
https://laterpeaches.tumblr.com/post/166305091183/truce
Also:
http://timmychalamet.tumblr.com/post/166296542250/tregua
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It's only fun until somebody loses an
eye arm.
;D
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It's only fun until somebody loses an .eye. arm.
;D
Ha! Can you imagine how many people must have been making puns with 'arm' and 'Armie'? :laugh:
FYI, watch this young gay Brit's review of the movie--he saw it one of the screenings at the London Film Festival--he's funny AND he loved the movie, VERY articulate (as many Brits are).
(https://i.ytimg.com/vi/7ZWHlLNVeXs/hqdefault.jpg?sqp=-oaymwEXCPYBEIoBSFryq4qpAwkIARUAAIhCGAE=&rs=AOn4CLDGOTRDrnQUFKQ7hTEXs_7oUpGwAQ)
[youtube=710,400]http://www.youtube.com/watch?v=7ZWHlLNVeXs[/youtube]
https://www.youtube.com/watch?v=7ZWHlLNVeXs
Call Me By Your Name - Film Review (London Film Festival)
Luke Hearfield
Published on Oct 11, 2017
(https://yt3.ggpht.com/-e9vUg10fFMs/AAAAAAAAAAI/AAAAAAAAAAA/pBVhHeI7v-Y/s88-c-k-no-mo-rj-c0xffffff/photo.jpg)
Luca Guadagnino's sun-drenched love story is a spell-binding piece of art. It's gonna be an awards-contender but it's also a genuinely touching film that will resonate with anyone whose ever been in love. Go and see it! Check out my full thoughts here.
(http://cdn.entertainment-focus.com/wp-content/uploads/2017/08/Webp.net-resizeimage-3-5-770x433.jpg)
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(http://78.media.tumblr.com/c1c1aca9a5018aa2d56106cf9537e423/tumblr_oxqc7gPskl1voo6i5o1_1280.jpg)
(http://78.media.tumblr.com/c0a3232b3cd674b5d1f62ffe87781592/tumblr_oxqc7gPskl1voo6i5o2_1280.jpg)
https://laterpeaches.tumblr.com/post/166338468413/manonsblackbeak-what-else-is-there-to-do-but-to
http://elioeoliver.tumblr.com/post/166336744942/manonsblackbeak-what-else-is-there-to-do-but-to
http://manonsblackbeak.tumblr.com/post/166336212984/what-else-is-there-to-do-but-to-respond-in-kind
http://manonsblackbeak.tumblr.com/
(http://78.media.tumblr.com/96ed37ce517c36274007d85586acb015/tumblr_oxrfemTbEC1qe8tjno9_r1_400.gif)
http://monetsberm.tumblr.com/post/166360104996/bowie28-call-me-by-your-name-uk-tv-ad
http://bowie28.tumblr.com/post/166357850400
CALLMEBYYOURNAMEFANART
http://www.pictaram.org/sirayy
(https://abs.twimg.com/emoji/v2/72x72/1f351.png)
(http://scontent.cdninstagram.com/t51.2885-15/e35/21373469_3071763206194621_8362949246898405376_n.jpg) by @sirayy
(http://scontent.cdninstagram.com/t51.2885-15/e35/21436301_778632149007569_8206215891583500288_n.jpg)
http://www.pictaram.org/post/BYvMvIrBqFS
http://www.pictaram.org/sirayy
"You okay?"
"Me okay."
There was absolutely nothing to say. With my toes, I reached over to his toes and touched them. Then, without thinking, I slipped my big toe in between his big toe and his second toe. He did not recoil, he did not respond. I wanted to touch each toe with my own. Since I was sitting to his left, these were probably not the toes that had touched me at lunch the other day. It was his right foot that was guilty. I tried to reach it with my right foot, all the while avoiding touching both his knees, as if something told me knees were off bounds.
"What are you doing?" he finally asked.
"Nothing."
Call Me By Your Name by André Aciman
Recited/Narrated by Armie Hammer
CALLMEBYYOURNAMEFANART by @sirayy
http://www.pictaram.org/sirayy
Sep 7, 2017 1:05 AM 11 Notes, 243 Likes
Fan Art / Digital Art / Drawings / @sirayyg
#CMBYN #CallMeByYourName
#elio #elio perlman #oliver #ulliva #laterpeaches 🍑
#andré aciman #armie hammer #timothée chalamet #luca guadagnino
#book #novel #film #movie #sonyclassics #lgbt
#art #artwork #artist #digital art #digitalart
#digitalpainting #fanart #fanartdigital
(https://abs.twimg.com/emoji/v2/72x72/1f351.png)
(http://scontent.cdninstagram.com/t51.2885-15/e35/21373469_3071763206194621_8362949246898405376_n.jpg)
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CALLMEBYYOURNAMEFANART
http://jgiampietro.tumblr.com/
(https://abs.twimg.com/emoji/v2/72x72/1f351.png)
(http://78.media.tumblr.com/avatar_d747967fa585_128.png) by JGiampietro
(http://78.media.tumblr.com/b99f4347f884cfb27d8a9947e4f909c9/tumblr_oxguzxUo5O1rrax8bo1_1280.jpg)
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
Fan Art / Digital Art / Drawings / JGiampietro
#CMBYN #CallMeByYourName #nyff
#cmbyn spoilers #cmbyn trailer #cmbyn discourse
#elio #elio perlman #oliver #ulliva #peach #laterpeaches 🍑
#gay #gay artist #gay romance #love #gay love #couple #sex #gay sex #semen #cum
#andré aciman #armie hammer #timothée chalamet #luca guadagnino
#book #novel #film #movie #gay movie #sonyclassics #lgbt
#art #my art #artwork #artist #digital art #digitalart
#digitalpainting #fanart #fanartdigital
(https://abs.twimg.com/emoji/v2/72x72/1f351.png)
(http://78.media.tumblr.com/avatar_d747967fa585_128.png)
(https://abs.twimg.com/emoji/v2/72x72/1f351.png)
(https://scontent.cdninstagram.com/t51.2885-15/e35/22427572_398844643867237_1168592534599892992_n.jpg) by @sirayy
(http://scontent.cdninstagram.com/t51.2885-15/e35/21878991_511354025881119_1164500586113007616_n.jpg)
http://www.pictaram.org/post/BZTyn4wBWS1
http://www.pictaram.org/sirayy
CALLMEBYYOURNAMEFANART by @sirayy
http://www.pictaram.org/sirayy
Sep 21, 2017 6 Notes, 410 Likes
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(http://cdn.entertainment-focus.com/wp-content/uploads/2017/08/Webp.net-resizeimage-3-5-770x433.jpg)
https://www.screendaily.com/news/luca-guadagnino-plots-call-me-by-your-name-sequel-exclusive/5123280.article
(http://newsite.zeitgeistlondon.co.uk/wp-content/uploads/2013/12/ScreenDaily.png)
NEWS
EXCUSIVE
BFI London Film Festival 2017
Director Luca Guadagnino plots
Call Me by Your Name sequel
by KALEEM AFTAB
13 OCTOBER 2017
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“I want to do a sequel because Timothée Chalamet, Armie Hammer, Michael Stuhlbarg, Amira Casar, Esther Garrel--they are all gems."
SOURCE: SONY PICTURES CLASSICS
‘CALL ME BY YOUR NAME’
Director Luca Guadagnino is planning a sequel to Call Me By Your Name, which would be set seven years after the events depicted in his acclaimed adaptation of André Aciman’s 2007 novel.
The film stars Timothee Chalamet and Armie Hammer as 17-year-old Elio and 24-year-old American doctoral student Oliver, who embark on a passionate relationship one summer in the 1980s while both are living at Elio’s parents’ villa in Italy.
“I want to do a sequel because Timothée Chalamet, Armie Hammer, Michael Stuhlbarg, Amira Casar, Esther Garrel – they are all gems,” said Guadagnino during a sit-down at the BFI London Film Festival, where Call Me By Your Name played as a gala. “The texture we built together is very consistent. We created a place in which you believe in the world before them. They are young but they are growing up.”
Guadagnino added that his ideal scenario would be for the second film to be made for a 2020 release. “If I paired the age of Elio in the film with the age of Timothée, in three years’ time Timothée will be 25 as would Elio by the time the second story was set,” said the filmmaker.
Hammer’s character Oliver would be 31 in Guadagnino’s planned sequel – “which will be closer to the age that Hammer will be at the time”. The US actor, who shot Call Me By Your Name when he was 29, will turn 34 in 2020.
In Aciman’s original book, Elio and Oliver meet up 15 years later in the US, where the latter is now married with a wife and children. Guadagnino didn’t reveal whether he wanted to follow that storyline (albeit in an earlier time frame), but did reveal that Elio would not necessarily be homosexual.
“I don’t think Elio is necessarily going to become a gay man. He hasn’t found his place yet. I can tell you that I believe that he would start an intense relationship with Marzia [Esther Garrel’s character] again,” he said.
Another attraction for Guadagnino is that the time frame would mean that the action in the sequel would take place around 1990: “It is the time of the fall of communism and the start of the new world order and the so-called ’The End of History’ that Francis Fukuyama established then. It would be the beginning of the Berlusconi era in Italy and it would mean dealing with the war of Iraq.”
Looking even further ahead, Guadagnino said that should a second film be successful, he could envisage Elio being his own career Antoine Doinel – the recurring fictional character Francois Truffaut featured in several films throughout his career, starting with his debut The 400 Blows (1959).
“It would be that the screen and real life could talk to one another and it would be good to see how this evolves, which is what Truffaut did with Antoine Doinel. I think we can go there.”
Luca Guadagnino for Fantastic Man Magazine No. 26
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"I think I'll make another film in the future about the characters in Call Me by Your Name. I'd love to make a cycle of films based on them. How they grow up. Will they meet again? What happens when they meet again?"
Director Luca Guadagnino delivers an interview vérité in the new issue of @ManFantastic ahead of the worldwide release of his spectacularly romantic new movie Call Me by Your Name.
#LucaGuadagnino #CallMeByYourName
#FantasticMan #Cinema #Art #Culture #KarlaOtto
http://www.buro247.ua/instagram/karlaotto/570496
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Luca Guadagnino is grateful for the effusive reaction. “I am constantly overwhelmed. We filmmakers can create an emotional bridge in peoples’ lives through the stories we tell and the elements we combine.”
http://observer.com/2017/10/interview-luca-guadagnino-on-why-call-me-by-your-name-makes-people-cry/
(https://s0.wp.com/wp-content/themes/vip/newyorkobserver-2014/images/observer-logo-2015.png)
Director Luca Guadagnino on Why
Call Me by Your Name
Is Making Everyone Cry
By Stephen Garrett
10/13/17 7:30am
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Rapturous ode to pure passion: Armie Hammer and Timothée Chalamet in Call Me By Your Name
Hollywood’s award-season prognosticators are busy divining the Oscar chances of prestige pictures like Christopher Nolan’s summer box office hit Dunkirk against festival darlings such as Guillermo del Toro’s Venice-winning aquatic interspecies love story The Shape of Water and unseen 800-pound gorillas like Steven Spielberg’s Pentagon Papers exposé The Post. Yet one movie has been quietly but consistently building a steady drumbeat of support: Luca Guadagnino’s Call Me By Your Name.
This swooning romance between 24-year-old grad student Oliver (Armie Hammer) and precocious 17-year-old Elio (Timothée Chalamet) during a hot Italian summer in 1983 won’t open in theaters until November 24, but it first unspooled way back at the Sundance Film Festival last January. And what a debut: festival director John Cooper, who introduced the film at its world premiere, actually started to cry just trying to describe it.
People have been breaking into tears ever since. And for good reason: Guadagnino’s film version of André Aciman’s 2007 novel is a rapturous ode to pure passion, an unfiltered look at love that has moved audiences at film festivals from Berlin to Toronto. Last week at the New York Film Festival, the sold-out crowd at Alice Tully Hall even gave it a 10-minute ovation.
Guadagnino is grateful for the effusive reaction. “I am constantly overwhelmed,” he told Observer during a late-morning chat after the film’s [Berlinale] premiere in the café of Berlin’s posh Hotel Adlon Kempinski. As to where all those tears are coming from, he puts it down to resonance. “We filmmakers can create an emotional bridge in peoples’ lives through the stories we tell and the elements we combine.”
Octogenarian James Ivory, the acclaimed filmmaker of A Room with a View and Howards End, whose 1987 film Maurice was a landmark in gay cinema, was slated to direct Call Me, but he ended up writing the script and co-producing, handing over the reins to Guadagnino mainly as a result of financial pragmatism (Guadagnino refers to his production as “micro-budget”). But the choice of the Italian director was inspired.
One of the tactile pleasures of the period setting is enjoying a defiantly analogue world: no cell phones, no computers, no electronic screens of any kind. “I was watching the movie again,” said Guadagnino. “And, even though I’ve seen it so many times, I noticed that they read so many books, there are so many books in the film.” But the director also pointed out that Elio is not the kind of person who would be fixated on social media anyway. “If we had shot the movie today,” he said, “I don’t think that Elio would use the cell phone to browse online and see if there were any boys around on Grindr.”
Since Oliver is there to study Greco-Roman antiquities under Elio’s professor father (Michael Stuhlbarg) and the focus is on education and intellectual pursuits, the story seems to revel in being immune to any outside current affairs—political, social, cultural—especially since Elio and his worldly parents seem so effortlessly tolerant and open-minded as they shift between speaking French, Italian, and English just as easily as the Lombardian sunlight flickers through the trees.
That polyglot sensibility soon becomes a polyamorous instinct for the virginal Elio, who initially seems more interested in pursuing the local girls until his mutual attraction to Oliver, initially masked, becomes increasingly apparent. In one 12-hour period, Elio finally loses his virginity: first by having sex with a girl, then later with Oliver—and, in the film’s most notorious scene, he even uses a peach to masturbate. “He’s burning with desire!” laughs Guadagnino. “And Timothée vibrates every muscle with desire.”
The most potent characters, unexpectedly, turn out to be Elio’s parents, peripheral players who watch from the sidelines with knowing glances. And by the end, they provide the emotional ballast for their son. His dad even delivers a remarkable father-son speech about true love that has had viewers thanking Guadagnino at post-screening Q&A’s. (It’s also more or less guaranteed Stuhlbarg an Oscar nomination for Best Supporting Actor.)
Although ostensibly a niche story about two gay men falling in love, Call Me has been garnering wider and wider interest. Does it have the traction to go mainstream? Maybe so, especially since Guadagnino’s intent was never sexual politics but simply to explore the nature of desire.
Armie Hammer spoke to this point during the New York Film Festival. “This film deals with locating, isolating, figuring out that thing inside of you and what it is,” he said at a panel discussion about the film. “And are you repressing it? Are you being healthy and integrating it into your life as a whole? Desire is a really powerful human emotion. And you see the fruition of how beautiful it can be in this situation. But I know that, if you take that desire and you don’t handle it properly, it can eat you alive.”
Guadagnino is equally interested in Elio’s journey of self-discovery. “I don’t know if he’s going to end up having a gay life or a straight life,” he said. “I think he’s going to be a man who is always going to be in wonderment of the unexpected delights that life and desire will bring to him. I really believe in that.”
Stephen Garrett is the former film editor of Time Out New York, whose articles on the movie industry have also appeared in Slate, Esquire, and Rolling Stone, among other outlets. He is also the owner of Jump Cut, a marketing company that specializes in making trailers and posters for independent, foreign-language, and documentary cinema.
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The film is on the side of disclosure, surrender and surviving the consequences. Elio’s father advises his son not to “make yourself feel nothing so as not to feel anything”. It never preaches control. Armie Hammer says quietly, as if it settled every argument: “The heart wants what the heart wants.”
(http://cdn.entertainment-focus.com/wp-content/uploads/2017/08/Webp.net-resizeimage-3-5-770x433.jpg)
https://www.theguardian.com/film/2017/oct/15/armie-hammer-timothee-chalamet-call-me-by-your-name-interview
(http://logos-download.com/wp-content/uploads/2016/05/The_Guardian_logo_blue-700x123.jpg)
The Observer
Hammer & Chalamet
Call Me by Your Name's
Oscar-tipped double act on their summer of love
Film critics are raving about the new gay romance. Armie Hammer and Timothée Chalamet
talk about filming in Italy, fathers – and their relationship on and off set
by Kate Kellaway
Sunday 15 October 2017 03.00 EDT
(https://i.guim.co.uk/img/media/70629e14fca2e55ea606b1291c0bdfd1b7c98158/0_1049_5044_3026/master/5044.jpg?w=1920&q=55&auto=format&usm=12&fit=max&s=e9ed930af317e95c2d35faf153fa2917)
Side by side, looking relaxed, receptive, en rapport: Armie Hammer and Timothée Chalamet in Call Me by Your Name
When a film is as extraordinary as director Luca Guadagnino's Call Me by Your Name, you suspend disbelief. It becomes impossible not to imagine that its characters, 24-year-old Oliver (Armie Hammer), a doctoral student working for a professor of Greco culture in northern Italy, and 17-year-old Elio (Timothée Chalamet), the professor’s son, are not out in the world somewhere. You picture them now the film is over, continuing to live their lives and picking up the pieces after the devastating love affair that brought them together in 1983. For although we have arrived at a moment in cinema history where – at last – there are more remarkable cinematic accounts of homosexual love than ever before (Barry Jenkins’s Moonlight, Francis Lee’s God’s Own Country, John Trengove’s The Wound), this film occupies a subtle category of its own. It is an adaptation, by James Ivory and Walter Fasano, of André Aciman's 2007 celebrated novel, described by the New York Times as “hot” and “a coming-of-age story, a coming-out story, a Proustian meditation on time and desire”.
On an ordinary, autumnal afternoon, it seems far-fetched that Hammer and Chalamet should be at Claridge’s in London, that they should be available for comment or that they should, after all, turn out to be actors. As the door opens on their hotel suite, it is Oliver and Elio I search for in their faces. Hammer, known for his performance as the Winklevoss twins in David Fincher’s The Social Network, is so good looking it is almost laughable – blond, sportily built, with perfect American teeth. What makes his performance stirring is the sense he gives of beauty as a trap. There is a restlessness about Oliver, subtle hints of unhappiness, as if he needed to disrupt his own veneer.
Chalamet looks like a streetwise romantic poet in big, black, lace-up boots, white shirt, burgundy velvet jacket. As Elio, he is bolshie, vulnerable, infatuated – no dandy. This is his breakthrough role and he is rightly being talked about as an Oscar contender (although Hammer is too). Chalamet, who has previously appeared in Homeland and Christopher Nolan’s Interstellar, is in Call Me by Your Name as intense as a Modigliani portrait – a dark, gangly, Jewish youth, a mix of inexperience, volatility and precocity. He can speak English, French and Italian. He plays the piano. He wins intellectual arguments. But he does not know how to cure a broken heart.
(http://78.media.tumblr.com/0f11dce292c04d631f0d37d6bf68369c/tumblr_oxk1rfjtji1v0clmvo5_1280.jpg)
(http://78.media.tumblr.com/1b0f5c0891d7ffc35c6d3c54a3112190/tumblr_oxk1rfjtji1v0clmvo8_1280.jpg)
This film stays with you long after you leave the cinema, like a high-tide mark. It has already had ecstatic five star reviews from festivals, the sort most directors can only dream of, and has been described in Sight and Sound as a ‘ravishing evocation of romance’. (** http://www.bfi.org.uk/news-opinion/sight-sound-magazine/november-2017-issue ) The easy explanation would be to say it speaks to everyone who has been in – and thrown out – of love. But there is more to it. Guadagnino, who directed I Am Love (2009) and A Bigger Splash (2015), sees it as the conclusion of a trilogy, although its links with its predecessors are tenuous: the first film involved a wild affair, the second a charged summer in an Italian villa, and Tilda Swinton, who starred in both, helped cast the third. Guadagnino calls the film a “homage to fathers”. He dedicates Call Me by Your Name to “my own father and my cinematic ones: Renoir, Rivette, Rohmer, Bertolucci” and this is because Elio’s tolerant father, brilliantly played by Michael Stuhlbarg, offers his son a sentimental education in a single speech – the film’s trump card.
The actors sit in armchairs, side by side, looking relaxed, receptive, en rapport. Hammer, evenly tanned, has his feet up on a coffee table. His hands hang off the armrests like floppy paws. Chalamet is more contained. The film was shot in the summer of 2016 over four months, in the medieval town of Crema, Lombardy, where Guadagnino has an apartment in a crumbling palazzo, not far from where they were shooting. When Oliver turns up at the professor’s villa, he asks: “What does one do around here?” Elio replies languidly: “Wait for the summer to end. Read books, transcribe music, swim in the river.”
It is on the subject of summer romance that our conversation begins. Living in L.A., Hammer says, can feel like an endless summer holiday. “In that sense, all my romances have been holiday romances,” he laughs, but adds that his summer holidays were untidily defined because: “I dropped out of academia.” It is almost the first thing he volunteers – and it is impossible to miss his disarming insecurity, even though he is, on the face of it, as you would expect, more assured than his companion.
Hammer is married to TV journalist and former model Elizabeth Chambers with whom he has two children – a three-year-old daughter and baby son – and he has never been shy of talking about his wooing style. He simply told his wife-to-be to drop her then boyfriend. He explained that she was made for him, he for her. He tells me now: “My wife is four years older than I am – I’m sure she thinks I am an immature child.” Child or no, the man is direct – he has bounce. His approach to Chambers could not be more different from the film’s glancing courtship.
Chalamet has claimed to be working too hard for dalliance but when he was 17, the same age as Elio, he was gossiped about in connection with Madonna’s daughter Lourdes. With a little flash of a smile, he stresses that he has never had a summer of an intensity to rival the one in the film. Hammer interjects to admit that he has experienced heartbreak and then turns to Chalamet, who, at 21, is 10 years his junior, with a big-brother smile as if to egg him on to confession.
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Chalamet sighs, leans forward, clasps his hands: “I have experienced heartbreak but not in a classical sense.” He feels nervously for the top button of his white shirt. “I have this sense of independent heartbreak, of annulling romances before they get their feet off the ground… with one girl in particular…” And then there is a long pause that might be the start of a story but turns into an emergency stop.
The film is set in the 80s, when coming out was harder, and Sayombhu Mukdeeprom’s seductive camera work is deliberately dated: a holiday snapshot, bleached and sultry. The casual corner-of-the-eye shots enhance naturalness, as if the cameraman were dreaming. There are no golden syrupy moments. This is to be a summer of love without fakery. Hammer has been repeatedly asked in interviews how the film compares with Brokeback Mountain (still seen as a gay landmark more than 10 years on) and replies that there is no comparison. He makes it clear that gay love stories on screen are no longer the sensational exception and emphasises that Call Me By Your Name is about desire in a universal sense.
It is the way in which desire between Oliver and Elio is choreographed that is the film’s greatest achievement. It is, in its way, as erotic as Blue Is the Warmest Colour – though less explicit (with the exception of the scene, singled out on the internet, involving a peach – forbidden fruit). But the film is at its most charged before anything happens, without words, before touch, with everything in the balance. How was that tension achieved?
“We had the luxury of three weeks together in advance of filming,” says Chalamet, “so were able to build this chemistry naturally. Sometimes, when you act with someone in an intimate capacity, you have to ask vulnerable questions to speed up intimacy – but that’s artificial.” Did you ask each other questions? “Yes, slightly,” Hammer interjects. “Yes, no, no…,” Chalamet laughs. “The point is there was no time constraint. I felt I knew Armie so well.” Hammer continues: “The film, unusually, was shot almost entirely chronologically and, with every scene, the intimacy built. It was like foreplay, where you know the excitement is coming and build slowly, slowly, slowly.” Non-verbal signals, he agrees, are the most powerful: “Ninety-eight per cent of all human communication is non-verbal.”
But this was also a film in which Chalamet had to speak English, French and Italian. He is bilingual because of a French father, but had to learn Italian and perfect piano pieces, every day for a month and a half, with teacher/composer Roberto Solci. But once the homework was done, before filming started, the actors were almost on holiday. They revel in the memory of Italian restaurants and Hammer puts in a plug for Via Vai, in Bolzone, outside Crema: “That it does not have three Michelin stars is a crime against the culinary world. It is the only restaurant where I’ve had an eight-hour lunch.” He wants “chef Stefano” to take a bow and renders himself speechless remembering the tripe, caviar and all. Chalamet confesses himself unable to compete, nominates Speranza, an alternative eatery, and apologises: “Armie has tremendous food culture. I just don’t have that.”
(http://78.media.tumblr.com/3c675004a8dd479f71c7a5b3a38848e5/tumblr_oxk1rfjtji1v0clmvo6_1280.jpg)
Chalamet comes from a showbiz family. His mother was a Broadway dancer (of half Russian-Jewish, half Austrian-Jewish extraction), his sister, Pauline, is an actress living in Paris, his aunt is the television producer and writer Amy Lippman and his grandfather the screenwriter Harold Flender. At LaGuardia, a stage high school, he learned to be “an open book when acting, to wear my emotions on my sleeve”. He sees acting as a “permission to feel”, but suggests it comes with “a sense of hyperbole”. He wonders why life refuses to imitate art: “In regular life, you might be looking for peaks and climaxes that don’t exist. The other day someone told me, ‘Just be patient!’ I loved that. I am only 21, figuring this stuff out.”
“I was an idiot at 21,” says Hammer and looks fondly at Chalamet, whom he regards as far more mature than he was at the same age. “When you are young you are unencumbered by any sense of knowing other people or yourself – you are free. But being young is confusing because you don’t have a barometer. There was a long period in my life of getting to know myself well.” He was a wild teenager. Did he really set fire to the school lawn by writing his initials in lighter fuel? He pulls a face, looks sheepish. Why was it he and school never got on? “I didn’t like the idea you went there to learn, but that if you asked questions it was thought disrespectful and wrong.” It is no secret his father almost disowned him when he left college to act, it has found its way on to his Wikipedia page. I tell them I want to know about their relationship with their dads.
Hammer blushes. “Timmy, do you want to start? I have to think about this.” Chalamet steps in obligingly: “I grew up in New York [Hell’s Kitchen, Manhattan]. I’m tremendously close to my father, he is a role model, one of the most generous people I know. He worked for Unicef. In a showbiz family, he is my rock. He reminds me of what is important: family and homeostasis.” Slipping a word such as homeostasis into the conversation is typical of this boy – he shares his character’s tormented articulacy. One of his favourite books, he reveals, is The Perks of Being a Wallflower by Stephen Chbosky, “capturing the voice of a young person in a way that felt relatable”. He gave up a place at Columbia [University] after only a year to act. Did his parents disapprove? He hesitates: “My parents were not supportive.” Could he imagine having a conversation like the one Elio has in the film – unusually tolerant, intimate and insightful on the subject of falling in love – with his father? “Yes,” he says loyally.
Armie Hammer is named after his great-grandfather, chairman of the oil company Occidental Petroleum. Born in L.A., he grew up in a “half Jewish” family in the Cayman Islands. His father he describes as an “entrepreneur/businessman”. But being part of a mega-rich petroleum dynasty is not necessarily plain sailing. Was his relationship with his father testing? “Our relationship is great now. What my father impressed upon us is enjoyment of life. He is one of the most charming bastards you’ve ever met in your entire life. He is funny, gregarious, the life of every party, capable of breaking anybody’s outer shell. He loves adventure, free-spiritedness. He is a very big kid.” And there is a difficult side to that? “Sure – a flipside to every coin.” Could he imagine having a conversation like the one in the film with his father? “No,” he says, “no...”, like someone reversing out of a room at top speed.
I suggest to Hammer that what is wonderful about his performance is its restless depth. Oliver at times seems like a clown who has not settled in his own skin. He has a slightly baffling social bumptiousness. Chalamet nods enthusiastically and pitches in: “There’s so much going on with Oliver, particularly when I am sleeping and he is standing at the window – my favourite scene.” Hammer concedes that Oliver does “a lot of masking. Ostensibly, he is the bold one but it is Elio who is brave and who acknowledges what he feels.”
(http://78.media.tumblr.com/123fcc86d258728b8b1961b6822c54ce/tumblr_oxk1rfjtji1v0clmvo3_1280.jpg)
They admire Aciman’s novel but Hammer admits that it was, for him, not a straightforward guide because its subjective, first-person narrative belongs to Elio. He had to find a more objective, less “emotionally tumultuous” version of Oliver. Both men rave about James Ivory’s script. Ivory is, after all, a pioneer of homosexual love on screen – think back to his exquisite 1987 film based on EM Forster’s Maurice. But this script is altogether different – it has a daringly improvised feel. Hammer explains they were allowed to make small adjustments to it wherever necessary. He then volunteers – not in answer to any question – that his approach to line learning is obsessively diligent. If I have understood him correctly, he comes close to learning the script backwards. Through acting, it seems, he becomes the student he never was. The slightest struggle to remember compromises the freedom he needs to act. “I over-analyse every scene a thousand times,” he says. And only then he is ready to do the most important thing: “Let go.”
Chalamet meanwhile touches on the importance of doing the opposite: holding back, not squandering your best performance in unfilmed rehearsals (they tended to rehearse in the drawing room of Guadagnino’s palazzo). At this point, I can’t resist asking why they each gave up education for a profession of such insecurity? Chalamet replies, quick as a knife: “It is because of Heath Ledger in The Dark Knight, Philip Seymour Hoffman in Death of a Salesman, Adam Sandler in Punch-Drunk Love, Denzel Washington in Fences on Broadway…” So seeing other people act was the spur? “I saw The Dark Knight when I was 12. I realised: I can’t not act.”
Hammer says: “I also knew what I wanted to do by 12/13 and was obsessed with film. Home Alone made me think: making movies looks like so much fun. I’m a junkie when it comes to acting. When you make a movie, you get to do what you love, you get your fix.”
In the aftermath of this film, it seems certain neither actor is going to be deprived of a fix. Call Me By Your Name should be as much a breakthrough film for Hammer as for Chalamet. He has been in Guy Ritchie’s The Man From Uncle and performed with Julia Roberts in Mirror, Mirror, but not as yet become the A-lister he is cut out to be. He is about to play a “sociopathic CEO” in Sorry to Bother You, and is in On the Basis of Sex – “less salacious than the title would imply, about Ruth Bader Ginsburg, the US supreme court justice”. But there will be bigger roles to come. And it seems there is no stopping Chalamet. He is in Lady Bird, Greta Gerwig’s semi-autobiographical directorial debut, playing one of the boyfriends. The film is already getting standing ovations at film festivals and is out next year. He is also starring alongside Steve Carell in Beautiful Boy, based on David Sheff’s 2008 book about his son Nic’s methamphetamine addiction, and is shooting in New York with Woody Allen in an as-yet-to-be-named movie.
Now, as if to chime in on Hammer’s description of acting as an addiction, Chalamet explains that after acting in John Patrick Shanley’s Prodigal Son in New York for four months and filming Call Me By Your Name for three, he needed a month to “detox”. What does that mean in practice? “I try to stay away from industry-related websites and films. I have to pull myself together,” he says. “You have to reacclimatise,” Hammer concurs.
Do they mourn the end of their Italian summer? “Yes,” they chorus. They acknowledge there will never be another film like it. “It has been overwhelming,” Chalamet says. “It seems to have challenged people to be honest about what they are feeling,” Hammer says and then adds, visibly moved, that he received an email from someone who told him: “I saw Call Me By Your Name and went home and came out to my parents.”
In the film, Elio’s mother reads a fairytale with the moral that it is imperative to speak out in life. But is that always true? “Yes, I think so,” says Hammer. “No, it depends,” says Chalamet. “It is tough. I’d look at motivation: are you speaking for yourself or because you couldn’t lead your life without the other person hearing what you have to say?”
The film is on the side of disclosure, surrender and surviving the consequences. Elio’s father advises his son not to “make yourself feel nothing so as not to feel anything”. It never preaches control. Hammer says quietly, as if it settled every argument: “The heart wants what the heart wants.”
Call Me By Your Name is released in the UK on 27 October
(http://78.media.tumblr.com/3f9b0679792b7f107e5694011568b9cc/tumblr_oxk1rfjtji1v0clmvo4_1280.jpg)
Photos added to this text taken from:
http://matholcroft.tumblr.com/post/166214683059
http://matholcroft.tumblr.com/
http://monetsberm.tumblr.com/post/166216041096
http://monetsberm.tumblr.com/
** http://www.bfi.org.uk/news-opinion/sight-sound-magazine/november-2017-issue
....But it’s far from all anxiety-ridden in the new issue, as we also speak to Italian director Luca Guadagnino about his exquisite coming-of-age love story Call Me by Your Name, about a passionate summer affair between two young men, played by Timothée Chalamet and Armie Hammer. Guadagnino tells Pamela Hutchinson why the film is a homage to the cinema he loves, and also discusses his great debt to his idol Bernardo Bertolucci.
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:o :o :o
!!!!!!!!!!!!(https://78.media.tumblr.com/cc89d229fbec257b6aab3d3fc5db059d/tumblr_oxv80gLSry1qav05wo1_r1_1280.jpg)
http://athinglikethat.tumblr.com/post/166426783104/narrator-another-part-of-him-was-very-much-alive
https://laterpeaches.tumblr.com/post/166431686338/athinglikethat-narrator-another-part-of-him-was
http://quietgirls.tumblr.com/post/166431457385/athinglikethat-narrator-another-part-of-him-was
ALSO FYI:
https://en.wikipedia.org/wiki/Festival_du_nouveau_cin%C3%A9ma
The Festival du nouveau cinéma (FNC) is an annual independent film festival held in Montreal and features independent films from around the world. Over 160,000 people make their way to Montreal to attend the prestigious festival each year. The festival is an Academy Award qualifying festival for short films. Founded in 1971 by Claude Chamberlan and Dimitri Eipidès as Festival international du cinéma en 16mm de Montréal (Montreal International 16mm Film Festival), the festival went through several name changes before adopting its current name in 2004.
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CALLMEBYYOURNAMEFANART
http://camikoz.tumblr.com/
(https://abs.twimg.com/emoji/v2/72x72/1f351.png)
(http://78.media.tumblr.com/avatar_520d2bdaf4ca_64.png) by blue night
(http://78.media.tumblr.com/f8bc96f8621cae35efb383066a9671e8/tumblr_oxzh4crTIL1qic28wo1_1280.png)
http://monetsberm.tumblr.com/post/166514374626/camikoz-call-me-by-your-name
http://camikoz.tumblr.com/post/166510403456/call-me-by-your-name
http://camikoz.tumblr.com/image/166510403456
http://monetsberm.tumblr.com/
ZWISCHEN IMMER UND NIE
BETWEEN ALWAYS AND NEVER
L A T E R
CALLMEBYYOURNAMEFANART by blue night
http://camikoz.tumblr.com/
10/17/17 AT 9:05PM 241 Notes
Fan Art / Painting / blue night
#CMBYN #CallMeByYourName #cmbyn trailer #cmbyn discourse
#elio #elio perlman #oliver #ulliva #peach #laterpeaches 🍑
#timothée chalamet #armie hammer #andré aciman #luca guadagnino
#book #novel #film #movie #gay movie #sonyclassics #lgbt
#art #my art #artwork #artist #fanart
(https://abs.twimg.com/emoji/v2/72x72/1f351.png)
(http://78.media.tumblr.com/avatar_520d2bdaf4ca_64.png)
Obviously from:
(http://www.numerique.it/wp-content/uploads/2017/02/CM_LOfficiel17_04.jpg)
(http://www.numerique.it/wp-content/uploads/2017/02/4rPUXpi.jpg)
https://tchalametdaily.tumblr.com/post/166711627702/timoth%C3%A9e-chalamet-photographed-by-carlotta
https://atrl.net/forums/topic/11626-timothee-chalamet-stuns-for-lofficiel-hommes-italia/
Timothée Chalamet photographed by Carlotta Manaigo
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(https://upload.wikimedia.org/wikipedia/commons/thumb/f/f8/VOGUE_LOGO.svg/2000px-VOGUE_LOGO.svg.png)
(http://78.media.tumblr.com/5c8585398fa7eb7876778b1090096e1c/tumblr_oy0y7tdrgE1vsqp6bo2_1280.jpg)
(http://78.media.tumblr.com/6a66eb3d0c965c7d17c839a13fbacd56/tumblr_oy0y7tdrgE1vsqp6bo1_1280.jpg)
“Timothée Chalamet launches into awards season with a breakout performance in Luca Guadagnino's latest.” – Vogue, November 2017.
https://laterpeaches.tumblr.com/post/166538215348/searbao-timoth%C3%A9e-chalamet-launches-into-awards
http://searbao.tumblr.com/post/166537341126/timoth%C3%A9e-chalamet-launches-into-awards-season
http://bowie28.tumblr.com/post/166537683575
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(https://abs.twimg.com/emoji/v2/72x72/1f351.png)
(http://78.media.tumblr.com/avatar_520d2bdaf4ca_64.png) by blue night
(http://78.media.tumblr.com/f8bc96f8621cae35efb383066a9671e8/tumblr_oxzh4crTIL1qic28wo1_1280.png)
http://monetsberm.tumblr.com/post/166514374626/camikoz-call-me-by-your-name
http://camikoz.tumblr.com/post/166510403456/call-me-by-your-name
http://camikoz.tumblr.com/image/166510403456
http://monetsberm.tumblr.com/
CALLMEBYYOURNAMEFANART by blue night
http://camikoz.tumblr.com/
10/17/17 AT 9:05PM 241 Notes
(https://abs.twimg.com/emoji/v2/72x72/1f351.png)
(https://68.media.tumblr.com/avatar_9d8cbeaff65e_128.png) by finny-red.tumblr.com
(https://68.media.tumblr.com/7afed1a8acb7f7412246c779e39af8e8/tumblr_owc9t8605Y1w7hevpo1_500.jpg)
https://finny-red.tumblr.com/post/165376127152
https://finny-red.tumblr.com/archive
(https://abs.twimg.com/emoji/v2/72x72/1f351.png)
(https://pbs.twimg.com/profile_images/901012823798566912/fIUK4b24_400x400.jpg)by @mellowbeat__
(https://pbs.twimg.com/media/DK-b-GxUMAAh7eV.jpg)
https://twitter.com/mellowbeat__/status/914120757533229056
https://twitter.com/mellowbeat__
(https://pbs.twimg.com/media/DLESI86VAAAVoii.jpg)
https://twitter.com/mellowbeat__/status/914532208253165568
https://twitter.com/mellowbeat__
(https://abs.twimg.com/emoji/v2/72x72/1f351.png)
(https://instagram.fewr1-1.fna.fbcdn.net/t51.2885-19/s150x150/17586618_1826030724328758_7458941953455947776_a.jpg) by zarubina.art
@fleurypower
(https://68.media.tumblr.com/12381e064a189204343a01101daacbca/tumblr_omba4w5OfO1roib6ho1_1280.jpg)
https://fuckyeahtimotheechalamet.tumblr.com/post/158251170786/by-zarubinaart
https://www.instagram.com/p/BROgT2QBExY/
https://www.instagram.com/zarubina.art/
(https://abs.twimg.com/emoji/v2/72x72/1f351.png)
(https://a.deviantart.net/avatars/k/e/keoning.jpg?2) by Keoning
(https://img08.deviantart.net/32c6/i/2017/214/4/2/elio_perlman_by_keoning-dbimu7w.jpg)
https://keoning.deviantart.com/art/Elio-Perlman-696426620
(https://abs.twimg.com/emoji/v2/72x72/1f351.png)
(http://68.media.tumblr.com/b520454c503cc0ff9202bb075b575468/tumblr_nwljvkSAu01qar68yo1_1280.jpg)by electra sinclair
(https://68.media.tumblr.com/79dc3857736534324004bbd4b41cafbc/tumblr_ovsnlyX2F11qar68yo1_1280.jpg)
http://electrasinclair.tumblr.com/post/165001442371/call-me-by-your-name-facebook-instagram
https://sheril94.tumblr.com/post/164943413137/youll-kill-me-if-you-stop
https://sheril94.tumblr.com/image/165021324847
http://electrasinclair.tumblr.com/
http://electrasinclair.com/
(https://abs.twimg.com/emoji/v2/72x72/1f351.png)
☼ welcome to my place ☼
(https://68.media.tumblr.com/avatar_47c75e6495d3_64.png) by anqua.tumblr.com(https://68.media.tumblr.com/b00f8b3439bd8e9bc811dd86da95d744/tumblr_ou6lf6XW7s1ty6stwo1_1280.jpg)
http://www.gramunion.com/anqua.tumblr.com/163805888410
(https://68.media.tumblr.com/9005bcc0d8b0b854458ac3721744d080/tumblr_oukdzmdcBs1ty6stwo1_1280.jpg)
http://www.gramunion.com/anqua.tumblr.com/164091942955
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CALLMEBYYOURNAMEFANART
https://twitter.com/mellowbeat__
(https://abs.twimg.com/emoji/v2/72x72/1f351.png)
(https://pbs.twimg.com/media/DMQYmV0UIAEBiLc.jpg:thumb) by @mellowbeat__
He had, it took me a while to realize, four personalities depending on which bathing suit he was wearing. [....] Yellow: sprightly, buoyant, funny, not without barbs--don't give in too easily; might turn to Red in no time. Green, which he seldom wore: acquiescent, eager to learn, eager to speak, sunny--why wasn't he always like this?
(https://pbs.twimg.com/media/DLdaImFVoAAaZYD.jpg)
(https://pbs.twimg.com/media/DLdaGoWVAAE6QBm.jpg)
https://twitter.com/mellowbeat__/status/916300226880663553
https://twitter.com/i/moments/809183241286496256
https://twitter.com/mellowbeat__
"We wasted so many days--so many weeks."
"Wasted? I don't know. Perhaps we just needed
time to figure out if this is we wanted."
The next morning we went swimming together.
It was scarcely past six o'clock.
"How are you?" I asked, mimicking his question
to me yesterday morning.
"You should know."Call Me By Your Name by André Aciman
Recited/Narrated by Armie Hammer
CALLMEBYYOURNAMEFANART by @mellowbeat__
https://twitter.com/mellowbeat__6:52 AM October 6 2017 56 Likes
#CMBYN #CallMeByYourName #Elio #Oliver #laterpeaches #🍑
#elio perlman #oliver #ulliva
#andré aciman #armie hammer #timothée chalamet #luca guadagnino
#book #novel #film #movie #sonyclassics #lgbt
#art #artwork #artist #illustration
(https://abs.twimg.com/emoji/v2/72x72/1f351.png)
(https://pbs.twimg.com/media/DMQYmV0UIAEBiLc.jpg:thumb)
(https://abs.twimg.com/emoji/v2/72x72/1f351.png)
(https://pbs.twimg.com/media/DMQYmV0UIAEBiLc.jpg:thumb) by @mellowbeat__
(https://pbs.twimg.com/media/DIPIOR5UIAE3eJM.jpg)
https://twitter.com/i/moments/809183241286496256
https://twitter.com/mellowbeat__/status/901784510546587649
https://twitter.com/mellowbeat__
https://twitter.com/yorkeos
my thoughts only
going nowhere
(https://scontent.cdninstagram.com/t51.2885-19/s150x150/21372127_114640965919083_7751548261332156416_a.jpg) by @erkinaken(https://scontent.cdninstagram.com/t51.2885-15/s640x640/sh0.08/e35/20589765_675275466008692_3798105576320270336_n.jpg)
https://www.garow.me/media/1571450361696528490_4225893710
(https://scontent.cdninstagram.com/t51.2885-15/s640x640/sh0.08/e35/20398542_270210383382775_6789780705799831552_n.jpg)
https://www.garow.me/media/1571539586949360017_4225893710
https://www.garow.me/users/erkinaken/4225893710
(https://pbs.twimg.com/media/DIVCT4bXgAAuut3.jpg)
(https://pbs.twimg.com/media/DIVuDQQW0AAP1cx.jpg)
https://twitter.com/cmbynmovie
The next morning we went swimming together. It was scarcely past six o'clock. [....] Later, as he performed his own version of the dead-man's float, I wanted to hold him, as swimming instructors do when they hold your body so lightly that they seem to keep you afloat with barely a touch of their fingers. Why did I feel older than he was at that moment? I wanted to protect him from everything this morning, from the rocks, from the jellyfish, now that jellyfish season was upon us--
(http://moviepic.manmankan.com/yybpic/juzhao/201707/10600_75062.jpg)
http://www.manmankan.com/dy2013/haibao/10600/pic/index.shtml
The Semiotics of the Bathing Suit
https://en.wikipedia.org/wiki/Semiotics
(https://68.media.tumblr.com/54112993c407895aa949d985c36cf41b/tumblr_owlqshuOa21wwydymo1_500.png)
(https://pbs.twimg.com/profile_images/909052678642323457/dJVy_UgD_400x400.jpg) by @CuZn34
(https://pbs.twimg.com/media/DJ2bmtdVwAIFKMJ.jpg:large)
https://twitter.com/hashtag/cmbyn
https://twitter.com/CuZn34
He had, it took me a while to realize, four personalities depending on which bathing suit he was wearing. Knowing which to expect gave me the illusion of a slight advantage. Red: bold, set in his ways, very grown up, almost gruff and ill-tempered--stay away. Yellow: sprightly, buoyant, funny, not without barbs--don't give in too easily; might turn to Red in no time. Green, which he seldom wore: acquiescent, eager to learn, eager to speak, sunny--why wasn't he always like this? Blue: the afternoon he stepped into my room from the balcony, the day he massaged my shoulder, or when he picked up my glass and placed it right next to me.
Today was Red: he was hasty, determined, snappy.
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(https://78.media.tumblr.com/ce976641eebb9360f0c35e9a866a42a0/tumblr_oy15daPYKI1qe8tjno5_540.gif)
(https://78.media.tumblr.com/835ec729d48e9b3605e113cb9b035203/tumblr_oy15daPYKI1qe8tjno6_540.gif)
(https://78.media.tumblr.com/d991d3c6e2a2b9ff70e656689c469df8/tumblr_oy15daPYKI1qe8tjno3_540.gif)
[youtube=750,450]http://www.youtube.com/watch?v=f-cndgrgE9k[/youtube]
https://www.youtube.com/watch?v=f-cndgrgE9k
Although quite short at 30 sec.
I think the new UK trailer seems
much more adult than the
earlier trailers shown previously--
Call Me By Your Name
At UK Cinemas October 27
Sony Pictures Releasing UK
Uploaded on Oct 17, 2017
(https://yt3.ggpht.com/-Vh4FFNL-S4U/AAAAAAAAAAI/AAAAAAAAAAA/8VAYBg9-Vq8/s88-c-k-no-mo-rj-c0xffffff/photo.jpg)
(https://78.media.tumblr.com/2937ea337387fd2e001e229aa70bcfa1/tumblr_oy15daPYKI1qe8tjno2_540.gif)
(https://78.media.tumblr.com/0e9013d3f868a6f9a09e9ffbe9632e4e/tumblr_oy15daPYKI1qe8tjno1_540.gif)
(https://78.media.tumblr.com/3f6f7014c5e62a718710f9e837964609/tumblr_oy15daPYKI1qe8tjno4_540.gif)
https://laterpeaches.tumblr.com/post/166541710078/bowie28-call-me-by-your-name-uk-trailer
http://bowie28.tumblr.com/post/166541404810
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(https://i1.wp.com/dwacon.com/wp-content/uploads/2017/07/IFP-Gotham-Awards-Square.png?fit=420%2C420)
https://en.wikipedia.org/wiki/Gotham_Awards
The Gotham Independent Film Awards are American film awards, presented annually to the makers of independent films at a ceremony in New York City, the city first nicknamed "Gotham" by native son Washington Irving, in an issue of Salmagundi, published on November 11, 1807. Part of the Independent Filmmaker Project (IFP), "the largest membership organization in the United States dedicated to independent film" (founded in 1979), the awards were inaugurated in 1991 as a means of showcasing and honoring films made primarily in the northeastern region of the United States.
https://gotham.ifp.org/
(https://lh3.googleusercontent.com/KyUAz53LEv9hJ68aZRTB65P5XRXN8Ejh_T1RuUlJSyVdbQ1CW8tKZDV3BBCK4Kh72KcgcQ=s85)
Nominations Announced
Thursday, October 19
Awards
Monday, November 27
Watch The IFP
Gotham Awards Online
Monday, November 27, 8pm
Exclusive Red Carpet Show
Begins 6:15pm
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http://monetsberm.tumblr.com/post/166570539041
(http://78.media.tumblr.com/d8f457572a458e927b726d020f1c8e91/tumblr_oy2q7pzYku1sn68q5o1_540.png)
https://laterpeaches.tumblr.com/post/166570479648
http://monetsberm.tumblr.com/post/166570429896
(http://78.media.tumblr.com/05425ed7b99a2091b3945b7ca7772622/tumblr_oy2q6dDYC11sn68q5o1_540.png)
https://laterpeaches.tumblr.com/post/166570476928
http://monetsberm.tumblr.com/post/166570407956
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(https://abs.twimg.com/emoji/v2/72x72/1f351.png)
(http://78.media.tumblr.com/avatar_520d2bdaf4ca_64.png) by blue night
(http://78.media.tumblr.com/f8bc96f8621cae35efb383066a9671e8/tumblr_oxzh4crTIL1qic28wo1_1280.png)
http://monetsberm.tumblr.com/post/166514374626/camikoz-call-me-by-your-name
http://camikoz.tumblr.com/post/166510403456/call-me-by-your-name
http://camikoz.tumblr.com/image/166510403456
http://monetsberm.tumblr.com/
ZWISCHEN IMMER UND NIE
BETWEEN ALWAYS AND NEVER
L A T E R
CALLMEBYYOURNAMEFANART by blue night
http://camikoz.tumblr.com/
The bookseller had ordered two copies of Standhal's Armance, one a paperback edition and one an expensive hardbound. An impulse made me say I'd take both and put them on my father's bill. I then asked his assistant for a pen, opened up the hardbound edition, and wrote, Zwischen Immer und Nie, for you in silence, somewhere in Italy in the mid-eighties.
In years to come, if the book was still in his possession, I wanted him to ache. Better yet, I wanted someone to look through his books one day, open up this little volume of Armance, and ask, Tell me who was in silence, somewhere in Italy in the mid-eighties? And then I'd want him to feel something as darting as sorrow and fiercer than regret, maybe even pity for me, because in the bookstore that morning I'd have taken pity too, if pity was all he had to give, if pity could have made him put an arm around me, and underneath this surge of pity and regret, hovering like a vague, erotic undercurrent that was years in the making, I wanted him to remember the morning on Monet's berm when I'd kissed him not the first but the second time and given him my spit in his mouth because I so desperately wanted him in mine.
He said something about the gift being the best thing he'd received all year. I shrugged my shoulders to make light of perfunctory gratitude. Perhaps I just wanted him to repeat it.
"I'm glad, then. I just want to thank you for this morning." And before he even thought of interrupting, I added, "I know. No speeches. Ever."
Call Me By Your Name by André Aciman
Recited/Narrated by Armie Hammer
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http://articles.chicagotribune.com/2007-01-28/entertainment/0701270231_1_elio-andre-aciman-oliver
http://articles.chicagotribune.com/2007-01-28/entertainment/0701270231_1_elio-andre-aciman-oliver/2
(http://www.chandralaw.com/design/images/chicago-tribune.png)
A tale of longing
and
conflicted feelings
Homosexual affair is book's emotional focus
By Art Winslow
January 28, 2007
(https://static01.nyt.com/images/2007/02/25/books/acim450.jpg)
André Aciman
CALL ME BY YOUR NAME
By André Aciman
Farrar Straus Giroux. 248 pp. $23
In "Death in Venice," describing his main character's obsession with a lissome boy he has observed, Thomas Mann wrote that "in his infatuation, he wanted simply to pursue uninterrupted the object that aroused him, to dream of it when it was not there, and, after the fashion of lovers, to speak softly to its mere outline."
That is very much the affective atmosphere of André Aciman's "Call Me by Your Name," something of the Mann story in reverse, in which the narrator relates in later life his desire as an adolescent to secure--what?--his own desire, his aesthetic and romantic longing, in the person of a slightly older man, a house guest at his family's compound in Italy.
In the most basic sense, "Call Me by Your Name" is a coming-into-homosexual-awareness novel that shares commonalities with works by Edmund White, David Leavitt, Tom Spanbauer and many others. Yet that is a compromising view if considered exclusively, for even though Elio, the narrator, tells us early on that "I had wanted other men my age before and had slept with women," much else in the book argues toward ambivalence and the impetuousness of youth as complicating motivational factors.
Then, too, in its Mann-like focus on artistic sensibilities and its obvious playing with Romantic versus romantic inclinations, "Call Me by Your Name" is a meditation on the tenuous and sometimes evanescent underpinnings of desire, almost irrespective of its object. Elio is 17 during much of the recalled action and has mixed responses to the fleeting sexual contacts in his overall engagement with Oliver, the 24-year-old academic who takes up residence with Elio's family to work on an Italian translation of a book he has written. (Elio's father is a well-known professor who sponsors one such guest every summer, to help with their academic advancement.)
Additionally, Elio is recalling a summer fling from a vantage point 20 years on, and while those weeks form the emotional center of the book, he and Oliver went on to lead very separate lives. Elio, and apparently Oliver, had physical relations with young women, too, that summer, and the young men's approach-avoidance behavior toward each other called into question the meaning and context of their feelings, leaving an uneasy residue the succeeding years did little to abate. Elio wished to clear the air at the time but was told by Oliver," `we can't talk about such things. We really can't.' "
It has reached the point where Elio must talk about such things, though, and Aciman, cleverly, has made this account a separate telling from the diary Elio kept at the time, which is referenced occasionally and allows the author to compare two Elios, the present mind and past mind. Readers may remember the book that first brought Aciman attention as a writer, the memoir "Out of Egypt," a chronicle of his Jewish family's arrival in and eventual exit from Alexandria. Aciman is across the Mediterranean here, in his first novel, but a Diasporic sense remains, as Elio relates that his family "were not conspicuous Jews" but rather " `Jews of discretion,' to use my mother's words." When Elio spots Oliver wearing a Star of David on a gold chain, he reflects that outside the family, Oliver "was probably the only other Jew who had ever set foot in B."
Reference to towns like "B." and "N." are as specific as Elio's shorthand gets geographically, but we are near the site of Percy Bysshe Shelley's drowning (the early death of a Romantic), which means the bay of Spezia, in Liguria, northwestern Italy. "Cor cordium" ("heart of hearts") is inscribed on Shelley's gravestone, and the concept itself serves as a leitmotif in Aciman's novel, which is literary in its narrative style and its allusions to other writers. Not only is Dante quoted, but in a haphazard, circuitous night in Rome worthy of "La Dolce Vita," Elio runs into a Dante street performer (who is brawling with a Nefertiti impersonator).
Elio also reads Italian poet Giacomo Leopardi (another Romantic) and German-Jewish poet Paul Celan (another drowning), and comes to think of his connection to Oliver in Celanian phrasing: "Zwischen Immer und Nie. Between always and never." His late-adolescent voice is confessional and engaging, realistically self-contradictory, too, as his feelings frequently jackknife to become their own opposite hours later. Even his consort takes a jab at what Elio refers to as his "operatic sentimentalism."
The book of Oliver's that is being translated into Italian is on Heraclitus, the 6th Century B.C. philosopher who, loosely, saw the world as opposites replacing each other in transformational changes--a point of view that ties directly to themes in "Call Me by Your Name," and even the novel's title. There is cross-dressing here, but it is Elio and Oliver (whose names are virtually anagrams of each other) wearing each other's clothing, and in passion Oliver suggests to Elio, " `Call me by your name and I'll call you by mine.' "
Indeed, Elio meditates on individuals who need to "become so totally ductile that each becomes the other" and concludes that Oliver "was my secret conduit to myself." And he wonders, "Whom else would I ever be able to call by my name" without it being "a derived thrill, an affectation." Talking to his father, an accepting sort whose eyes know what they see when it comes to Oliver and his son, Elio thinks of a quotation from Emily Brontë: " `he's more myself than I am.' "
Probably all loves appear to be unique from the inside. It is a challenge for any writer to convey ardor without risking silliness, but Aciman balances Elio well on his psychic precipice. In his negative moments, Elio "felt queasy, as if I had been sick and needed not just many showers to wash everything off but a bath in mouthwash. . . . It was not him I hated--but the thing we'd done." Desire and shame were "the legacy of youth, the two mascots of my life," he reports.
Descriptions of sexual acts in "Call Me by Your Name" tend to be direct and not elliptical (one scene involving a piece of food might remind some of Philip Roth's "Portnoy's Complaint") but are far from prurient, and while they loom large to Elio in a psychological sense, they do not occupy much of the novel. Elio is a good tour guide, too, with an ability to convey the pleasant torpor of his Italian days, his bike rides into town, his swims, the surround of local characters:
"I loved the afternoons best: the scent of rosemary, the heat, the birds, the cicadas, the sway of palm fronds, the silence that fell like a light linen shawl on an appallingly sunny day. . . . This was my balcony, my world."
Sunny, and yet the coloration of elegy will not fade in whatever illumination Elio can bring to bear on his past. Of visiting a spot in Rome where he and Oliver had been, he relates that it "still resounds with something totally present, as though a heart stolen from a tale by Poe still throbbed under the ancient slate pavement to remind me that, here, I had finally encountered the life that was right for me but had failed to have."
Elio's father may be the wisest character in Aciman's book. He tells his son:
" I don't envy the pain. But I envy you the pain.' "
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Art Winslow, a former executive editor and literary editor of The Nation, writes frequently about books and culture.
Also see these other book reviews:
Like so many classic love stories, this one unfolds with the suspense of a thriller. Will Elio's passion ever be reciprocated by the one he worships? If it is, will they leap over fear and taboo to consummate their desire? And if they do, will they be exhilarated or repelled by that consummation? They have only six weeks to find out.
In a first novel that abounds in moments of emotional and physical abandon, this may be the most wanton of his moves: [André Aciman's] narrative, brazenly, refuses to stay closed. It is as much a story of paradise found as it is of paradise lost. (....) Nobody gets clocked with a tire iron. No one betrays the other.
Even the fate of mundanely inanimate things like a ripe peach or a pair of worn bathing trunks become sweetly perverse yet spellbinding in Aciman’s approach of storytelling. Trust me when I say that after reading this book, you will never look at peaches or swimming trunks in the same way ever again.
(http://fc06.deviantart.net/fs71/f/2015/014/3/7/botanical_4_by_cocorie-d8dv9wk.jpg)
Ulliva, Ulliva, Ulliva ---it was Oliver calling me by his name
when he'd imitate it's transmogrified sound as spoken by Malfalda
and Anchise; but it'd also be me calling him by his name as well,
hoping he'd call me back to mine, which I'd speak for him to me,
and back to him: Elio, Elio, Elio.
(https://s-media-cache-ak0.pinimg.com/236x/a1/69/06/a169065f635139f558c239ce0dd0bd78--sun-face-tattoo-sun-worship.jpg)
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http://www.indiewire.com/2017/03/oscar-predictions-2018-academy-awards-1201789008/
(https://pmccorp.files.wordpress.com/2016/05/indiewire_5001.png)
2018 Oscar Predictions
With Sundance and Cannes behind us and a ton of high profile movies ahead, Anne Thompson takes a look at this year's Oscar contenders. Updated 10/18/2017.
http://www.indiewire.com/2017/07/2018-oscar-predictions-best-adapted-screenplay-1201853697/
(https://pmccorp.files.wordpress.com/2016/05/indiewire_5001.png)
2018 Oscar Predictions: Best Adapted Screenplay
Frontrunners:
Scott Frank and James Mangold (“Logan”)
James Ivory (“Call Me By Your Name”)
Angelina Jolie and Loung Ung (“First They Killed My Father”)
Aaron Sorkin (“Molly’s Game”)
Virgil Williams and Dee Rees (“Mudbound”)
http://www.indiewire.com/2017/03/oscars-2018-best-actor-predictions-1201789016/
(https://pmccorp.files.wordpress.com/2016/05/indiewire_5001.png)
2018 Oscar Predictions: Best Actor
Frontrunners:
Timothée Chalamet (“Call Me By Your Name”)
James Franco (“The Disaster Artist”)
Andrew Garfield (“Breathe”)
Jake Gyllenhaal (“Stronger”)
Gary Oldman (“Darkest Hour”)
http://www.indiewire.com/2017/03/oscars-2018-best-supporting-actor-predictions-1201789020/
(https://pmccorp.files.wordpress.com/2016/05/indiewire_5001.png)
2018 Oscar Predictions: Best Supporting Actor
Frontrunners:
Willem Dafoe (“The Florida Project”)
Ben Mendelsohn (“Darkest Hour”)
Jason Mitchell (“Mudbound”)
Sam Rockwell (“Three Billboards Outside Ebbing, Missouri”)
Michael Stuhlbarg (“Call Me By Your Name”)
Contenders:
Steve Carell (“Last Flag Flying”)
Armie Hammer (“Call Me By Your Name”)
Woody Harrelson (“Three Billboards Outside Ebbing, Missouri”)
Richard Jenkins (“The Shape of Water”)
Tracy Letts (“Lady Bird”)
Ray Romano (“The Big Sick”)
Mark Rylance (“Dunkirk”)
http://www.indiewire.com/2017/03/oscars-2018-best-director-predictions-1201789013/
(https://pmccorp.files.wordpress.com/2016/05/indiewire_5001.png)
2018 Oscar Predictions: Best Director
Frontrunners:
Guillermo del Toro (“The Shape of Water”)
Greta Gerwig (“Lady Bird”)
Christopher Nolan (“Dunkirk”)
Denis Villeneuve (“Blade Runner 2049”)
Joe Wright (“Darkest Hour”)
Contenders:
Paul Thomas Anderson (“Phantom Thread”)
Luca Guadagnino (“Call Me By Your Name”)
Patty Jenkins (“Wonder Woman”)
Martin McDonagh (“Three Billboards Outside Ebbing, Missouri”)
Dee Rees (“Mudbound”)
Steven Spielberg (“The Post”)
http://www.indiewire.com/2017/03/oscars-2018-best-picture-predictions-1201788999/
(https://pmccorp.files.wordpress.com/2016/05/indiewire_5001.png)
2018 Oscar Predictions: Best Picture
Frontrunners:
“The Big Sick”
“Blade Runner 2049”
“Call Me By Your Name”
“Darkest Hour”
“Dunkirk”
“Get Out”
“Lady Bird”
“Mudbound”
“The Shape of Water”
“Three Billboards Outside Ebbing, Missouri”
AND FYI:
(http://scontent.cdninstagram.com/t51.2885-15/e35/21909266_1662534413780383_3338916822974988288_n.jpg)
https://twitter.com/cmbynmovie?lang=en
http://www.pictaram.org/post/BZbiWl0lDs2
http://www.pictaram.org/elioandoliver
elioandoliver
(http://scontent.cdninstagram.com/t51.2885-19/s150x150/21435435_242745009581572_4558964599084285952_a.jpg)
🍑 call me by your name 🍑
( @elioandoliver )
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Wow. Sad and lovely.
(Of course we all loved Bill Paxton too.)
(https://pbs.twimg.com/profile_images/1255015267/familyDSC_5411_2_400x400.jpg) Peter Spears
@pjspears
11:01 AM - 19 Oct 2017
63 Retweets 239 Likes
https://twitter.com/pjspears?lang=en&lang=en
https://twitter.com/pjspears/status/921073857468993536
Many of you have asked about Bill Paxton’s connection to Call Me By Your Name. Please see my response below. Thank you.
(https://pbs.twimg.com/media/DMhPyrJWkAIaBm1.jpg:large)
(https://68.media.tumblr.com/da1705fb2d6bbd543eaf37c777f4e1d7/tumblr_om0f7mJi9r1v0clmvo1_1280.jpg)
https://fuckyeahtimotheechalamet.tumblr.com/post/157793415456/matholcroft-from-left-brian-swardstorm-bill
http://matholcroft.tumblr.com/post/157758502924/from-left-brian-swardstorm-bill-paxton-peter
from left: Brian Swardstorm, Bill Paxton, Peter Spears, Armie Hammer,
Luca Guadagnino and Timothee Chalamet
RIP Bill 😔
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(http://cdn.entertainment-focus.com/wp-content/uploads/2017/08/Webp.net-resizeimage-3-5-770x433.jpg)
(https://scontent-sea1-1.cdninstagram.com/t51.2885-15/s750x750/sh0.08/e35/22637395_312752472466798_2157462532065853440_n.jpg?ig_cache_key=MTYyOTc1MjE0NjE0ODAwNDgxNg%3D%3D.2)
http://www.pictame.com/media/1629752146148004816_5916548553
http://stalkture.com/p/dailychalamet/5916548553/
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CALLMEBYYOURNAMEFANART
(http://68.media.tumblr.com/avatar_95d291388c96_40.png)by Dozer Draws(http://78.media.tumblr.com/31b10f2e8df346b6adb54fa35e854465/tumblr_oxnx2mjfZ71vrfw77o1_1280.jpg)
https://drawsaurus.tumblr.com/post/166289435881/littledozerdraws-for-my-good-good-friend
http://www.gramunion.com/quietgirls.tumblr.com/166291044565
http://littledozerdraws.tumblr.com/image/166289407872
http://littledozerdraws.tumblr.com/archive
https://drawsaurus.tumblr.com/
Monet's Berm
(for my dear friend @drawsaurus 🍑 )
sketch commission for @drawsaurus by Dozer Draws 🍑
250 notes Oct 11th, 2017
#call me by your name #elio #oliver #laterpeaches!
#digital art commission by #dozerdraws
#I'm basically sobbing at my desk
#later!!!
(http://68.media.tumblr.com/avatar_95d291388c96_40.png)
(http://68.media.tumblr.com/avatar_95d291388c96_40.png)by Dozer Draws(https://68.media.tumblr.com/6113703890aba189bca25501344c6aed/tumblr_ow87oz7vxx1vrfw77o1_1280.jpg)
http://littledozerdraws.tumblr.com/post/165298588082/them-beautiful-peach-boys-for-my-dear-friend
http://littledozerdraws.tumblr.com/archive
https://drawsaurus.tumblr.com/
them beautiful peach boys for my dear friend
@drawsaurus 🍑
sketch commission for @drawsaurus by Dozer Draws 🍑
218 notes Sept 13, 2017
#call me by your name #elio #oliver #all that peach juice ;0;
#digital art commission by #dozerdraws
#laterpeaches!
(http://68.media.tumblr.com/avatar_95d291388c96_40.png)
(http://68.media.tumblr.com/avatar_95d291388c96_40.png)by Dozer Draws(https://68.media.tumblr.com/51dac36f48da8c5e18b1baab56b48eff/tumblr_oovn13rpML1vrfw77o1_1280.jpg)
http://littledozerdraws.tumblr.com/post/159909360847/sketch-commission-for-drawsaurus
https://drawsaurus.tumblr.com/post/163494358601/littledozerdraws-sketch-commission-for
https://drawsaurus.tumblr.com/image/163494358601
https://drawsaurus.tumblr.com/tagged/commission
https://www.tumblr.com/tagged/call-me-peaches
http://littledozerdraws.tumblr.com/archive
https://drawsaurus.tumblr.com/
all that peach juice
sketch commission for @drawsaurus by Dozer Draws 🍑
217 notes Apr 23rd, 2017
#call me by your name #all that peach juice ;0;
#sketch commission for #dozerdraws
(https://instagram.fewr1-2.fna.fbcdn.net/t51.2885-19/s150x150/19052299_153287035214870_1093200297888579584_a.jpg) by cersell.art
🎠 Mick | 21 | Dutch
(https://68.media.tumblr.com/225945aac99fdd2ff5c6e13241c65100/tumblr_ou4seyQT621uh8v19o1_1280.png)
https://drawsaurus.tumblr.com/post/163783736276/cersell-drawn-on-commission-by-drawsaurus-thank
http://cersell.tumblr.com/post/163769328367/drawn-on-commission-by-drawsaurus-thank-you
https://drawsaurus.tumblr.com/image/164091023156
https://drawsaurus.tumblr.com/tagged/commission
https://www.instagram.com/cersell.art/
https://drawsaurus.tumblr.com/
http://cersell.tumblr.com/
fucking precious moments angel baby
Drawn by cersell.art on commission for @drawsaurus Thank you!
CALLMEBYYOURNAMEFANART by @drawsaurus
drawsaurus.tumblr.com
https://drawsaurus.tumblr.com/
oh jesus i just organised my commissions tag and guys i’ve got a problem
( https://drawsaurus.tumblr.com/tagged/commission )
(MAKING TALENTED PEOPLE DRAW U BEAUTIFUL THINGS IS JUST SO ADDICTIVE)
Fan Art / Digital Art / Drawings /
#CMBYN #CallMeByYourName #sketch commission for #@drawsaurus
#my boys #my good sweet boys
#Elio #Oliver #laterpeaches
#oliver ulliva #elio perlman #armie hammer #timothée chalamet
#seriously #i love this #just so much
#oliver's HAIR #his EYELASHES
#the soft nostalgic summer glow of it all #i love it
#later!!!
(https://68.media.tumblr.com/avatar_3c4a0253b608_40.png)
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(https://pbs.twimg.com/media/DK676DzX0AEUKfg.jpg)
Making of #CallMeByYourName: "Summer Loving" in #TotalFilm magazine (Nov 2017) TOTAL FILM UK
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CALLMEBYYOURNAMEFANART
https://twitter.com/mellowbeat__
(https://abs.twimg.com/emoji/v2/72x72/1f351.png)
(https://pbs.twimg.com/media/DMQYmV0UIAEBiLc.jpg:thumb) by @mellowbeat__
(https://pbs.twimg.com/media/DIjx-PxV4AAdesV.jpg)
https://twitter.com/mellowbeat__/status/903237788040011776
https://twitter.com/mellowbeat__
Two Shirts
(https://78.media.tumblr.com/be1a963c1da4b71952b1db32ada5a65d/tumblr_oxxas9SiNd1qetpq0o2_r1_540.gif)
http://www.gramunion.com/tagged/cmbynedit
(https://pixel.nymag.com/imgs/daily/vulture/2017/07/31/call-me-by-your-name-gifs/31-cmbyn-handshake.nocrop.w710.h2147483647.gif)
http://www.vulture.com/2017/08/all-the-gifs-you-need-from-the-call-me-by-your-name-trailer.html
(https://78.media.tumblr.com/80f60f2630e4deb4f8b626d297f7dbec/tumblr_oy1b1dcD1U1sonqjko6_r1_400.gif)
http://www.gramunion.com/arandomexperience.tumblr.com/166549033899
(ok, re the last gif, sue me. The billowy shirt of Oliver's that Elio lusts for and finally receives as a
gift-fetish is the blue oxford, not striped, but artist Mellowbeat's artwork is clever and Elio is so lustful!)
CALLMEBYYOURNAMEFANART by @mellowbeat__
https://twitter.com/mellowbeat__
5:47 AM - 31 Aug 2017
#CMBYN #CallMeByYourName #Elio #Oliver #laterpeaches #🍑
#elio perlman #oliver #ulliva #billowy #shirts
#andré aciman #armie hammer #timothée chalamet #luca guadagnino
#book #novel #film #movie #sonyclassics #lgbt
#art #artwork #artist #illustration
(https://abs.twimg.com/emoji/v2/72x72/1f351.png)
(https://pbs.twimg.com/media/DMQYmV0UIAEBiLc.jpg:thumb)
(http://montages.no/files/2017/10/cmbyn2.jpg)
(https://68.media.tumblr.com/bc7cc76c8606b6eb2bc99f1dd4ca8672/tumblr_obo7n0buRI1vcmvdlo1_1280.jpg)
ttps://www.instagram.com/p/BGpNEnkw5uJ/
"So long, Sirmione!" 📸
(https://instagram.fewr1-2.fna.fbcdn.net/t51.2885-19/s150x150/20184840_320934591695020_4549105372807299072_a.jpg) armiehammer
https://www.instagram.com/armiehammer/
https://www.instagram.com/p/BGpNEnkw5uJ/
Sirmione, Lake Garda
So long, Sirmione! 📸
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(https://78.media.tumblr.com/ae2b4381689fb5927c71a6094a67262c/tumblr_oy1b1dcD1U1sonqjko9_r1_400.gif)
(https://78.media.tumblr.com/ef7a343360a4ea8f2ab393a0bbb7e503/tumblr_oy1b1dcD1U1sonqjko1_400.gif)
(https://78.media.tumblr.com/7ea6c6cd6d3e0bd6d4119525d16abc2a/tumblr_oy1b1dcD1U1sonqjko3_r1_400.gif)
(https://78.media.tumblr.com/83a9ea1a287b3af0611981ec58a359ca/tumblr_oy1b1dcD1U1sonqjko2_r2_400.gif)
(https://78.media.tumblr.com/5c1d4d69c90ec5926079af10b8400b0b/tumblr_oy1b1dcD1U1sonqjko8_r1_400.gif)
http://www.gramunion.com/arandomexperience.tumblr.com/166549033899
http://www.gramunion.com/arandomexperience.tumblr.com?page=2
(https://pbs.twimg.com/media/DK0YIbAVoAAWviK.jpg)
Peter Spears @pjspears 7:39 AM - 28 Sep 2017
https://twitter.com/pjspears?lang=en
TBT. BTS Making movies. Italy 2016/1983 Call Me By Your Name
So, after seeing the movie at NYFF last night, I realized that, like Elio, I found that I had been faking being 'adult' for what seemed like years, and that, suddenly, I found myself unable to make my own way home, and, after feeding a gettone into the antiquated telephone, I needed to call Mom and ask her, tearfully, to pick me up from the station near Bergamo.
I also need to see the four hour version of the movie right away, please. Without people who feel it 'necessary' to loudly applaud during the last shot with Timothée staring into the fire just because Luca quietly put the movie title in the lower left of the frame, so no one could hear Sufjan's singing, or figure out his lyrics. Thanks.
(https://68.media.tumblr.com/5385d5c623fba7cd330de9f74523b54c/tumblr_ouc4l4497R1wwjl4jo1_r1_1280.jpg)
http://www.gramunion.com/callmebyurnameandillcallubymine.tumblr.com/163920289941
http://www.gramunion.com/tagged/michael%20stuhlbarg
my thoughts only
going nowhere
(https://scontent.cdninstagram.com/t51.2885-19/s150x150/21372127_114640965919083_7751548261332156416_a.jpg) by @erkinaken(https://encrypted-tbn0.gstatic.com/images?q=tbn:ANd9GcQY2FG2KzSW8uO9ZhCmFJcfYSy2_DDFELumuetWsxGhfP58rgrO5w)
https://www.garow.me/users/erkinaken/4225893710
http://www.imgrum.co/tag/elio/
"I imagined Elio crying out to Oliver,
begging him to stay with him for the rest of his life.
All those could-have-beens always break me
because they are not to be."
-
(https://pixel.nymag.com/imgs/daily/vulture/2017/07/31/call-me-by-your-name-gifs/31-cmbyn-armie-glance.nocrop.w710.h2147483647.gif)
http://www.vulture.com/2017/08/all-the-gifs-you-need-from-the-call-me-by-your-name-trailer.html
(https://78.media.tumblr.com/80f60f2630e4deb4f8b626d297f7dbec/tumblr_oy1b1dcD1U1sonqjko6_r1_400.gif)
http://www.gramunion.com/arandomexperience.tumblr.com/166549033899
(https://78.media.tumblr.com/ef7a343360a4ea8f2ab393a0bbb7e503/tumblr_oy1b1dcD1U1sonqjko1_400.gif)
http://www.gramunion.com/arandomexperience.tumblr.com/166549033899
http://www.gramunion.com/arandomexperience.tumblr.com?page=2
Yeah, this is one of Oliver's blue oxford shirts (whether long or short-sleeved) that Elio had so longed for/lusted after, and, after having received it as a gift, Elio wore it when he was in the last tearful embrace with Oliver at the train station.
(https://pbs.twimg.com/profile_images/919851966146101249/ffU0LD8X_400x400.jpg) by Nikko Tan
@chroniclikerrr
@CMBYNFANPAGE(https://scontent-sea1-1.cdninstagram.com/t51.2885-15/s480x480/e35/c257.0.565.565/20066785_102561950415480_5065485957910757376_n.jpg?ig_cache_key=MTU2MDM0OTQ3MjUzNjU2MTQ0Mg%3D%3D.2.c)
http://www.imgrum.org/media/1576993348156539517_5850831693
http://www.imgrum.org/user/cmbynfanpage/5850831693
https://twitter.com/chroniclikerrr
-
CALLMEBYYOURNAMEFANART
https://stang1996.deviantart.com/
(https://abs.twimg.com/emoji/v2/72x72/1f351.png)
(https://orig00.deviantart.net/3ea2/f/2017/181/c/c/profile_picture_by_stang1996-dbeks3m.png) by stang1996
(https://img00.deviantart.net/5244/i/2017/252/f/1/call_me_by_your_name_by_stang1996-dbmu81m.png)
https://stang1996.deviantart.com/art/Call-Me-By-Your-Name-703489594
https://stang1996.deviantart.com/
Reading poetry (Paul Celan) on Monet's Berm
(can't wait to watch the film!)
CALLMEBYYOURNAMEFANART by stang1996
https://stang1996.deviantart.com/
Artist | Student | Digital Art
Thailand
I'm STNG from Thailand.
21 / university student / astray romanticist
Fan Art / Digital Art / Painting & Airbrushing / Movies & TV©2017 stang1996
#CMBYN #CallMeByYourName #cmbyn trailer #cmbyn discourse
#elio #elio perlman #oliver #ulliva #peach #laterpeaches 🍑
#timothée chalamet #armie hammer #andré aciman #luca guadagnino
#book #novel #film #movie #gay movie #sonyclassics #lgbt
#animeboy #digitalart #digitalpainting #fanartdigital #yaoi
#art #my art #artwork #artist
(https://abs.twimg.com/emoji/v2/72x72/1f351.png)
(https://orig00.deviantart.net/3ea2/f/2017/181/c/c/profile_picture_by_stang1996-dbeks3m.png)
(https://upload.wikimedia.org/wikipedia/commons/b/b3/Grave-Paul-Celan.jpg)
The grave of Paul Celan at the Cimetière de Thiais near Paris
(https://upload.wikimedia.org/wikipedia/en/thumb/7/7f/Celan_.jpg/220px-Celan_.jpg)
https://www.poetryfoundation.org/poets/paul-celan
https://en.wikipedia.org/wiki/Paul_Celan
-
(https://pbs.twimg.com/media/DIZd7HmWAAMwOul.jpg)
https://twitter.com/cmbynmovie
Each leaning on one arm, we both stared out at the view.
"You're the luckiest kid in the world," he said.
"You don't know the half of it."
[....]
"Let's see then--"
And before I knew it, he sidled up to me. We were too close, I thought, I had never been so close to him before except in a dream or when he cupped his hand to light my cigarette. If he brought his ear any closer he'd hear my heart. I'd seen it written in novels but never believed it until now. He stared me right in the face, as though he liked my face and wished to study it and to linger on it---
Call Me By Your Name by André Aciman
Recited/Narrated by Armie Hammer
(https://abs.twimg.com/emoji/v2/72x72/1f351.png)
(https://orig00.deviantart.net/3ea2/f/2017/181/c/c/profile_picture_by_stang1996-dbeks3m.png) by stang1996
(https://img00.deviantart.net/5244/i/2017/252/f/1/call_me_by_your_name_by_stang1996-dbmu81m.png)
https://stang1996.deviantart.com/art/Call-Me-By-Your-Name-703489594
https://stang1996.deviantart.com/
Reading poetry (Paul Celan) on Monet's Berm
(can't wait to watch the film!)
CALLMEBYYOURNAMEFANART by stang1996
https://stang1996.deviantart.com/
(https://abs.twimg.com/emoji/v2/72x72/1f351.png)
(http://static.tumblr.com/ec55ccf815aac6ea95376c55a42242fa/snqt5yb/Nnkopqc9p/tumblr_static_2iw3iou4elq88kg4wk44co4co.png) by cersell.art
🎠 Mick | 21 | Dutch (https://68.media.tumblr.com/225945aac99fdd2ff5c6e13241c65100/tumblr_ou4seyQT621uh8v19o1_1280.png)
https://drawsaurus.tumblr.com/post/163783736276/cersell-drawn-on-commission-by-drawsaurus-thank
http://cersell.tumblr.com/post/163769328367/drawn-on-commission-by-drawsaurus-thank-you
https://drawsaurus.tumblr.com/image/164091023156
https://www.instagram.com/cersell.art/
http://cersell.tumblr.com/
fucking precious moments angel baby
Drawn by cersell.art on commission for @drawsaurus Thank you!
04.08.17 241 notes
#my art #commission work #drawsaurus #call me by your name
CALLMEBYYOURNAMEFANART
(http://68.media.tumblr.com/avatar_95d291388c96_40.png)by Dozer Draws(http://78.media.tumblr.com/31b10f2e8df346b6adb54fa35e854465/tumblr_oxnx2mjfZ71vrfw77o1_1280.jpg)
https://drawsaurus.tumblr.com/post/166289435881/littledozerdraws-for-my-good-good-friend
http://www.gramunion.com/quietgirls.tumblr.com/166291044565
http://littledozerdraws.tumblr.com/image/166289407872
http://littledozerdraws.tumblr.com/archive
https://drawsaurus.tumblr.com/
Monet's Berm
(for my dear friend @drawsaurus 🍑 )
[(https://pbs.twimg.com/media/DGaDBZBVoAAXURr.jpg)
A few scenes from Call Me By Your Name taken at a premiere, source unknown.
https://twitter.com/badpostchalamet @badpostchalamet timothée updates
https://twitter.com/apeachpricot @apeachpricot
(http://static.tumblr.com/7d1f6bee6e20c161b775566e9e5ae362/tniclml/LRpolsh77/tumblr_static_11tdw2xuiy6o8wwkgco48wow8.jpg) HEART OF HEARTS
http://monetsberm.tumblr.com/
Evie
"All that remains is dreammaking and strange remembrance."
semi-hiatus
(http://68.media.tumblr.com/177f595531092b90d7ba6796d1cf8c75/tumblr_oummzeZaAx1sn68q5o1_1280.jpg)
http://monetsberm.tumblr.com/post/164135695521/behind-the-scenes
http://monetsberm.tumblr.com/image/164135695521
http://monetsberm.tumblr.com/
https://www.tumblr.com/tagged/elio-and-oliver
https://fuckyeahtimotheechalamet.tumblr.com/
https://www.tumblr.com/tagged/cosmicponye
Behind the scenes.
#CMBYN #CallMeByYourName #Elio #Oliver
#andréaciman #armiehammer #timothéechalamet #lucaguadagnino
#laterpeaches #BEHIND THE SCENES
(https://abs.twimg.com/emoji/v2/72x72/1f351.png)
(https://pbs.twimg.com/profile_images/919851966146101249/ffU0LD8X_400x400.jpg) by Nikko Tan
@chroniclikerrr
(https://scontent-iad3-1.cdninstagram.com/t51.2885-15/e35/21984670_151234002140552_3972133918827610112_n.jpg)
https://yotagram.com/p/1611937636757317796/
https://yotagram.com/cmbyn_art/
https://twitter.com/chroniclikerrr
Monet's Berm
(Sampled the colors from Monet's paintings in Bordighera)
CALLMEBYYOURNAMEFANART by Nikko Tan
@chroniclikerrr
-
!!! :o ::) :laugh:
(https://pbs.twimg.com/profile_images/826497435367202816/5S_xTNyT_400x400.jpg) Kyle Buchanan
@kylebuchanan
7:53 AM - 23 Jan 2017
50 Retweets 137 Likes
https://twitter.com/kylebuchanan
(http://i.imgur.com/wqinnal.png)
https://www.reddit.com/r/Sufjan/comments/5qjyqg/some_tweets_i_found_about_call_me_by_your_name/
-
(http://www.hotelolivi.com/source/jamaica-3.jpg)
[youtube=800,472]http://www.youtube.com/watch?v=RqPwSE8FbHA[/youtube]
https://www.youtube.com/watch?v=RqPwSE8FbHA
Song recorded
(from a recent screening?)
Top image from
Baia Jamaica, Sirmione,
Lago di Garda.
Sufjan Stevens - Mystery of Love
Call Me by Your Name
Soundtrack will be released November 3 2017
zeMasterBaker
Published on Oct 17, 2017
(https://yt3.ggpht.com/-Th5BPhFeHfw/AAAAAAAAAAI/AAAAAAAAAAA/i-mi27151X0/s88-c-k-no-mo-rj-c0xffffff/photo.jpg)
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.
-
These are the last few minutes of the movie,
Elio looking into the fire, crying and remembering--
until his mother's voice calls
"Elio--"
(https://68.media.tumblr.com/5385d5c623fba7cd330de9f74523b54c/tumblr_ouc4l4497R1wwjl4jo1_r1_1280.jpg)(http://static.stereogum.com/uploads/2017/01/IMG_0475_bw-1485544300-640x480.jpg)
(http://static.stereogum.com/uploads/2017/01/IMG_0475_bw-1485544300-640x480.jpg)(https://68.media.tumblr.com/5385d5c623fba7cd330de9f74523b54c/tumblr_ouc4l4497R1wwjl4jo1_r1_1280.jpg)
[youtube=1100,650]http://www.youtube.com/watch?v=Wgkup11s3z0[/youtube]
http://www.youtube.com/watch?v=Wgkup11s3z0
Last moments
of the movie; song recorded
(from a recent screening?)
Sufjan Stevens - Visions of Gideon
Call Me by Your Name
Soundtrack will be released November 3 2017
zeMasterBaker
Published on Oct 17, 2017
(https://yt3.ggpht.com/-Th5BPhFeHfw/AAAAAAAAAAI/AAAAAAAAAAA/i-mi27151X0/s88-c-k-no-mo-rj-c0xffffff/photo.jpg)
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.
Sufjan Stevens "Visions of Gideon"
From the film CALL ME BY YOUR NAME by Luca GuagagninoVisions of GideonI 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
-
These photos, illustrations and songs are pure bliss! (a bit trieste, also). Thank you for this lovely collection!
-
These photos, illustrations and songs are pure bliss! (a bit trieste, also). Thank you for this lovely collection!
Thank you so much Lee! So kind! I love the fan artwork myself--it's so heartfelt! And some of the fan artists are just amazing, so talented.
I do hope you can see the movie--the US release date is Friday, November 24 (a month after the UK/RofIreland release date of Friday, October 27) but sonyclassics.com (http://sonyclassics.com/callmebyyourname/#) is saying it "opens Nov 24 in NY and LA," which is very limited--I'll certainly post anything I hear re other cities. In any case, you might guess where I'll be the day after Thanksgiving!
:laugh: :laugh:
-
CALLMEBYYOURNAMEFANART
https://twitter.com/mellowbeat__
(https://abs.twimg.com/emoji/v2/72x72/1f351.png)
(https://pbs.twimg.com/media/DMQYmV0UIAEBiLc.jpg:thumb) by @mellowbeat__
(https://pbs.twimg.com/media/DIyeLgIV4AA_Rpl.jpg)
https://twitter.com/mellowbeat__/status/904271579848130560
https://twitter.com/mellowbeat__
미묘하다
Subtle
CALLMEBYYOURNAMEFANART by @mellowbeat__
https://twitter.com/mellowbeat__
2:15 AM - 3 Sep 2017 2 Likes
#CMBYN #CallMeByYourName #laterpeaches #🍑
#elio perlman #oliver #ulliva
#timothée chalamet #armie hammer #andré aciman #luca guadagnino
#book #novel #film #movie #sonyclassics #lgbt
#art #artwork #artist #illustration
(https://abs.twimg.com/emoji/v2/72x72/1f351.png)
(https://pbs.twimg.com/media/DMQYmV0UIAEBiLc.jpg:thumb)
-
CALLMEBYYOURNAMEFANART
http://imgrid.net/user/carolamarin.art/
(https://instagram.fewr1-2.fna.fbcdn.net/t51.2885-19/s150x150/22638721_1771070459857923_5491366449601576960_n.jpg) by @carolamarin.art
(https://scontent-ams3-1.cdninstagram.com/t51.2885-15/e35/22069203_1550410915022857_1171735325379133440_n.jpg?ig_cache_key=MTYxNDAzNDgxMTAyMjA3MDQwNQ%3D%3D.2&se=7)
http://imgrid.net/tag/cmbyn_art/J0HWepRygAAAF0HWdKBawAAAFiYA
http://imgrid.net/post/1614034811022070405_3473631519
http://imgrid.net/user/carolamarin.art/
http://instagram.com/carolamarin.art
https://twitter.com/hashtag/cmbyn
http://imgrid.net/tag/cmbyn_art/
The boy of the year! So young and yet so talented!
by @carolamarin.art
Sep 30 2017 318 Likes
#call me by your name #cmbyn #andré aciman #luca guadagnino #lgbt
#timothée chalamet #elio #elio perlman #armie hammer #oliver #ulliva #actor
#movies #film #lgbtmovie #oscar
#instaart #instaartist #illustration #illustrator #ilustracion #dibujo
#portrait #painting #drawing #art #artist #fanart
#digitalart #digitalportrait
#instagram #twitter
#later!
CALLMEBYYOURNAMEFANART by @carolamarin.art
https://www.instagram.com/carolamarin.art/
http://imgrid.net/user/carolamarin.art/
(https://instagram.fewr1-2.fna.fbcdn.net/t51.2885-19/s150x150/22638721_1771070459857923_5491366449601576960_n.jpg)
CALLMEBYYOURNAMEFANART
http://imgrid.net/user/carolamarin.art/
https://twitter.com/alteruendelig
(https://instagram.fewr1-2.fna.fbcdn.net/t51.2885-19/s150x150/22638721_1771070459857923_5491366449601576960_n.jpg) by carola nå
@alteruendelig
(https://pbs.twimg.com/media/DJoh6KCWsAEzAQe.jpg:large)
http://instagram.com/carolamarin.art
https://twitter.com/hashtag/cmbyn
https://twitter.com/alteruendelig
Whom else would I ever be able to call by my name?
by carola nå (handwriting by @lacartaqueno)
Sep 13 2017
#call me by your name #cmbyn #andré aciman #luca guadagnino #lgbt
#timothée chalamet #elio #elio perlman #armie hammer #oliver #ulliva
#portrait #painting #art #artist #fanart #instagram #twitter
#movies #film #lgbtmovie #oscar
#later!
CALLMEBYYOURNAMEFANART by carola nå
@alteruendelig
https://twitter.com/alteruendelig
(https://instagram.fewr1-2.fna.fbcdn.net/t51.2885-19/s150x150/22638721_1771070459857923_5491366449601576960_n.jpg)
-
CALLMEBYYOURNAMEFANART
http://imgrid.net/user/linlinoleum/
(https://scontent-ams3-1.cdninstagram.com/t51.2885-19/s150x150/18380399_428365237531689_6511820635834941440_a.jpg) by @linlinoleum
Aline Ilushkina
(https://scontent-ams3-1.cdninstagram.com/t51.2885-15/e35/22277683_136711566960405_196000244142440448_n.jpg?ig_cache_key=MTYxOTQxMzgwNjM0NDA3MzY0NA%3D%3D.2&se=7)
http://imgrid.net/post/1619413806344073644_210801906
http://imgrid.net/user/linlinoleum/
http://imgrid.net/tag/cmbyn_art/
Я не могу нарадоваться тому факту,
что через две недели смогу увидеть фильм своими глазами.
I can not get enough of the fact that
in two weeks I will be able to see the film with my own eyes.
Совсем скоро будет ровно год с тех пор, как я прочла call me by your name в первый раз.
Very soon there will be exactly a year since I read the call me by your name for the first time.
И на тот момент книга поразила меня до глубины души.
Безумная откровенность и отчаянное желание понять человеческие чувства и собственный разум, и прекрасная история любви,
которая на тот момент повергла меня в шок своей простотой во всем этом безумии.
(Похожие ощущения остались после Хорошо быть тихоней, не могу не согласиться с Тимом на этот счет)
And at that moment the book struck me to the core.
Mad frankness and desperate desire to understand human feelings and own mind, and a beautiful love story,
which at that time shocked me with its simplicity in all this madness.
(Similar feelings left after It's good to be quiet, I can not agree with Tim on this)
С тех пор я прочла книгу по меньшей мере три раза,
часто возвращаясь к некоторым моментам и проникаясь ею все сильнее и сильнее.
Since then, I've read the book at least three times,
often returning to some moments and getting it stronger and stronger.
И если бы год назад
(что уж там, месяц назад я планировала ехать на просмотр в Москву)
я могла представить, что смогу увидеть экранизацию так скоро, еще и в нашем городе,
я бы ни за что не поверила. В общем, ах.
And if a year ago
(which is there, a month ago I was planning to go to Moscow for viewing),
I could imagine that I could see the adaptation so soon, even in our city,
I would never have believed it. In general, ah.
by @linlinoleum
Aline Ilushkina
Oct 05 2017 291 Likes
#call me by your name #cmbyn #andré aciman #luca guadagnino #lgbt
#timothée chalamet #elio #elio perlman #armie hammer #oliver #ulliva #actor
#movies #film #lgbtmovie #oscar
#illustration #illustrator #portrait #painting #drawing #art #artist #fanart
#later!
CALLMEBYYOURNAMEFANART by @linlinoleum
http://imgrid.net/user/linlinoleum/
(https://scontent-ams3-1.cdninstagram.com/t51.2885-19/s150x150/18380399_428365237531689_6511820635834941440_a.jpg)
(http://cdn2-www.comingsoon.net/assets/uploads/2017/08/callmeheader.jpg)
(https://pbs.twimg.com/media/DIVOpWiW0AIOBXI.jpg)
https://twitter.com/cmbynmovie
(https://pbs.twimg.com/media/DIVnf5zXoAEzWxz.jpg)
-
(https://static.independent.co.uk/s3fs-public/styles/story_medium/public/thumbnails/image/2017/10/24/14/name-2.jpg)
Luca Guadagnino directing Armie Hammer in his latest film Call Me By Your Name
http://www.independent.co.uk/arts-entertainment/films/features/call-me-by-your-name-luca-guadagnino-armie-hammer-timoth-e-chalamet-tilda-swinton-a-bigger-splash-a8017131.html
Scene/Behind the scene--
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https://fuckyeahtimotheechalamet.tumblr.com/post/151884075656/shooting-call-me-by-your-name-source
https://twitter.com/emorybrooklyn
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http://www.mynewplaidpants.com/2016/06/armie-is-still-taking-italy.html
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https://twitter.com/GayTimesMag/status/917797174485897216
http://monetsberm.tumblr.com/post/166814315491/laterpeaches-gaytimesmag-in-a-world
http://www.gaytimes.co.uk/culture/89320/call-me-by-your-name-premiere-stars-right-time/
http://laterpeaches.tumblr.com/post/166811085843/gaytimesmag-in-a-world-exclusive-we-met-with
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[youtube=580,450]http://www.youtube.com/watch?v=7uKlj8KBB6k[/youtube]
https://www.youtube.com/watch?v=7uKlj8KBB6k
Armie + Timothée:
Call Me By Your Name London premiere
Gay Times
Published on Oct 10, 2017
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Armie Hammer and Timothée Chalamet speak to Gay Times
on the red carpet at the BFI London Film Festival for Call Me By Your Name.
http://www.gaytimes.co.uk/culture/89320/call-me-by-your-name-premiere-stars-right-time/
Exclusive:
Call Me By Your Name stars
on why the gay love story is timely
by Lewis Corner
15:44 10th October 2017
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Although Andre Aciman’s novel Call Me By Your Name was released 10 years ago now, it feels like its big screen adaptation has come at just the right time.
Directed by Luca Guadagnino, the film is set in 1980s Italy, as 17-year-old Elio (played by Timothée Chalamet) embarks on a summer affair with 24-year-old doctoral student Oliver (Armie Hammer).
It has received critical acclaim ahead of its release, mainly for its powerful portrayal of first love and desire.
Gay Times caught up with the stars of the film – as well as its director – to speak about the impact it could have on generations of LGBT+ people to come.
“To bring voice to any sort of LGBTQ story is very powerful, because these are stories that don’t get voiced enough,” Timothée told us at the European premiere as part of the BFI London Film Festival.
“Certainly not a story like this one where there isn’t some sort of antagoniser or disease, it’s just a love story.”
The 21-year-old American actor added that its release feels timely in a year when LGBT+ rights and equality feels at threat.
“We’re in an era of intense socio-geographic divide, so to have a film that really is just a celebration of love in a boundary-less form, it feels like good timing,” he said.
Watch the video above to hear more from Timothée, as well as insight from Armie Hammer and Luca Guadagnino.
Call Me By Your Name will be released in the UK on 27 October, and in the US on 24 November.
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Sailing delicately between jolting musical transitions and subtle tiptoes toward the forbidden, “Call Me By Your Name” has arrived at just the right time. While nearly every nook and cranny of Western culture is fraught with harshness and judgment, Luca Guadagnino and his cast breezes in, reminding us that love can save the day. What the film accomplishes is nothing short of revelatory, a warm, generous (and long overdue) cradling that steps beyond the LGBT community and high into a universal arena.
https://www.huffingtonpost.com/entry/call-me-by-your-name-quenches-our-thirst-for-compassion_us_59d68c70e4b08ce873a8cc50
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Call Me by Your Name
Quenches Our Thirst For Compassion
by Michael Raver
10 Oct 2017 04:29 pm ET
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Timothée Chalamet and Armie Hammer in Call Me by Your Name--Whispers of steamy gay sex scenes and piercing performances from the cast.
When it premiered at The Sundance Film Festival earlier this year, Luca Guadagnino’s gorgeous drama, “Call Me By Your Name” sent droves of moviegoers into a ravenous frenzy anticipating its wide release. There were whispers of steamy gay sex scenes and piercing performances from the cast. All of this was proven to be true for audiences at The Berlin Film Festival in February and now the recent screening at the New York Film Festival has excited another wave of titillated new fans.
Based on the acclaimed 2007 novel of the same name by André Aciman, it’s the coming-of-age story of 17-year-old Elio Perlman (Timothée Chalamet), a musical prodigy who spends the summers on his parents’ Italian villa in the 1980s. When his father (Michael Stuhlbarg) welcomes the brilliant and hunky academic, Oliver (Armie Hammer) to stay for the summer to complete his PhD, the two young men form a passionate bond.
Sailing delicately between jolting musical transitions and subtle tiptoes toward the forbidden, “Call Me By Your Name” has arrived at just the right time. While nearly every nook and cranny of Western culture is fraught with harshness and judgment, Guadagnino and his cast breezes in, reminding us that love can save the day. What the film accomplishes is nothing short of revelatory, a warm, generous (and long overdue) cradling that steps beyond the LGBT community and high into a universal arena. Carefully paced against a heavenly Italian country backdrop, the film champions the ferocity of first love, first heartbreak and the longing over what might have been.
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In Conversation with André Aciman
Egyptian-born Author André Aciman, who makes a brief but memorable appearance in the film, has been basking in the joy of seeing his masterpiece transition into a new medium, as well as the excitement of the narrative connecting with a new audience. His eight books, including his latest novel, Enigma Variations, have received vibrant praise from critics.
Are there major differences between the book and the film?
André Aciman: Yes. In the novel Elio and Oliver travel to Rome, and from Rome Oliver leaves for the States. They meet over the years. Many years. But one thing I learned from this movie—and from the way movies must necessarily differ from the written page—is that what matters most is that the emotional and the aesthetic impacts remain consistent. So you don’t need to see the passage of time to understand that something profoundly sad has happened to Elio. All you need to see is a boy staring at the camera while people in the background are setting the table. I was not wrong when I told the producers and the director that the end of the film was more powerful—hence better—than the way the novel ended.
Were you involved in the production at all? Did you have input on the script?
AA: I knew how annoying an author can be to a director and script writer. So I refrained from intruding. I had already had my say with the novel. Now it was their time to have their say. I would have said something, however, if I felt that the film was not faithful to the spirit of the book. But the film was incredibly faithful and consistent. I was very gratified to see that some of the key scenes were lifted almost verbatim from the novel itself.
What was it like seeing your characters enacted on screen? Were there any surprises?
AA: It was simply gratifying. I never felt that they were alien to the book. I never felt that “Gee, this is strange, this doesn’t feel like the story I wrote or the characters I wrote about.” Rather what I kept thinking—and maybe this was tickling to my ego—I can’t believe that the pages I struggled over on the Upper West Side of Manhattan during a very hot and humid summer could have generated this amazingly beautiful film filled with so much longing and beautiful characters.
Michael Stuhlbarg’s character, Professor Perlman, contributes hugely to the resolution of the story. What did you think of his take on the role and his handling of that particular scene?
AA: The father’s closing speech is better in the movie—even I was moved—than in my book.
How do you feel now that the film is starting to get awards buzz?
AA: I feel that the film is fantastic. It’s beautiful without being cloy, it’s bold and frank without being blatant or brazen, and it’s real, real about how love happens, how love alters us, how physical love needs to be, and ultimately how love stays sometimes forever. I couldn’t be happier.
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In Conversation with Michael Stuhlbarg
As the star of HBO’s Boardwalk Empire as well as blockbuster films like Lincoln, Blue Jasmine and Doctor Strange, actor Michael Stuhlbarg has been making his way up the Hollywood ladder with quiet dignity. He’s an actor’s actor. His sensitive and funny turn as Elio’s father, Professor Perlman has, along with the two leads, garnered early awards buzz. “Call Me By Your Name” might be the project that catapults Stuhlbarg toward the A-list stratosphere.
How did this project come to you?
Michael Stuhlbarg: I was sent the script through my agent—and Luca, I was told, was curious to see if I might be interested in the project. I knew of, and was dazzled by his film, I Am Love, had always been a huge fan of James Ivory. I was unfamiliar with André Aciman’s novel, but was immediately drawn into the story—particularly so after learning how Luca wanted to shoot it.
What was the biggest challenge about the role?
MS: I think absorbing all of his given circumstances—a Professor of Latin and Greek scholarship with a passion for Art History and Archaeology, fluent in Italian, suggestions of a regretful past, a doting liberal loving father, generous, playful, who sees his son falling in love for perhaps the first time, a responsible concerned parent who wishes to maintain a respectful presence in his son’s life.
His perception of the relationship between Oliver and Elio is very tender. Why do you feel this is valuable for both the LGBT community (particularly young people) and the world at large to see this kind of parenting in the film?
MS: Perhaps Mr Perlman’s tenderness offers a loving voice of reason and compassion at a time when tenderness, reason, and compassion can be hard to come by. I find him a pure advocate of the human experience, whatever that experience may be for each of us.
Call Me By Your Name will arrive in theaters on November 24th.
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As for his own career, Luca Guadagnino makes the strange assertion that he has not had success: “I’m 46 and I don’t know if I’ve ever had success. I’ve had recognition which is a balm, it’s nice, you know when you feel sick and you drink something and it makes you feel better, but success, I don’t know. Success has made a failure of our home, it’s a great song, I’m always wary of that song and I always hear that song playing in my ear.” And he starts to sing a line from the song as if it is playing right at that moment as we are chatting.
http://www.independent.co.uk/arts-entertainment/films/features/call-me-by-your-name-luca-guadagnino-armie-hammer-timoth-e-chalamet-tilda-swinton-a-bigger-splash-a8017131.html
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Call Me by Your Name
Director Luca Guadagnino on the film
everyone is talking about
Tipped as one of the favourites to win Best Picture Oscar, the Italian director’s new film stars
Armie Hammer and Timothée Chalamet, as two boys who fall in love in Italy over the summer
By Kaleem Aftab
@aftabamon
26 October 2017
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Armie Hammer as Oliver (left) and Timothée Chalamet as Elio in Luca Guadagnino’s film Call Me By Your Name
Sometimes you never know where the voice of dissent will come from. Call Me By Your Name has been receiving rave reviews since it debuted at the Sundance Film Festival and is now one of the favourites to win the Best Picture Oscar.
So it was somewhat of a surprise when on the day before I meet with director Luca Guadagnino that James Ivory of Merchant and Ivory fame, and the scriptwriter of Call Me By Your Name, questioned why the Italian director didn’t show male genitalia in his adaptation of American author André Aciman’s novel about the sexual awakening of a 17-year-old in 1980s Italy.
It’s a position that has left Guadagnino baffled. “I am the least prudish director you can meet,” argues the 46-year-old. “I’ve been very precise in using the female and male body on screen to convey all kind of emotions. I thought that the display of nudity in this specific movie was absolutely irrelevant and I understand that for James it would have been relevant but that is his vision, what is clear is that we had no limitations on what we wanted to do.”
When Guadagnino asks, “Did you miss penises in this movie?”, the preposterousness of the whole debate is brought home. Ivory’s problem seems a hangover from the long production history of the film, that saw Ivory attached as director, then co-director with Guadagnino, who was first brought on as a locations manager before eventually taking on the director’s chair, as otherwise the film would not have been made.
But Guadagnino wants to make clear that it’s not the criticism of his film that bothers him, just the argument raised by the critic; “I’m happy to hear any kind of criticism if it comes from a place of intelligence and listening.”
Guadagnino is much happier when conversation reverts to the breakout performance of Timothée Chalamet as Elio, or how Armie Hammer, playing an American student who comes to Italy for a summer, delivers the performance that finally cements the promise he showed in The Social Network playing both Winklevoss twins, or Michael Stuhlbarg's beguiling turn as an academic.
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Luca Guadagnino directing Armie Hammer in his latest film Call Me By Your Name
When I say Stuhlbarg reminded me of a Robin Williams character, the Palermo-born director chips in, “That’s lovely. Dead Poet’s Society.” Guadagnino says he wasn’t thinking about Williams when making Call Me By Your Name, but that “it clearly worked its way in”. He argues that this type of unknowing homage is the secret to his movies; “I think that movies are made from the unconscious of the filmmakers, not out of their ego. A good movie comes unconsciously to me.”
The film is shot in Crema, a city 40 minutes from Milan where Guadagnino works out of a 17th-century palazzo. And he says that as he made the film, he came to realise that he chose the location because unconsciously it fed into memories he had as a young man in the Sicilian capital: “It was like the echo from my dreaming of becoming an individual that was independent from the oppressiveness I felt in Sicily.”
But when I ask if there are elements of his own biography in Call Me By Your Name, he insists that there is not, everything is from the book. “I grew up in Ethiopia for a bit, and when we came back to Sicily I lived in an apartment in the centre of town, I never had a garden. I didn’t have the life you see in the film.”
His unconscious is clearly full of imagination. The Italian has made his mark in cinema, opera and fashion. As a filmmaker he garnered international acclaim for his extraordinary depiction of a bourgeois Milanese family in Io Sono Amore (I Am Love), made in 2009, starring his muse, the Scottish actress Tilda Swinton. She also starred as a voiceless rock star in A Bigger Splash (2015). In the high-end fashion world, he has been celebrated for his work making fashion films to go with collections in the luxury sector, starting with Fendi in 2005. Always looking to surprise, and reinvent himself, in December 2011 he made his debut as an opera director with Falstaff at the Teatro Filarmonico in Verona.
He has a motto for his work: ‘You always have to dare yourself, to do things that can sound impossible’. “I say this to all the young filmmakers that want to start their career: otherwise you are not going to hit the mark that you set yourself. Also greatness, it’s not just because of fame, and recognition, it’s greatness of soul. Tilda is a great person because she is open, she listens and she is curious.”
Another big influence on his career and work is Italian director Bernardo Bertolucci. Gaudagnino co-directed a documentary, Bertolucci on Bertolucci, in 2013 and he says that 1900 (1976) was a big influence on Call Me By Your Name. The five-hour-plus movie also features an unlikely and at times sexual relationship between two men, played by Gerard Depardieu and Robert De Niro, but it’s the scenes of the characters as children growing up in fascist Italy that particularly enamoured Guadagnino. The two directors have a strong friendship and when Guadagnino is editing a film, he always sends an early cut of the work to Bertolucci – who he describes as a hard taskmaster – to make comments on.
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As for his own career, Guadagnino makes the strange assertion that he has not had success: “I’m 46 and I don’t know if I’ve ever had success. I’ve had recognition which is a balm, it’s nice, you know when you feel sick and you drink something and it makes you feel better, but success, I don’t know. ‘Success has made a failure of our home’, it’s a great song, I’m always wary of that song and I always hear that song playing in my ear.” And he starts to sing a line from the song as if it is playing right at that moment as we are chatting.
He’s wary also of being overpraised. A student of cinema, he says that he knows that the career of a director is a seesaw, sometimes up and other times down. He doesn’t want to make his decisions through a desire to get glory, rather to make films that would be fun, so that he can say something. He also wants “complete control over my work”.
So that seems to rule out the chances of him making a movie in Hollywood, but he adds: “If Toby Emmerich of Warner Bros would call me and say, ‘Luca, we want you to make a DC character movie and you can do whatever you want, you would have complete control’ – then of course I would be responsible and share ideas with them, but I would need complete control of what is made because then I can perform better.”
His next film, a remake of Dario Argento’s Suspiria, will see him reunite with Swinton for the sixth time, and her A Bigger Splash co-star Dakota Fanning. When he made Call Me By Your Name, he said he was thinking about how French auteurs like Jacques Rivette, Eric Rohmer and Maurice Pialat, would make the movie, but for Suspiria he is diving off the deep end, “I was thinking how would Rainer Fassbinder make Suspiria...?”
‘Call Me By Your Name’ is out 27 October
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http://www.telegraph.co.uk/films/0/luca-guadagnino-call-name-didnt-need-nudity-sexy/ (http://www.telegraph.co.uk/films/0/luca-guadagnino-call-name-didnt-need-nudity-sexy/)
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Film
Luca Guadagnino on why
Call Me By Your Name
didn't need nudity to be sexy
Robbie Collin, film critic
21 OCTOBER 2017 • 7:00AM
“My theory about Italy,” says the Italian filmmaker Luca Guadagnino sunnily, “is that it’s intrinsically fascist.” He’s by the sideboard in his Claridges hotel room, preparing a cup of Earl Grey, riffing amicably while the tea leaves stew.
“We were the first in Europe to introduce fascism in the 20th century, the first to enforce racial discrimination by law in 1938, and the first to bring to power a billionaire oligarch – would you like a cup? – a billionaire oligarch who controlled the media.”
As the director of A Bigger Splash, the glittering Mediterranean sex thriller with Tilda Swinton and Ralph Fiennes, Guadagnino knows a thing or two about sinister undercurrents, and and he retires to the sofa, frowning quizzically, cup in hand. “Then later, of course, you have the Polish, the Hungarians, and now the American people with Trump. But we Italians have always been very successful in leading the worst."
Fascism makes an ironic cameo in Call Me By Your Name, Guadagnino's otherwise blissed-out new film, in which Oliver and Elio, a young Jewish-American academic and the 17-year-old son of his mentor and host, conduct a summer-long love affair across northern Italy. When the 46-year-old director was scouting for locations in Lombardy, he spied a glowering portrait of Mussolini in a courtyard. Recalling Jean Renoir's advice to Bernardo Bertolucci – "always leave a door open on set to let reality in" – he rented the place as-was, and wrote into the script an eyebrow-raising encounter of Il Duce.
"There is a strong Italian attraction to the idea that a man of order will save us," Guadagnino suggests, shifting in his seat. He's tall and rangy, with a professorial frizz of hair. "But Oliver and Elio are anything but men of order. They are boys of discovery. So for these two Jewish boys to bump into Mussolini in the height of there love affair, in a place close to where many people were killed" – Lombardy is home to Salò, once Mussolini's seat of government – "felt a bittersweet 'hello' from reality."
If you ever find yourself in a position to confuse real life with a Guadagnino film, count yourself lucky. I Am Love (2009), his international breakthrough, married Tilda Swinton into a Milanese textile dynasty, then had her beguiled by a hunky chef and his knee-trembling crudiité di gamberi. Next came A Bigger Splash (2016), which cast Swinton as a recuperating rock star on an island in the Med, with a young lover (Matthias Schoenaerts) in her bed and an old flame (Fiennes) and his Lolita-ish daughter (Dakota Johnson) in the wings.
A silvery thread of unease often runs through the glamour of his films, but Call Me By Your Name – an adaptation of an André Aciman novel – is Guadagnino's warmest, best, most open-hearted film yet. For years, though, it wasn't his to direct. He became involved when some American producers who "didn't know how to make a movie in Italy" got in touch. The great James Ivory, of Merchant Ivory, had adapted Aciman's book into a screenplay that he was to direct himself. Guadagnino's interest was picqued. "I was so adament to see a James Ivory movie from this book, because it would have been the movie of a great director in his 80's," he explains, before swerving into an impromptu analysis of his pleasures of "late-period" films. (Guadagnino is a ravenous cinephile, and was a film critic for Il Manifesto before crossing the poacher-gamekeeper divide.) But when it came to scraping together a budget for Ivory's lengthy shoot, "we couldn't do it," he says.
So Guadagnino, who was used to working quickly, took the helm with Ivory's blessing. After casting the young American actor Timothée Chalamet as Elio, he invited him to stay for a month-and-a-half to get the lie of the land around Crema, where Guadagnino lives in an apartment in a 17th-century palazzo with his partner of 10 years, Ferdinando [Cito Filomarino]. Ten days before filming, Armie Hammer, who plays Oliver, joined them.
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https://www.yourcelebritymagazines.com/products/telegraph-review-21-october-2017-karl-ove-knausgaard-luca-guadagnino-niall-horan
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CALL ME BY YOUR NAME
RELEASE DATES
UK 27 October 2017
Ireland 27 October 2017
USA 24 November 2017
Canada 8 December 2017
Thailand 14 December 2017 (limited)
Sweden 22 December 2017
Australia 26 December 2017
France 17 January 2018
Brazil 18 January 2018
Poland 26 January 2018
Italy 1 February 2018 (Premiere?)
Greece 8 February 2018
Germany 1 March 2018
http://www.imdb.com/title/tt5726616/releaseinfo?linkId=43379176
(https://pbs.twimg.com/profile_images/1255015267/familyDSC_5411_2_400x400.jpg) Peter Spears
@pjspears
3:41 PM - 4 Oct 2017
5 Retweets 60 Likes
https://twitter.com/pjspears?lang=en&lang=en
https://twitter.com/pjspears/status/915708403888066560
This.
(https://pbs.twimg.com/profile_images/915641529011724290/OWQmC8X9_bigger.jpg) Armie Hammer Global
@ArmieHGlobal
3:23 PM - 4 Oct 2017
29 Retweets 106 Likes
https://twitter.com/ArmieHGlobal
https://twitter.com/ArmieHGlobal/status/915703978368880640
Call Me By Your Name posters in the subway in London (https://abs.twimg.com/emoji/v2/72x72/1f351.png) (https://abs.twimg.com/emoji/v2/72x72/1f499.png)
(https://pbs.twimg.com/profile_images/906222921840041984/8b2p9_KX_bigger.jpg) iana @ LFF
@yorgosIanthimos
3:19 PM - 4 Oct 2017
54 Retweets 194 Likes
https://twitter.com/yorgosIanthimos
https://twitter.com/yorgosIanthimos/status/915702858229714945
king’s cross st pancras !!
SHES HERE AND SHES BEAUTIFUL
(https://pbs.twimg.com/media/DLU64kZWkAEgn3y.jpg)
(https://pbs.twimg.com/media/DLU64kuXUAAp3V5.jpg)
Meanwhile--
Thailand??
In any case, December 14!(https://2.bp.blogspot.com/-gB_f0L4vMts/WacOxMKSe6I/AAAAAAAAnAk/ExFd5AF84WMKG_uPz_g-0zK-au9GJWCcACLcBGAs/w1200-h630-p-k-no-nu/Call_Me_By_Your_Name_Poster_2_JPosters.jpg)
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Armie Hammer’s work here is better than anything he’s done – it’s witty, compassionate, swaggeringly physical, and never less than fully inhabited. Timothée Chalamet also makes an indelible impression, not least because this 21-year-old newcomer seems so miraculously untutored. And Michael Stuhlbarg, who’s a treasure throughout, gets a fatherly monologue towards the film’s end that’s so observantly and tenderly performed, you can barely catch your breath. It’s one beautiful moment in a film that’s filled with them – gone in a heartbeat, but leaving the kind of ripples that reach across a lifetime.
http://www.telegraph.co.uk/films/0/call-name-review-period-romance-warm-therapeutic-sunlight/
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Film
Call Me by Your Name
a period romance as warm and therapeutic as sunlight
★★★★★
by Robbie Collin, film critic
26 Oct 2017 1:50PM
(http://www.telegraph.co.uk/content/dam/films/2017/10/26/TELEMMGLPICT000143778905_trans_NvBQzQNjv4BqpVlberWd9EgFPZtcLiMQfyf2A9a6I9YchsjMeADBa08.jpeg?imwidth=1400)
Timothée Chalamet and Armie Hammer in Call Me by Your Name--Oliver arrives at the Perlman family’s villa in a blaze of boisterous glamour.
Elio, Oliver, Oliver, Elio. These two young men are so in tune, even their names laid side by side turn into music. Oliver (Armie Hammer) is an academic in his mid-20s on an Italian field trip. Elio (Timothée Chalamet) is the 17-year-old son of his mentor and host. When Oliver finds him, he’s poised on the cusp of adulthood like a first-time diver on the board, affecting a confidence he doesn’t quite have yet, curling his toes around the quivering brink.
The story of their summer together is the subject of the exquisite new film from Luca Guadagnino, the director of I Am Love and A Bigger Splash. It’s an incomparably lovely period romance, as warm and therapeutic as the sunlight that suffuses every frame. The period is the early 1980s – unmissably so, thanks to the shorts, the trainers, and the pop music.
But the setting, described as “somewhere in northern Italy”, is hazy enough to set it a step or two back from the real world, as if we’re watching the flicker of fond memories, or a fairy tale lovingly recalled.
The screenwriter, working from a novel by André Aciman, is none other than James Ivory, and the film rings with all the elegance and passion of the 89-year-old Merchant Ivory co-founder’s very finest work. It’s also Guadagnino’s best to date – teasing, ravishing and just a little arch, but with an open-heartedness that makes you ache.
Bright torrents of piano set the scene – John Adams’ Hallelujah Junction, the first of many ideal soundtrack choices that also include two new songs by the American singer-songwriter Sufjan Stevens – before Oliver arrives at the Perlman family’s villa in a blaze of boisterous glamour. He’s there to help Elio’s father (Michael Stuhlbarg), an eminent professor, archive some documents about Greco-Roman sculpture, and assist with an archeological dig at a nearby lake.
But when his formidable 6’5” frame first saunters through the door, it’s like one of the statues has swung by in person. He’s a Jewish-American graduate student – a proud one, with a silver Star of David on a chain around his neck – and Elio, who’s Jewish too, but less confidently so, is struck by his easy charm and appetite for life.
At breakfast on the terrace, Oliver devours an oozingly soft-boiled egg, and the sheer pleasure he takes in it leaves the watching Elio in a state of quietly mesmerised shock. Guadagnino’s films have always been alive to food’s sensual possibilities and implications, and this brief but unforgettable example, with its unexpected gush of golden yolk and Hammer’s half-embarrassed, half-delighted laughter, is an immediate classic of its type. And if you think that sounds indecent, wait until you see what they do later with a peach.
When Oliver isn’t working, the two go cycling, stroll around the nearby village, and paddle in streams. At first, their relationship is brotherly more than anything else – lots of playful rubs and slaps – and Chalamet and Hammer’s chemistry feels totally unaffected and spontaneous. When Elio suffers a nosebleed at lunch, he retreats indoors: Oliver follows and they just sit on the floor together, enjoying the stolen split-second of intimacy, while Oliver affectionately rubs Elio’s feet.
Things slowly turn romantic, which becomes confusing for both of them, but Elio’s no more perplexed by his feelings for Oliver than by those he harbours for his on-off girlfriend Marzia (Esther Garrel), whom he’s known since childhood. There’s a tremendous scene in which Elio and his friends watch the slightly older, significantly more confident Oliver dirty-dancing with a woman at a party. The girls want to be with him, the boys just want to be him. With Elio, of course, it’s a bit of both.
Crucially, there’s no grand romantic obstacle course for them to scramble over, nor a villain vying to keep the two apart. All that holds them back are pragmatism and caution, plus a shared understanding that times this special are also fragile, and easily broken without sufficient care and thought.
I’ve always enjoyed Hammer’s more mannered mainstream roles, from Mirror Mirror to The Man From UNCLE, which tend to spoof his chiselled looks. But his work here is better than anything he’s done since playing the Winklevoss twins in David Fincher’s The Social Network – it’s witty, compassionate, swaggeringly physical, and never less than fully inhabited.
Chalamet also makes an indelible impression, not least because this 21-year-old newcomer seems so miraculously untutored. And Stuhlbarg, who’s a treasure throughout, gets a fatherly monologue towards the film’s end that’s so observantly and tenderly performed, you can barely catch your breath.
It’s one beautiful moment in a film that’s filled with them – gone in a heartbeat, but leaving the kind of ripples that reach across a lifetime.
Director: Luca Guadagnino;
Starring: Timothée Chalamet, Armie Hammer, Michael Stuhlbarg, Amira Casar, Esther Garrel.
15 cert, 132 mins
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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
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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
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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.
And 9 months earlier--
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
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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
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‘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.
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Oh my! :o
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http://laterpeaches.tumblr.com/post/166854273503/christos-armie-hammer-and-timoth%C3%A9e-chalamet-by
http://monetsberm.tumblr.com/post/166855005496/christos-armie-hammer-and-timoth%C3%A9e-chalamet-by
http://christos.tumblr.com/post/166853709903/armie-hammer-and-timoth%C3%A9e-chalamet-by-alessio
http://christos.tumblr.com/image/166853709903
Armie Hammer and Timothée Chalamet
by Alessio Bolzoni
Call Me By Your Name (2017)
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http://laterpeaches.tumblr.com/post/166858303548/firewithfiredeux-hes-so-handsome-he-should-be
https://firewithfiredeux.tumblr.com/post/166858224917/hes-so-handsome-he-should-be-illegal
"He’s so handsome he should be illegal."
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http://luca-guadagnino.tumblr.com/post/166855933056/if-there-is-any-truth-in-the-world-it-lies-when
http://laterpeaches.tumblr.com/post/166857100793/luca-guadagnino-if-there-is-any-truth-in-the
“If there is any truth in the world, it lies when I'm with you, and if I find the courage to speak my truth to you one day,
remind me to light a candle in thanksgiving at every altar in Rome.”
“Something unexpected seemed to clear away between us, and, for a second, it seemed there was absolutely no difference in age
between us, just two men kissing, and even this seemed to dissolve, as I began to feel we were not even two men, just two beings.”
Call Me By Your Name by André Aciman
Recited/Narrated by Armie Hammer
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http://m.imdb.com/title/tt5726616/mediaviewer/rm3925957376
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A few scenes from Call Me By Your Name taken at a premiere, source unknown.
https://twitter.com/badpostchalamet @badpostchalamet timothée updates
https://twitter.com/apeachpricot @apeachpricot
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We are always aware that time is passing, that summer will soon end and that, as in every other coming of age movie, the characters will have to move on. In some respects, the story here is utterly formulaic. What makes the film so magical is the extraordinary delicacy, formal daring and insight with which Luca Guadagnino tackles such familiar material.
http://www.independent.co.uk/arts-entertainment/films/reviews/film-reviews-call-me-by-your-name-grace-jones-documentary-bloodlight-and-bami-perfect-blue-base-a8021076.html
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Call Me by Your Name
We are in the 1980s and so the family is able to live in its own timeless, self-enclosed world.
★★★★★
By Geoffrey Macnab
@TheIndyFilm
26 October 2017
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Timothée Chalamet, Michael Stuhlbarg and Armie Hammer in Luca Guadagnino’s film Call Me By Your Name
Coming of age films set over long, lazy summers constitute a mini-genre in their own right. Few, though, have the freshness or poignancy of Luca Guadagnino’s Call Me By Your Name. Based on André Aciman’s 2007 novel, it is an account of a gay affair between a teenage boy and a twentysomething graduate student. What is surprising here is the complete lack of guilt and recrimination. This is not one of those movies like Brokeback Mountain or the recent Yorkshire-set God’s Own Country in which the lovers face a backlash. They enjoy a “beautiful friendship” which means “everything and nothing”, and there is no price to pay at the end of it.
It’s 1983. We are somewhere in northern Italy. The Perlmans are an affluent and highly cultured American-Jewish family who spend their summer months in an idyllic country house not far from Lake Garda. Mr Perlman (Michael Stuhlbarg) is an easy-going academic who uses his time in Italy not just to eat, drink and relax but to carry out research into classical antiquity. He has a glamorous wife (Amira Casar) and a precocious 17-year-old son, Elio (Timothée Chalamet). Every year, Perlman hires a research assistant to help him with his paperwork and to join him on his field expeditions in search of classical artefacts.
The tempo here is very much more relaxed than in Guadagnino’s 2015 feature A Bigger Splash, which was also about a summer holiday but whose protagonists were wildly hedonistic filmmakers and rock singers. Here, the Perlmans live at a very leisurely pace.
“What does one do around here?” one newcomer asks.
“Wait for the summer to end,” Elio replies, hinting at the repetitive and even sometimes tedious nature of days spent on field trips, bicycle rides or occasional trips to the local post office.
We are clearly in the 1980s. The film has the same Psychedelic Furs music also found in John Hughes’ bratpack movies of that era to remind us of the fact. However, Guadagnino is also continually making the point that his characters are sharing the same experiences as the classical figures Perlman spends his life researching.
This is a film in which tiny, seemingly throwaway incidents assume, at least in hindsight, a huge totemic importance. We see Elio looking down from a high window with curiosity at the strapping, self-confident young American academic, Oliver (Armie Hammer), stepping out of a car as he arrives to work as Mr Perlman’s assistant. Elio is irritated because he has had to give his bedroom to the newcomer. There is a strange moment in which Oliver is showing off his athletic ability playing volleyball with the locals and then touches Elio on the shoulder.
Elio is a mix of arrogance and vulnerability. He can be very cruel. His behaviour toward the beautiful young neighbour Marzia (Esther Garrel) with whom he begins a short-lived affair is offhand in the extreme. She is the only one in the film really made to suffer.
Call Me By Your Name was co-scripted by James Ivory (the filmmaker behind Remains Of The Day, A Room With A View, Maurice and all those other upscale literary adaptations). Ivory was originally going to direct too but he would surely have made a very different kind of film. Guadagnino has a formal boldness, flamboyance and willingness to push his material to extremes that Ivory lacks. In particular, he deals in frank and sometimes comic fashion with the sexuality of the adolescent hero. Elio is capable of some very crude behaviour. We see him masturbating into an overripe piece of fruit and burying his head in his lover’s swimming trunks. The director also has a fetishistic way of filming the lovers’ bodies, as if they are contemporary equivalents to the young gods portrayed in the classical art that so fascinates Elio’s father.
Hammer is exceptional in a role a very long way removed from The Man From UNCLE or The Lone Ranger. He plays Oliver as a dashing narcissist who expects everything to come easily to him. “Later!” is his habitual expression when he leaves a social gathering because he has somewhere better to go to. He is always on the lookout for his own pleasure. At the same time, there is nothing predatory in his relationship with Elio. If anything, Elio is the one who targets him. Timothée Chalamet is equally striking as the teenager desperate for new experiences, on the cusp of adulthood and trying to work out his own identity. Both lovers are outsiders. They know, as one puts it, “what it’s oike toi be the odd Jew out”. Perhaps the most surprising performance is from Stuhlbarg as the wise and endlessly patient father who knows exactly what is going on.
As in A Bigger Splash, Guadagnino films landscape in a Sunday supplement travel-brochure-like way. With its sequences of idyllic bike rides down country lanes, dips in outdoor pools, moonlight dancing and long leisurely outdoor lunches in romantic settings, Call Me By Your Name offers an idealised, tourist-eye view of its little corner of northern Italy. The weather (at least until the equally picturesque snowbound scenes late on) is always balmy. We are in the 1980s and so the family is able to live in its own timeless, self-enclosed world. Elio may watch TV and listen to his battered old transistor radio but there are no smartphones to distract them.
We are always aware that time is passing, that summer will soon end and that, as in every other coming of age movie, the characters will have to move on. In some respects, the story here is utterly formulaic. What makes the film so magical is the extraordinary delicacy, formal daring and insight with which Guadagnino tackles such familiar material.
Director. Luca Guadagnino, 132 mins
Starring: Armie Hammer, Timothée Chalamet, Michael Stuhlbarg, Amira Casar, Esther Garrel, Victoire Du Bois
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(https://pbs.twimg.com/profile_images/1255015267/familyDSC_5411_2_400x400.jpg) Peter Spears
@pjspears
5:22 AM - 27 Oct 2017
159 Retweets 592 Likes
https://twitter.com/pjspears?lang=en&lang=en
https://twitter.com/pjspears/status/923887507145707521
Call Me By Your Name opens today in UK (https://abs.twimg.com/emoji/v2/72x72/1f1ec-1f1e7.png)
meanwhile back in LA a friend
sent me this photo of a new billboard on Sunset Blvd. (https://abs.twimg.com/emoji/v2/72x72/1f334.png)(https://abs.twimg.com/emoji/v2/72x72/1f351.png)
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CALLMEBYYOURNAMEFANART
http://www.gramunion.com/olga-jl.tumblr.com
(https://api.tumblr.com/v2/blog/olga-jl.tumblr.com/avatar/128) by Never Too Late (olga-jl)
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http://www.gramunion.com/olga-jl.tumblr.com/163978021544
http://laterpeaches.tumblr.com/post/164022101411
http://www.gramunion.com/olga-jl.tumblr.com
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Timmy
by Never Too Late (olga-jl)
10th august 2017 391 Likes
#timothée chalamet #elio #elio perlman #armie hammer #oliver #ulliva #actor
#call me by your name #cmbyn #andré aciman #luca guadagnino #lgbt
#movies #film #lgbtmovie #oscar
#art #my art #artist #portrait #pencil drawing #drawing #fanart
#Black and White #man #boy
#Never Too Late
#later!
CALLMEBYYOURNAMEFANART by Never Too Late (olga-jl)
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From:
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http://www.imdb.com/title/tt5726616/mediaviewer/rm745548544
Also see:
(https://instagram.fewr1-2.fna.fbcdn.net/t51.2885-19/s150x150/22638721_1771070459857923_5491366449601576960_n.jpg) by @carolamarin.art
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http://imgrid.net/tag/cmbyn_art/J0HWepRygAAAF0HWdKBawAAAFiYA
http://imgrid.net/post/1614034811022070405_3473631519
http://imgrid.net/user/carolamarin.art/
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The boy of the year! So young and yet so talented!
by @carolamarin.art
Sep 30 2017 318 Likes
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http://lwlies.com/articles/lwlies-71-the-call-me-by-your-name-issue/
http://mazonluis.com/
Call Me by Your Name by Luis Mazón
http://shop.littlewhitelies.co.uk/product/little-white-lies-71-the-call-me-by-your-name-issue
Little White Lies 71: The Call Me by Your Name issue
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Little White Lies 71: The Call Me by Your Name issue
CALLMEBYYOURNAMEFANMERCH
http://lito-and-hernando.tumblr.com/
https://callmebyyourname-movie.tumblr.com/
My 'little white lies' magazine finally arrived!!!
Beyond happy rn!!!
(http://68.media.tumblr.com/d603041da3bddad4f19460ea04bde86e/tumblr_owl6z7MXQM1uxiu8lo4_1280.jpg)
https://callmebyyourname-movie.tumblr.com/post/165566359581/lito-and-hernando-my-lwl-magazine-finally#notes
http://lito-and-hernando.tumblr.com/post/165550015653/my-lwl-magazine-finally-arrived-beyond-happyhttps://feedy.online/article/589329-elio
(http://68.media.tumblr.com/a51ad65140caaa5fcadc9379ff32dd32/tumblr_owl6z7MXQM1uxiu8lo1_1280.jpg)
https://callmebyyourname-movie.tumblr.com/post/165566359581/lito-and-hernando-my-lwl-magazine-finally#notes
http://lito-and-hernando.tumblr.com/post/165550015653/my-lwl-magazine-finally-arrived-beyond-happy
(http://68.media.tumblr.com/dcaf281aa8dc29b59d05a3618a82b081/tumblr_owl6z7MXQM1uxiu8lo2_1280.jpg)
https://callmebyyourname-movie.tumblr.com/post/165566359581/lito-and-hernando-my-lwl-magazine-finally#notes
http://lito-and-hernando.tumblr.com/post/165550015653/my-lwl-magazine-finally-arrived-beyond-happyhttps://feedy.online/article/589329-elio
(http://68.media.tumblr.com/25e9bbcb930cc85c0eed1cf2c543f67f/tumblr_owl6z7MXQM1uxiu8lo3_1280.jpg)
https://callmebyyourname-movie.tumblr.com/post/165566359581/lito-and-hernando-my-lwl-magazine-finally#notes
http://lito-and-hernando.tumblr.com/post/165550015653/my-lwl-magazine-finally-arrived-beyond-happy
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(http://lwlcdn.lwlies.com/wp-content/uploads/2017/08/call-me-by-your-name-lwlies-cover-1108x0-c-default.jpg)
http://lwlies.com/articles/lwlies-71-the-call-me-by-your-name-issue/
http://lwlies.com/articles/call-me-by-your-name-book-queer-phenomenon/
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How
Call Me by Your Name
became a queer literary phenomenon
Fans of André Aciman’s 2007 novel
reflect on what makes it so special.
By CLAIRE BIDDLES
PUBLISHED 21 OCT 2017
The first time I read ‘Call Me by Your Name’ I stayed up until 4am to finish it, then immediately started over again. I’d read dozens of queer coming-of-age novels, dozens of bittersweet love stories, but nothing quite like this – a story of a once-in-a-lifetime love between precocious 17-year-old Italian Elio and 20-something cocksure American academic Oliver, played out over a brief six week period but recalled over and over for a lifetime.
It felt like the oldest story ever told and a freshly drawn secret, as though its writer, André Aciman, had articulated a collective memory of longing for the very first time. Its beauty lay in its diminutive moments, in its long, drawn-out descriptions of seconds-long glances between Elio and Oliver. My reaction during that first reading was almost more physical than intellectual, something more akin to a crush on a person, or a the way a heart skips during a particular key change in a pop song. It certainly wasn’t anything I had experienced reading a book before.
Before its release, Aciman was known for his nonfiction, chronicling his early life in the 1995 memoir ‘Out of Egypt’, and collating criticism on the work of Marcel Proust for the 2001 essay collection ‘The Proust Project’ .‘Call Me by Your Name’ is his first novel, and it is all the more miraculous because it seemingly came from nowhere.
Since its release in 2007, the book has been a slow-burn kind of literary sensation, gaining new fans through enthusiastic word-of-mouth. Jim MacSweeney, manager of Gay’s the Word, the UK’s only dedicated LGBT bookshop, has seen the popularity of the book grow from the very beginning: “We sold a few copies when it first came out, then noticed that people were coming back to buy second copies for friends,” he tells me. “It’s always been an easy book to sell – it’s a love story, but it’s not sentimental. It captures something that we all feel but that is rare in fiction. It’s a really special book.”
It’s difficult to quantify what makes the book so special, what makes it so resonant in a sea of thousands and thousands of love stories, so much so that it has become a personal talisman for its thousands of fans. Sarah Dollard, a London-based screenwriter for Doctor Who and Being Human, and a huge fan of CMBYN, describes the first time she read the book: “It was less thinking and more… feeling. A lot. Clutching the book to my chest, tearful sighs… I read a lot of romance, about half of it queer, and most of it follows a formula. Not to sniff at formula – I only read writers who wield it beautifully. But CMBYN doesn’t do that, it is its own thing. A gorgeously written gut punch.”
This tension of physicality and emotional potency came up again and again when I spoke to other fans of the book. When Rachel Huskey, a student from Texas, first read it, she “didn’t know whether to laugh or cry, I just remember laying in bed, staring at the ceiling, and thinking about this novel for over an hour. That had never happened to me before, it just struck me so harshly in my chest and I didn’t know how to feel. My diary entry from that day says, ‘I have a fierce desire to consume this book and I don’t know how to do it.’”
When I re-read the book last year, spurned on by the announcement of the film adaptation, it was alongside two of my friends who were reading it for the first time. We would gather in a Twitter group chat every day to pore over details of each chapter, and – crucially – discuss frankly how it revealed integral truths of the possibilities of love and desire to us, which felt especially powerful in the muddy contemporary midst of casual dating and impersonal hookup apps.
One of the other participants in this informal book club, Sophie, recalls how, “every one of our interpretations and reactions to this novel was valid, vivid, and valued. Recollections of old loves, missed opportunities, the anger and disappoint of our current stumbles through the wilds of 2010s dating… This book stripped things from me that I hid from myself, it opened up what I want love – or the idea of love – to be, and how I want my muscles to burn as I reach out for it. Like Elio, looking back over that summer with each added year of wisdom and lived experience, each re-read of CMBYN feels like a space to reflect, and hone our own needs through the lens of this one specific romance.”
For all that CMBYN describes complex romantic and sexual feelings that almost everyone can match themselves up to, it’s also full of the specificities of queer experience, refreshingly removed from the constraints of a traditional coming-out narrative. Josh Winters, a writer and musician from San Francisco, recognises the importance of this for queer readers: “Many stories about young men coming to terms with their sexuality are concerned with how they navigate the “coming out” process, usually framing it as a required rite of passage (which is it not), but Aciman is purely interested in exploring how a young man comes to embrace his desire for another man removed from any idea of potential sociopolitical impact.” It’s this removal from blatantly political context that is an unspoken requirement of queer novels that makes CMBYN so refreshing.
Eoin Dara, a curator based in Dundee, addressed the duality of the universal and the specifically queer in an email to me: “The language of longing and desire and uncertainty could be about any blossoming love affair, it’s pretty expansive and universal. But then in other ways, it’s so inexplicably caught up in the invisible politics of queer desire; the politics of looking. I love how it focuses detail so minutely on eye contact in parts: Something that’s so central to queer communication – silent, unspoken understandings and messages that bounce around public space and crowded rooms full of oblivious straights.”
There’s nothing more anxiety-inducing than the anticipation of a new version of something you love so, so much – especially if its whole worth and magic lies in its atmospherics and coded glances; the most difficult things to translate to film. It’s these ephemeral details that are most anticipated among fans of the book. “There’s a lot of small things about the story that are what give the big scenes their value,” says Rachel. “The footsie, the touch during volleyball… it’s about them being so syndicated with each other that they don’t hide anything anymore.”
Jim echoes this sentiment: “Not that much happens in the book: It’s about tension, desire, longing, rather than big events. I last read it 10 years ago and I don’t even remember the character names, but what I do remember is how Aciman captures that feeling of being aware of another person in a room, and that being all that matters. And I’m interested to see how that is translated in the film.” When asked about seeing the film, Eoin confesses that “I’m so nervous about seeing it. I hope the script is sparse, I hope the looks are long.”
In February this year, I queued up outside a cinema at the Berlinale, shaking equal parts with late-winter cold and with nerves about seeing Call Me by Your Name for the first time. I shared the same concerns as other fans of the book: This was such a precious thing, I felt like I owned it to an extent – how could I trust anyone else to understand it so fully, to feel it so completely? But the film was wonderful, lacking some of the specific narrative details of the book but so rich with what was really important: the feeling, the atmosphere, the intangibility. It is perfectly cast and perfectly paced. I wept solidly for the last 45 minutes, feeling slightly embarrassed when the lights came up and the rush of reality set back in.
There must have been a thousand people in the packed-out cinema, but it still felt like mine. “Now that the trailers are out and the press is being done in the lead up to the film’s release, it does feel a bit like when your little secret band makes it big,” says Sophie. “But now that it’s more widespread, I still don’t have a desire to discuss it beyond my little group. I am much more fulfilled to pass an image of farmer’s market peaches, or buy an exceptionally loose and wind-swept shirt to keep CMBYN present and tangible outside of the page.”
As more and more people are drawn to the book through the film release, and through passed-on copies, word-of-mouth recommendations and informal book clubs like ours, its pages will still be there for me – for all of us – as an intimate, personal comfort, to be read and felt until early in the morning for years to come.
(http://lwlcdn.lwlies.com/wp-content/uploads/2017/10/call-ne-by-your-name-timothee-chalamet-1108x0-c-default.jpg)
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CALLMEBYYOURNAMEFANART
http://www.pictaram.org/sirayy
(https://abs.twimg.com/emoji/v2/72x72/1f351.png)
(https://scontent.cdninstagram.com/t51.2885-15/e35/22427572_398844643867237_1168592534599892992_n.jpg) by @sirayy
(https://scontent.cdninstagram.com/t51.2885-15/e35/22427572_398844643867237_1168592534599892992_n.jpg)
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
Fan Art / Digital Art / Drawings / @sirayyg
#CMBYN #CallMeByYourName
#elio #elio perlman #oliver #ulliva #laterpeaches 🍑
#andré aciman #armie hammer #timothée chalamet #luca guadagnino
#book #novel #film #movie #sonyclassics #lgbt
#art #artwork #artist #digital art #digitalart
#digitalpainting #fanart #fanartdigital
(https://abs.twimg.com/emoji/v2/72x72/1f351.png)
(https://scontent.cdninstagram.com/t51.2885-15/e35/22427572_398844643867237_1168592534599892992_n.jpg)
(https://abs.twimg.com/emoji/v2/72x72/1f351.png)
(http://78.media.tumblr.com/avatar_d747967fa585_128.png) by JGiampietro
(http://78.media.tumblr.com/b99f4347f884cfb27d8a9947e4f909c9/tumblr_oxguzxUo5O1rrax8bo1_1280.jpg)
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
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(https://scontent.cdninstagram.com/t51.2885-15/e35/22427572_398844643867237_1168592534599892992_n.jpg) by @sirayy
(http://scontent.cdninstagram.com/t51.2885-15/e35/21878991_511354025881119_1164500586113007616_n.jpg)
http://www.pictaram.org/post/BZTyn4wBWS1
http://www.pictaram.org/sirayy
CALLMEBYYOURNAMEFANART by @sirayy
http://www.pictaram.org/sirayy
Sep 21, 2017 6 Notes, 410 Likes
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CALLMEBYYOURNAMEFANART
http://www.pictaram.org/sirayy
(https://abs.twimg.com/emoji/v2/72x72/1f351.png)
(https://scontent.cdninstagram.com/t51.2885-15/e35/22427572_398844643867237_1168592534599892992_n.jpg) by @sirayy
(https://scontent.cdninstagram.com/t51.2885-15/e35/22581823_277568599417562_4558165254130892800_n.jpg)(https://scontent.cdninstagram.com/t51.2885-15/e35/22581812_291233834707210_2564386326602317824_n.jpg)
(https://scontent.cdninstagram.com/t51.2885-15/e35/22581823_277568599417562_4558165254130892800_n.jpg)(https://scontent.cdninstagram.com/t51.2885-15/e35/22637221_299658397108296_8892965180640591872_n.jpg)(https://scontent.cdninstagram.com/t51.2885-15/e35/22581812_291233834707210_2564386326602317824_n.jpg)
https://www.pictaram.org/post/Badmt_WBe-5 https://www.pictaram.org/post/BadmtAyBFHv https://www.pictaram.org/post/Badmrgjho_-
http://www.pictaram.org/sirayy
I remember everything--
But--
If you remember everything--
CALLMEBYYOURNAMEFANART by @sirayy
http://www.pictaram.org/sirayy
8:08 AM Oct 20, 2017 9 Notes, 311 Likes
Fan Art / Digital Art / Drawings / @sirayyg
#CMBYN #CallMeByYourName
#elio #elio perlman #oliver #ulliva #laterpeaches 🍑
#andré aciman #armie hammer #timothée chalamet #luca guadagnino
#book #novel #film #movie #sonyclassics #lgbt
#art #artwork #artist #digital art #digitalart
#digitalpainting #fanart #fanartdigital
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(https://scontent.cdninstagram.com/t51.2885-15/e35/22427572_398844643867237_1168592534599892992_n.jpg)
Eagle-eye! Obviously taken from:
Scene/Behind the scene--
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https://twitter.com/emorybrooklyn
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In the meantime, Luca Guadagnino fills the frame with images that are fairly throbbing with symbolic resonance. The boys’ two bicycles leaning against a wall, intertwined, one handle bar hooked through the frame of the other. The camera lingers on ripe fruit of the villa’s orchard – peaches figure prominently, and creatively. Cigarettes are passed, with offhand intimacy, from lips to lips.
https://www.theguardian.com/film/2017/oct/29/call-me-by-your-name-review-peach-of-a-romance
Call Me By Your Name
The Observer
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Call Me by Your Name
is a peach of a romance
Timothée Chalamet is superb in a sensuous gay love story set in Lombardy
★★★★★
by Wendy Ide
Sunday 29 October 2017 04.00 EDT
(https://i.guim.co.uk/img/media/d6d1166ffd167fcacf47f2128b4d6ea77647c182/148_0_1669_1001/master/1669.jpg?w=1920&q=55&auto=format&usm=12&fit=max&s=5c1bb806b67869220fdaac19360990b7)
Armie Hammer and, with a face as sensual and sculpted as a fallen angel from a Caravaggio painting, the ‘simply astonishing'
Timothée Chalamet in Call Me by Your Name
There is a moment just before a teenage crush bursts its dam and becomes a fully fledged first love. It’s a moment in which time is briefly suspended; it’s that shiver of uncertainty before you dive over the edge of the waterfall into the kind of love you could drown in. It’s this – the exquisite torture of not knowing if feelings are reciprocated followed by the helpless flood of emotions – that is captured so intensely and urgently in this gorgeous work of yearning. Director Luca Guadagnino has a gift for romance.
This adaptation of the novel of the same name by André Aciman, penned by James Ivory, forms the concluding part of Guadagnino’s Desire trilogy, following I Am Love (2009) and A Bigger Splash (2015). Of the two, the new film has far more in common with the lush, luxuriant sensuality of the former than the crackling comedy and riotous misbehaviour of the latter.
Both Call Me By Your Name and I Am Love explore the dance between two people who are uncontrollably attracted to each other. In this case, it is Elio (Timothée Chalamet), the precociously cultured 17-year-old son of an archaeology professor (Michael Stuhlbarg), and Oliver (Armie Hammer), the emphatically confident American graduate student interning with the professor and his family at their Bertoluccian summer home in Lombardy. It’s uncharted territory for both. They posture and pose for each other, shirtless and sun-kissed, but there’s an uncertainty that makes both hold back. For a while at least.
In the meantime, Guadagnino fills the frame with images that are fairly throbbing with symbolic resonance. The boys’ two bicycles leaning against a wall, intertwined, one handle bar hooked through the frame of the other. The camera lingers on ripe fruit of the villa’s orchard – peaches figure prominently, and creatively. Cigarettes are passed, with offhand intimacy, from lips to lips.
Having evocatively used excerpts of John Adams’s The Chairman Dances in I Am Love, Guadagnino once again marries music to the movie with an instinctive eloquence. In an acknowledgment of the teenage central character – Elio is a gifted multi-instrumentalist – piano features heavily. There’s a hopeful rippling motif, which swirls and eddies like Elio’s adolescent hormones. The film’s setting, in 1983, also makes its presence known, in the form of a few endearingly cheesy period pop songs. Most potent are the wistful original compositions by Sufjan Stevens, played on heartstrings and angst, which give the emotional trajectory of the story a stinging rawness.
But for all the confidence of the film-making, the thing that really elevates this picture to one of the very best of the year is the exceptional quality of the performances. On a second viewing, I become fascinated by Amira Casar, playing Elio’s mother, Anella. Her clear, calm gaze locks on to her husband and her son as she translates a German fable to them, asking unspoken questions of both. “Is it better to speak or to die?”
Stuhlbarg, meanwhile, carries a remarkable scene, perhaps the most important in the film. It’s a speech in which he effectively rips open his chest and bares his heart to his son. Hammer, while technically a little mature for the role, captures the gilded alpha male certainty that makes Oliver so attractive; the casually decisive way that he moves through the world unsettles Elio. And Chalamet, with his restless, impatient physicality and a face as sensual and sculpted as a fallen angel from a Caravaggio painting, is quite simply astonishing. The final scene of the film – the camera rests on Elio’s face in the foreground as he processes his heartbreak – is first love encapsulated in one, sumptuously sad, single shot.
Well, there's the fallen Caravaggio angel!
(http://78.media.tumblr.com/0c0504e8513c74175071281fd05fd3ee/tumblr_oyhzkbqBEZ1rqhwspo1_540.png) (http://78.media.tumblr.com/a064b3fa06ad546be9c6c381d36fc214/tumblr_oyhzkbqBEZ1rqhwspo2_1280.png)
http://luca-guadagnino.tumblr.com/post/166855933056/if-there-is-any-truth-in-the-world-it-lies-when
http://laterpeaches.tumblr.com/post/166857100793/luca-guadagnino-if-there-is-any-truth-in-the
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http://m.imdb.com/title/tt5726616/mediaviewer/rm3925957376
(https://pbs.twimg.com/media/DGaDBZBV0AE7ezw.jpg)
A few scenes from Call Me By Your Name taken at a premiere, source unknown.
https://twitter.com/badpostchalamet @badpostchalamet timothée updates
https://twitter.com/apeachpricot @apeachpricot
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CALLMEBYYOURNAMEFANART
http://camikoz.tumblr.com/
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(http://78.media.tumblr.com/avatar_520d2bdaf4ca_64.png) by blue night
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http://camikoz.tumblr.com/post/166958990811/oliver
http://camikoz.tumblr.com/image/166958990811
http://camikoz.tumblr.com/tagged/my%20art
O L I V E R
“Is it better to speak or to die?”
L A T E R
CALLMEBYYOURNAMEFANART by blue night
http://camikoz.tumblr.com/
10/30/17 AT 10:06PM 304 Notes
Fan Art / Painting / blue night
#CMBYN #CallMeByYourName #cmbyn trailer #cmbyn discourse
#elio #elio perlman #oliver #ulliva #peach #laterpeaches 🍑
#timothée chalamet #armie hammer #andré aciman #luca guadagnino
#book #novel #film #movie #gay movie #sonyclassics #lgbt
#art #my art #artwork #artist #fanart
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Bust of Heraclitus, 'The Weeping Philosopher' by Johann Christoph Ludwig Lücke ca. 1757
https://en.wikipedia.org/wiki/Heraclitus#Panta_rhei.2C_.22everything_flows.22
Heraclitus of Ephesus Greek: Ἡράκλειτος ὁ Ἐφέσιος, Hērákleitos ho Ephésios; c. 535 – c. 475 BC) was a pre-Socratic Greek philosopher, and a native of the city of Ephesus, then part of the Persian Empire. He was of distinguished parentage. Little is known about his early life and education, but he regarded himself as self-taught and a pioneer of wisdom. From the lonely life he led, and still more from the apparently riddled and allegedly paradoxical nature of his philosophy and his stress upon the needless unconsciousness of humankind, he was called "The Obscure" and the "Weeping Philosopher".
Heraclitus was famous for his insistence on ever-present change as being the fundamental essence of the universe, as stated in the famous saying, "No man ever steps in the same river twice". This position was complemented by his stark commitment to a unity of opposites in the world, stating that "the path up and down are one and the same". Through these doctrines Heraclitus characterized all existing entities by pairs of contrary properties, whereby no entity may ever occupy a single state at a single time. This, along with his cryptic utterance that "all entities come to be in accordance with this Logos" (literally, "word", "reason", or "account") has been the subject of numerous interpretations.
"This Logos holds always but humans always prove unable to understand it, both before hearing it and when they have first heard it. For though all things come to be in accordance with this Logos, humans are like the inexperienced when they experience such words and deeds as I set out, distinguishing each in accordance with its nature and saying how it is. But other people fail to notice what they do when awake, just as they forget what they do while asleep."
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(http://78.media.tumblr.com/avatar_520d2bdaf4ca_64.png) by blue night
(http://78.media.tumblr.com/f8bc96f8621cae35efb383066a9671e8/tumblr_oxzh4crTIL1qic28wo1_1280.png)
http://monetsberm.tumblr.com/post/166514374626/camikoz-call-me-by-your-name
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ZWISCHEN IMMER UND NIE
BETWEEN ALWAYS AND NEVER
L A T E R
CALLMEBYYOURNAMEFANART by blue night
http://camikoz.tumblr.com/
And obviously from:
(http://78.media.tumblr.com/46621b1f1157e768882fb5e5424ae3b7/tumblr_oyi3izYQWZ1uftlw4o1_1280.jpg)
http://laterpeaches.tumblr.com/post/166858303548/firewithfiredeux-hes-so-handsome-he-should-be
https://firewithfiredeux.tumblr.com/post/166858224917/hes-so-handsome-he-should-be-illegal
"He’s so handsome he should be illegal."
And just because:
“Is it better to speak or to die?” That’s the core question of “Call Me By Your Name,” which surfaces in a scene where a character reads the words of Marguerite of Navarre in “The Heptaméron,” but it’s an idea at the heart of all queer narratives. It’s been especially present in queer cinema, where muteness and survival are often the most bittersweet bedfellows. But “Call Me By Your Name” not only quotes Marguerite’s words, it suffuses them into every fiber of its being. It’s a great film because of how lucidly it poses her question, and an essential one because of how courageously it answers it.
(....)
Leaving us with one of the gorgeous new songs that Sufjan Stevens wrote for the film, this achingly powerful story — a brilliant contribution to the queer cinema canon — breathes vibrant new life into the answer that Marguerite of Navarre gave to her own question. “I would counsel all such as are my friends to speak and not die,” she said, “for ’tis a bad speech that cannot be mended, but a life lost cannot be recalled.”
(https://upload.wikimedia.org/wikipedia/commons/8/84/Marguerite_d%27Angoul%C3%AAme.jpg)
https://en.wikipedia.org/wiki/Marguerite_de_Navarre
Marguerite de Navarre
Her brother became King of France, as Francis I,
and the two siblings were responsible for the
celebrated intellectual and cultural court and
salons of their day in France.
She was the wife of Henry II of Navarre and
was the grandmother of Henry III of Navarre
who became Henry IV of France.
https://en.wikipedia.org/wiki/Heptam%C3%A9ron
Heptaméron
From Wikipedia, the free encyclopedia
The Heptaméron is a collection of 72 short stories written in French by Marguerite of Navarre (1492–1549), published posthumously in 1558. It has the form of a frame narrative and was inspired by The Decameron of Giovanni Boccaccio. It was originally intended to contain one hundred stories covering ten days just as The Decameron does, but at Marguerite’s death it was only completed as far as the second story of the eighth day. Many of the stories deal with love, lust, infidelity, and other romantic and sexual matters. One was based on the life of Marguerite de La Rocque, a French noblewoman who was punished by being abandoned with her lover on an island off Quebec.
The collection first appeared in print in 1558 under the title Histoires des amans fortunez edited by Pierre Boaistuau, who took considerable liberties with the original version, using only 67 of the stories, many in abbreviated form, and omitting much of the significant material between the stories. He also transposed stories and ignored their grouping into days as envisaged by the author. A second edition by Claude Gruget appeared only a year later in which the editor claimed to have “restored the order previously confused in the first impression”. Also the prologues and epilogues to each short story left out by Boaistuau were put back and the work was given, for the first time, the title Heptaméron (from the Greek ἑπτά – “seven” and ἡμέρα – “day”) due to the seven-day time frame into which the first 70 short stories are grouped.
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Also mentioning again, because this--
(http://78.media.tumblr.com/46621b1f1157e768882fb5e5424ae3b7/tumblr_oyi3izYQWZ1uftlw4o1_1280.jpg)
http://laterpeaches.tumblr.com/post/166858303548/firewithfiredeux-hes-so-handsome-he-should-be
https://firewithfiredeux.tumblr.com/post/166858224917/hes-so-handsome-he-should-be-illegal
"He’s so handsome he should be illegal."
--and this--
(https://pixel.nymag.com/imgs/daily/vulture/2017/07/31/call-me-by-your-name-gifs/31-cmbyn-armie-glance.nocrop.w710.h2147483647.gif)
http://www.vulture.com/2017/08/all-the-gifs-you-need-from-the-call-me-by-your-name-trailer.html
--and this--
(https://78.media.tumblr.com/3f6f7014c5e62a718710f9e837964609/tumblr_oy15daPYKI1qe8tjno4_540.gif)
https://laterpeaches.tumblr.com/post/166541710078/bowie28-call-me-by-your-name-uk-trailer
http://bowie28.tumblr.com/post/166541404810
--and this!
Want to live in Elio's house? Yup, Villa Perlman is YOURS if you want it, for €1,800,000 or US$2,135,000, just a bike ride of 11km or 6 miles south of Crema, where Luca Guadagnino lives! :laugh: :laugh:
In the photo of the front elevation, Elio's bedroom is the upstairs corner on the right. 20 rooms, 5 bathrooms, spacious salon, library, dining room, impressive staircase, frescoes, and, of course,
an Oliver with his own bicycle comes with the price, I'm assuming--!
(https://68.media.tumblr.com/7cc9902028ba05785c6a8a2d8b09389c/tumblr_ollv6bqCXs1sn68q5o1_1280.jpg)
(https://68.media.tumblr.com/6469e44545e998529ec48135c80baba6/tumblr_ollv6bqCXs1sn68q5o2_1280.jpg)
But also--
(https://78.media.tumblr.com/ce976641eebb9360f0c35e9a866a42a0/tumblr_oy15daPYKI1qe8tjno5_540.gif)
(https://78.media.tumblr.com/835ec729d48e9b3605e113cb9b035203/tumblr_oy15daPYKI1qe8tjno6_540.gif)
--there is this!
https://it.luxuryestate.com/italia/lombardia/cremona
https://it.luxuryestate.com/p16410421-villa-in-vendita-moscazzano
VILLA A MOSCAZZANO, CREMONA
(https://68.media.tumblr.com/32a6db8ab51eb0e57e89bd347064bb45/tumblr_obscebpRn11vcmvdlo1_1280.jpg)
https://callmebyyourname-movie.tumblr.com/post/148827656746/luca-guadagnino-director-of-call-me-by-your-name?is_related_post=1#notes
https://callmebyyourname-movie.tumblr.com/image/148827656746
(https://pbs.twimg.com/media/C_tOwVwW0AA13hg.jpg)
http://www.imgsta.com/media/hammeralbania/1595287580956551767_3517438216
http://www.imgsta.com/tag/cmbyn
Villa di 1400 mq in vendita via roma, Moscazzano, Cremona, Lombardia
Villa of 1400 sqm for sale via roma, Moscazzano, Cremona, Lombardy
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(https://denverfilmfestival.denverfilm.org/wp-content/themes/dff/library/images/dff40-lockup.png)
(http://denverfilmfestival.denverfilm.org/wp-content/uploads/2015/09/DFS_2014_Logo.png)
Showtimes
Monday 11/6
6:45 PM Sie FilmCenter DFF
https://denverfilmfestival.denverfilm.org/
https://secure.denverfilm.org/festival/film/programdetail.aspx?FID=100&PID=353
https://secure.denverfilm.org/tickets/film.aspx?id=29737&FID=100
Special Presentation
Call Me by Your Name
Dir. Luca Guadagnino
Historical/Period, LGBTQ, Literary, Romance
CinemaQ, Special Presentation
English, Italian, French, German | English Subtitles | Italy/France, 2017, 132m
It's the summer of 1983 in the north of Italy, where 17-year-old Elio spends his days in his family's villa playing classical music, reading and flirting with his friend Marzia. With academics for parents—his father is an eminent professor specializing in Greco-Roman culture, his mother Annella a translator—Elio is a precocious sort. But if he has the intellectual maturity of an adult, there is nevertheless much that yet remains innocent and unformed about him, particularly when it comes to matters of the heart.
Enter Oliver (Armie Hammer), a charming American doctoral candidate hired as a summer intern for Elio's father. Amid the sun-drenched splendor of the setting, Elio discovers the heady beauty of awakening desire over the course of a season that will alter his life forever.
Based on an acclaimed novel, the screenplay for this sensual and transcendent coming-of-age tale from Italian filmmaker Luca Guadagnino was penned by none other than that master of exquisite longing, James Ivory (A Room With a View, The Remains of the Day).
(https://www.filmlinc.org/wp-content/uploads/2017/08/Call-Me-By-Your-Name.jpg)
Producer: Emilie Georges, Luca Guadagnino, James Ivory, Marco Morabito, Howard Rosenman, Peter Spears, Rodrigo Teixeira
Editor: Walter Fasano | Cinematographer: Sayombhu Mukdeeprom | Screenwriter: James Ivory
Cast: Armie Hammer, Timothée Chalamet, Michael Stuhlbarg, Amira Casar, Esther Garrel
Additional Countries: France, Brazil, USA
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Timothée Chalamet’s Elio is Jewish, French, Italian, American and seventeen. His family spends their summers in Crema, a small town which feels plucked out of paradise and one that plays host to both leisurely bike rides and intense summer flings. Everything is normal and boring and relaxing until his father’s latest research assistant, Armie Hammer’s Oliver, takes over Elio’s bedroom for the summer. Elio moves into the room next door, sharing only a bathroom (the most intimate of spaces) with Oliver while the two maintain their distance. That is of course until their mutual back-and-forth of glances and flirtatious arguments lead to them dropping all pretense in front of one another, building protective walls around their affair in the process.
http://birthmoviesdeath.com/2017/10/04/nyff-review-call-me-by-your-name-like-getting-lost-in-secrets
(http://birthmoviesdeath.com/assets/img/ui/bmd-logo-tall.png)
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film society lincoln center NYFF55/2017
Luca Guadagnino's
Call Me by Your Name
Like Getting Lost In Secrets.
by SIDDHANT ADLAKHA
Wednesday Oct 4 2017
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Warmth incarnate, tenderness and bittersweet joy: Timothée Chalamet and Armie Hammer in Luca Guadagnino's Call Me by Your Name
NEW YORK -- Luca Guadagnino's latest is both alluring and alienating in equal measure. That’s part and parcel of its beauty. It forgoes the idea of a larger plot or structure – there is no broader conceit underscoring its will-they, won’t-they – instead choosing the interplay of secrets as its grounding point, as its lead characters engage in dance. Sometimes the dance is literal - the outward expression of music and rhythm on an Italian summer night. Other times the dance is the mere proximity of bodies and feelings, stepping backward, forward and back again, figuring out when to take the next step. As much as Call Me By Your Name is “about” an academic researcher getting it on with his professor’s son (to be fair, Armie Hammer and Timothée Chalomet in shorts in the ‘80s ought to be reason enough), what it’s about is the complex nature of sexual and romantic secrecy, in all its joys and sorrows.
That it feels almost entirely unstructured works both against it and in its favour. Its two-hour runtime feels closer to three, owing to there being no discernible goalposts nor any indication of how long these lovers have left in their summertime romp, but is that necessarily a complaint when even its most drawn-out scenes focus on a pair of bodies and souls figuring each other out as they begin to figure out themselves? It exists almost detached from time, in a dreamlike state with scenes playing out like vignettes of varying lengths, beginning and ending (often abruptly) at heightened moments, but every scene is imbued with tenderness and bittersweet joy.
Chalomet’s Elio is Jewish, French, Italian, American and seventeen. His family spends their summers in Crema, a small town which feels plucked out of paradise and one that plays host to both leisurely bike rides and intense summer flings. Everything is normal and boring and relaxing until his father’s latest research assistant, Armie Hammer’s Oliver, takes over Elio’s bedroom for the summer. Elio moves into the room next door, sharing only a bathroom (the most intimate of spaces) with Oliver while the two maintain their distance. That is of course until their mutual back-and-forth of glances and flirtatious arguments lead to them dropping all pretense in front of one another, building protective walls around their affair in the process.
Timothée Chalomet is tremendous as Elio. His adolescent bravado in front of his summer girlfriend gives way to hunched over insecurities in private as he discovers a newfound sense of duality with Oliver, one he has no idea how to navigate. As much as he tries to play it cool, the profound weight of his self-discovery is terrifying. While the presence of the older, more experienced Oliver is the genesis for his confusion, he is also Elio’s comfort. Chalomet and Armie Hammer light up the screen with their chemistry, forming the kind of camaraderie you could get lost in. There’s a boyish playfulness to their dynamic, even as Oliver is at first wary of taking advantage of Elio’s fragility, but he too settles into his desires as Hammer’s own no-nonsense bluntness and brevity give way to protective empathy.
The new world that opens up in front of Elio isn’t just one of sex and romance. While there is liberation in sharing something pure and beautiful with Oliver it’s also a dynamic that must exist in secret, a constant changing of states that Oliver is accustomed to but one Elio still needs to figure out. There is no immediate danger per se – Elio’s parents, played by Michael Stuhlbarg and Amira Casar – seem open and accepting, and his affair with Oliver may very well be an open secret, yet the result of these lowered immediate stakes is the opportunity for the film to delve inward. There is a world outside of this bubble and an expiration date to whatever Elio and Oliver have, but the knowledge of its temporariness and finality isn’t framed as some dour, nihilistic sentiment. Stuhlbarg for instance, ends up the most warm and welcoming part of the film, his personable, paternal smile offering hope and comfort even in times of emotional disarray.
Elio may not be ready to come out by the end of it. He may not even be ready to accept himself, and the world may not be ready to accept him either, yet there comes a point in the film where he apes Oliver by proudly sporting a Star of David around his neck. Oliver, a child of New England, knows what it’s like to be the only Jew in the vicinity and for Elio, whose multi-cultural family describes themselves as “Jews of discretion,” that means knowing which parts of one’s identity to put on display. With yet another major social code to switch, the burden of identity could very well be overwhelming, but Oliver’s presence, like that of Call Me By Your Name itself, acts as a guiding hand, making him less afraid to simply be.
Call Me By Your Name will open in New York and Los Angeles on November 24.
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http://birthmoviesdeath.com/2017/10/14/call-me-by-your-name-sequel-possible
(http://birthmoviesdeath.com/assets/img/ui/bmd-logo-tall.png)
We May Be Getting A Sequel To
Call Me by Your Name
Director Luca Guadagnino drops some juicy hints.
by SIDDHANT ADLAKHA
Saturiday Oct 14 2017
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Armie Hammer and Timothée Chalamet in Luca Guadagnino's Call Me by Your Name
Call Me By Your Name hasn't been released in theatres yet, but as one of the best reviewed films out of both Sundance and the New York Film Festival, it's rightly receiving a lot of buzz. Some of that buzz now includes plans for a sequel, which would be in line with the film as it relates to André Aciman's original novel from 2007. You should probably steer clear of the rest of this article if you're looking to avoid spoilers, but that'd also be like trying to "spoil" the premise of [Director Richard Linklater's] Before Sunset or Before Midnight, comparisons I don't make lightly given just how good Luca Guadagnino's latest is.
While speaking to ScreenDaily, Guadagnino shared a few details about a potential follow-up. Aciman's novel has Oliver and Elio meet up in America fifteen years after the events in Italy, though the potential sequel film doesn't seem like it's going to follow this to the letter since it'll take place only seven years later: ( https://www.screendaily.com/news/luca-guadagnino-plots-call-me-by-your-name-sequel-exclusive/5123280.article )
“I want to do a sequel because Timothée Chalamet, Armie Hammer, Michael Stuhlbarg, Amira Casar, Esther Garrel – they are all gems,” said Guadagnino during a sit-down at the BFI London Film Festival, where Call Me By Your Name played as a gala. “The texture we built together is very consistent. We created a place in which you believe in the world before them. They are young but they are growing up.”
“I don’t think Elio is necessarily going to become a gay man. He hasn’t found his place yet. I can tell you that I believe that he would start an intense relationship with Marzia [Esther Garrel’s character] again,” he said.
That second bit might raise some eyebrows from people who haven't seen the film given how much acclaim it's receiving for its intimate portrait of a same-sex releationship, though it should be noted that Guadagnino (a gay man himself) is not speaking out of turn, as his depiction of Elio and Oliver's sexualities is both complex and difficult to pin down at this stage in their lives. Guadagnino also envisions Elio as the kind of character who could recur throughout his filmography (much like Truffaut's Antoine Doinel), though if I'm being honest, what I really want is Armie Hammer dancing to songs from various decades.
The sequel, should it happen, won't be released until 2020, but it's already a damn exciting prospect. We'll keep you posted as soon as we hear more.
"I think I'll make another film in the future about the characters in Call Me by Your Name. I'd love to make a cycle of films based on them. How they grow up. Will they meet again? What happens when they meet again?"
Do you know?? I've been thinking this! The very last five pages of the book (at the end of Part 4, "Ghost Spots") have a very open-ended quality, no?? Obviously Luca, André and producer Peter Spears have talked about it. Shades of director Richard Linklater's Before Sunrise (1995), Before Sunset (2004) and Before Midnight (2013), which I have always loved!
FYI: Richard Linklater: No one’s ruling out a Before quadrilogy, FEBRUARY 27, 2017,
http://ew.com/movies/2017/02/27/richard-linklater-before-sunset-trilogy/
Celine (Julie Delpy): "Baby. You are going to miss that plane." (talk-singing along with Nina Simone to Jesse)
Jesse (Ethan Hawke): "I know." (laughs)
[youtube=425,350]http://www.youtube.com/watch?v=ip9PgKmil0s[/youtube]
Before Sunset (2004)
Julie Delpy & Ethan Hawke
(by director Richard Linklater)
Published on Apr 9, 2015
Luca Guadagnino for Fantastic Man Magazine No. 26
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"I think I'll make another film in the future about the characters in Call Me by Your Name. I'd love to make a cycle of films based on them. How they grow up. Will they meet again? What happens when they meet again?"
Director Luca Guadagnino delivers an interview vérité in the new issue of @ManFantastic ahead of the worldwide release of his spectacularly romantic new movie Call Me by Your Name.
#LucaGuadagnino #CallMeByYourName
#FantasticMan #Cinema #Art #Culture #KarlaOtto
http://www.buro247.ua/instagram/karlaotto/570496
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Powerfully emotional and exquisitely romantic, this is a beautifully made and wonderfully acted film that has every element working together in perfect harmony. It is, quite simply, a masterpiece.
https://inews.co.uk/essentials/culture/film/call-me-by-your-name-review/
(http://www.centreforcities.org/wp-content/uploads/2016/09/iNews-Logo-Square.jpg) News The Essential Daily Briefing
Call Me by Your Name
This nostalgic coming-of-age romance is one of the year’s best films.
★★★★★
by Matthew Turner
Thursday Oct 26 2017
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An emotional masterpiece: Timothée Chalamet and Armie Hammer in Luca Guadagnino's Call Me by Your Name
Armie Hammer and Timothée Chalomet star in this achingly romantic tale of first love from director Luca Guadagnino (A Bigger Splash). Adapted from André Aciman’s 2007 coming-of-age and coming out novel by screenwriter James Ivory, this is one of the year’s best films. A heady concoction of love, life and longing, suffused with a warm glow of nostalgia.
Set in 1983, the film centres on musically gifted 17 year-old Elio Perlman (Chalamet), who is spending the summer at his family’s palazzo in Northern Italy. When 24 year-old graduate student Oliver (Hammer) arrives to help Elio’s antiquities professor father (Michael Stuhlbarg) with his research, Elio becomes obsessed with him, their erotic proximity heightened by having to share an adjoining bathroom. As the days pass, Elio is thrilled to discover the intensity of his feelings for Oliver reciprocated, and the pair embark on a secret love affair. Guadagnino’s direction is exceptional, creating a richly evocative atmosphere that perfectly captures the intoxicating rush of first love.
Bittersweet atmosphere
In particular, Guadagnino perfectly captures the specific sense of time and place, depicting the family’s fabulously idyllic existence (al fresco dinners, trips to the local swimming hole, bike rides into town, etc), all of which is heightened by a nostalgia-inducing soundtrack and gorgeous cinematography from Sayombhu Mukdeeprom that’s so transporting you can practically feel the sun shining on your face.
However, there’s a bittersweet note too, because there’s the constant sense that both the summer and the relationship will shortly come to an end. Guadagnino orchestrates a number of wonderful sequences, particularly in the first half of the film, where the characters are effectively circling each other and every gesture and look is ripe with potential meaning. Though the film ultimately shies away from anything too explicit, there’s a scene involving the erotic use of a peach that is destined for instant notoriety and somehow manages to be tender, funny and shocking, all at once. (Let’s just say Philip Roth would have been proud).
Profoundly moving
Previously best known for Homeland, relative newcomer Chalamet delivers a star-making performance as Elio, his expressive face and body language conveying a complex array of emotions, with minimal dialogue. Similarly, Hammer (who continues to make interesting choices) delivers his best performance to date, turning his all-American golden boy charisma up to the maxium setting and sparking palpable chemistry with Chalamet. The film is largely dominated by the two leads, but the ever-reliable Michael Stuhlbarg has a terrific father-son speech towards the end of the film that is profoundly moving and likely to lead to a few tear-stained cheeks.
As if the whole thing wasn’t heavenly enough already, Guadagnino brings down the curtain with a wonderful final shot that ranks as one of the best endings to a film in recent memory.
Powerfully emotional and exquisitely romantic, this is a beautifully made and wonderfully acted film that has every element working together in perfect harmony. It is, quite simply, a masterpiece.
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It’s summertime and the living is easy. Against the backdrop of unhurried life at a villa in Lombardy, the emotions of the 17-year-old Elio (Timothée Chalamet) jangle and thrum like guitar strings as he becomes gradually besotted with Oliver (Armie Hammer), his professor father’s 24-year-old research assistant, who is staying with the family for six weeks.
https://www.newstatesman.com/culture/film/2017/10/call-me-your-name-emotionally-charged-love-affair-taut-inner-tensions
(https://www.newstatesman.com/sites/all/themes/creative-responsive-theme/images/[email protected])
Call Me by Your Name
An emotionally charged love affair taut with inner tensions
Luca Guadagnino is an intensely sensual director, but he knows how to undercut a moment.
by RYAN GILBEY
27 October 2017
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In Call Me by Your Name a pounding piano reproduces Elio’s desires in musical form as Timothée Chalamet plays to Armie Hammer.
Most love stories require an impediment against which the central romance can be tested. I love you but we’re married to other people (Brief Encounter). I love you but you’re dying (Love Story), or dead (Ghost ). I love you but I’m a diplomat’s wife and you’re a chimpanzee (Max Mon Amour).
What’s peculiar about Call Me by Your Name is the lack of any external resistance to the gay love affair at the heart of the story. No homophobia, no disapproving peers or parents. The film, adapted from André Aciman’s 2007 novel, is set in northern Italy in 1983, just before fears about HIV and Aids would have impinged on these characters’ lives. It’s equally important that this is an era that predates mobile phones. No one can express their feelings with a winking cartoon face or an upturned aubergine. It has to be done for real.
The achievement of the director Luca Guadagnino is to create in the absence of any obvious opposition a picture that is still taut with inner tensions. It’s summertime and the living is easy. Against the backdrop of unhurried life at a villa in Lombardy, the emotions of the 17-year-old Elio (Timothée Chalamet) jangle and thrum like guitar strings as he becomes gradually besotted with Oliver (Armie Hammer), his professor father’s 24-year-old research assistant, who is staying with the family for six weeks.
Two things snag his interest. The first is the Star of David that Oliver wears, nestling in his chest hair. (Elio is also Jewish, though his mother describes the family as “Jews of discretion”.) The second is Oliver’s easy physicality. Elio is startled to receive a shoulder massage from him while watching a volleyball game. Squirming free, he is hauled back by the older man, who then enlists a nearby teenage girl to continue the massage. It’s the first in a series of gestures that involve puppetry of some description. The next occurs when Elio clocks Oliver’s attraction to a local woman and tries to play matchmaker between them, much to Oliver’s displeasure. Tellingly, when they make up, it is through another act of puppeteering: Oliver extends the hand of friendship to Elio, only it isn’t his own hand but the one attached to a sculpted, disembodied arm. The film charts the dismantling of their defences as they move beyond preening and proxies towards an ideal of intimacy.
With a handful of exceptions, the film is told from Elio’s heightened, hormonal perspective. At the sound of a bicycle bell, the camera might pan round distractedly to see where it is coming from. The sudden cut when Oliver rolls off the side of the pool and into the water mimics Elio’s electrified jumpiness. Chalamet’s performance is enchantingly physical, even feline. He keeps breaking out into unselfconscious dance moves – a soft-shoe shuffle or a prance like a cartoon burglar’s tiptoed prowl. A pounding piano reproduces Elio’s desires in musical form and the reflective new songs by Sufjan Stevens introduce the possibility that he is looking back on all this from middle age.
It’s an idea that Guadagnino pursues near the end of the film, when Oliver is watching Elio sleep. He swivels his head in response to a noise that is audible to us also, but turns out to be the sound of a train drawing into a station the following morning. Guadagnino (a former film critic and the director of I Am Love and A Bigger Splash) will know that his countryman Sergio Leone used a ringing telephone to tie together a montage spanning several different time periods in Once Upon a Time in America. The effect here strikes the same note of disorienting melancholy, as though the characters were waking from dreams wreathed in memories.
Guadagnino is an intensely sensual director, almost parodically so, but he knows how to undercut a moment so that its emotional charge is deferred. When Oliver and Elio finally broach the subject of their mutual attraction, they are shown in a wide shot, separated from one another by a statue commemorating the Battle of the Piave River and almost drowned out by the hydraulic hiss of an approaching bus. Anyone would think the driver didn’t know that two men were confessing their love for one another and changing the course of their lives.
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The film begins with classical images of male heads and torsos, and abounds with references to Praxiteles and Hellenistic sculpture, establishing and pursuing (sometimes a little too pointedly) the theme of male on male desire. The atmosphere is pagan, the time not just BCE but BCP—Before Cell Phones. Oliver appears rather like a deus ex machina (almost literally: climbing out of a car, blond head rising and rising some more), an Adonis who moves as if by divine right among the French-Italian admirers.
https://www.filmcomment.com/article/call-me-by-your-name-review-armie-hammer/
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Published by Film Society of Lincoln Center
Call Me by Your Name
is more invitingly heartfelt and less baroque than director Luca Guadagnino's
previous films, and skillfully captures both the languor of the summer mood.
by Molly Haskell
03 November 2017
(in the November/December 2017 Issue)
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Call Me by Your Name--As Elio (Timothée Chalamet) teases Oliver (Armie Hammer) with his variations on the classical
composers, an ingenious score provides an expressive correlative to the tumult in Elio’s head and loins.
In the brief annals of mainstream queer cinema, Call Me by Your Name falls in line with Moonlight in taking a resolutely non-hysterical, non-polemical approach to homoeroticism, treating sexual encounters with a kind of unhurried, tactile sensuality. Society, as enforcer and inhibitor, plays very little part, as both stories take place outside the bounds of middle-class morality—but from different, even opposing ends of the spectrum. Barry Jenkins’s triptych involves a black man’s coming-of-age in Miami, while Luca Guadagnino’s portrait of a teenager’s sexual awakening takes place in a luxuriant corner of Lombardy, but both have demonstrated crossover appeal, Moonlight having garnered multiple awards including last year’s Oscar for Best Picture, and Call Me by Your Name currently carrying ecstatic pre-opening raves from Sundance and Toronto film festivals.
The Italian director who displayed a kind of swashbuckling Euro-chic sensibility in I Am Love (2009) and A Bigger Splash (2015), both featuring a stunningly marmoreal Tilda Swinton as erotic figurehead, moves his latest exploration of Desire with a capital D into a less exalted environment—but only slightly less. We are in the vacation home of the Perlmans (Michael Stuhlbarg and Amira Casar), assimilated Jews and among those casually seigneurial intellectual-bourgeois families of exquisite taste and multiple languages. They enjoy scholarly disputes and culinary delights in an alfresco setting in which the sun itself is a kind of benediction. (The real miracle, it turns out, is one of cinematic artifice: reportedly it rained all summer—the only time the film could be made—and the extraordinary cinematographer Sayombhu Mukdeeprom managed to turn dark into light.)
Guadagnino has moved the setting of André Aciman’s 2007 novel from the Italian Riviera to his home base in Northern Italy, but otherwise the screenplay by James Ivory is beautifully faithful. Every year Mr. Perlman, a classicist with archaeological interests, hires an American grad student to help with research and live with the family. Every year the newcomer dispossesses their son, Elio (the remarkable Timothée Chalamet), of his room. But this particular summer, Elio, now 17, will find his way back through a wildly unexpected flowering of lust for the stranger, Oliver (Armie Hammer). The minutely observed vicissitudes of their duet of mutual approach and avoidance, set against a background of picnics, dances, bicycle rides, and swims, form the essence of the drama.
The major difference between page and screen is that where Aciman’s novel unfolded in a heated burst of first-person recollection from the older Elio’s point of view, the movie takes place in the present tense (though it’s set in 1983), and widens the field of vision. Elio is still at the center, bored, flailing, given to fits of despair, but we are no longer cloistered within the sometimes suffocating hothouse of an acutely self-conscious adolescent mind (Does he see me? Does he respond? Dare I speak to him?), second-guessing every move, noting every passing thought and dream fantasy. Other characters—would-be girlfriends who pursue the boys—have their moments, however fleeting, and more importantly, Elio is a gifted pianist. As he teases Oliver with his variations on the classical composers, music forms both a leitmotif and a beckoning vocation. An ingenious score (with original songs) by Sufjan Stevens provides an expressive correlative to the tumult in Elio’s head and loins.
In one sense, Elio is every teenager beset by raging hormones, every adolescent not yet formed, who alternates between longing and terror, flight or fight or fuck, in whom male and female sides still struggle for domination or truce. The struggle is only slightly compounded by same-sex taboo, and the suspense, such as it is, is not whether but when.
The film begins with classical images of male heads and torsos, and abounds with references to Praxiteles and Hellenistic sculpture, establishing and pursuing (sometimes a little too pointedly) the theme of male on male desire. The atmosphere is pagan, the time not just BCE but BCP—Before Cell Phones. Oliver appears rather like a deus ex machina (almost literally: climbing out of a car, blond head rising and rising some more), an Adonis who moves as if by divine right among the French-Italian admirers.
Elio doesn’t know if his attraction is reciprocated; Oliver hesitates, presumably because he must consider the ethics of his position as both guest and older person, and therefore, like Humphrey Bogart, must “think for both of them.” At least I am assuming such reflections are taking place somewhere behind that pleasant but remarkably inscrutable face. Though Oliver wears a Star of David, thus establishing kinship with the Perlmans, Hammer is a more natural signifier of WASP entitlement. He was perfectly cast as the Winklevoss twins in The Social Network : he might as well be a digital double as a real person, as he was when he was rowing with himself at the Henley Royal Regatta. He’s somebody who represents rather than inhabits—an archetype, like his blandly smug philanderer-husband in Nocturnal Animals.
Parker Tyler, that astute chronicler of homosexual themes, gave a mythical dimension to this figure whom he called Homoeros, and saw as transformational in movies like Death in Venice, Billy Budd, The Confessions of Felix Krull, and Teorema. Hammer has none of the ambisexual allure of Terence Stamp or Tilda Swinton. He is a more one-dimensional stud, perhaps closer to the Liv Tyler character in Bertolucci’s Stealing Beauty, an object of directorial lust you have to take on faith. And speaking of Bertolucci, in the movie’s much-talked-about scene between two guys and a peach, Guadagnino also competes with his Italian predecessor for most outrageous coupling of food and sex.
Call Me by Your Name is more invitingly heartfelt and less baroque than the director’s previous films, and skillfully captures both the languor of the summer mood, as time stretches into boredom, and the simultaneous feel of time closing in, of the possibility of missed opportunities, hanging like overripe fruit at the end of a branch. (It’s one of those movies over which fruit metaphors hang irresistibly.)
In the end, the film finds its perfect grace note and even its reason for being not in the final shot of grief-stricken Elio’s anguished face, but in the preceding passage in which his father, in a gesture of exquisite tact and empathy, confers a kind of blessing on him, letting him know he’s aware of the nature of the relationship. Not only does papa not disapprove, he envies the son for leaping where he himself was once tempted, hesitated… and settled for less. In this movie, heterosexual marriage is definitely the consolation prize.
-
CALLMEBYYOURNAMEFANART
https://finny-red.tumblr.com/
(https://abs.twimg.com/emoji/v2/72x72/1f351.png)
(https://68.media.tumblr.com/avatar_9d8cbeaff65e_128.png) by finny-red.tumblr.com
(https://78.media.tumblr.com/02e6b0706b6147c042cde42e57c56338/tumblr_oy6do4F3kZ1w7hevpo1_1280.jpg)
https://finny-red.tumblr.com/post/166637477817
https://finny-red.tumblr.com/archive
My mother, who hated what she called his Americanisms, ended up calling him Il cauboi --the cowboy. It started as a putdown and soon became an endearment, to go along with her other nickname for him, conferred during his first week, when he came down to the dinner table after showering, his glistening hair combed back. La star, she had said, short for la muvi star. My father, always the most indulgent among us, but also the most observant, had figured the cauboi out. "È un timido, he's shy, that's why," he said when asked to explain Oliver's abrasive Later!
Oliver timido? That was new. Could all of his gruff Americanisms be nothing more than an exaggerated way of covering up the simple fact that he didn't know--or feared he didn't know--how to take his leave gracefully?
For weeks I had mistaken his stare for barefaced hostility. I was wide of the mark. It was simply a shy man's way of holding someone else's gaze.
We were, it finally dawned on me, the two shyest persons in the world.
My father was the only one who had seen through him from the very start.
Call Me By Your Name by André Aciman
Recited/Narrated by Armie Hammer
CALLMEBYYOURNAMEFANART by finny-red.tumblr.com/
https://finny-red.tumblr.com/
October 21 2017 117 Notes
#CMBYN #CallMeByYourName #finny-red.tumblr.com
#oliver #ulliva #elio #elio perlman #laterpeaches 🍑
#armie hammer #timothée chalamet #luca guadagnino #andré aciman
#book #novel #film #movie #sonyclassics #lgbt
#art #digital art #artwork #draw #drawing #portrait #digital portrait
#illustration #artist #sketch #sketchbook #photoshop
#eyes #nose #mouth #hair #beard
(https://abs.twimg.com/emoji/v2/72x72/1f351.png)
(https://68.media.tumblr.com/avatar_9d8cbeaff65e_128.png)
(https://www.out.com/sites/out.com/files/2017/09/29/armie-hammer-x750.jpg)
https://laterpeaches.tumblr.com/post/165985913183/i-know-that-i-will-carry-the-experience-of-making
http://bowie28.tumblr.com/post/165852864145
https://laterpeaches.tumblr.com/
http://bowie28.tumblr.com/
(https://www.out.com/sites/out.com/files/2017/10/02/01-armie-hammer.jpg)
https://www.out.com/out-exclusives/2017/10/04/art-seduction-armie-hammer-hottest-movie-season
(https://abs.twimg.com/emoji/v2/72x72/1f351.png)
(https://68.media.tumblr.com/avatar_9d8cbeaff65e_128.png) by finny-red.tumblr.com
(https://68.media.tumblr.com/7afed1a8acb7f7412246c779e39af8e8/tumblr_owc9t8605Y1w7hevpo1_500.jpg)
https://finny-red.tumblr.com/post/165376127152
https://finny-red.tumblr.com/archive
-
(http://www.hotelolivi.com/source/jamaica-3.jpg)
[youtube=800,472]http://www.youtube.com/watch?v=DCsyocpQyok[/youtube]
FULL LENGTH https://www.youtube.com/watch?v=DCsyocpQyok (https://www.youtube.com/watch?v=DCsyocpQyok) WITH LYRICS
Whew! At long last!
From soundtrack, not screening.
As before, top image from
Baia Jamaica, Sirmione,
Lago di Garda.
Sufjan Stevens - Mystery of Love
Call Me by Your Name
Soundtrack released November 3 2017
Jonathan Leo
Published on Nov 3, 2017
(https://yt3.ggpht.com/-F0IAuCYGT54/AAAAAAAAAAI/AAAAAAAAAAA/4MR2b1vzMhY/s88-c-k-no-mo-rj-c0xffffff/photo.jpg)
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.
Sufjan Stevens "Mystery of Love"
From the film CALL ME BY YOUR NAME by Luca Guagagnino
Mystery of Love
Oh, to see without my eyes
The first time that you kissed me
Boundless by the time I cried
I built your walls around me
White noise, what an awful sound
Fumbling by Rogue River
Feel my feet above the ground
Hand of God, deliver me
Oh, oh woe-oh-woah is me
The first time that you touched me
Oh, will wonders ever cease?
Blessed be the mystery of love
Lord, I no longer believe
Drowned in living waters
Cursed by the love that I received
From my brother's daughter
Like Hephaestion, who died
Alexander's lover
Now my riverbed has dried
Shall I find no other?
Oh, oh woe-oh-woah is me
I'm running like a plover
Now I'm prone to misery
The birthmark on your shoulder reminds me
How much sorrow can I take?
Blackbird on my shoulder
And what difference does it make
When this love is over?
Shall I sleep within your bed
River of unhappiness
Hold your hands upon my head
Till I breathe my last breath
Oh, oh woe-oh-woah is me
The last time that you touched me
Oh, will wonders ever cease?
Blessed be the mystery of love
-
Once again--
but this time from
the actual recording,
not a screening--
These are the last few minutes of the movie,
Elio looking into the fire, crying and remembering--
until his mother's voice calls
"Elio--"
(https://68.media.tumblr.com/5385d5c623fba7cd330de9f74523b54c/tumblr_ouc4l4497R1wwjl4jo1_r1_1280.jpg)(http://static.stereogum.com/uploads/2017/01/IMG_0475_bw-1485544300-640x480.jpg)
(http://static.stereogum.com/uploads/2017/01/IMG_0475_bw-1485544300-640x480.jpg)(https://68.media.tumblr.com/5385d5c623fba7cd330de9f74523b54c/tumblr_ouc4l4497R1wwjl4jo1_r1_1280.jpg)
[youtube=1100,650]http://www.youtube.com/watch?v=EiBUIwzN6FA[/youtube]
https://www.youtube.com/watch?v=EiBUIwzN6FA
The very last
moments of the movie--
Sufjan Stevens - Visions of Gideon
Call Me by Your Name
Soundtrack released November 3 2017
Jonathan Yule
Published on Nov 3, 2017
(https://yt3.ggpht.com/-QUU5WsMBCA0/AAAAAAAAAAI/AAAAAAAAAAA/pb5W8TLzrMw/s88-c-k-no-mo-rj-c0xffffff/photo.jpg)
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.
STILL not sure about
those lyrics yet--oh well!
:-\ :-\
Sufjan Stevens "Visions of Gideon"
From the film CALL ME BY YOUR NAME by Luca GuagagninoVisions of GideonI 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
-
This is the third
of the three
Sufjan Stevens
songs on the
CMBYN soundtrack;
unlike the other two
original songs, this
is a new 'Doveman' remix
(originally from 2010)--
(https://78.media.tumblr.com/a27b6dbe5d420d16c44f8cc1dbf1cb5d/tumblr_ovephw4fbk1sn68q5o2_r1_500.jpg)(https://78.media.tumblr.com/a27b6dbe5d420d16c44f8cc1dbf1cb5d/tumblr_ovephw4fbk1sn68q5o2_r1_500.jpg)(http://static.stereogum.com/uploads/2017/01/IMG_0475_bw-1485544300-640x480.jpg)
(http://static.stereogum.com/uploads/2017/01/IMG_0475_bw-1485544300-640x480.jpg)(https://78.media.tumblr.com/a27b6dbe5d420d16c44f8cc1dbf1cb5d/tumblr_ovephw4fbk1sn68q5o2_r1_500.jpg)(https://78.media.tumblr.com/a27b6dbe5d420d16c44f8cc1dbf1cb5d/tumblr_ovephw4fbk1sn68q5o2_r1_500.jpg)
[youtube=1100,650]http://www.youtube.com/watch?v=H2nMUrSv4hE[/youtube]
https://www.youtube.com/watch?v=H2nMUrSv4hE
https://en.wikipedia.org/wiki/Doveman
Thomas Bartlett also known as Doveman,
is an American pianist, singer, and producer,
best known for his work with Sufjan Stevens
and many more.
(http://brassland.org/uploads/press/doveman2_1500x1500_credit_ezra_caldwell.jpg)
Sufjan Stevens - Futile Devices (Doveman Remix)
Call Me by Your Name
Soundtrack released November 3 2017
icecream forever
Published on Nov 3, 2017
(https://yt3.ggpht.com/-gtxgDiE4A1Q/AAAAAAAAAAI/AAAAAAAAAAA/a0S81CUuiYk/s88-c-k-no-mo-rj-c0xffffff/photo.jpg)
Sufjan Stevens "Futile Devices" (Doveman Remix)
From the film CALL ME BY YOUR NAME by Luca Guagagnino
Futile Devices
It's been a long, long time
Since I've memorized your face
It's been four hours now
Since I've wandered through your place
And when I sleep on your couch
I feel very safe
And when you bring the blankets
I cover up my face
I do
Love you
I do
Love you
And when you play guitar
I listen to the strings buzz
The metal vibrates underneath your fingers
And when you crochet
I feel mesmerized and proud
And I would say I love you
But saying it out loud
is hard
So I won't say it at all
And I won't stay very long
But you are the life I needed all along
I think of you as my brother
Although that sounds dumb
And words are futile devices
(http://static.stereogum.com/uploads/2017/01/IMG_0475_bw-1485544300-640x480.jpg)
[youtube=640,360]http://www.youtube.com/watch?v=x2dNTjE6ItI[/youtube]
https://www.youtube.com/watch?v=x2dNTjE6ItI
Futile Devices - Sufjan Stevens
Live on Soundcheck
Published on Jul 27, 2011
(https://yt3.ggpht.com/-Mll3_yPdZCk/AAAAAAAAAAI/AAAAAAAAAAA/kdghKNz9Mjg/s88-c-k-no-mo-rj-c0xffffff/photo.jpg)
To accompany the classical music is a trio songs from the aforementioned Sufjan Stevens, two of them original. Along with employing a new ethereal piano arrangement of “Futile Devices” in a moment of longing, the original songs have the feel of tracks off Carrie & Lowell, albeit with more of a wistful elation. For one of these songs, Guadagnino utilizes one of his few overt directorial flourishes: the effect of a film burn as a lonely Elio contemplates furthering their relationship, then later the visualization of a camera negative when he reflects on the time they have had. Both are fleeting flourishes, appearing only for a few seconds, but indelibly convey the passion inside Elio’s soul.
A feat of accentuated sound design, as hands run down staircases and across bodies, and arresting cinematography, luxuriating in the beauty of Italy and those that occupy it, Call Me By Your Name has the effect of being transported to this specific time and place. It’s a film of overwhelming empathy and playfulness as loneliness turns into gratification and desires are slowly manifested into reality.
Sufjan Stevens’ latest album, Carrie & Lowell, was a beautifully simplistic work based on his mother’s death and his reeling emotions of anger, abandonment, loss and love. It will be very interesting to see Stevens tackling a film score, as most of his work is so broad in scope that it lends itself to a cinematic format. So everything should translate well, but it’s exciting to see him fully embrace the format.
https://www.pastemagazine.com/articles/2017/01/sufjan-stevens-scores-indie-film-call-me-by-your-n.html
(https://www.pastemagazine.com/pastemagazine.img/master-header-logo.png)
Sufjan Stevens
Scores Indie Film
Call Me by Your Name
by Pete Mercer
January 9, 2017, 12:05pm
(https://cdn.pastemagazine.com/www/articles/Sufjan%20main.jpg)
Sufjan Stevens scores Call Me by Your Name
Sufjan Stevens, singer/songwriter and creator of the (overly) ambitious 50 States Project, has written and performed the soundtrack for new indie film Call Me by Your Name. The film stars Armie Hammer, Timothée Chalamet and Michael Stuhlbarg, and is based on André Aciman’s 2007 novel of the same name.
Directed by Italian filmmaker Luca Guadagnino, the film follows the love affair between a 24-year-old American scholar visiting Italy, and the 17-year-old Jewish-American boy whose family provides housing for the American while he helps the young boy’s father revise book manuscripts. The film takes place in the 1980s along the Italian Riviera, so expect some really lovely Italian scenery, accompanied by Stevens’ often beautifully melodic music.
Stevens’ latest album, Carrie & Lowell, was a beautifully simplistic work based on his mother’s death and his reeling emotions of anger, abandonment, loss and love. It will be very interesting to see Stevens tackling a film score, as most of his work is so broad in scope that it lends itself to a cinematic format. So everything should translate well, but it’s exciting to see him fully embrace the format.
There is no formal release date for the soundtrack or the film, which hits Sundance on Jan. 22.
FYI: Call Me By Your Name premiered at the Sundance Film Festival and opens on November 24.
Have you met him (Sufjan Stevens)?
"I wrote to him and invited him over to my house to see the film
when it was finished, as he was coming to Italy anyway. So, the
doorbell rings, and this stunningly beautiful man is at the door.
I mean, I’d seen pictures of him, but in reality he is beyond
handsome! Those eyes!"
(http://www.impattosonoro.it/wp-content/themes/impatto-theme/images/1401x788-sufjan_stevens_-_photo_cred.jpg)
(https://video-images.vice.com/articles/59a3b66901643815df603a0b/lede/1503978968259-Sufjan_Website.jpeg?crop=1xw:0.8780487804878049xh;center,center&resize=0:*)
https://noisey.vice.com/en_au/article/599j3d/we-cant-stop-wondering-if-sufjan-stevens-sings-about-god-or-being-gay
http://sufjan.com/
(https://pbs.twimg.com/profile_images/826497435367202816/5S_xTNyT_400x400.jpg) Kyle Buchanan
@kylebuchanan
7:53 AM - 23 Jan 2017
50 Retweets 137 Likes
https://twitter.com/kylebuchanan
(http://i.imgur.com/wqinnal.png)
https://www.reddit.com/r/Sufjan/comments/5qjyqg/some_tweets_i_found_about_call_me_by_your_name/
-
(https://78.media.tumblr.com/2937ea337387fd2e001e229aa70bcfa1/tumblr_oy15daPYKI1qe8tjno2_540.gif)
https://itunes.apple.com/us/album/call-me-by-your-name-original-motion-picture-soundtrack/id1300430864
(https://images-na.ssl-images-amazon.com/images/I/71mmbH482wL._SY355_.jpg)
Call Me By Your Name
(Original Motion Picture Soundtrack)
Various Artists
Soundtrack Nov 3, 2017
1
Hallelujah Junction – 1st movement –
John Adams
7:09
2
M.A.Y. in the Backyard
Ryuichi Sakamoto
4:25
3
J'adore Venise
Loredana Bertè
4:15
4
Paris Latino
Bandolero
4:01
5
Sonatine Bureaucratique
Frank Glazer
3:44
6
“Zion hört die Wächter singen” from Cantata BWV 140 “Wachet auf, ruft uns die Stimme”
Alessio Bax
5:10
7
Lady Lady Lady
Giorgio Moroder & Joe Esposito
4:15
8
Une barque sur l’océan from Miroirs
Andre Laplante
7:10
9
Futile Devices (Doveman Remix)
Sufjan Stevens
2:15
10
Germination
Ryuichi Sakamoto
2:09
11
Words
F.R. David
3:27
12
È la vita
Marco Armani
4:11
13
Mystery of Love
Sufjan Stevens
4:08
14
Radio Varsavia
Franco Battiato
4:07
15
Love My Way
The Psychedelic Furs
3:33
16
Le jardin féerique from Ma mère l'Oye
Valeria Szervánszky & Ronald Cavaye
3:02
17
Visions of Gideon
Sufjan Stevens
4:07
This Compilation ℗ and © 2017 Madison Gate Records, Inc. All Rights Reserved.
(http://www.littletownmart.com/fdh/narvaez_boat.jpg)
[youtube=780,750]http://www.youtube.com/watch?v=bTYUyDjVCRU[/youtube]
https://www.youtube.com/watch?v=bTYUyDjVCRU
Maurice Ravel: Miroirs III. Une Barque sur L'Ocean (1904-1905)
(pianist André Laplante)
Sounds familiar....
https://en.wikipedia.org/wiki/Maurice_Ravel
https://en.wikipedia.org/wiki/Miroirs
https://en.wikipedia.org/wiki/Andr%C3%A9_Laplante
(https://i.ytimg.com/vi/LGD9i718kBU/maxresdefault.jpg)
[youtube=800,450]http://www.youtube.com/watch?v=LGD9i718kBU[/youtube]
https://www.youtube.com/watch?v=LGD9i718kBU
The Psychedelic Furs Love My Way
PsychedelicFursVEVO
(https://yt3.ggpht.com/-tT9N3R56H_Y/AAAAAAAAAAI/AAAAAAAAAAA/KQiCmzQt6iM/s88-c-k-no-mo-rj-c0xffffff/photo.jpg)
-
CALLMEBYYOURNAMEFANART
http://daisy4ever.tumblr.com/
(http://78.media.tumblr.com/avatar_fe68e57a54f8_64.png) by Daisy.Q(http://78.media.tumblr.com/d384c7945b3b10887ce1c114aca38572/tumblr_oybqgzpkyl1qjebf8o1_1280.jpg)
http://laterpeaches.tumblr.com/post/167158270373/daisy4ever-the-end-of-the-summer
http://daisy4ever.tumblr.com/post/166742074156/the-end-of-the-summer
http://daisy4ever.tumblr.com/image/166742074156
http://daisy4ever.tumblr.com/tagged/my-art
Summer's Gone
by Daisy.Q http://daisy4ever.tumblr.com/
24th October 2017 80 Notes
#timothée chalamet #elio #elio perlman #armie hammer #oliver #ulliva #actor
#call me by your name #cmbyn #andré aciman #luca guadagnino #lgbt
#movies #film #lgbtmovie #oscar
#art #my art #artist #portrait #drawing #fanart #Daisy.Q
#later!
CALLMEBYYOURNAMEFANART by Daisy.Q
http://daisy4ever.tumblr.com/
(http://78.media.tumblr.com/avatar_fe68e57a54f8_64.png)
-
CALLMEBYYOURNAMEFANART
http://marqslo.tumblr.com/
(https://abs.twimg.com/emoji/v2/72x72/1f351.png)
(http://78.media.tumblr.com/3598f11fb2c694b0a1ac4bfb3a998392/tumblr_ouext7dmw01tox78wo1_500.jpg) by mary / 19 / slytherin thunderbird
(http://78.media.tumblr.com/3626132d6d527523fb566029c9475441/tumblr_oyag03qWuI1tox78wo1_1280.jpg)
http://marqslo.tumblr.com/post/166716750512/twenty-years-was-yesterday-and-yesterday-was
http://laterpeaches.tumblr.com/post/167148602642/marqslo-twenty-years-was-yesterday-and
http://marqslo.tumblr.com/
Twenty years was yesterday,
and yesterday was just earlier this morning,
and morning seemed light-years away.Call Me By Your Name by André Aciman
Recited/Narrated by Armie Hammer
by mary / 19 / slytherin thunderbird http://marqslo.tumblr.com/4th November 2017 223 Notes
#timothée chalamet #elio #elio perlman #armie hammer #oliver #ulliva #actor
#call me by your name #cmbyn #andré aciman #luca guadagnino #lgbt
#movies #film #lgbtmovie #oscar #laterpeaches 🍑
#art #my art #artist #portrait #drawing #fanart
#artists on tumblr #illustration #trash
#later!
CALLMEBYYOURNAMEFANART by mary / 19 / slytherin thunderbird
http://marqslo.tumblr.com/
(https://abs.twimg.com/emoji/v2/72x72/1f351.png)
(http://78.media.tumblr.com/3598f11fb2c694b0a1ac4bfb3a998392/tumblr_ouext7dmw01tox78wo1_500.jpg)
(https://abs.twimg.com/emoji/v2/72x72/1f351.png)
(https://orig00.deviantart.net/3ea2/f/2017/181/c/c/profile_picture_by_stang1996-dbeks3m.png) by stang1996
(https://img00.deviantart.net/5244/i/2017/252/f/1/call_me_by_your_name_by_stang1996-dbmu81m.png)
https://stang1996.deviantart.com/art/Call-Me-By-Your-Name-703489594
https://stang1996.deviantart.com/
Reading poetry (Paul Celan) on Monet's Berm
(can't wait to watch the film!)
CALLMEBYYOURNAMEFANART by stang1996
https://stang1996.deviantart.com/
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More (visual) music--
(https://78.media.tumblr.com/2937ea337387fd2e001e229aa70bcfa1/tumblr_oy15daPYKI1qe8tjno2_540.gif)
(http://www.numerique.it/wp-content/uploads/2017/02/CM_LOfficiel17_04.jpg)
(http://www.numerique.it/wp-content/uploads/2017/02/4rPUXpi.jpg)
https://tchalametdaily.tumblr.com/post/166711627702/timoth%C3%A9e-chalamet-photographed-by-carlotta
https://atrl.net/forums/topic/11626-timothee-chalamet-stuns-for-lofficiel-hommes-italia/
Timothée Chalamet photographed by Carlotta Manaigo
FYI:
(https://i.ytimg.com/vi/aBXDxluplAs/hqdefault.jpg)
[youtube=600,600]http://www.youtube.com/watch?v=HDcxqeIl9p4[/youtube]
New Paradise - Easy LifeBC Records 12' - Special Remix By Tee Scott & Began Cekic
For This English/French Version in 1982
And of course we've seen that particular pose before--
(https://abs.twimg.com/emoji/v2/72x72/1f351.png)
(http://78.media.tumblr.com/avatar_520d2bdaf4ca_64.png) by blue night
(http://78.media.tumblr.com/f8bc96f8621cae35efb383066a9671e8/tumblr_oxzh4crTIL1qic28wo1_1280.png)
http://monetsberm.tumblr.com/post/166514374626/camikoz-call-me-by-your-name
http://camikoz.tumblr.com/post/166510403456/call-me-by-your-name
http://camikoz.tumblr.com/image/166510403456
http://monetsberm.tumblr.com/
CALLMEBYYOURNAMEFANART by blue night
http://camikoz.tumblr.com/
10/17/17 AT 9:05PM 241 Notes
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The movie takes place “somewhere in northern Italy,” but it’s actually set at the peak of Western civilization—which, in case you didn’t know it, was the summer of 1983. In the breezy villa of a beloved American professor of antiquities (Michael Stuhlbarg), multiple languages are spoken by a loving family. Plates of food are passed around along with side dishes of intellectual debate and affectionate teasing. Girls in sundresses pedal to the lake on bicycles. A brilliant pop song, the Psychedelic Furs’ “Love My Way,” throbs out of radios and on the dance floor. And brainy discussions of art history compete for time with more tangible pleasures (not just volleyball).
https://www.timeout.com/us/film/call-me-by-your-name
(http://www.atlasappstore.com/assets/icons/app_icons/172/172_icon.png)
Sundance 2017
Call Me by Your Name
Sundance 2017 Review
In attaching sinuous style and casual sexiness to a universal ache, Luca Guadagnino
has come away with real wisdom. Sweet and salty, his movie burns like a suntan.
★★★★★
by JOSHUA ROTHKOPF
@joshrothkopf
Wednesday 25 January 2017
(http://cdn2.thr.com/sites/default/files/2017/01/call_me_by_your_name_sundance_still_2_-_publicity_-_h_2017.jpg)
Bearded and gentle, Stuhlbarg nails a compassionate paternal monologue that uncorks the movie’s entire reservoir of empathy in a single speech.
Michael Stuhlbarg, Timothée Chalamet and Armie Hammer in Call Me by Your Name
This voluptuous coming-of-age gay romance transports us not only to northern Italy, but to a lazy summer's exchange of books, fruit, glances and power.
Italian writer-director Luca Guadagnino likes to show off his homeland as a place of sensual self-discovery. That's especially true of his last two fiction features, the exquisite Milanese romance I Am Love (2009)—a film with the power to make you pack your bags and head off to the nearest airport—and the languorous island thriller A Bigger Splash (2015). But he’s never mounted the total swirl of sultry weather, budding libidos and teenage confusion that marks his new drama, Call Me by Your Name, a triumphant, heartbreaking tale of coming out based on André Aciman’s acclaimed 2007 novel. When considered within the tradition of onscreen gay courtship, the movie takes its immediate place alongside such all-time greats as Brokeback Mountain, Carol and the recent Moonlight. When viewed outside that esteemed lineage, Call Me by Your Name has a choking emotional intensity that will be apparent to anyone who’s ever dared to reach out to another.
The movie takes place “somewhere in northern Italy,” but it’s actually set at the peak of Western civilization—which, in case you didn’t know it, was the summer of 1983. In the breezy villa of a beloved American professor of antiquities (Michael Stuhlbarg), multiple languages are spoken by a loving family. Plates of food are passed around along with side dishes of intellectual debate and affectionate teasing. Girls in sundresses pedal to the lake on bicycles. A brilliant pop song, the Psychedelic Furs’ “Love My Way,” throbs out of radios and on the dance floor. And brainy discussions of art history compete for time with more tangible pleasures (not just volleyball).
Swanning through this charmed universe like a little prince is thoughtful 17-year-old Elio (Timothée Chalamet, straddling the awkward age deftly), a musical prodigy who's often plugged into his Walkman, from which he transcribes piano etudes. (Guadagnino deploys the period details tactfully, always advancing the teen’s evolving mental state.) Elio has experienced these leisurely summers at the villa many times before, we gather, yet this time he is dumbstruck by the magnetism of Oliver (Armie Hammer), the chiseled, showboating grad student in tiny shorts flown out by his father for a season of research. Both young men share a Jewish heritage—Oliver wears a Star of David around his neck, while Elio’s family, he offers, are “Jews of discretion” per his mother—and both share a bathroom that begins to feels like a barrier.
Guadagnino makes films for adults. It’s partly why his work feels so vital in a moviescape filled with immaturity, and even as he turns up the heat on his central characters’ subtle—and mutual—flirtation, he never descends into ponderousness or straight-up comedy. The pressure gets released in a spectacular one-take seduction in a dusty plaza, the camera circling as Elio, uncertain of his purpose, his urges, his entire body, musters up his courage and Oliver struts just out of reach. Call Me by Your Name is a playful film, but it trembles with a sense of impermanence, gorgeously developed as the summer’s shadows grow longer (cinematographer Sayombhu Mukdeeprom blesses the imagery with an atmosphere you can breathe) and the duo becomes more brazen with its affections.
That’s as good a taste as one should offer, and probably best left there. But Guadagnino has a breadth of feeling worth mapping out at the edges: Bearded and gentle, Stuhlbarg nails a compassionate paternal monologue that uncorks the movie’s entire reservoir of empathy in a single speech. (To have such dads in the world.) Meanwhile, an attic tryst between two shirtless men and a ripe peach will leave your crowd gasping. Those are two dramatic extremes that few directors would know what to do with, much less attempt. Guadagnino, though, like his countrymate and one-time documentary subject Bernardo Bertolucci, is up to the task. In attaching sinuous style and casual sexiness to a universal ache, Guadagnino has come away with real wisdom. Sweet and salty, his movie burns like a suntan.
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[youtube=800,472]http://www.youtube.com/watch?v=2dkZqYihZSg[/youtube]
https://www.youtube.com/watch?v=2dkZqYihZSg
Timmy, I love you, but--
Great Aunt Agatha wants to
give you elocution lessons
for Christmas.Oliver: “Is there anything you don't know?”
Elio: “I know nothing, Oliver.”
Oliver: “Well you seem to know more than anyone else around here.”
Elio: “If you only knew how little I know about things that matter.”
Oliver: “What things that matter?”
Elio: “You know what things."
Oliver: “Why are you telling me this?”
Elio: “Because I thought you should know?
Oliver: “Because you thought I should know?”
Elio: “Because I wanted you to know?
Because I wanted you to know--
Because I wanted you to know--
Because I wanted you to know."
CALL ME BY YOUR NAME (2017)
ELIO AND OLIVER
Armie Hammer & Timothée Chalamet
icecream forever
Published on Nov 7, 2017
(https://yt3.ggpht.com/-gtxgDiE4A1Q/AAAAAAAAAAI/AAAAAAAAAAA/a0S81CUuiYk/s88-c-k-no-mo-rj-c0xffffff/photo.jpg)
Also FYI:
http://blog.afi.com/afi-fest-2017-timothee-chalamet-on-call-me-by-your-name/
AFI FEST 2017: Timothée Chalamet on CALL ME BY YOUR NAME
November 9, 2017
American Film Institute: One of the film’s centerpieces involves Elio and Oliver maneuvering around a statue, almost like a nervous dance, at once communicating and not communicating their feelings. Talk about blocking this scene.
Timothée Chalamet: We got to set, and there was this great monument in the middle of the square, and Luca gave us the direction to play the scene going around the monument, and then we blocked it out and there wasn’t enough track there that day to do the whole take in one shot, going up and down the side of the street. Luca went to the line producer and said we need more track, and Luca said we have to get this track and we’ll worry about the money later. We had about an hour to do it; we had two or three takes. Luca was very specific as related to that scene about this confession of love — he didn’t want to play in the close-up and see actors’ emotion. It only served some sort of human truth that a confession of love is often the moment we choose to be the most coy.
http://edwardnygmaa.tumblr.com/post/167320862164/afi-one-of-the-films-centerpieces-involves-elio
http://laterpeaches.tumblr.com/post/167321265473/edwardnygmaa-afi-one-of-the-films
[Luca's] intuition about casting the duo paid off in more ways than he anticipated. Not only do Timothée Chalamet and Armie Hammer deliver two of this year’s most profound, sophisticated and moving performances, they also operated as true collaborators. Guadagnino fondly remembers the day they had to capture the film’s most challenging shot in a town square, a key moment when Elio first opens up to Oliver and confesses his feelings. In a single take that expands and widens on screen, we watch the duo as they approach a monument together and walk to its opposite sides while they continue to converse in a touching, cryptic fashion about their mutual attraction. Turns out the stunning shot was Armie Hammer’s idea. “We had five or six pages of dialogue. I was like, ‘Oh my god. How do we do this?’ Reverse angles and stuff. And then Armie said, ‘Why don't you do it in one shot?’ And I said, ‘One shot? Six pages of script? Okay! Let's start with blocking the scene: How do you come in, where do you go, where do you look around?’ After they acted the scene from the beginning to the end, I said, ‘I know what to do.’ We waited for two hours to get more tracks from Milan. Then we simply put it together and did it in an hour. So it's about collaboration. A great actor is not someone who goes into the trailer, waits for the shot and then goes back to the trailer. A great actor is someone who stays on set and becomes a filmmaker.”
http://www.filmjournal.com/features/sensual-summer-luca-guadagninos-call-me-your-name-captures-chemistry-attraction
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Producer Peter Spears quotes author Ayesha Siddiqi, who once advised, “Be the person you needed when you were younger.” Spears offers a variation of that: “We wanted to make the movie we needed as kids.”
http://variety.com/2017/film/awards/call-me-by-your-name-global-effort-1202607919/
(https://upload.wikimedia.org/wikipedia/en/thumb/f/f4/Variety_2013_logo.svg/1280px-Variety_2013_logo.svg.png)
Call Me by Your Name
“A lot of work, it was guerrilla filmmaking.”
A Global Effort to Create a Simple, Well-Told Tale
by Tim Gray
@timgray_variety
NOVEMBER 8, 2017 6:00AM PT
(http://www.filmfestival.cologne/wp-content/uploads/2017/08/1.-Call-Me-By-Your-Name_Webseite.jpg)
In subtle ways, the movie is radical. Even modern LGBT classics like “Brokeback Mountain,” “Carol" and “Moonlight” have positive depictions,
but their gay characters are all tortured by their urges. That’s not true for Elio: Timothée Chalamet in Call Me by Your Name
It takes a lot of work to make something simple. Exhibit A: “Call Me by Your Name,” the coming-of-age first romance of a 17-year-old American in 1983 Italy. “We had a little movie about the simplest story, yet it took a global effort of 10 years to get it across the finish line,” says producer Peter Spears.
He and fellow producer Howard Rosenman read the André Aciman novel in 2007 and quickly optioned it. The story centers on the romance of Elio and the 24-year-old Oliver, who’s working as his father’s assistant for a few months.
There were challenges even from the start. “Potential financiers didn’t understand the movie,” Spears says. Some worried “Nothing bad happens.” Spears would tell them, “That’s kind of the point.” He adds, “They would ask ‘Could we make the mother evil?’ or suggest, ‘The stakes need to be higher.’ I always said, ‘It’s about the human heart, how much higher could the stakes get?’ ”
Since the story spans a few months, “The movie could only be shot in summer in Italy,” Spears says. “If we lost shooting in summer, we had to wait a whole other year to get on the runway again.” Several times, a director and actors would commit but inevitably someone dropped out to take a bigger-paying job and the yearly wait began anew.
Shooting in Italy was a new experience for the producers, so early on, they contacted Luca Guadagnino, a longtime filmmaker who heads production company Frenesy Films. He started out as an advisor on the project.
Emilie Georges from Memento in France understood the material right away. She and Rodrigo Teixera from RT from Brazil — two artist-driven companies — immediately said, “We want to make that movie.”
The producers sought advice from James Ivory, the Berkeley-born filmmaker whose biggest hits were period pieces based on literary novels. Ivory started out as an executive producer and ended up writing a new screenplay.
Guadagnino’s involvement deepened and his schedule cleared, allowing him to direct. “When we had the right people, the movie started to happen,” says Spears. The pre-production in Crema, in Lombardy, was fast because Guadagnino lives there and knew the area well. He constantly added personal touches, like bringing plates, paintings and linens from his own home.
He set the tone for production, as the intimate film is filled with details and layers that create the right mood and texture. “Luca’s sensibility was the missing piece. Now, I can’t imagine anyone else doing it. In every frame of that movie is Luca’s touch,” says Spears.
It became a global effort, with a team representing America, Italy, France, Brazil, Thailand and England, among other countries. “It was guerrilla filmmaking,” says Spears.
Sony Pictures Classics bought the film on the eve of the January 2017 Sundance, and the festgoers’ reaction proved it was worth the wait; the audience was stunned by the movie’s simple warmth and sensuality. The film enjoyed equal success at the Berlin festival.
The movie, like Aciman’s novel, captures the tenderness, excitement and heartache of a first love, which comes with the knowledge that it’s never going to be as intense again.
In subtle ways, the movie is radical. Even modern LGBT classics like “Brokeback Mountain,” “Carol” and “Moonlight” have positive depictions, but their gay characters are all tortured by their urges. That’s not true for Elio.
This alone makes “Call Me” important in terms of gay cinema, but it’s more universal than that. Audiences of all sexual persuasions and ages are relating to the film’s emotional honesty and heart.
Spears quotes author Ayesha Siddiqi, who once advised, “Be the person you needed when you were younger.” Spears offers a variation of that: “We wanted to make the movie we needed as kids.”
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(https://pbs.twimg.com/profile_images/1255015267/familyDSC_5411_2_400x400.jpg) Peter Spears
@pjspears
3:30 PM - 7 Nov 2017
26 Retweets 132 Likes
https://twitter.com/pjspears?lang=en&lang=en
https://twitter.com/pjspears/status/928042008953761793
Thank you for the beautiful cover story, Elle Decor. You can read all about the 17th century Italian villa from Call Me By Your Name in the December issue, online now and on newsstands next week. #postedfrommybathroom
(https://pbs.twimg.com/media/DOEO-QNVoAA4FF9.jpg)
SORRY I just keeping mentioning this AGAIN, but--
(http://78.media.tumblr.com/46621b1f1157e768882fb5e5424ae3b7/tumblr_oyi3izYQWZ1uftlw4o1_1280.jpg)
http://laterpeaches.tumblr.com/post/166858303548/firewithfiredeux-hes-so-handsome-he-should-be
https://firewithfiredeux.tumblr.com/post/166858224917/hes-so-handsome-he-should-be-illegal
"He’s so handsome he should be illegal."
--and this--
(https://pixel.nymag.com/imgs/daily/vulture/2017/07/31/call-me-by-your-name-gifs/31-cmbyn-armie-glance.nocrop.w710.h2147483647.gif)
http://www.vulture.com/2017/08/all-the-gifs-you-need-from-the-call-me-by-your-name-trailer.html
--and this--
(https://78.media.tumblr.com/3f6f7014c5e62a718710f9e837964609/tumblr_oy15daPYKI1qe8tjno4_540.gif)
https://laterpeaches.tumblr.com/post/166541710078/bowie28-call-me-by-your-name-uk-trailer
http://bowie28.tumblr.com/post/166541404810
--and etc.!
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(https://pbs.twimg.com/profile_images/1255015267/familyDSC_5411_2_400x400.jpg) Peter Spears
@pjspears
3:47 PM - 7 Nov 2017
9 Retweets 45 Likes
https://twitter.com/pjspears?lang=en&lang=en
https://twitter.com/pjspears/status/928046278998614018
(http://www.kbrantinteriors.com/wp-content/uploads/2016/02/logo-elle.png)
(https://pbs.twimg.com/card_img/927886336459264001/Ilu-nhAA?format=jpg&name=600x314)
The ancient villa in North Italy almost outshines Timothée Chalamet and Armie Hammer.
http://www.elledecor.com/celebrity-style/celebrity-homes/a13120998/call-me-by-your-name-movie-set/
TOUR THE 17TH-CENTURY ITALIAN VILLA
IN DIRECTOR LUCA GUADAGNINO’S
'CALL ME BY YOUR NAME'
The Lombardian Villa Albergoni propels — and rivals — the intimacy of
Timothée Chalamet and Armie Hammer in one of this year's richest films.
(https://images-na.ssl-images-amazon.com/images/M/MV5BMzM5ODM2MTMxOV5BMl5BanBnXkFtZTgwMDU5NTIxNDM@._V1_SX1777_CR0,0,1777,960_AL_.jpg)
-
(http://www.kbrantinteriors.com/wp-content/uploads/2016/02/logo-elle.png)
(https://pbs.twimg.com/card_img/927886336459264001/Ilu-nhAA?format=jpg&name=600x314)
The ancient villa in North Italy almost outshines Timothée Chalamet and Armie Hammer.
http://www.elledecor.com/celebrity-style/celebrity-homes/a13120998/call-me-by-your-name-movie-set/
TOUR THE 17TH-CENTURY ITALIAN VILLA
IN DIRECTOR LUCA GUADAGNINO’S
'CALL ME BY YOUR NAME'
The Lombardian Villa Albergoni propels — and rivals — the intimacy of
Timothée Chalamet and Armie Hammer in one of this year's richest films.
(https://images-na.ssl-images-amazon.com/images/M/MV5BMzM5ODM2MTMxOV5BMl5BanBnXkFtZTgwMDU5NTIxNDM@._V1_SX1777_CR0,0,1777,960_AL_.jpg)
Luca Guadagnino likes houses. The 46-year-old Italian director has a history of lavishing homes in his films with the same love he gives his human characters. It could be argued that Guadagnino’s choice of Villa Necchi as the imposing temple of beauty in his 2009 masterpiece I Am Love was as important as his casting of Tilda Swinton. And 2015’s A Bigger Splash relies on the den of iniquity on the island of Pantelleria in which its protagonists pursue their misbegotten fates.
(https://hips.hearstapps.com/hmg-prod.s3.amazonaws.com/images/call-me2-1509994880.jpg?crop=1xw:1xh;center,top&resize=980:*)
The piano and slipcovered furniture in the Perlmans’ living room.
In the opening sequence of Call Me By Your Name, the third film in his “desire trilogy” and based on the acclaimed 2007 novel by André Aciman, we watch rangy 17-year-old Elio Perlman (played by Timothée Chalamet) emptying a large wooden armoire full of clothes in a bedroom of his family’s Lombardian home. Moments later, after observing from his window the arrival of Oliver (Armie Hammer), an American grad student tasked with assisting Elio’s professor father with his summer research, Elio leads him to the now-vacated sleeping quarters (he himself stays in a smaller adjacent chamber), explaining, “My room is now your room. I’ll be next door. We have to share a bathroom — it’s my only way out.”
(https://hips.hearstapps.com/hmg-prod.s3.amazonaws.com/images/call-me9-1509997159.jpg?crop=1xw:1xh;center,top&resize=980:*)
The remnants of a meal in the kitchen.
Incidentally, the lavatory in question — a pale blue–tiled 1930s-style space — becomes more a way in than an escape: It is through the bathroom one morning that Elio spies Oliver’s perky, naked behind as he changes into swimming trunks, igniting a latent sexual charge that blossoms over the course of the movie into a tentatively passionate and moving affair.
(http://anotherimg.dazedgroup.netdna-cdn.com/1400/azure/another-prod/370/1/371015.jpg)
(https://hips.hearstapps.com/hmg-prod.s3.amazonaws.com/images/call-me5-1509995932.jpg?crop=1xw:1xh;center,top&resize=980:*)
The expansive vestibule of Villa Albergoni.
Set in 1983 in the Villa Albergoni, a former fortress converted into a 17th-century home in the Lombardian town of Moscazzano, Call Me By Your Name is a story of first love and of the deep bonds between members of the French-Italian-American-Jewish Perlman family. And the home and interiors in which these narratives unfold are at once catalysts for and extensions of their inhabitants’ emotions. The connective infrastructure of the sky-hued bathroom, for example, drives the psyches of its protagonists.
(https://hips.hearstapps.com/hmg-prod.s3.amazonaws.com/images/call-me3-1509995141.jpg?crop=1xw:1xh;center,top&resize=980:*)
The exterior of Villa Albergoni.
On the eve of the movie’s New York Film Festival premiere at Lincoln Center, I met Guadagnino, Aciman, and set decorator Violante Visconti di Modrone for an intimate chat, during which it became abundantly clear that such design decisions were crucial in propelling the story’s emotional narrative.
(https://hips.hearstapps.com/hmg-prod.s3.amazonaws.com/images/call-me13-1510007278.jpg?crop=1xw:1xh;center,top&resize=980:*)
Rumpled sheets in one of the bedrooms.
“I wanted an anticipation that someone might walk in unannounced or uninvited or unexpected and create a sense of suspense,” says Aciman of his novel, in which Elio’s and Oliver’s bedrooms are connected via a balcony. “In a strange way,” adds Guadagnino, “I think the bathroom is even stronger [than the balcony], because it brings a degree of intimacy — emotional and physiological nudity.”
(https://hips.hearstapps.com/hmg-prod.s3.amazonaws.com/images/call-me11-1510006057.jpg?crop=1xw:1xh;center,top&resize=980:*)
Elio Perlman (Timothée Chalamet) enters the Villa Albergoni vestibule.
In fact, when Aciman was writing his book, his entry point was not Elio or Oliver or even Elio’s father and mother, a Greco-Roman professor and translator, respectively. It was a light-dappled, arched-balconied building surrounded by wild gardens in an 1884 Monet painting whose image arrested him and whose provenance he uncovered as Bordighera, a small town on the Italian Riviera.
(https://hips.hearstapps.com/hmg-prod.s3.amazonaws.com/images/call-me16-1510008000.jpg?crop=1xw:1xh;center,top&resize=980:*)
Elio and Oliver resolve an argument with help from a statue's arm.
“The villa in the Monet. The vision of the house. I loved the house, and I wanted to people it. I had no idea who was going to be in it,” explains Aciman, whose abiding fear when the film was being made (James Ivory penned the screenplay) was that the environs would be too beautiful. “That’s one of the things I was scared of: that the movie was going to be lush, the house was going to be lush.”
(https://hips.hearstapps.com/hmg-prod.s3.amazonaws.com/images/call-me10-1509997782.jpg?crop=1xw:1xh;center,top&resize=980:*)
Elio and Oliver (Armie Hammer) bike to town.
This is not an altogether surprising concern given the richness that tends to characterize Guadagnino’s cinematic landscapes. Villa Necchi’s starkly delineated hauteur (not to mention Swinton’s wardrobe, which was designed by Raf Simons for Jil Sander) was the stuff of Italian Brutalist dreams, while the ancient dammuso, or one-story stone home, in A Bigger Splash (situated in the eco-resort of Tenuta Borgia) was a cosmopolite’s paradise.
(https://hips.hearstapps.com/hmg-prod.s3.amazonaws.com/images/call-me17-1510008218.jpg?crop=1xw:1xh;center,top&resize=980:*)
A statue seen on a trip to an archaeological site in Lake Garda.
The Perlmans are, as Guadagnino puts it, “neither stuffy nor rich people,” and their home needed to convey that. Fortunately, in Guadagnino’s and Visconti di Modrone’s hands, Villa Albergoni is the perfectly imperfect realization of the Perlmans’ Italian existence, a place that is at once grand in scale and intimate and rumpled in feel.
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A clock tower in the the town of Crema.
Guadagnino’s own apartment—a space he meticulously renovated, uncovering original frescoes and terra-cotta bricks—is in a 17th-century palazzo in Crema, a 15-minute drive from Moscazzano. Besides the obvious convenience of picking a location near his residence (his production team, editing studio, and offices are in the same building), the enclosed surroundings of Villa Albergoni reminded him of the landscapes of Bernardo Bertolucci films, “these countries where you don’t have a horizon other than the trees and the little lawns and the streams of water,” he says. Such a setting was well suited to the Perlmans’ duality of intellectual precocity and unstudied ease.
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Elio transcribing a piece of music.
“I wanted to immerse the characters in something without a horizon that could [show] what is ahead of you. I wanted something more present and in the now,” he says of moving away from the book’s coastal setting.
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The library of Villa Albergoni, site of the Perlman family home.
“Luca wanted this austere home to become a very loved home for the Perlman family,” adds Visconti di Modrone, the grandniece of the director Luchino Visconti. “We had to transform this austerity, putting inside elements of the everyday, giving us ideas of how the Perlmans were multicultural people, and very open-minded, who loved books, music, and art.”
And so the living room (whose original incarnation was, in Guadagnino’s words, “a sad and really uninteresting room”) became, thanks to Visconti di Modrone, an inviting repository. Italian by nationality but born in Singapore, she added a global influence, covering much of the furniture in Indian and Southeast Asian cotton fabrics (some from her own personal collection, and some from friends’ families whom she felt bore a resemblance to the Perlmans), including a cozy, blue and white–patterned example covering the sofa on which Elio and his parents curl up in a tangle of legs and arms for a reading one night.
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Elio heading downstairs.
A turn-of-the-20th-century piano is the site of both Elio’s virtuosic performances for his family and a fiery, flirtatious series of arrangements of an early Bach piece he plays for Oliver. On the walls hang a mix of maps from the famous Stamperia Perini print store in Verona and 18th-century Japanese paintings from an antiques store in Milan called Piva.
Maps from Perini and Piva also pepper Mr. Perlman’s library, an enveloping womb of a space that is, fittingly, the site of a pivotal scene in which father and son have a heartfelt discussion of Elio’s relationship with Oliver. Visconti di Modrone retained the space’s original dusty-rose sofa (“It gives the sensation of coziness and shabby chic that is right for the library — you feel that people stood and worked there,” she notes) but covered the walls in a gorgeous rust-inflected brocade from the fabric company Dedar, with whom Guadagnino also collaborated for his forthcoming horror film Suspiria. As a nod to Mr. Perlman’s profession, she layered the brocade with antique cameos of Lombardian kings and filled the shelves with flea-market tomes on Greco-Roman sculpture.
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Mafalda, the Perlmans' cook and housekeeper, in the kitchen.
Such intense attention to detail imbues even the most seemingly mundane touches with clues to the characters’ lives. The walls of Elio’s room (now slept in by Oliver) are papered with 1980s posters for La Biennale and a Robert Mapplethorpe exhibition, a nod to his casually cultured upbringing. The aged tumblers from which Mr. Perlman sips his whiskey belonged to Visconti di Modrone’s father, Barnabò Visconti di Modrone. The table where the Perlmans enjoy breakfast alfresco sports a plastic checkered tablecloth to which Visconti di Modrone added patches and discoloration to make it look worn (the plates and saucers she sourced, again, from friends so they would have a lived-in feel).
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The aftermath of an alfresco meal.
“It’s a house that accepts the passage of time, that accepts what you do. It’s all fine, and it’s welcoming, and it’s warm,” observes Aciman. “You can’t get away from that feeling of warmth that this family exudes, and it’s in the house.”
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The Perlmans’ gardener tends to a fruit tree.
That same sentiment takes on a more carnal, visceral quality outdoors. After all, it is in nature that we are likely to abandon the social strictures that bind us to our tidy roles. A garden doesn’t yield to one’s body the way, say, a slipcovered sofa might. But it can inspire the fantasies that fuel our actions. And so Guadagnino and Visconti di Modrone’s mutual friend Gaia Chaillet Giusti (who also worked with Guadagnino on A Bigger Splash) injected life into Villa Albergoni’s dying but classic giardina Italiana schema; she added apricot trees (whose juice the Perlmans sip at breakfast) and peach trees (whose luscious fruit inspires Elio in a particularly intimate sexual scene).
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Oliver’s 1983 Converse sneakers at a disco in Moscazzano.
And art director Roberta Federico built the trough (a de facto swimming pool where Elio’s and Oliver’s glistening bodies play cat and mouse), sourcing recycled stone from the nearby Bianchessi warehouse and painting it to look 300 years old.
“The idea that a family like that would have a pool in a place like that was alien — it would have been nouveau riche,” notes Guadagnino of choosing an unconventional watering hole. “And I had a tragic pool in I Am Love.”
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Mr. and Mrs Perlman lounge outside.
The director’s particular, obsessive approach to creating living, breathing places is an offshoot, in part, of his frustration with “how irritatingly narrow Italian cinema looked in the ’80s.” As a young man seduced by the power of and deeply immersive feel to mid-20th-century Italian films, he understands how crucial a setting is to a narrative and the people therein.
“We tell stories, and those stories must happen in the space. Because we are not the product of, say, a piece of dialogue. The character must be a product of the behavior and interaction of the space,” explains Guadagnino. “So for me, space is everything.”
This story originally appeared in the December 2017 issue of ELLE DECOR.
Also see:
And see:
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http://www.anothermag.com/design-living/10319/a-closer-look-at-the-sets-of-new-film-call-me-by-your-name
http://laterpeaches.tumblr.com/post/167012705693/a-closer-look-at-the-sets-of-new-film-call-me-by
More Interior Images from the the Villa Albergoni by Photography by Giulio Ghirardi:
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Rumpled sheets in one of the bedrooms.
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http://www.anothermag.com/design-living/10319/a-closer-look-at-the-sets-of-new-film-call-me-by-your-name
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Design & Living / In Pictures
A Closer Look at the Sets of New Film
Call Me By Your Name
— November 1, 2017 —
Luca Guadagnino’s newest endeavour is a tribute both to first love and to the Italian countryside.
Photographer Giulio Ghirardi investigates, Text by Tish Wrigley
Luca Guadagnino is doing sterling work for the Italian tourist board. After A Bigger Splash turned Pantelleria into 2015’s ultimate summer destination, the director’s new film Call Me By Your Name serves as both bittersweet paean to first love, and vividly coloured tribute to the sumptuous Lombardy countryside where it is set.
Based on the eponymous 2007 novel by André Aciman, Call Me By Your Name portrays the exquisitely painful summer of love between Elio, a precociously musical teenager, and Oliver, the handsome American visitor who Elio’s archaeologist father has recruited to help with his work.
While the story has remained largely the same, Guadagnino has made some changes to the setting – moving the action back from 1988 to 1983, and the location from the Liguria seaside to a 17th century mansion near Crema in the Lombardy hills. This decision was inspired by Guadagnino’s knowledge of the area, living as he does between Milan and Crema. “I love the place and I knew the house,” he says. “In fact I wanted to buy the house, but I couldn’t afford it. But I knew that I could do something meaningful there, so I made a film instead.”
This made for effortless location scouting – “Three months before the shoot, I drove my team there and showed them the house and that was it”. His team included production designer Samuel Dehors and set designer Violante Visconti di Modrone – “she does not usually work in cinema but I completely love her taste”. Together the three worked to cultivate an atmosphere of languorous sensuality, iridescent with sunshine and sexual promise. “We created an interior that expressed how this family of intellectuals, of cosmopolitan people, lived in this way.”
The results can be seen both on screen and in a portfolio of images shot by Giulio Ghirardi, a photographer and architect who first worked with Guadagnino in 2015, on a shoot for AnOther Magazine. Since then they have become regular collaborators, in architecture and interior design as well as film. For this project, Ghirardi would visit the set on Sundays, taking advantage of the pauses in the film’s schedule to capture the spaces when they were cleared of actors, crew and cameras.
He enjoyed the two dynamics: “It’s unbelievable to watch the filming in the week, when everything is frantic, perfected in the shortest possible times, in which people come and go in swirls of convulsion and congestion, and then look at the same place where everything has stopped.”
Even shorn of characters, his photographs are primed with feeling, demonstrating the power of setting to manifest emotions. Gleaming gold candlesticks and velvet armchairs bask in the sun streaming in through the windows, peaches ripen on heavily laden trees. Eroticism hangs in the air, each shot seems filled with the energy of Elio and Oliver’s unfurling desire.
For Ghirardi, the process was one of creation as much as record: “Photography is therapeutic. It allows me to assimilate, understand and deepen architecture. The house has not undergone dramatic alterations but subtle changes, not just aesthetically, but in the characters’ motivations and feelings. Documenting this inspired me from other points of view, and helped me understand another world.”
As Call Me By Your Name opens in cinemas and the press tour winds down, the director and photographer are joining forces to work together again, this time as interior designers. “We have a very tight relationship,” says Guadagnino, and Ghirardi agrees. “Luca is a very international but a very Italian person. His vision is decisive, his knowledge is encyclopedic and his curiosity is everywhere. We are in tune in our appreciation of the world.”
Also see:
And see:
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http://blog.afi.com/afi-fest-2017-timothee-chalamet-on-call-me-by-your-name/
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AMERICAN FILM INSTITUTE
AFI FEST 2017: Timothée Chalamet on
Call Me by Your Name
November 9, 2017
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Rising star Timothée Chalamet spends a sun-dappled summer in Italy falling in love with Armie Hammer in director Luca Guadagnino’s exquisite CALL ME BY YOUR NAME. Adapted from the celebrated novel by André Aciman, the passionate romance — built on stolen glances, coded exchanges and erotic tension — is also a coming-of-age story, with its young protagonist Elio (Chalamet) in the throes of first love and of being 17. Chalamet brings remarkable maturity to the role, imbuing Elio with curiosity, intellect, and a depth and certainty of feeling that belie his years.
Ahead of the film’s Centerpiece Gala screening at AFI FEST on Friday, November 10, AFI spoke with Chalamet about CALL ME BY YOUR NAME.
American Film Institute: Years before there was even a script for CALL ME BY YOUR NAME, you met with director Luca Guadagnino. What was that conversation like?
Timothée Chalamet: It was more a conversation where we got to know each other as people and saw each other’s personalities, and how they meshed naturally outside of what is always a more rigid and pressure-oriented environment of a film set. We clicked, and stayed closely in touch between those four years between that first meeting and when the film went into production. We finally got to shoot two summers ago.
AFI: What was your reaction to the book?
TC: I was very moved by it, and I thought it was one of the really rare and authentic windows into what can be the obsessive-compulsive mind of a maturing human trying to figure themselves out and figure life out. It felt like a window into a young person’s psyche the way Stephen Chbosky’s [novel] “The Perks of Being a Wallflower” feels like that, too.
AFI: What was scary about playing the role of Elio, and what was exhilarating?
TC: The biggest thing was to do justice to this love story that holds such a place in so many people’s hearts, André Aciman’s novel. The other greatest worry would be what Mr. Aciman himself would think about it.
AFI: What did Aciman think of the film?
TC: He has spoken very positively about the film and, I don’t want to put words in his mouth, but it’s all things that have been said publicly. To the degree that film adaptations can be accurate and of course, especially in a first-person narrative as dense and complicated as this book, where two seconds of real-life action can play out in 10 pages, he really enjoyed it.
AFI: Luca Guadagnino has talked about doing sequels. Does that interest you, doing a kind of BEFORE SUNRISE-esque trilogy where we meet the lovers periodically throughout the years?
TC: I would do anything to work with Luca again. I’d be a boom operator on one of his films.
AFI: What was the rehearsal process, some of which took place in Guadagnino’s living room?
TC: There was a little bit of a rehearsal process. It was more of a tonal acclimation process to the vibe and tone of that town, and what it means to spend a summer in Italy. To get out there in advance, about a month and a half early, to learn the piano to the level that André Aciman describes in the book, and to learn the Italian because Elio’s Italian in the novel.
AFI: The audience is meant to follow the progression of your attraction to one another, and if you found that in rehearsal, the suspense would be lost.
TC: Luca has this belief that you want to be delicate with [the material]; you’re almost terrified of getting it in advance in rehearsal. We were more hanging out as human beings and getting to know each other as people.
AFI: What do you think makes this such a universal love story?
TC: Perhaps it’s the lack of an antagonist, or a villain, or of a familiar pattern. In the lack of an antagonizer in this love story, whether that would be disease or a malicious gang or something, the lack of that serves the boundless ode to love that is described in the novel.
AFI: One of the film’s centerpieces involves Elio and Oliver maneuvering around a statue, almost like a nervous dance, at once communicating and not communicating their feelings. Talk about blocking this scene.
TC: We got to set, and there was this great monument in the middle of the square, and Luca gave us the direction to play the scene going around the monument, and then we blocked it out and there wasn’t enough track there that day to do the whole take in one shot, going up and down the side of the street. Luca went to the line producer and said we need more track, and Luca said we have to get this track and we’ll worry about the money later. We had about an hour to do it; we had two or three takes. Luca was very specific as related to that scene about this confession of love — he didn’t want to play in the close-up and see actors’ emotion. It only served some sort of human truth that a confession of love is often the moment we choose to be the most coy.
AFI: What does the title — CALL ME BY YOUR NAME — and the act it describes in the film mean to you?
TC: To love someone is to become them, and that love is an act of empathy, and that to take on your [lover’s] name in an expression of love is to totally reveal yourself as a human being and to offer yourself as a compassionate lover and friend.
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New Call Me By Your Name promotional stills from Sony Pictures Classics
NOV 10, 2017
https://chalametdaily.tumblr.com/post/167340102004/new-call-me-by-your-name-promotional-stills-from
http://monetsberm.tumblr.com/post/167342492176/chalametdaily-new-call-me-by-your-name
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The remnants of a meal in the kitchen.
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Mafalda, the Perlmans' cook and housekeeper, in the kitchen.
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Mafalda, Marzia and Elio in the kitchen.
Vanda Capriolo, Esther Garrel and Timothée Chalamet
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Armie Hammer’s performance as Oliver is so indelible that, at first, it’s difficult to imagine him inhabiting neurotic, love-struck Elio for the audiobook. However, the more you listen as Hammer wistfully describes his time on Call Me by Your Name — a transformative experience he will spend the rest of his life attempting to recapture — the more you realize it’s exactly how one might reminisce about a lover long gone. Hammer may play Oliver onscreen, but at heart, he is a secret Elio. “That’s exactly what it feels like!” he admitted. “And I’m still in love.”
http://www.vulture.com/2017/11/armie-hammer-call-me-by-your-name.html
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A Complicated Affair
Armie Hammer was poised to be a major matinee idol.
But he wasn’t prepared for what happened to him on the set of
Call Me by Your Name.
By Kyle Buchanan
November 12, 2017 9:00 pm
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Photograph by Amanda Demme
Armie Hammer is six-foot-five, a general advantage in life but one that doesn’t serve him well on the dance floor. “When I dance,” he told me recently over lunch in West Hollywood, “I think, You’re really shit at this, and everyone around you knows it because you’re the tallest guy on the dance floor and you stick out like a sore thumb.”
You can imagine Hammer’s embarrassment, then, when he had to shoot a dance scene for his new movie, the 1980s-set gay romance Call Me by Your Name. It’s a pivotal moment in the film that comes not long after his character, grad student Oliver, has arrived in a small Italian village to assist the professor father of our protagonist, 17-year-old Elio (Timothée Chalamet). The secret crush on this interloper that Elio nurses becomes full blown the night he watches Oliver boogie down to “Love My Way,” by the Psychedelic Furs: Oliver’s ecstatic, unabashed, and utterly indifferent to the world around him. “And that’s so not me, in any situation,” said Hammer. “I was like, ‘This is hell. Can we switch this for more nude scenes, please?’ ”
It wasn’t easy, but Hammer finally shed his inhibitions. His moves are just the slightest bit dorky, yet his character’s confidence is irresistible. Just don’t expect Hammer to echo Oliver’s carefree attitude: Ever since a clip of the scene went viral in October, the actor has gone dark on social media. “Anytime I would open up my Twitter, it was just a ton of that,” Hammer said with a laugh, referring to the clip, “and I was like, ‘Nope, I can’t have my nose rubbed in this anymore. I’m out!’ ”
In person, the 31-year-old Hammer is almost implausibly self-effacing. When I told him that I liked his 2015 caper movie The Man From U.N.C.L.E. and how it was too bad it didn’t do better at the box office, Hammer seized the opportunity to quip at his own expense: “That might be the Armie Hammer effect.” It’s true that since Hammer had his breakthrough dual role as the Winklevoss twins in David Fincher’s The Social Network, his follow-up projects — he played the charming prince in Mirror Mirror and the title role in The Lone Ranger — haven’t quite panned out. The irony is that The Social Network was supposed to launch him toward bigger movies, but none of his would-be franchise-starters managed to outgross that film domestically, and they left Hammer increasingly dissatisfied. “All of a sudden, I realized I was being shoehorned into something that was different than what I expected or wanted out of this business,” he said. “When you’re sitting in an acting class when you’re young, they tell you about the ideal experience on a project, where you work on a movie that challenges you and draws something out of you. But you don’t get that on big movies.”
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Photograph by Amanda Demme
So Hammer retrenched, working mainly in independent films like Nocturnal Animals and Birth of a Nation. Then director Luca Guadagnino sent Hammer the script for Call Me by Your Name. The offer was to play Oliver, whom the other characters call “la muvi star,” a term that is meant both as praise and as a pejorative. In an attempt to dispel his crush, Elio initially dismisses Oliver as a shallow American hunk: He’s afraid to look closer, and isn’t it easier not to? Guadagnino, though, was determined to go deeper with Hammer than any of his directors had. “I think Armie’s a very complex person,” said the Italian director, who also made I Am Love and A Bigger Splash. “It’s not just that he’s beautiful-looking. It’s that, plus his inner turmoil, that is fascinating to me.”
“Inner turmoil” is not the primary thing people think of when presented with Armie Hammer, who spent his formative years living in the laid-back Cayman Islands and is the great-grandson of a famous oil tycoon. But the self-effacement I had been initially skeptical of is something that comes to Hammer naturally: He is used to being looked at but not really seen, which makes him nervous about revealing an unvarnished side. “There are a lot of things about Oliver that resonated with me, and primarily it was that projection of ease and casualness and comfort that you might not actually be feeling all the time,” said Hammer. “My whole life, I’m bluffing my way through it all. And Luca was just like, ‘Nope, that doesn’t work around here’ — which was terrifying.”
Hammer is married to TV host Elizabeth Chambers and has two young children, but when production on Call Me by Your Name began in the summer of last year, he left his family behind to move to the Lombardy town of Crema in order to immerse himself in the film’s world. He and Chalamet were two of the few English-speakers for miles and grew to depend on each other as a result, but his bond was even more intense with Guadagnino, who continually challenged Hammer to drop his defenses in a way he never had onscreen.
“I’ve never had such an emotional journey with a director,” said Hammer. “I’ve never even considered directors to be emotional people! I don’t even know if I’ve worked with a director who even cared if I was mad at them before. It was more like, ‘Shut up and stand on your mark and do your job.’ ”
As Call Me by Your Name goes on, Oliver is willing to reveal more parts of himself to Elio, who becomes his lover. But even before that moment, as with the dance scene, Guadagnino and Hammer searched for opportunities to dig deeper. The André Aciman book that Call Me by Your Name is based on tells the story from the point of view of Elio, who is enchanted with Oliver’s seemingly effortless confidence. Hammer, though, thought much of his character’s personality was performative, a well-practiced routine of smoke and mirrors. Even Oliver’s insouciant habit of ducking out of every scene with a breezy “Later!” had emotional underpinnings: “It’s about getting spooked by this human you’re infatuated with,” explained Hammer.
Eventually, Hammer himself became spooked, having plunged into Guadagnino’s process so deeply. “The feeling of operating from that place of passion is really contagious and soul-satiating,” he said. “It’s the safest place I’ve ever been in my life — still to this day — when it comes to feeling complete empathy, complete understanding, and complete love, no matter what. But then … he knows if you’re lying. He knows if you’re not being honest, whether in real life or in the performance. And he will not back off.”
As the production neared its end, Hammer admits, he became peevish and started to withdraw. “For reasons that could be personal to Armie, I had the feeling that he was pulling away,” said Guadagnino. “The movie wasn’t finished, and I had to bring him back.” I asked Hammer what had made him behave like that. “Everybody was sort of lashing out because this thing was ending and nobody wanted it to,” he said. He hesitated, wary of what to reveal. “Honestly,” Hammer said, “I think I had fallen in love with Luca.”
(https://pixel.nymag.com/imgs/daily/vulture/2017/11/10/magazine/10-armie-hammer-3.nocrop.w710.h2147483647.jpg)
Photograph by Amanda Demme
“For me to make a movie, it’s really creating a family,” said Guadagnino. “Having a very profound familial bond with the people I’m doing the movies with, where you literally and constantly fall in love with all of them. Sometimes, this emotional flow can be very intense. Very! As it was with Armie. And then it can be very complicated.”
Hammer had flourished as an actor and as a person under Guadagnino’s guidance and he couldn’t bear to let the project go. Eventually, he would have to, and so would Guadagnino, who was slated to begin his next film, a remake of the horror film Suspiria. Hammer said he became jealous once he felt Guadagnino mentally move on to that film. “I was like, ‘You fucking philanderer! You duplicitous bastard!’ And that made me pull away, and then he did, and it turned into this whole thing.”
“That was not my explanation for it,” said Guadagnino. “I never, never put Suspiria in front of Call Me by Your Name ” Still, he understood Hammer’s passion and reciprocated it. “It’s beautiful when you fall in love with someone and you are restrained in your exploration of that feeling and you sublimate it in making a movie like that,” said Guadagnino, who eventually called Hammer to his apartment to hash out his feelings.
“He basically nailed me, nailed me, nailed me,” said Hammer. “And I was pretending: ‘No, man, that’s not it at all.’ Like, I couldn’t even be honest about that.”
Hammer recommitted himself to the role, and he remembers the mixed feelings he had on his final day of filming. “It was such a powerful experience that in a way, I was thinking, I’m relieved that it’s gonna get mellower,” said Hammer. “But also, I thought, I could do this forever.”
Though he has recently been shooting the Ruth Bader Ginsburg biopic On the Basis of Sex in Montreal, Call Me by Your Name has not been far from Hammer’s mind. For one thing, it changed how he approached his career. “Now they’ll be hard-pressed to make me do something I don’t feel passionate about,” Hammer said. “To be perfectly honest, for as much as people really seem to enjoy the movie, it pales so much in comparison to the actual process of making it. Other people didn’t get that experience. I did. Watching it feels like reading CliffsNotes of an amazing book. I was there every day, all day, living this thing, so now when I watch it for two hours, it’s just too quick. I wish I could go back to that place.”
He has, in some ways. He flew back to Italy recently “just to be in Luca’s apartment and have conversations again.” And he also taped the Call Me by Your Name audiobook, an experience that “felt like I got to go back to Crema,” Hammer said. “We read it for 20-something hours, but it was just the best 20-something hours of the last couple months, apart from spending time with my family and kids.”
Hammer’s performance as Oliver is so indelible that, at first, it’s difficult to imagine him inhabiting neurotic, love-struck Elio for the audiobook. However, the more you listen as Hammer wistfully describes his time on Call Me by Your Name — a transformative experience he will spend the rest of his life attempting to recapture — the more you realize it’s exactly how one might reminisce about a lover long gone. Hammer may play Oliver onscreen, but at heart, he is a secret Elio. “That’s exactly what it feels like!” he admitted. “And I’m still in love.”
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:o :D :o :D :o :D :o :D :o :D :o :D :o
https://www.theyoungfolks.com/film/112710/live-from-the-afi-film-festivalcall-me-by-your-name-red-carpet/
(https://www.theyoungfolks.com/wp-content/uploads/2017/02/2017-logo-21.png)
(http://www.davidkiger.com/wp-content/uploads/2017/07/50th_Stacked_4C-1.png)
AMERICAN FILM INSTITUTEAFI FEST 2017 RED CARPET(EXCERPT)Luca Guadanigno on the possibleCall Me by Your NameSEQUEL!By KRISTEN LOPEZ, NOVEMBER 14, 2017(https://78.media.tumblr.com/6451f183557b14547d4d7c81f8ab1bd3/tumblr_ozf3f9VRpF1qe8tjno3_1280.jpg)
LUCA: "I really hope I don’t disappoint you--"(https://78.media.tumblr.com/e107d9319cd9d269a5dacd33e5091854/tumblr_ozf3f9VRpF1qe8tjno1_1280.png)
:o :D :o :D :o :D :o :D :o :D :o :D :o
https://www.theyoungfolks.com/film/112710/live-from-the-afi-film-festivalcall-me-by-your-name-red-carpet/
https://laterpeaches.tumblr.com/post/167490647668/bowie28-luca-at-afi-fest-2017
http://bowie28.tumblr.com/post/167489240585
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(http://www.awardsdaily.com/wp-content/uploads/2017/08/5-878x494.jpg)
[youtube=999,600]http://www.youtube.com/watch?v=kRfoIKjwHvQ[/youtube]
https://www.youtube.com/watch?v=kRfoIKjwHvQ
This clip has been
floating out there for weeks--
finally now on Youtube!
CALL ME BY YOUR NAME (2017)
Clip: "Play that again--please!"
Armie Hammer & Timothée Chalamet
Movieclips Film Festivals & Indie Films
Published on Nov 14, 2017
(https://yt3.ggpht.com/-eusR1zxcqvw/AAAAAAAAAAI/AAAAAAAAAAA/p3a7GCpM0fA/s88-c-k-no-mo-rj-c0xffffff/photo.jpg)
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Drinking this all in, in prep for seeing the movie, only a week or so away, now!
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Drinking this all in, in prep for seeing the movie, only a week or so away, now!
Yes, a week from tomorrow (day after Thanksgiving!) and thought it would never come. I hope you like it, Lee! :) :-*
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http://deadline.com/2017/11/call-me-by-your-name-armie-hammer-timothee-chalamet-oscars-interview-1202207499/
(http://kidcandrive.com/wp-content/uploads/2015/10/deadline.jpg)
Luca Guadagnino And Cast On
Call Me By Your Name
And The Alchemy Of Conjuring
The Butterflies Of First Desire
by Joe Utichi November 15, 2017 8:27am
(http://cdn.vanityfair.mx/uploads/images/thumbs/mx/vf/2/s/2017/42/el_director_luca_guadagnino_3459_863x650.jpg)
Luca Guadagnino doesn’t fall in love easily. “It was not about falling in love,” he says of the ultimate decision he made to direct his new film, Call Me by Your Name. “I fell in love once in my life, and I have been with the same person since. So I give a great level of importance to the concept of falling in love.”
Instead, perhaps, it was resignation that made him take the helm. Guadagnino had been attached to the adaptation of André Aciman’s delirious summer romance for nearly a decade—first as a consultant, then an executive producer, then a writer—when he finally took the plunge into directing it. Producers Peter Spears and Howard Rosenman had optioned the book before it was published in 2007, and were working with another director to mount the project. They had reached out to Guadagnino because the book is set in Italy and he knew the filmmaking landscape of his home country.
Over the years, he took his producers on scouts all over Italy. “The book is about this specific place called Bordighera,” Guadagnino explains. “We went all through Liguria. We showed them the Bordighera village and a possible house that could meet the storyline.” Later on, he says, “we imagined a different setting; Sicily.”
When the original director dropped out, they went to another and another, and the dance of seduction lasted varying lengths of time with each, until all of those suitors fell away. It was Spears who suggested perhaps his friend James Ivory should direct, with a script that Ivory and Guadagnino could work on together.
Guadagnino couldn’t deny the pleasure of elevating his level of involvement with each new turn in the road, and working with Ivory on the script was a joy. “He showed up at my place in Crema, and we started working together. It took us a year of back-and-forth between Crema and New York, and we started from scratch. It was a very interesting script, because it was filled with the typical imagery of Ivory.”
But still, there was no luck for the production. Guadagnino put together a budget, but financiers wouldn’t bite with a director nearing his 90th birthday. Ivory finally suggested Guadagnino join him as a co-director. “But nobody believed in this concept,” Guadagnino sighs. “It was important to me to make this happen for James. I would have loved to see his version of the film. We worked a lot. But nobody believed two filmmakers could make a movie together—unless they were brothers, or a pair to begin with.”
Guadagnino could be fast and nimble in a way Ivory wasn’t practiced in. He was used to tight shoots and compressed schedules, and that would be attractive to financiers. It soon became undeniable: if this movie was going to go ahead, Luca Guadagnino would have to step up. “I believed in this project and I didn’t want to see it go,” he says. “That was the reason I did it. Everybody got paid nothing. We did it because we wanted to do it.”
So what was it about this story that inspired such fevered devotion, and yet such hesitation to take the reins? Call Me by Your Name is a love story, in its most unadulterated form. Elio is the 17-year-old boy whose narration guides us in Aciman’s novel, as he meets Oliver, a 24-year-old graduate student come to stay for the summer at Elio’s father’s Italian villa.
Certainly, there is a cross-generational controversy ready to ruffle some feathers, but that feels almost incidental. As Elio and Oliver’s attraction deepens, moralistic arguments seem weightless. And, by his own admission, Guadagnino felt “comfortable” with this story. “Because maybe I knew the people that I was talking about,” he says. “I knew the emotional journey they were going through. Butterflies in the stomach is the most beautiful feeling you can feel, no?”
But he is not alone in finding this kind of connection with the story. The book’s fans are diehard, and you don’t have to be gay, or Jewish, or to have summered in Italy, to remember the stomach-churning joys of first desire. For those who fall for it, Call Me by Your Name makes them fall hard. So much so that when their friends share those feelings, their reactions make it feel like the novel is somehow being adulterous. Guadagnino’s film had to hit that same balance of the personal and the universal.
He made it his own when he became its director. “For me to believe in something means to be completely invested in it,” he says. “To be absolutely honest in my approach, for better and for worse.” It’s a necessary step for any project, but especially so when the subject is this achingly emotional.
He started where he usually does; he leaned into his cinephilia. The films that sprang to mind: Jean Renoir’s A Day in the Country, Bertolucci’s La Luna, Rohmer’s 80s films like The Green Ray and Pauline à la Plage (Call Me is set in 1982). Also Pialat’s À Nos Amours, and Téchiné’s Wild Reeds. “There was something about the countryside in all these films,” he enthuses. “I try to make sure that I have the pores of my imagination very open to soak in reality, but on the other hand, I rely very much on the imagery of my cinephile upbringing, so it’s a battle between those two—or it’s making love between those two elements.”
(http://www4.pictures.zimbio.com/gi/Alternative+View+61st+BFI+London+Film+Festival+vEXumQG1QQjx.jpg)
Guadagnino is heavily versed in movies—he rivals Tarantino for the ease with which he can relate subjects to cinema. And he’s no snob, either. When he says he sought Armie Hammer for the part of Oliver, he waxes lyrical about how good he is in Gore Verbinski’s The Lone Ranger, in spite of its challenging critical reception. “It’s a beautiful movie,” he insists, and he means it. Hammer had the movie star quality that he knew the Oliver of Elio’s wistful glance needed to encapsulate. “But also, there is a sensitivity to him that is so deep.”
For Hammer, “there was no way I couldn’t do this movie,” the actor says. “I read the script, and then immediately went and read the book, and came to the conclusion that these were two of the most beautiful and amazing pieces of source material I’d ever seen for something that could hopefully become a movie.”
There were fewer references for Guadagnino to tap when it came to casting Timothée Chalamet as Elio. At 21, Chalamet had already made a mark with a run on Homeland and in Christopher Nolan’s Interstellar. But Guadagnino found him through Peter Spears’ husband, agent Brian Swardstrom, who had just signed the young actor. “We met and it was instant recognition,” Guadagnino recalls. “The guy I was talking with had this brooding, unbiased determination and ambition to be a great actor, and yet he had this kind of soft, ingénue naiveté of a young boy. Those two things together were incredible.”
The film rests on Chalamet’s shoulders. We rarely break his perspective, and yet Guadagnino’s version of the story omits the internal monologue of the book. Everything relies on Chalamet selling the this-way-and-that confusion of first love in glances and private moments. It was the biggest change the director made. “I personally don’t like the first person account of a story in a movie,” Guadagnino says, keen to stress that it suits the novelistic form better. “Sometimes I like the omniscient narrator, as in Barry Lyndon or The Age of Innocence. I tried to think about what would happen if we had an omniscient narrator, and I discarded that, too.”
Instead, he turned to indie musician Sufjan Stevens to ask for a song that could channel Elio’s thoughts for the audience. Stevens surprised him by contributing two, “Mystery of Love” and “Visions of Gideon”, which chart the extremes of Elio’s experiences with Oliver. And he remixed a third of his own, “Futile Devices”, for the film, with lyrics that couldn’t have been more apt if they’d also been written for Call Me by Your Name. “And I would say I love you/but saying it out loud is hard/so I won’t say it at all,” he sings. “But you are the life I needed all along.”
“We envelop the movie in the voice of Sufjan Stevens,” Guadagnino says. “I asked him to create songs that were, in a way, some sort of narrative for the film.” Guadagino doesn’t fall in love easy, but “it’s not hard to imagine being in love with Sufjan, because he’s such a pure artist with such an incredible imagination, and an emotional world that is so deep.”
A film script is not a play, the director insists. There is no need to burden it with unnecessary dialogue. Film, after all, has the close-up, and the camera’s eye can draw the perspective of its audience. If theater shouts to the gods, film whispers to the front row. So there’s a quiet to Call Me by Your Name; it says just what it needs to and no more. “I want to empower the moment of uncertainty,” he says. “There’s a Tim Burton movie, Batman Returns, which, for being a movie about comic book hero, has that same kind of attitude; it makes that movie a masterpiece. And you have the greatest of all, Mr. Spielberg, who from his height of communicating with every person in the world still devotes himself to a very, very precise behavioral presentation of people.”
As Chalamet navigated bringing the audience into Elio’s inner world—aided by the sumptuous cinematography of Sayombhu Mukdeeprom, who paints the frame like a gilded memory of times past—the book became his bible. “It was a tremendous gift,” Chalamet explains. “There’s this certain freedom you want to give yourself when you act, and the ability to jump off a cliff, but the greatest responsibility in making this movie felt primarily to the people that had been fans of the book. And André Aciman even more so, because this was his child. But I found myself going to the book in scenes that were harder to play, and moments that didn’t make as much sense to me.”
Hammer had less help from Aciman’s text than his co-star. “The perspective of the book is almost entirely Elio’s interlocution,” he says. “His feelings towards Oliver are very subjective and capricious. It’s the confusion of his infatuation. So for me, going off the book, I had to filter everything through that understanding.”
“It was almost like he was reading the enemy’s manifesto,” Chalamet jokes. Elio, after all, is us. He’s why we connect Call Me by Your Name to our own comings-of-age. And we empathize all too easily with the crazy degrees to which his emotional perspective shunts him. We’ve all known the pleasure and the pain of an Oliver.
“There is a universally human quality to Elio,” Chalamet says. “There’s a tension on the surface of his existence, and he’s in a transitionary period in his life, becoming a man and dealing with feelings of sexual impulse for the first time. It felt rare to read a story about a young person who’s this complex. It’s no surface representation of what young people are. And as an actor, you seize that kind of opportunity.”
(http://www2.pictures.zimbio.com/gi/Alternative+View+61st+BFI+London+Film+Festival+G0kSzUy39HKx.jpg)
There’s also a life to Elio’s relationship with Oliver in the film that relies on these two leads bringing every tool in their arsenal. It depended on their ability to find one another as friends, not just colleagues, before cameras rolled. Guadagnino got them out to the location weeks before shooting. He had finally settled on making the film in Crema, his adopted hometown, in a house he had once fallen for and wanted to buy. “But I couldn’t afford it. I sublimated by putting it into the movie. Now I have that house forever in me.”
When the actors arrived they found “paradise”, Hammer says. “I was sucked into this idyllic, perfect world there. It seems as close to perfect as anywhere I’ve been. It’s just that much more relaxed and laid back. Waking up in the morning and squeezing apricot juice to drink. It was about slowing down and enjoying all of those little things.”
Uniting the two actors in advance was essential to making them feel comfortable. “It was a genuine proximity our souls felt to one another in those early weeks,” Chalamet recalls. “The friendship sprouted very easily, very naturally, very organically. It was really the random luck of the universe.”
Of course actors say this kind of thing to journalists all the time. And they’re actors—it’s their job to make it sound convincing. But as they reunite for the film’s promotional trail, there isn’t much effort or artifice between them. “Actually I was video Skyping with Timmy last night,” Hammer says. “It feels like I got a new best friend and brother out of the process. There was a huge amount of trust we put in one another to do this. It required a level of vulnerability in both of us that would only have been possible if we felt safe around each other, and we did.”
“Any actor who plays a role should give him or herself the benefit of a window of time before shooting in which they can soak into the character,” Guadagnino says. “For these specific characters, and this story, one part was the environment, and they had to become part of that environment.”
Guadagnino is no dictator. He describes filmmaking as a “symbiotic work”. “It’s all about the point of view. How do you coordinate the efforts of all the people to create this point of view? You can listen to a great symphony of Mahler and have a bad experience, because the conductor and the orchestra are not aligned to make that symphony resonate in the ears of the listener. Or, you can be lifted to the heavens.”
Filmmakers, he insists, are “charlatans. We’re imposters. So we all have to put on the best dress and make people pretend we’re not imposters. It’s alchemy. We make smoke and mirrors out of elements of identification for an audience to a story and characters.” He treats every movie as his first. “And what I learn about the experience as I grow up is not to panic if something is half good if not fully good. Cinema has the power to use only the very best possible of takes. Sometimes you find a glance and you know that’ll be the take and you won’t need the rest.”
His laidback approach worked on his cast, who talk of their time in Crema like they, too, had a whirlwind summer romance. “The process of shooting this film felt as languorous and relaxed and laissez-faire as the movie itself,” Hammer says. “Effort does not necessarily equal talent, right? I’ve been on movies where it feels like everyone is working really hard, but it doesn’t necessarily make anything better.”
“On American sets you work 12-, 14-, 16-hour days sometimes,” says Chalamet. “All that volume over a short course of time can actually be less conducive to telling a story accurately. Luca’s films are as sensual as they are intellectually stimulating. And he has a confidence as a director that meant I never felt any anxiety or pressure that we were running out of time.”
“This is just a movie that deals with pure, almost archetypal human emotions,” continues Hammer. “There are no special effects and no big set pieces. To get to experience that, and live in that, and breathe that for two months, was one of the greatest gifts I’ve been given in my entire life.”
The film made its debut at the Sundance Film Festival in January. Guadagnino, meanwhile, has been finishing Suspiria, his reimagining of Dario Argento’s legendary horror. He liked the idea of shooting two movies in close proximity, because he’d lingered for six years between his previous two works, I Am Love and A Bigger Splash. Still, he admits, “The downside of these kinds of ambitions for film is that you don’t have time for yourself.”
Call Me by Your Name belongs to audiences now. “It’s like having a child, and then the child grows up,” Guadangino says. “This movie is a child out in the world now.”
(https://scontent.fewr1-3.fna.fbcdn.net/v/t31.0-8/22459268_10154785077551951_3413114661562524967_o.jpg?oh=8a2734d4bb6ebbdf858e36a400b416bb&oe=5AA2AE17)
© Vittorio Zunino Celotto
These photos were taken by Vittorio Zunino Celotto at the the Mayor Of London Gala & UK Premiere of 'Call Me By Your Name' during the 61st BFI London Film Festival on October 9, 2017 in London, England, and have been added to the text above on November 16 2017.
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Night Scene with cigarette--
(http://78.media.tumblr.com/c95aaff8e79a2acb11cef498045f01b3/tumblr_oz7hlqj6DO1wypyaqo4_1280.jpg)
(https://78.media.tumblr.com/ce976641eebb9360f0c35e9a866a42a0/tumblr_oy15daPYKI1qe8tjno5_540.gif)
(https://78.media.tumblr.com/835ec729d48e9b3605e113cb9b035203/tumblr_oy15daPYKI1qe8tjno6_540.gif)
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Villa Albergoni: Elio's--and then Oliver's--
and then, sadly, once again--Elio's bedroom.
(http://anotherimg.dazedgroup.netdna-cdn.com/786/azure/another-prod/370/0/370979.jpg)
(https://hips.hearstapps.com/hmg-prod.s3.amazonaws.com/images/call-me13-1510007278.jpg?crop=1xw:1xh;center,top&resize=980:*)
Rumpled sheets in one of the bedrooms.
(https://78.media.tumblr.com/80f60f2630e4deb4f8b626d297f7dbec/tumblr_oy1b1dcD1U1sonqjko6_r1_400.gif)
http://www.gramunion.com/arandomexperience.tumblr.com/166549033899
(http://78.media.tumblr.com/c1c1aca9a5018aa2d56106cf9537e423/tumblr_oxqc7gPskl1voo6i5o1_1280.jpg)
(http://78.media.tumblr.com/c0a3232b3cd674b5d1f62ffe87781592/tumblr_oxqc7gPskl1voo6i5o2_1280.jpg)
(http://78.media.tumblr.com/96ed37ce517c36274007d85586acb015/tumblr_oxrfemTbEC1qe8tjno9_r1_400.gif)
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Drinking this all in, in prep for seeing the movie, only a week or so away, now!
Yes, a week from tomorrow (day after Thanksgiving!) and thought it would never come. I hope you like it, Lee! :) :-*
GASP!! Oh dear!! I'm so sorry, dear peeps--
"Coming soon to your city"--Ugh!
This US release schedule is dire! So cruel! :'( :(
(https://78.media.tumblr.com/de43ed433aa66bdcad83e8befedd7efb/tumblr_ozj4xvxb7L1wypyaqo1_1280.jpg)
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
Sigh. Obviously I will be there next Friday,
but I'm sorry for people who STILL have to wait--
:( :( :(
One amazing thing, though--
In New York, Call Me By Your Name
will be showing at the wonderful
Paris Theater!
(https://cdn.theculturetrip.com/wp-content/uploads/2016/08/paris-2.jpg)
Perfect place to screen it, no?
Historic, even!
(Two years ago--
New Years Eve Eve,
December 30, 2015,
to be precise) Meryl and I
went to see Carol at the Paris,
then crossed 58th street to
the Palm Court at the Plaza
for dessert--Wonderful!
(https://i.pinimg.com/736x/08/c6/72/08c672c5f13f2b21982bc0795052e198--lady-m-mille-crepe.jpg)
https://www.ladym.com/items/lg-green-tea-mille-crepes
https://www.ladym.com/items/lg-signature-mille-crepes
https://www.ladym.com/items/lg-passionfruit-mc
https://www.ladym.com/collections/cakes
We had Lady M's Mille Crêpe Cake--
We did the golden caramelized 'Sgnature' version
two years ago after seeing Carol,
the Green Tea version last year after seeing Lion--
Unfortunately no Peach I'm afraid, but maybe we'll
do the Passionfruit version this year
(and maybe raspberry sauce on top!)
after seeing CMBYN???
"This Passion Fruit Mille Crêpe will give
you an amazing taste of summer--"
Is that guaranteed??
:laugh: :laugh: :laugh:
(https://s3.amazonaws.com/assets.ladym.com/production/uploads/000/000/157/original/Passion_MC_Product_Page.jpg?1488318477)
Passion Fruit Mille Crêpes - 9 inches
No less than twenty layers of handmade crepes with layers of
passion fruit-infused cream offer a perfect sweet and sour balance.
This Passion Fruit Mille Crêpe will give you an amazing taste of summer.
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What? I have to wait another month to see it again? Pffffffft.
And Lee, no mention of Denver! Poor you, having to wait until January.
I need a mille crepes cake STAT!
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What? I have to wait another month to see it again? Pffffffft.
:P :P :P :P :P
And Lee, no mention of Denver! Poor you, having to wait until January.
I know! Lee, I thought maybe you might have gone to see it at the Denver Film Festival (November 6)
but I also thought if you didn't, you'd see it anyway 2 and a half weeks later. Alas!!
:( :(
(https://denverfilmfestival.denverfilm.org/wp-content/themes/dff/library/images/dff40-lockup.png)
(http://denverfilmfestival.denverfilm.org/wp-content/uploads/2015/09/DFS_2014_Logo.png)
Showtimes
Monday 11/6
6:45 PM Sie FilmCenter DFF
I need a mille crepes cake STAT!
HAH! Rather than going to the Palm Court you can go downstairs to the slightly shkeevy food court that was shoehorned into the basement 7 or 8 years ago ( :P I'm such a snob! :laugh: ) and BUY a slice of the Lady M. Mille Crêpe cake, and they have a bigger selection than in the Palm Court too--but between Holiday Noshing between Thanksgiving and Christmas, I dare NOT! The crêpes themselves are one thing, but the CREAM between the layers is LETHAL ! :o :o I'll just wait till New Years Eve Eve with Meryl! ::) ::)
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The Times is half endearing and half annoying with its insistence in calling our Dynamic Duo as "Mr. Hammer" and "Mr. Chalamet." What is NOT endearing and is ALL annoyance is the Times studiously avoiding the topic of CMBYN entirely until now because it does not like to review or even comment on movies until the official première in New York. Gray Lady, wake up! ::) ::)
https://www.nytimes.com/2017/11/17/movies/timothee-chalamet-armie-hammer-call-me-by-your-name.html
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Call Me by Your Name
A Love Story Fueled by Strangers’ Chemistry
By Cara Buckley Nov. 17, 2017
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Armie Hammer, left, and Timothée Chalamet hadn’t met before being cast in “Call Me by Your Name.”
“It was the luck of the universe, or something, that there was just a natural bond as humans,” Mr. Chalamet said.
Ryan Pfluger for The New York Times
WEST HOLLYWOOD, Calif. — “You’ll be meeting in the man cave,” the publicist said, pushing open the door to the ground floor of a villa set in the lush gardens of the Sunset Marquis.
Previous hotel guests have included members of Aerosmith, Guns N’ Roses and Metallica, and while they might never have visited the man cave, it seemed to bear homage to them, or to hair metal, or to hetero teenage boys, or to something. It had a pool table, a guitar, plenty of booze, a framed print of a nude body-painted woman, and another of a skull enveloped in flames. Darkened windows kept out the California sun.
By any measure, it was a curious spot to interview Timothée Chalamet and Armie Hammer, the stars of “Call Me by Your Name,” due Nov. 24, a heartbreaking coming-of-age story about two young men who fall in love during an idyllic sunlit Italian summer decades ago.
Arriving at the cave moments later, Mr. Chalamet and Mr. Hammer took in the décor with a few chortles, and then Mr. Hammer beelined to the guitar and began strumming, as Mr. Chalamet threw himself onto a big L-shaped couch. The pair have fallen into an easy camaraderie that extends most places they go. For a good chunk of the film’s shoot last year in northern Italy, and in the days leading up to it, they were often the only ones who spoke English, which helped them forge a connection that crackles through their scenes. They have also been promoting the film together, on and off, since its triumphant premiere earlier this year at Sundance, where it sent festivalgoers into a swoon.
“It’s gotten to the point,” Mr. Hammer said, “where we finish each others’ ——”
“—— sentences,” Mr. Chalamet chimed in.
“Sandwiches,” Mr. Hammer replied.
In the film, which is based on the 2007 novel of the same title by André Aciman, Mr. Chalamet plays Elio, a whipsmart 17-year-old American-Italian who lives with his family in an Italian villa, and Mr. Hammer plays Oliver, a 24-year-old American graduate student who arrives to intern with Elio’s professor father for the summer. Elio is immediately intrigued by Oliver, and soon finds himself torturously in love, and fruitlessly trying to fight it, at least at first. Set in 1983, and directed by Luca Guadagnino, whose previous films include last year’s “A Bigger Splash” and “I Am Love” (2010), the film is languid and intoxicating, a visual feast of dappled light, polo shirts and era-appropriate songs, from the Psychedelic Furs and the soundtrack to “Flashdance.”
Mr. Guadagnino is a master at hitting all five senses, which is one of the reasons critics have warmly embraced the film.
“It is more a terrarium of human experience, a sensory immersion that is remarkably full in its vision,” Richard Lawson wrote in Vanity Fair. He continued, “Each shot is busy with existence, but Guadagnino does not overwhelm.”
What also makes the story quietly remarkable, especially for a film that has traction in the awards race, is that it is simply about two young men who fall for each other, without menacing rednecks wanting to pulverize them or a ravaging disease lurking in wait. “It’s just a love story, and it’s really humanizing,” Mr. Hammer said. “No one gets beat up, no one gets sick, no one has to pay for being gay.”
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Mr. Hammer, left, and Mr. Chalamet in “Call Me by Your Name.” Mr. Hammer feared he wasn’t good enough for
such an emotionally honest film. Mr. Chalamet said, “Nobody knows me, so it didn’t feel like too much of a risk.”
Though the lovers’ age difference has drawn some attention, the film has largely been a source of deep gratification for its key players. It represents a return to the screen for James Ivory, 89, who wrote the screenplay with echoes of his 1987 love story, “Maurice.” It is making a name for Mr. Chalamet, who is 21 and strongly tipped for an Oscar nomination. And for Mr. Hammer, 31, the time spent making the film in Italy was, he said, “the most transformative experience” of his professional life.
“I’ve never experienced total immersion like that,” Mr. Hammer said. “I’ve never experienced a sense of safety like that. I’ve never experienced a sense of making yourself so accessible and vulnerable.” He added, “It opened my eyes to a whole new sense of understanding, and life, and what it is to be human.”
He and Mr. Chalamet were cast separately and did not set eyes on each other until they met in Italy, on the set. Mr. Guadagnino said he felt so deeply connected to each actor individually “that I took it for granted they must have a great connection too.”
Mr. Guadagnino found Mr. Chalamet “ingenious,” ambitious and intent on challenging himself in roles, he said, adding, “He never goes for the easy way. He goes the very complicated way.” And the director had been angling to work with Mr. Hammer since the actor appeared as the Winklevoss twins in “The Social Network” in 2010. “He carries a sense of infectious seductiveness to him, and a buoyancy, and a beauty,” Mr. Guadagnino said. “But it is also intertwined with a very beautiful internal turmoil.”
He was proved right with the actors’ chemistry — their characters’ attraction is shot through with a fraught competitiveness — even though Mr. Chalamet and Mr. Hammer are as strikingly different in person as they are onscreen.
“It was the luck of the universe, or something, that there was just a natural bond as humans,” Mr. Chalamet said.
Mr. Chalamet is slight and pale, a bundle of boyish energy and birdlike alertness, with a delicate face topped by a black tumble of curls. He grew up in Hell’s Kitchen, the son of a former Broadway dancer and a French editor, attended LaGuardia High School of Music & Art and Performing Arts, and appeared in “Homeland,” “Interstellar” and the Off Broadway play “Prodigal Son.”
Mr. Hammer is 6-foot-5, with Ken-doll features (“the textbook guy for shaving-cream commercial looks,” noted GQ), a sardonic mien, and a voice that booms with assuredness and authority. His great-grandfather was an oil tycoon, and he grew up in the Cayman Islands and Los Angeles. He said he wanted to be an actor after seeing “Home Alone,” when he was 12.
Mr. Chalamet, who also appears in Greta Gerwig’s new film, “Lady Bird,” said he was drawn to the role because it felt like “an honest look into a young person’s existence.”
“Nobody knows me,” he said, with a laugh, “so it didn’t feel like too much of a risk because it didn’t feel like my performance in this sort of piece of work was being compared to anything else.”
Mr. Hammer had greater trepidation, and was not sure if he was good enough for such a stripped-down, emotionally honest film, with no set pieces or special effects. “This movie lives and dies in the moments between these characters,” he said. There was also a lot of nudity in the original script, though it was revised, and Mr. Hammer, somehow, had never done a sex scene.
He is also a relative newcomer to smaller-budget films. After his appearance in “The Social Network,” he landed major roles in movies like “The Lone Ranger” (2013) and “The Man from U.N.C.L.E.” (2015). But Mr. Hammer found the box-office expectations stifling and the Hollywood machine depressing. “It was like, ‘He’s tall, he’s conventionally handsome, so let’s put him in these big movies and try to build this brand,’” he said, “and it just didn’t work.”
He resolved to make smaller films, and his first one was last year’s “The Birth of a Nation,” which ended up being bittersweet for him, too. The drama, about Nat Turner’s slave rebellion, sold for a record $17 million at Sundance, but was engulfed in controversy after decades-old rape allegations against the filmmaker and star, Nate Parker, emerged. It was a crushing experience that Mr. Hammer said he was still recovering from.
“It seemed clear-cut to me that there was a lot of atoning and apologizing that needed to happen that just didn’t,” Mr. Hammer said, his voice catching. “And that was really tough because we watched this movie that we did, that we all felt was important, just kind of drift away.” (The film’s fall did not dent his career, and while promoting “Call Me,” Mr. Hammer was also filming “On the Basis of Sex,” a movie starring Felicity Jones as Ruth Bader Ginsburg.)
In the meantime, both men say they have been relishing promoting this film, even if some reactions come from left field, like a tweet by the actor James Woods suggesting the age difference between the characters was pedophilic. “Didn’t you date a 19-year-old when you were 60?” Mr. Hammer wrote back, in a tweet that went viral, to his great surprise. (Mr. Woods began dating a 19-year-old when he was 59.)
(https://pbs.twimg.com/profile_images/796482667340382211/CoV8077b_400x400.jpg) James Woods
@RealJamesWoods
7:01 PM - 10 Sep 2017
Reply 879 Retweet 1.4K Like 2.5K
As they quietly chip away the last barriers of decency.
#NAMBLA https://twitter.com/chadfelixg/status/907060330056097792
https://twitter.com/RealJamesWoods/status/907061616197464064
[Hammer quickly responded, calling out the actor for dating 19-year-old Ashley Madison when Woods was 59 for more than six years starting in 2007. He later broke up with Madison and started dating 20-year-old Kristen Bauguess in 2013 when he was 66.]
(https://pbs.twimg.com/profile_images/779856784668319745/9pTj7ejH_400x400.jpg) Armie Hammer
@armiehammer
11:26 AM - Sep 11, 2017
1,924 Replies 14,295 Retweets 64,544 likes
Didn't you date a 19 year old when you were 60.......?
https://twitter.com/armiehammer/status/907264016489132034?ref_src=twsrc%5Etfw&ref_url=http%3A%2F%2Fpeople.com%2Fcelebrity%2Farmie-hammer-james-woods-age-gap-call-me-by-your-name%2F
“I didn’t think anybody really cared what I said, I didn’t think anybody cared what James Woods said, you know?” Mr. Hammer said.
Mr. Guadagnino said any chatter about the age difference amounted to an “artificial topic.” No one took issue with the age difference in the 1987 film “Dirty Dancing,” he pointed out, where Jennifer Grey was playing a 17-year-old and Patrick Swayze’s character was 24. Also in “Call Me,” he said, it is Elio who goes after Oliver. “The person who chases is 17,” he said.
Mr. Hammer recalled another surprising reaction. “Someone mentioned to me: ‘Timothée has to put his hand on your crotch in the movie. How did that feel?’ And I was like, do you ask every woman in a movie how it is to have her ass slapped, or her boobs fondled? It’s that double standard kind of thing.”
Mr. Chalamet interjected, “I’ve been very encouraged by the nature of the conversations that I’ve had, and by the lack of questions that are tunnel-visioned in their understanding of sexuality and life and love.”
Mr. Hammer said, “Because the reality is, Timmy grabs my crotch all the time.”
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Mr. Chalamet is slight and pale, a bundle of boyish energy and birdlike alertness, with a delicate face topped by a black tumble of curls. He grew up in Hell’s Kitchen, the son of a former Broadway dancer and a French editor, attended LaGuardia High School of Music & Art and Performing Arts, and appeared in “Homeland,” “Interstellar” and the Off Broadway play “Prodigal Son.”
Mr. Hammer is 6-foot-5, with Ken-doll features (“the textbook guy for shaving-cream commercial looks,” noted GQ), a sardonic mien, and a voice that booms with assuredness and authority. His great-grandfather was an oil tycoon, and he grew up in the Cayman Islands and Los Angeles. He said he wanted to be an actor after seeing “Home Alone,” when he was 12.)
(https://i0.wp.com/men2men.xyz/wp-content/uploads/2017/10/call-my-by-your-name-armie-hammer-respuesta-criticas.jpg?fit=1920%2C980&ssl=1)
Mr. Guadagnino found Mr. Chalamet “ingenious,” ambitious and intent on challenging himself in roles, he said, adding, “He never goes for the easy way. He goes the very complicated way.” And the director had been angling to work with Mr. Hammer since the actor appeared as the Winklevoss twins in “The Social Network” in 2010. “He carries a sense of infectious seductiveness to him, and a buoyancy, and a beauty,” Mr. Guadagnino said. “But it is also intertwined with a very beautiful internal turmoil.”
He was proved right with the actors’ chemistry — their characters’ attraction is shot through with a fraught competitiveness — even though Mr. Chalamet and Mr. Hammer are as strikingly different in person as they are onscreen.
“It was the luck of the universe, or something, that there was just a natural bond as humans,” Mr. Chalamet said.
(http://78.media.tumblr.com/0f11dce292c04d631f0d37d6bf68369c/tumblr_oxk1rfjtji1v0clmvo5_1280.jpg)
(https://pbs.twimg.com/media/DLRG-4mXUAAsyzb.jpg)
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I really, really loved this interview with Luca, so I added the images from the Berlinale photocall (February 13 2017). Well, they seemed appropriate somehow (especially because of the Jamie Reid/Sex Pistols' motto on Luca's Valentino sweater!)
http://www.vulture.com/2017/11/director-luca-guadagnino-talks-call-me-by-your-name-sequels.html
(http://images.nymag.com/news/articles/reasonstoloveny/2015/img/ny-logo.svg)
(http://images.amcnetworks.com/ifc.com/wp-content/uploads/2016/05/Vulture-Logo-Main.jpg)
Call Me by Your Name
Director Luca Guadagnino on Armie Hammer, Sequels, and Screen Intimacy
By Kyle Buchanan
November 17, 2017 9:00 am
(https://www.irishtimes.com/polopoly_fs/1.3259513.1508253848!/image/image.jpg)
Luca Guadagnino shows off his Jamie Reid/Valentino top at the Berlin International Film Festival in February. Photograph: Pascal Le Segretain/Getty Images
The new film Call Me by Your Name is about a life-changing affair between young Elio (Timothée Chalamet) and grad student Oliver (Armie Hammer), but what went on behind the scenes was just as significant. As Hammer told us recently, director Luca Guadagnino fostered an environment on set that both protected his actors and challenged them to be as honest as possible in their work. The result is an acclaimed film where the stars do the best work of their lives, but it also continues in the intense relationship between the stars and Guadagnino. The director has described it as “a very profound familial bond with the people I’m doing the movies with, where you literally and constantly fall in love with all of them,” and in the following interview, he expands on that notion, addresses some of the think pieces about the movie, and talks more about his hope of making sequels to it.
When did you entertain the idea of casting Armie as Oliver?
Since I got to meet him in The Social Network, really. I was impressed by that film and there was a great generation of actors in it: Just think that Dakota Johnson was there, Rooney Mara was there, Andrew Garfield, Jesse Eisenberg. And then there were these two brothers, who I really thought were two brothers because I couldn’t believe someone could do that digitally. I thought, no, nobody can act that way, when in fact it was Armie, twice. So after [Guadagnino’s 2008 Tilda Swinton film] I Am Love came out, I had the privilege of meeting him. We generally spoke about life for two or three hours and I loved him. I had a sudden and immediate attraction to him.
What was your read of him in that meeting?
I like the way he speaks, I like the words he uses, his buoyancy, his enthusiasm. But I also like that with him, suddenly he has a shift of humor. He can become kind of melancholic without even controlling it. He’s not someone who is in command of his own expression in an artificial way. And for me, fragilities are important when you work with someone. Of course you want someone who can give a performance, who is acting, but even more, I want someone who is able and eager to let the camera investigate him or her deeply. As you know, I wasn’t part of this movie as a director, for a long time. Originally, I was a producer.
James Ivory was supposed to direct, with Shia LaBeouf cast as Oliver, correct?
Right, in the Ivory version. We tried to make the movie with Jim and we didn’t succeed. It’s one of the great regrets of my life, as an admirer of Jim’s work. I would have been happy not only to see a new movie by James Ivory, but also to be producing it. Unfortunately, it didn’t happen because the rules of the market — or, as Renoir would say, the rules of the game — are sometimes quite cruel. Despite the fact that ageism is a significant problem when it comes to cinema, I personally believe that one of the most exciting things for me as a cinephile is to witness a new movie from a very old director. James and Shia would have been another movie, and every avenue was tried, but the only way it could see the light was if I directed it for five weeks with no money.
So I thought of my passion for Armie and I sent him the script. After a week, I heard, “He wants to talk to you.” What I didn’t know is that he was going to pass. So he picks up the phone, “Hey, how are you,” and it becomes a long conversation. He goes, “I’m scared about this role.” Why? “I don’t know. I’m scared.” I told him, “If you’re scared, it might mean that you want something.” Which could sound like a sleazy way of approaching somebody, but the truth is that fear and desire are the polarizing elements of most of our actions. I think Armie wanted to have that fear and act it out.
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What did you interpret his fear as?
I don’t think it was, “Oh no, I don’t want to play a gay character,” because he had already done that twice.
In J. Edgar …
… and in a film with Stanley Tucci, Final Portrait. Long story short, I think the complexity of the project from his standpoint was, “Will I be able to let myself be the medium through which a lot of complex, intimate emotions can be expressed?” But he is a mine of gold, and I am the digger.
I don’t think most directors had done much digging with him.
Probably there is a sense that things have to fit the mold. Maybe they thought the mold of Armie belongs to a different era of filmmaking, but I think the mold of Armie is the mold of cinema, with a capital C. I do believe in that.
He talks about making the movie as though he were still in love with it.
Wait til we do the sequels.
He said it’s really changed him.
I’m happy. I like transformative things. I welcome transformation in my life and I like transformation in other people’s lives. I like to be the agent of it.
So how were you transformed by making this film?
I simplified my approach. I have more trust in the power of the language of cinema without [additional] style. And to understand that I am capable of loving multiple times with multiple people, but also to be faithful in every sense of the word to the love of my life. Also, I aged making this movie.
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What were you like when you were 17, Elio’s age?
I was a very lonely, skinny, melancholic visionaire. I was in Palermo, and I was really invested in pushing the envelope. I remember at that age, I convinced the principal of my school to be the director of the play at the end of the year. I did Ionesco, and it was crazy. It was insane!
What did you do?
The title of the piece was Excessive in Extremis. And it fortified me because it was a catastrophe of sorts. There was not much of an audience, and to make something so personal, motivated by the impulse of doing something strong no matter what, and then to get the reception we got …
What was that like?
Oh, the fury of the principal when she saw the thing! You know, when I went to [the Venice Film Festival] years later with The Protagonists and there was booing in the movie theater, I thought, I don’t care. I already got my boos at 17. I trained myself for that, I would say.
Why were you lonely at 17?
I was not like Elio. Elio jumps on the dance floor and is divine, but I wasn’t that kid. I was sitting in the corner, looking at people dancing. It was shyness, it was maybe embarrassment, but also I think it was the great position of control.
You were shy in your personal life, but bold in your art.
Very much.
Had you been with men by the time you were 17?
I desired them, but I wasn’t until I was 22.
Why not?
Well, I was very picky, also! And I didn’t know anything about sex and love and interaction. Maybe I was too cerebral.
Were you with girls?
No, I’ve never been with girls, honestly. I regret that. This is a very analytical conversation, but now that I’m talking to you, I made a difficult and stupid choice at that age of falling in love with my best friend, who was straight. Later, I met this guy when I was 22, and the second we had intercourse, I didn’t want to be with him anymore, and I left.
Why? You were afraid?
I don’t know. I felt depressed. I like sharing things, I like a community, I like to be with my friends and get to know new people, but when you’re 22 in Palermo and you get this young man and you feel the emotion for the first time of this physical encounter, it excludes everything. You’re not so sure if you can go to your friends and say, “That’s the boy I’m dating.” People could not say that easily in 1988 in Palermo. I had to leave this encounter with him and only him. I had to learn in time to bridge my personal feelings and emotional encounters with my life as part of a community.
How did you bridge that?
I completely dismissed the notion of self-censorship and being a prude.
How do you foster a safe place for people to do things on camera that they’ve never done before, that they might be hesitant to do?
I have been with the makeup artist and editor for 25 years, have made three movies with the same DP. It’s family. It’s a nontoxic environment. I really invite the actors’ collaboration not just as performers, but to really participate in making the film 100 percent. Also, I’m very blunt. I don’t tell lies, not when I’m making a movie. It can be a beautiful thing to be direct, because people are rarely direct.
(https://www.berlinale.de/media/bilder/2017/boulevard_2017/1302/130217_bd_2859_IMG_FIX_1200x800.jpg)
How does that collaboration work with the actor when you’re shooting something like the scene where Elio masturbates with a peach?
That is the perfect example. I was struggling with the scene since I read it in the book. I thought it was a scene that can only play in a book, because you could go into your imagination. I also thought it was a metaphor for sexual impulses and energy. I didn’t believe in the actual physical possibilities of masturbating yourself with a peach. In translating this into a movie, I was both admiring Aciman’s work and dreading Aciman’s work, and I knew that scene was kind of infamous for readers of the book. I’ll tell you, Kyle, many times I said, “We have to remove this from the script.” I didn’t want something that could be exploitative, sensationalist, or even involuntarily ridiculous. So it was a process, a long process.
What convinced you it could work?
One day I tried, physically, to masturbate myself with a peach because I was asking Timothée to do it as a character, and I wanted to prove to myself that it was not doable so we would not have to do it. And actually, when I got the fruit and put my finger in the fruit and started to debone it, already that act gave me a cinephile memory, reminding me of a great moment in this version of Madame Bovary [called Abraham’s Valley] by Manoel de Oliveira, the great Portuguese filmmaker. In it, the Bovary character is young and full of lust, she wants to fuck this guy. She sees a flower, she grabs this flower, and she puts her finger into the flower. It’s an incredible scene about the sensuality in all things. So I thought, “Finally, we have a lead here that can make this scene doable.” Then I tried to put the deboned peach on me and it actually worked, it wasn’t just a metaphor! So I threw the peach away, composed myself, and went to Timothée and told him, “Timmy, I tried the peach myself, and it works. We can film the scene.” And he goes, “Of course it works! I tried it myself as well.”
What did you shoot that you didn’t include?
Much. There is a scene that happens under the lime tree where Elio and Oliver are teasing one another — this is before they kiss. It was a very well-acted scene, but we felt in a way that it was too precious, that it wasn’t necessary to delay the moment where they would confess to one another. Then there was a scene after they made love. In the movie, there is still a piece of it, where they’re kissing under the moonlight, and what I shot is that the scene happens at the same time as the father and mother are in their bedroom, hearing the muffled voices coming from the garden. The mother is putting creams on, the father is reading a book, and they are looking one another in the eye and smiling. She goes to the bed, he touches his wife, he smells the creams on her, and they start to make love. I’m sorry for cutting the scene because it’s quite beautiful, and it’s beautiful to see adults having their moment of sex. That, we will definitely put in the extras of the film [on home video].
Some writers have said the film is not explicit enough.
It’s really something I don’t understand. It’s as if you said there are not enough shots of Shanghai. I don’t understand why there has to be Shanghai in this movie.
There is plenty of sex and foreplay and sensuality in it, though the complaint is that we don’t see Oliver and Elio engage in actual intercourse. Did you shoot anything like that?
We shot some things, but one thing is important to say: We didn’t have any limitations. I also think it may be my unconscious knowledge that many gay films pride themselves on being explicit. It’s almost like a subgenre! Listen, there is a book by William Burroughs called Queer, which I wrote a script for when I was 20. I was completely naïve, although I would love to make that film. That is a movie where you need to see the actual sex because, as per Burroughs’s descriptions, it’s about the war that is excavated inside him: The character Lee is infatuated with Allerten and it devours him. You have to show how the sex and the impossibility of the relationship is informing their behavior, and I agree that a version of that film cannot be shy about the sex. But why this?
Do you think Call Me by Your Name is shy about sex?
There is sperm on the torso [of Oliver], which he wipes off! I don’t know. It is cheap voyeurism, I would say. Because I am a voyeur myself, I pride myself on a more dignified and sophisticated sense of voyeurism than a need to stare at other people’s sexes.
(https://thumbs.mic.com/ZTFlNjliMjYyZSMvQ2FjTTZQYU1DVUY3TVpmQnNjdG9zeml5Z1FRPS8weDE1Nzo0NzIweDI0NDMvMTYwMHg5MDAvZmlsdGVyczpmb3JtYXQoanBlZyk6cXVhbGl0eSg4MCkvaHR0cHM6Ly9zMy5hbWF6b25hd3MuY29tL3BvbGljeW1pYy1pbWFnZXMvbGd3eHJsYmpxbTV3MDlhZ21zYWM0YnBsdXdveWU1bzV5azVxZGNnc29ienZnbzZvZXJ3YnV5Yzg0cDFycHlweC5qcGc.jpg)
It’s been interesting, too, to see how people have reacted to the notion of a sequel.
Sequels. I want to make five movies.
Do you already have in mind what you would do?
The second, I have very much in mind. I think I want to see them grow up. How great would it be to see those actors grow older, embodying those characters?
Is the whole notion of a sequel something that sprung up from the years-later epilogue of the book?
It sprung out of my love for these characters and my desire to visit them again, and in doing so, to be with the same people I did this movie with.
At what point did you start mulling over this idea?
Sundance. Because I didn’t completely realize until then that they were characters who could go beyond the boundaries of the film.
I think some people would prefer that the characters not go beyond the boundary of the film, because the ending with Elio is so powerful.
It would not remove the power of the final shot of this film, because that is about him being 18. What we would see in the sequel is him being 25.
The film is also about the intensity of first love. By necessity, the second film would be and feel different.
Maybe in the sequel, Elio and Oliver only meet after two hours of the movie. I want to follow them, Mr. Perlman, Marzia, all these people. Maybe the movie opens with how Mafalda the maid is living in the house, all alone! I definitely would buy myself the freedom of a movie that is not bound to a textbook of rules. Once, I dreamt of making a sequel to I Am Love, which was basically about Emma, Tilda’s character, living with no money on the periphery of Rome. It would be about her daily routine, like Chantal Akerman’s Jeanne Dielman. Five hours of watching Emma go to the supermarket where she’s a cashier, going home to cook a meal, eating her meal, and then one day she bumps into the daughter, who’s a big artist. I thought about doing that. The only problem for me is that for a director, time is very limited in general. You can do a certain amount of films and no more than that.
You know, I am 46. To make a movie is long. I have to learn how to discipline my ambitions.
This interview has been edited and condensed.
(https://www.irishtimes.com/polopoly_fs/1.3259513.1508253848!/image/image.jpg)
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CALLMEBYYOURNAMEFANART
https://twitter.com/chroniclikerrr
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See You in "B"
CALLMEBYYOURNAMEFANART by Nikko Tan
@chroniclikerrr
@CMBYNFANPAGE
https://twitter.com/chroniclikerrr
1:25 AM - 13 Nov 2017 3 Likes
Fan Art / Digital Art / Drawings /
#CMBYN #CallMeByYourName #Elio #Oliver
#andréaciman #armiehammer #timothéechalamet #lucaguadagnino
#film #lgbt #movie #sonyclassics
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Later!
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Elio finds Oliver down at the rocks
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(https://pbs.twimg.com/profile_images/919851966146101249/ffU0LD8X_400x400.jpg) by Nikko Tan
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Bike Rides To "B"
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Monet's Berm
(Sampled the colors from Monet's paintings in Bordighera)
CALLMEBYYOURNAMEFANART by Nikko Tan
@chroniclikerrr
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https://twitter.com/hashtag/callmebyyourname?lang=en
Sep 26, 2017 0 Notes, 35 Likes
Fan Art / Digital Art / Drawings / Nikko Tan / @chroniclikerrr
#CMBYN #CallMeByYourName
#elio #elio perlman #oliver #ulliva #laterpeaches 🍑
#andré aciman #armie hammer #timothée chalamet #luca guadagnino
#book #novel #film #movie #sonyclassics #lgbt
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Ha! We figured!!!
(https://pbs.twimg.com/profile_images/726550105378050049/MkIT5mTF.jpg) André Aciman
@aaciman
7:18 AM - 26 Oct 2016
3 Retweets 27 Likes
https://twitter.com/aaciman?lang=en
https://twitter.com/aaciman/status/791282872879546369
I'll be giving a talk in Bordighera this weekend. Can't wait. It's my favorite spot in the planet.
(https://pbs.twimg.com/media/Cvszb5mXgAAlqpf.jpg:large)
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CALLMEBYYOURNAMEFANART
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boy saying farewell to his island
CALLMEBYYOURNAMEFANART by Nikko Tan
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8:01 PM - 7 Nov 2017 21 Likes
Fan Art / Digital Art / Drawings /
#CMBYN #CallMeByYourName #Elio #Oliver
#andréaciman #armiehammer #timothéechalamet #lucaguadagnino
#film #lgbt #movie #sonyclassics
Later!
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But Guadagnino never turns the temperature down. The heat generated by, say, an index finger stroking a lower lip—that digit soon to be lightly nibbled and sucked by the mouth it is caressing—could burn a hole through the screen.
http://www.4columns.org/anderson-melissa/call-me-by-your-name
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4Columns
Call Me by Your Name
Melissa Anderson
November 17 2017
Amore caldo!
Director Luca Guadagnino adapts André Aciman’s tale of summer love.
(https://scontent-iad3-1.cdninstagram.com/t51.2885-15/e35/21984670_151234002140552_3972133918827610112_n.jpg)
Art by Nikko Tan Sept 26, 2017
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Call Me by Your Name, directed by Luca Guadagnino, opening
November 24, 2017, in New York and Los Angeles
• • •
Languor, lust; yearning, yielding: Call Me by Your Name—a sexy, melancholy summer idyll directed by the supreme cine-sybarite Luca Guadagnino—lushly shows how desire is deftly articulated, even when not explicitly labeled or spoken. The title is a carnal directive, pillow talk shared by two same-sex lovers, seventeen-year-old Elio (Timothée Chalamet) and twentysomething Oliver (Armie Hammer). The words gay or homosexual are never uttered in the film; the terms would be redundant, meager for what is so rapturously enacted.
Call Me by Your Name, like Guadagnino’s earlier eros-fueled films I Am Love (2009) and A Bigger Splash (2015), teems with voluptuousness. Each movie is a celebration of hedonism among the affluent and is set wholly or partially in a visually ravishing part of Italy: San Remo, where an unfulfilled haute-bourgeoise wife played by Tilda Swinton ruts al fresco with a younger chef in I Am Love ; Pantelleria, a volcanic island off the coast of Sicily that serves as the backdrop for the debauchery of an intergenerational quartet in A Bigger Splash. Opening text in Guadagnino’s latest identifies the location only as “somewhere in northern Italy”; a scan of the press notes reveals that the film was shot in the bucolic town of Crema, where the director himself lives. (The estival glory of the Lombardy region is further showcased by cinematographer Sayombhu Mukdeeprom, who here shoots on 35mm. He’s a frequent collaborator of another sensualist auteur, the Thai filmmaker Apichatpong Weerasethakul.)
The change in setting is one of many alterations, both large and small, from the film’s source material, André Aciman’s debut 2007 novel of the same name, which situates the action in an unnamed spot on the Italian Riviera. Aciman’s book is also slightly vague about its exact chronology; all we know is that its central romance takes place “in the mid-eighties.” Guadagnino’s movie, in contrast, assigns a specific year—1983—for its libidinous hot-weather splendor.
These are ultimately superficial amendments, though, for what survives beautifully intact in the page-to-screen transfer is the book’s intricately calibrated mood and tone. A Proust scholar, Aciman structures his novel as Elio’s remembrance of things past. Guadagnino’s film dispenses with that framing device; there is no first-person voice-over (or narration of any kind) looking back from the vantage, and the wisdom, of the present. But a dolorous prolepsis haunts every tender, arousing moment in the movie—instances that are fated to die almost as soon as they’re born. Significantly, Call Me by Your Name was scripted by James Ivory, that longtime paragon, along with his work and life partner Ismail Merchant (who died in 2005), of decorous, mezzo-brow cinema, such as the seemingly countless E.M. Forster adaptations they oversaw in the 1980s and ’90s. Guadagnino’s film may be less sexually explicit and candid than Aciman’s text, which matter-of-factly discusses the next-day physical sensations after anal sex. But Guadagnino never turns the temperature down. The heat generated by, say, an index finger stroking a lower lip—that digit soon to be lightly nibbled and sucked by the mouth it is caressing—could burn a hole through the screen.
Elio first glimpses the young man who will consume him completely from his bedroom window, on the second story of the villa that his Euro-American family—the Perlmans, “Jews of discretion”—occupies during the summer and winter holidays. Oliver, a Heraclitus scholar from the States who proudly sports a Star of David necklace, has arrived for a six-week stay at the Perlman home, a residency that requires him to assist Elio’s dad (Michael Stuhlbarg), a professor of antiquities, with some light administrative tasks. (Oliver’s age is given as twenty-four in the book but never specified in the film.) Peering down with Elio at this tall, exceedingly confident and charismatic visitor is Marzia (Esther Garrel), the teenager’s coeval and friend, sometimes a non-platonic one.
A beloved, precocious only child, Elio may spend his days transcribing and playing Bach and reading Conrad, but certain semaphores convey his contemporary passions: his Talking Heads T-shirt, various posters—one of Peter Gabriel, another, perhaps a little too tellingly, of Robert Mapplethorpe—hanging in his bedroom, which he soon relinquishes to the strapping Yank postdoc. “You’re bigger than your picture,” Professor Perlman says, with a mixture of awe and alarm, to Oliver as soon as he steps out of the cab.
The adolescent gazes at Oliver—who crashes out, in a jet-lagged stupor, on Elio’s bed with his Converse high-tops still on—with a similar reaction. But at the breakfast table the next morning, when Oliver, in an off-hand comment about his insatiable appetite (for soft-boiled eggs) and his need to curb it, intimates both the enormity of his hunger and a keen self-awareness (“I know myself”), Elio finds that his own ravenousness has been stoked.
Most of the first half of Call Me by Your Name captures the ambiguous gestures (Oliver giving a quick shoulder massage to Elio, who initially recoils) and coy flirtation (Elio casually showing off at the piano for Oliver) that feed, if only in slight portions, each young man’s increasing hunger for the other. These signals, some bolder than others, make up an exquisite—but never precious—choreography, leading up to what looks like a Judson Dance pas de deux at the town square, where Elio and Oliver acknowledge their attraction, in, unsurprisingly, the most circumlocutory way: “Are you saying what I think you’re saying?” the older guy asks the younger one.
However evasive their language, their bodies know exactly how to communicate after this initial admission, including when to pause and when to linger. The seconds that precede a deep kiss between Elio and Oliver rank among the sexiest of screen caesuras, a respite during which a spectator is invited to recall similar scenarios she may have found herself in, even while her attention remains focused on the bodies, the lives, the desires of the two men in front of her.
Regarding those bodies: I’ve watched Call Me by Your Name two times, and, to paraphrase the Greek philosopher whom Oliver specializes in, no viewer ever sees the same movie twice. Where Hammer, golden, towering, bronzed, built—a “steak,” to use a colleague’s apt description—struck me as the film’s corporeal center on my initial viewing, the frail, ephebic Chalamet now seems, paradoxically, the movie’s most vital and vigorous figure after the second. What the actor does with his mouth, his eyes, and his breathing rhythms in the movie’s gutting closing scene wordlessly demonstrates the fluency of his multilingual character in another kind of idiom, mastered in a summer-immersion program.
Melissa Anderson is the film editor of 4Columns. From November 2015 until September 2017, she was the senior film critic for the Village Voice. She is a frequent contributor to Artforum and Bookforum.
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Just think! Last September (2016), I had been barely 5 miles away from Bordighera!
Joey and I were staying near the next town up, Ventimiglia.
Of course, I hadn't read the book at that time...
Here's our little bit of heaven:
(https://scontent.fzty2-1.fna.fbcdn.net/v/t1.0-9/14292263_10206089985123423_4943707564091371323_n.jpg?oh=549297d643d63c2709f1668dd734451b&oe=5A8D87FC)
(https://pbs.twimg.com/profile_images/726550105378050049/MkIT5mTF.jpg) André Aciman
@aaciman
7:18 AM - 26 Oct 2016
3 Retweets 27 Likes
https://twitter.com/aaciman?lang=en
https://twitter.com/aaciman/status/791282872879546369
I'll be giving a talk in Bordighera this weekend. Can't wait. It's my favorite spot in the planet.
(https://pbs.twimg.com/media/Cvszb5mXgAAlqpf.jpg:large)
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Oh, and my poster arrived today.
(https://images-na.ssl-images-amazon.com/images/M/MV5BNDk3NTEwNjc0MV5BMl5BanBnXkFtZTgwNzYxNTMwMzI@._V1_UX182_CR0,0,182,268_AL_.jpg)
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Oh, and my poster arrived today.
(https://images-na.ssl-images-amazon.com/images/M/MV5BNDk3NTEwNjc0MV5BMl5BanBnXkFtZTgwNzYxNTMwMzI@._V1_UX182_CR0,0,182,268_AL_.jpg)
Collect'em all! :laugh: :laugh:
(http://www.awardsdaily.com/wp-content/uploads/2017/07/call_me_by_your_name.jpg)
(https://thinkostudio.files.wordpress.com/2009/02/brokeback_mountain_1.jpg) (https://www.mauvais-genres.com/19997/titanic-movie-poster-27x40-in-ds-1997-james-cameron-leonardo-dicaprio.jpg)
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Just think! Last September (2016), I had been barely 5 miles away from Bordighera!
Joey and I were staying near the next town up, Ventimiglia.
Of course, I hadn't read the book at that time...
Here's our little bit of heaven:
(https://scontent.fzty2-1.fna.fbcdn.net/v/t1.0-9/14292263_10206089985123423_4943707564091371323_n.jpg?oh=549297d643d63c2709f1668dd734451b&oe=5A8D87FC)
Heaven is right!! :o :o :o
Meanwhile, referencing this--
Ha! We figured!!!
(https://pbs.twimg.com/profile_images/726550105378050049/MkIT5mTF.jpg) André Aciman
@aaciman
7:18 AM - 26 Oct 2016
3 Retweets 27 Likes
https://twitter.com/aaciman?lang=en
https://twitter.com/aaciman/status/791282872879546369
I'll be giving a talk in Bordighera this weekend. Can't wait. It's my favorite spot in the planet.
(https://pbs.twimg.com/media/Cvszb5mXgAAlqpf.jpg:large)
read this--
Fascinating!!! 8) 8) 8)
"Call Me By Your Name, expected to be one of this year’s Oscar favorites, came together because of a botched vacation. It started in April 2005, when André Aciman’s plans to take his wife and three sons to a Mediterranean villa fell through. Frustrated, the Upper West Side novelist and City University of New York professor started writing a love story set on the Italian Riviera in the mid-1980s--"
https://nypost.com/2017/11/20/call-me-by-your-name-author-dont-be-afraid-of-same-sex-crushes/
(http://logos-download.com/wp-content/uploads/2016/10/NYP_New_York_Post_logo_wordmark.png)
Call Me by Your Name author:
Don’t be afraid of same-sex crushes
By Christian Gollayan
November 20, 2017 | 5:32pm
(https://thenypost.files.wordpress.com/2017/11/call_author_main_duo1a.jpg?quality=90&strip=all&w=664&h=441&crop=1)
André Aciman, author of Call Me By Your Name, played a cameo role in the film adaptation (right).
Photo Sigrid Estrada
Call Me By Your Name, expected to be one of this year’s Oscar favorites, came together because of a botched vacation.
It started in April 2005, when André Aciman’s plans to take his wife and three sons to a Mediterranean villa fell through. Frustrated, the Upper West Side novelist and City University of New York professor started writing a love story set on the Italian Riviera in the mid-1980s.
“I was writing about a nice house with a pine alley … there was a young man in the house, basically a portrait of who I would be if I grew up in Italy,” the 66-year-old, who grew up in Egypt, tells The Post. “And then there was a young man who comes in the picture … I wasn’t planning on writing that kind of story. It just blossomed out of my own curiosity.”
Written in just three months, Call Me By Your Name is a tender coming-of-age tale about Elio, a 17-year-old genius who falls in love with Oliver, a 24-year-old graduate student who’s studying with Elio’s professor father for the summer. When it was published in 2007, critics called it a modern gay classic, albeit one written by a writer who isn’t gay. A film producer bought the rights to the story that same year.
Opening in New York Friday, the film stars Armie Hammer and Timothée Chalamet as the star-crossed lovers. Aciman, who has a brief cameo as Elio’s family’s friend, says he hopes the story’s same-sex romance will resonate with everyone.
“This is the biggest secret of humanity,” he says. “Everybody assumes that if they suddenly have a stirring for the same sex that it’s only them … that nobody feels this way, but we all do.”
Despite some expressing concern about the seven-year gap between the lovers, Aciman sees nothing wrong with their love.
“[Their relationship] is so consensual, I don’t even give it a second thought,” he says. “There’s clearly abuses out there, horrible abuses, but Elio is the one who asks and Oliver says, ‘We can’t do this. This is wrong.’ We’re not talking about 10-year-olds. [Elio] is almost 18. Would 18 have been a better age? I don’t know.”
Although director Luca Guadagnino made some changes when translating the book to the big screen, Aciman says he’s happy with the final product. “The best scenes in the movie were right out of the book,” he says. “How can I complain?”
He says one of his favorite moments is when Elio’s father (Michael Stuhlbarg) tells his son the importance of being vulnerable in love: “I got a lot of mail from gay men in their 60s who basically said, ‘This book moved me because I only wish my father said that to me.’”
Although the movie ends on the Hanukkah following Elio and Oliver’s summer romance, the book closes 20 years later. Guadagnino’s talked about making a sequel with the same cast, and Aciman says he’s more than happy to collaborate.
“It’s not really a sequel as it’s the rest of the book,” Aciman says. “If Guadagnino does the next movie, he wants to capture the nuances of that love because it’s very absolute. They don’t forget, they cannot put it behind them, they have other lives, but [the love] is there and it’s not going away.”
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Again, reference this--
"Call Me By Your Name, expected to be one of this year’s Oscar favorites, came together because of a botched vacation. It started in April 2005, when André Aciman’s plans to take his wife and three sons to a Mediterranean villa fell through. Frustrated, the Upper West Side novelist and City University of New York professor started writing a love story set on the Italian Riviera in the mid-1980s--"
--go back read this--
Just wonderful!
(https://img.huffingtonpost.com/asset/59d693271400008e234934e7.jpg?ops=scalefit_720_noupscale)
What was it like seeing your characters enacted on screen? Were there any surprises?
AA: It was simply gratifying. I never felt that they were alien to the book. I never felt that “Gee, this is strange, this doesn’t feel like the story I wrote or the characters I wrote about.” Rather what I kept thinking—and maybe this was tickling to my ego—I can’t believe that the pages I struggled over on the Upper West Side of Manhattan during a very hot and humid summer could have generated this amazingly beautiful film filled with so much longing and beautiful characters.
(https://www.filmlinc.org/wp-content/uploads/2017/08/Call-Me-By-Your-Name-1-1600x900-c-default.jpg)
Timothée Chalamet and Armie Hammer in Call Me by Your Name--Whispers of steamy gay sex scenes and piercing performances from the cast.
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Oh my--look at this--
https://nypost.com/2017/11/20/call-me-by-your-name-author-dont-be-afraid-of-same-sex-crushes/
(http://logos-download.com/wp-content/uploads/2016/10/NYP_New_York_Post_logo_wordmark.png)
Call Me by Your Name author:
Don’t be afraid of same-sex crushes
By Christian Gollayan
November 20, 2017 | 5:32pm
(https://thenypost.files.wordpress.com/2017/11/call_author_main_duo1a.jpg?quality=90&strip=all&w=664&h=441&crop=1)
André Aciman, author of Call Me By Your Name, played a cameo role in the film adaptation (right).
Photo Sigrid Estrada
Opening in New York Friday, the film stars Armie Hammer and Timothée Chalamet as the star-crossed lovers. Aciman, who has a brief cameo as Elio’s family’s friend, says he hopes the story’s same-sex romance will resonate with everyone.
“This is the biggest secret of humanity,” he says. “Everybody assumes that if they suddenly have a stirring for the same sex that it’s only them … that nobody feels this way, but we all do.”
--and then look at the dedication page of the book--
For Albio,
Alma de mi vida
(Soul of my life)
or should that be--
Cor Cordium (Heart of Hearts)--??
So--who is--or was-- Albio?? Elio and Oliver, Albio and André?? Oh my!! :o :o
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Oliver is the archetypal American, cocky and athletic; the strapping Armie Hammer is perfect for the part. Timothée Chalamet as Elio is a virtuoso of subtle expression; his face flits through a whirlwind of emotions every time Oliver’s nearby, masked by a desperate attempt to play it cool.
https://nypost.com/2017/11/20/armie-hammer-makes-call-me-by-your-name-a-masterpiece/
(http://logos-download.com/wp-content/uploads/2016/10/NYP_New_York_Post_logo_wordmark.png)
Armie Hammer makes
Call Me by Your Name
a masterpiece
Call Me By Your Name is a dreamscape of sunshine, kindness, sensuality and music
Italicious:
★★★★
By Sara Stewart
November 20, 2017 | 5:30pm
(https://thenypost.files.wordpress.com/2017/11/call1a.jpg?quality=90&strip=all&w=1286)
Armie Hammer plays Oliver and Timothée Chalamet is Elio in Call Me by Your Name.
In a week when many of us will take dutiful trips to visit family, consider a two-hour vacation: Call Me By Your Name is a dreamscape of sunshine, kindness, sensuality and music. Plus, leafy orchards, al fresco dinner parties, charming Italian town squares — and the agony and ecstasy of first love.
Based on the novel by André Aciman, the film is set in 1983 in northern Italy. Graduate student Oliver (Armie Hammer) is spending a summer residency studying Greco-Roman antiquities at the home of a professor (Michael Stuhlbarg), his wife (Amira Casar) and their 17-year-old son, Elio (Timothée Chalamet). Their villa is academic shabby-chic, with art and books on every surface, doors banging and window sills peeling, and even an old-fashioned dinner bell.
Oliver is the archetypal American, cocky and athletic; the strapping Hammer is perfect for the part. Elio, slighter and more introverted, is a skilled pianist who initially rolls his eyes at their brash houseguest — “the usurper,” he mutters to his girlfriend Marzia (Esther Garrel) as Oliver is given Elio’s bedroom — but can’t hide a growing fascination.
The professor and Oliver’s work with ancient statues is slyly juxtaposed with the lithe, near-constantly shirtless young men’s bodies, subconsciously posing for one another on the lawn, by the pool and through the door adjoining their bedrooms. Chalamet is a virtuoso of subtle expression; his face flits through a whirlwind of emotions every time Oliver’s nearby, masked by a desperate attempt to play it cool. Despite their seven-year age difference, the two are well-matched intellectually, and at times Elio seems the more urbane, casually shifting between English, French and Italian. When they finally touch, under Oliver’s guise of “just bros” athleticism, the sensuality in the air spikes off the charts. One particular scene that’s gained some advance notoriety involves masturbation and a peach; it’s juicy in every way, a gently kinky ode to Elio’s blossoming sexuality.
Director Luca Guadagnino (I Am Love) filmed in Crema, the Italian town he lives in, and you can feel his love for the place: The joy of plunging into an icy pond on a hot day, stopping at a random country house to ask for a glass of water, old men playing cards in the local bar. It’s all set to a rapturous, wide-ranging soundtrack: classical piano, the Psychedelic Furs, bittersweet new songs from Sufjan Stevens.
Stuhlbarg and Casar are sort of fantasy Euro parents: Affectionate and smart, they’re close enough to their son that he’ll ask them for girlfriend advice, but wise enough to sit back and watch his relationship with Oliver develop. For all the transcendent moments between the lovers — and the actors truly have a smoldering chemistry — the most indelible scene may be Stuhlbarg’s speech to his son about savoring the joy and grief of love.
Call this movie by its name: Masterpiece.
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The movie is bound to be compared to such recent gay film landmarks as Brokeback Mountain, Carol and the Oscar-winning Moonlight. But this masterpiece goes its own transcendent way. With Oliver, Elio feels he can talk about "things that matter." The beauty part is that these "things" matter to all of us, regardless of sexual orientation, when we're gutted for the first time by that thing called love. As Elio's father says of the art he studies, "there's not a straight line in any of these statues; they're all curved, as if daring you to desire them." Call Me by Your Name dares its audience in the same way. It's a swooning new classic and one of the very best films of the year.
http://www.rollingstone.com/movies/reviews/peter-travers-call-me-by-your-name-is-sexiest-film-of-2017-w512240
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Call Me by Your Name
Steamy Tale of First Love Is Sexiest Film of 2017
Luca Guadagnino's sensual, passionate story of two young men discovering romance in Italy is an instant romantic classic
★★★★
by Peter Travers
Monday 20 November 2017 4:00PM
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All praise to Stuhlbarg, who is poetic and profound in a crucial scene of empathy in which a father openly encourages his son to follow
his true nature, risks be damned: Michael Stuhlbarg, Timothée Chalamet and Armie Hammer in Call Me by Your Name.
Here's the movie of the year for incurable romantics, a rapturous ode to first love that sweeps you up on waves of dizzying eroticism and then sweetly, emphatically leaves you emotionally shattered. For almost a year, Call Me by Your Name – the latest from Luca Guadagnino (I Am Love, A Bigger Splash), a master cinema sensualist – has been a sensation on the film festival circuit. Now this ravishment of image and sound finally goes into wide release. You do not want to miss it.
Set in northern Italy in the summer of 1983, this love story transports you to a place where passion and memory collide. Elio Perlman (a flawless Timothée Chalamet; remember the name) is 17, multilingual, musically gifted and skilled at flirting with the local girls near the villa of his parents – an American professor (Michael Stuhlbarg) and his translator wife (Amira Casar). Then an intern arrives from the U.S. to assist his father with research into Greco-Roman culture. He's Oliver (Armie Hammer), 24, a handsome, athletic charmer and an outrageous flirt. At first, the slender Elio is irritated by the visitor's attention-grabbing body and his American slang, always saying "later" instead of goodbye. Then an attraction develops, slowly, fiercely and irrevocably.
At first, Elio and Oliver dance cautiously around their unspoken attraction. On a bike trip to the town square, they make teasing loops toward and away from each other. Stopping at a war monument, with the camera observing them at a distance, Elio and Oliver can't yet verbalize the magnetism their bodies can't help making plain. The yearning is almost palpable, with both men running off with local girls as a means to test the other. Sex is everywhere in this Italian Eden, where a swim, a hot glance or a stroll among the apricot trees has the impact of an aphrodisiac. But the bond between Elio and Oliver goes deeper. The older man waits for the younger one to make the initial move, and when it happens the floodgates of carnality and confusion open wide. Kudos to Guadagnino and screenwriter James Ivory – 88 and still alive to the thrill of nuance – for giving these scenes time to play out and resonate. Exploitation isn't the point here; connection is. "Call me by your name and I'll call you by mine," says Oliver, seeking an intimacy beyond the physical.
Bring out the superlatives to describe the prizeworthy performances of the lead actors, who instill their roles with fire, feeling and flashing humor. You may be shocked by what the duo do to a juicy peach, but you can bet on those stolen moments earn their place in the sex-in-cinema time capsule. Still, it's the film's wisdom and nurturing compassion that stay with you. What Elio and Oliver discover in each other opens their eyes to a world beyond themselves. Hammer (The Social Network, J. Edgar) is a revelation, giving his most complex screen role to date the tightrope thrill of full immersion. And Chalamet, who can also be seen right now seducing Saoirse Ronan in Lady Bird, is nothing less than the acting discovery of the year. Watch as the ends credits roll and he holds the camera in reactive closeups that will wreck you. And all praise to Stuhlbarg, who is poetic and profound in a crucial scene of empathy in which a father openly encourages his son to follow his true nature, risks be damned.
Working from André Aciman's justly acclaimed 2007 novel, Guadagnino revels in the pleasures of the flesh without losing touch with thought and feeling, while the gifted cinematographer Sayombhu Mukdeeprom covers this garden of temptations in seductive light and shadow. The film's emotions are as naked as its bodies. In the book, Elio and Oliver meet again after 20 years. In the film, Guadagnino shows us only what is; it's up to audiences to take the film home and keep it close.
The movie is bound to be compared to such recent gay film landmarks as Brokeback Mountain, Carol and the Oscar-winning Moonlight. But this masterpiece goes its own transcendent way. With Oliver, Elio feels he can talk about "things that matter." The beauty part is that these "things" matter to all of us, regardless of sexual orientation, when we're gutted for the first time by that thing called love. As Elio's father says of the art he studies, "there's not a straight line in any of these statues; they're all curved, as if daring you to desire them." Call Me by Your Name dares its audience in the same way. It's a swooning new classic and one of the very best films of the year.
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https://www.popsugar.com/entertainment/Oliver-Swimsuit-Detail-Call-Me-Your-Name-44286047
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POPSUGAR Oliver's Swimsuit Detail in Call Me by Your Name
How Call Me by Your Name
Leaves Tiny Breadcrumbs For Lovers of the Book
by RYAN ROSCHKE
November 20, 2017
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Call Me by Your Name hits theaters on Nov. 24, telling the tale of a powerful romance between two men during a fleeting Summer in Italy. The new film is an adaptation of the 2007 novel of the same name by André Aciman. While there are overt aspects of the film that really help it shine — the remarkable performances of fresh face Timothée Chalamet and the lovely Armie Hammer and the dreamy soundtrack are immediate standouts — there's plenty of beauty to be found in the film's smaller details.
Having read the book, I couldn't help but notice a small detail that seemed to bleed into the onscreen adaptation. The paradoxical nature of the detail is that it informs Oliver's character, but it's not ever directly mentioned in the film. So, if you haven't read the book, it goes right over your head. In the many swimming scenes, Oliver (Hammer) wears swimsuits of varying colors. Sometimes, he's in green. Sometimes, yellow.
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The thing is, Oliver's choice of swimsuit color is, allegedly, supposed to give away what's going on inside his head. In the novel, Elio develops a little theory about Oliver's swimsuits. Whatever color he's wearing on any given day directly informs how he might act.
He had, it took me a while to realize, four personalities depending on what bathing suit he was wearing. Knowing which to expect gave me the illusion of a slight advantage. Red: bold, set in his ways, very grown-up, almost gruff and ill-tempered — stay away. Yellow: sprightly, buoyant, funny, not without barbs — don't give in too easily; might turn to red in no time. Green, which he seldom wore: acquiescent, eager to learn, eager to speak, sunny — why wasn't he always like this? Blue: the afternoon he stepped into my room from the balcony, the day he massaged my shoulder, or when he picked up my glass and placed it right next to me.
Contrary to the book, Oliver is actually wearing a green swimsuit in the scene where he tries to give Elio (Chalamet) a shoulder message. It's the same scene as the one that appears in the official trailer, when Oliver is playing volleyball while Elio's friend Marzia says, "He's better than the guy who came last year." Even so, you can see how the "green" Oliver described in the book matches the Oliver in the scene. Here, Oliver initiates contact with Elio. He's open-hearted, vulnerable, and testing the waters. He tries to create some kind of connection, both physical and emotional, which Elio (literally) shrugs off.
In a later scene, Oliver asks Elio to play some music for him on the piano. Here, wearing a yellow swimsuit, Oliver seems to be feeling out the interaction with Elio, and cautiously so. There are plenty of other swimsuit scenes sprinkled throughout the movie, and each time, it's fun to use the swimsuits as a way of placing Oliver emotionally.
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Recently, I sat down for an interview with the film's visionary director, Luca Guadagnino. When I asked about the swimsuits, he admitted that there was a rhyme and reason to Oliver's colors in the film. "In the script before my last one before shooting, there was a lot of routine about the swim[suit]s, and there was a voiceover talking about how the swim[suit] changed the character of Oliver, the way he behaved. But again, I left just touches of the colors. And we did the same with other stuff. Touches. Little touches that can encompass a texture, but not too much literality."
With this admission, Guadagnino opens a whole new realm of possibilities for interpreting the film. Sure, there's a beautiful, budding romance on the surface. But underneath, there are layers and layers that depict the small breadcrumbs that portray the kind of love anyone is lucky to experience at least once. It's details like this that will have fans returning to watch the film again and again.
The Semiotics of the Bathing Suit
https://en.wikipedia.org/wiki/Semiotics
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He had, it took me a while to realize, four personalities depending on which bathing suit he was wearing. Knowing which to expect gave me the illusion of a slight advantage. Red: bold, set in his ways, very grown up, almost gruff and ill-tempered--stay away. Yellow: sprightly, buoyant, funny, not without barbs--don't give in too easily; might turn to Red in no time. Green, which he seldom wore: acquiescent, eager to learn, eager to speak, sunny--why wasn't he always like this? Blue: the afternoon he stepped into my room from the balcony, the day he massaged my shoulder, or when he picked up my glass and placed it right next to me.
Today was Red: he was hasty, determined, snappy.
CALLMEBYYOURNAMEFANART by @CuZn34
https://twitter.com/CuZn34
Sep 16 2017 11 Likes
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http://www.pictaram.org/post/BZTyn4wBWS1
http://www.pictaram.org/sirayy
When he came down for breakfast he was wearing my bathing suit. No one would have given it another thought since everyone was always swapping suits in our house, but this was the first time he had done so and it was the same suit I had worn that very dawn when we'd gone for a swim. Watching him wearing my clothes was an un-bearable turn-on. And he knew it. It was turning both of us on.
Call Me By Your Name by André Aciman
Recited/Narrated by Armie Hammer
CALLMEBYYOURNAMEFANART by @sirayy
http://www.pictaram.org/sirayy
Sep 21, 2017 6 Notes, 410 Likes
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John, I'm sure you recognize the setting!
Our beloved Café Sabarsky!
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John, I'm sure you recognize the setting!
Our beloved Café Sabarsky!
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Yes!!!
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Especially because--!
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Wanna bet Dr. Aciman chose the location to be interviewed/photographed? I think André is our kind of people! :laugh: :laugh: :laugh:
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There’s a lushness to the visual beauty of this place, but it’s not so perfect as to be off-putting. Quite the opposite. Despite director Luca Guadagnino’s infamous eye for meticulous detail, cinematographer Sayombhu Mukdeeprom’s 35mm images provide a tactile quality that heightens the sensations, makes them feel almost primal. We see the wind gently rustling through the trees, or streaks of sunlight hitting Elio’s dark curls through an open bedroom window, and while it’s all subtly sensual, an inescapable tension is building underneath.
https://www.rogerebert.com/reviews/call-me-by-your-name-2017
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Call Me by Your Name
★★★★
by Christy Lemire
Monday 20 November 2017
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Timothée Chalamet and Armie Hammer in Call Me by Your Name.
Luca Guadagnino’s films are all about the transformative power of nature—the way it allows our true selves to shine through and inspires us to pursue our hidden passions. From the wild, windswept hills of I Am Love to the chic swimming pool of A Bigger Splash, Guadagnino vividly portrays the outside world as almost a character in itself—driving the storyline, urging the other characters to be bold, inviting us to feel as if we, too, are a part of this intoxicating atmosphere.
Never has this been more true than in Call Me by Your Name, a lush and vibrant masterpiece about first love set amid the warm, sunny skies, gentle breezes and charming, tree-lined roads of northern Italy. Guadagnino takes his time establishing this place and the players within it. He’s patient in his pacing, and you must be, as well. But really, what’s the rush? It’s the summer of 1983, and there’s nothing to do but read, play piano, ponder classic art and pluck peaches and apricots from the abundant fruit trees.
Within this garden of sensual delights, an unexpected yet life-changing romance blossoms between two young men who initially seem completely different on the surface.
17-year-old Elio (Timothée Chalamet) is once again visiting his family’s summer home with his parents: his father (Michael Stuhlbarg), an esteemed professor of Greco-Roman culture, and his mother (Amira Casar), a translator and gracious hostess. Elio has the gangly body of a boy but with an intellect and a quick wit beyond his years, and the worldliness his parents have fostered within him at least allows him to affect the façade of sophistication. But beneath the bravado, a gawky and self-conscious kid sometimes still emerges. By the end of the summer, that kid will be vanquished forever.
An American doctoral student named Oliver (Armie Hammer) arrives for the annual internship Elio’s father offers. Oliver is everything Elio isn’t—or at least, that’s our primary perception of him. Tall, gorgeous and supremely confident, he is the archetypal all-American hunk. But as polite as he often can be, Oliver can also breeze out of a room with a glib, “Later,” making him even more of a tantalizing mystery.
Chalamet and Hammer have just ridiculous chemistry from the get-go, even though (or perhaps because) their characters are initially prickly toward each other: testing, pushing, feeling each other out, yet constantly worrying about what the other person thinks. They flirt by trying to one-up each other with knowledge of literature or classical music, but long before they ever have any physical contact, their electric connection is unmistakable. Lazy poolside chats are fraught with tension; spontaneous bike rides into town to run errands feel like nervous first dates.
Writer James Ivory’s generous, sensitive adaptation of André Aciman’s novel reveals these characters and their ever-evolving dynamic in beautifully steady yet detailed fashion. And so when Elio and Oliver finally dare to reveal their true feelings for each other—a full hour into the film—the moment makes you hold your breath with its intimate power, and the emotions feel completely authentic and earned.
The way Elio and Oliver peel away each other’s layers has both a sweetness and a giddy thrill to it, even though they feel they must keep their romance a secret from Elio’s parents. (Elio also has a kinda-sorta girlfriend in Marzia [Esther Garrel], a thoughtful, playful French teen who’s also in town for the summer.) One of the many impressive elements of Chalamet’s beautiful, complex performance is the effortless way he transitions between speaking in English, Italian and French, depending on whom Elio is with at the time. It gives him an air of maturity that’s otherwise still in development; eventually his massive character arc feels satisfying and true.
But Oliver’s evolution is just as crucial, and Hammer finds the tricky balance between the character’s swagger and his vulnerability as he gives himself over to this exciting affair. He’s flirty but tender—the couple’s love scenes are heartbreaking and intensely erotic all at once—and even though he’s the more experienced of the two, he can’t help but diving in headlong.
And yet, the most resonant part of Call Me by Your Name may not even be the romance itself, but rather the lingering sensation that it can’t last, which Guadagnino evokes through long takes and expert use of silence. A feeling of melancholy tinges everything, from the choice of a particular shirt to the taste of a perfectly ripe peach. And oh my, that peach scene—Guadagnino was wise when he took a chance and left it in from the novel. It really works, and it’s perhaps the ultimate example of how masterfully the director manipulates and enlivens all of our senses.
There’s a lushness to the visual beauty of this place, but it’s not so perfect as to be off-putting. Quite the opposite. Despite the director’s infamous eye for meticulous detail, cinematographer Sayombhu Mukdeeprom’s 35mm images provide a tactile quality that heightens the sensations, makes them feel almost primal. We see the wind gently rustling through the trees, or streaks of sunlight hitting Elio’s dark curls through an open bedroom window, and while it’s all subtly sensual, an inescapable tension is building underneath.
Guadagnino establishes that raw, immediate energy from the very beginning through his use of music. The piano of contemporary classical composer John Adams’ intricate, insistent “Hallelujah Junction – 1st Movement” engages us during the elegant title sequence, while Sufjan Stevens’ plaintive, synthy “Visions of Gideon” during the film’s devastating final shot ends the film on an agonizingly sad note. (You’ll want to stay all the way through the closing credits—that long, last image is so transfixing. I seriously don’t know how Chalamet pulled it off, but there is serious craft on display here.)
In between is Guadagnino’s inspired use of the Psychedelic Furs’ “Love My Way,” an iconic ’80s New Wave tune you’ve probably heard a million times before but will never hear the same way again. The first time he plays it, it’s at an outdoor disco where Oliver feels so moved by the bouncy, percussive beat that he can’t help but jump around to it and get lost in the music, lacking all sense of self-consciousness. Watching this towering figure just go for it on the dance floor in his Converse high-tops is a moment of pure joy, but it’s also as if a dam has broken within Elio, being so close to someone who’s feeling so free. The second time he plays it, toward the end of Oliver and Elio’s journey, it feels like the soundtrack to a time capsule as it recaptures a moment of seemingly endless emotional possibility.
They know what they’ve found has to end—we know it has to end. But a beautiful monologue from the always excellent Stuhlbarg as Elio’s warmhearted and open-minded father softens the blow somewhat. It’s a perfectly calibrated scene in a film full of them, and it’s one of a million reasons why Call Me by Your Name is far and away the best movie of the year.
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http://www.rollingstone.com/movies/features/call-me-by-your-name-the-story-behind-the-most-romantic-movie-of-2017-w512269
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Call Me by Your Name
The Story Behind the Most Romantic Movie of the Year
How an Italian director, a virtually unknown young actor and a Hollywood leading man turned a story of young love into an instant classic
by Tim Grierson
Wednesday 22 November 2017 1:00PM
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Armie Hammer and Timothée Chalamet in Call Me by Your Name.
Luca Guadagnino is sitting in a hotel in Beverly Hills, but his mind is back in Italy. The 46-year-old director is doing press duties for Call Me by Your Name, his rapturous romance about star-crossed lovers falling for each other over one memorable, wistful summer. (It hits theaters on November 24th.) And when he's asked if he's ever had a comparably whirlwind, sun-splashed fling – one that may have helped inspire his sensual, startling love story – you get the sense that the filmmaker has momentarily left the room. He is now somewhere back in his native country, imagining the sound of lapping waves and cicadas, maybe a light breeze blowing as dusk sets. He's transported himself. Then, suddenly, he's back.
Set in gorgeous Northern Italy during the summer of 1983, Call Me by Your Name follows a talented, sensitive 17-year-old named Elio (Timothée Chalamet) who is thunderstruck by Oliver (Armie Hammer), the dashing, charismatic but slightly guarded 24-year-old who moves into his villa to study with Elio's decorated scholar father (Michael Stuhlbarg). Over a series of tranquil, humid days and nights the teenager tries resisting his slowly building feelings for this stranger, who seems too occupied with the local female beauties to notice. Eventually though, through a series of elegant glances and gentle gestures, a romance blossoms. But how long can it last considering that Oliver won't be staying more than a couple months?
It's the tyranny of limited time, and not social bigotry or the claustrophobia of the closet, that acts as the movie's chief antagonist – an irony not lost on Guadagnino, given that he spent years waiting for the right moment to bring André Aciman's 2007 novel to the screen. "When I started making movies, I was impatient," he says."I wanted to make things now. And then I was disappointed. We don't have such a thing as development in Italy as you do in Hollywood."
Initially, Guadagnino was just a consultant on the film; he was busy preparing I Am Love, his 2009 breakthrough movie starring Tilda Swinton. But the producers needed help nailing down the specifics of the period setting, however, so came on board to to offer some regional expertise. Guadagnino began working on the screenplay with Oscar-nominated James Ivory, with the expectation that the Room With a View director would be the one to make the film. During that process, the Italian filmmaker met the actors who would eventually play Elio and Oliver.
Chalamet, who had landed a small role in Interstellar and scene-stealing turns in indies such as Miss Stevens, was suggested by the actor's agent. "He said, ‘This young man, I just signed him – you should meet him because he has the qualities to be Elio,'" recalls Guadagnino. "He was so vivid. He was so ambitious in his desire for excellence. He was restless, and yet he was a boy."
But that first meeting was four years ago – back when Chalamet was 17 and, like Guadagnino, learning that films can take forever to get off the ground. "It looked like perhaps it was going to come together that summer ... and it didn't," the actor says. "And then maybe the following summer ... and it didn't." But he refused to leave a project that spoke so deeply to him. "It was complex, layered, contradictory, real and relatable – it was an awesome and accurate lens into what a young person experiences."
Hammer's wait was even longer. "I met Luca about seven years ago and had one of the best meetings I've ever had," he says. The face-to-face wasn't about any particular project – it was just to get to know one another. "I went over to his place, and we sat for hours, discussing literature and art and movies ... everything. I walked out and thought, 'I fucking nailed that.' Then I didn't hear anything from him for, like, six-and-a-half years.
"And then he calls one day," Hammer adds. "And says, ‘I have a script, and I'd love for you to be in it.'"
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Timothée Chalamet, director Luca Guadagnino and Armie Hammer in
Call Me by Your Name (Photo by Peter Spears)
By 2016, Guadagnino had made his I Am Love follow-up, the sultry English-language thriller A Bigger Splash ; after the producers suggested he take the reins – at that point, who knew the material better than he did? – the Italian director decided that Call Me would be his next project. "I knew I was [also] going to make Suspiria" – his forthcoming remake of the Italian horror classic – "so it was more of the challenge of making two movies back-to-back in the same year, à la Soderbergh or Fassbinder. But then when you say yes, you get invested in the movie a hundred percent."
And though he claims he had no intention of spearheading the movie until he was asked, Call Me by Your Name feels so in tune with his two previous films (the carnal and romantic exploits of characters, sumptuous locales, unlikely lovers undone circumstance and fate) that some have billed it as the final chapter of Guadagnino's "Desire trilogy" – a moniker that the filmmaker is a little sheepish about. "They wanted to have a quote for the press book in Sundance," where the film premiered, he explains. "I was trying to decide what to say about it. And then it came to my mind that, in fact, the last three movies I made were all, in a way, different declarations of the concept of desire. That's why I came to this idea that this was the last chapter of a possible trilogy." He smiles, like he's been found out. "I was trying to articulate a way to run away from the not-nice feeling that I'm repeating myself. I'm thinking, 'Another movie about rich people lounging by the pool …'"
What helps distinguish the film are its dynamic leads, who formed a fast bond and friendship based on shared admiration for each other's work. It also doesn't hurt that Chalamet and Hammer learned to rely on one another while shooting the film's love scenes. As Hammer puts it, "I can tell you that, when you and one other person are the only naked people in a room full of non-naked people, it kind of galvanizes you a little bit."
More than a decade ago, some criticized another beautiful gay love story, Brokeback Mountain, because of its casting of straight actors, alongside a straight director. But Guadagnino finds such logic insulting to his process of finding the right performers.
"I am a gay man," he states flatly. "I'm attracted to men; I've always been. I live my life with a companion that is a man. I have admiration for the expression of a lot of LGBTQ artists today ... but I struggle with the concept of defining a person by his or her sexual identity. It makes me so uncomfortable. I just don't get it, and I don't believe that the fight for civil rights – which is so crucially important – goes hand-in-hand with indictment of someone by his or her identity."
Continuing this thought, he adds, "I do not cast my actors by their sexual identity. I cast them because I desire them. And I desire them because I can feel they mutually desire me. I think that this is a very queer emotion, and I think it's much more queer than casting a renowned gay man to play a gay character. I think it's parochial and borderline conservative to think like that."
Guadagnino brought his cast to Crema in Northern Italy to prepare for the production, shooting on location in sequence. But according to Stuhlbarg, the prep time was not spent digging into the movie's themes of fleeting love and the anxious thrill of stumbling upon a possible soul mate. "We had one day of sitting around a table reading the whole thing together, just to sort of lightly touch on everything," Stuhlbarg says. "But then we went about making it together, and we didn't talk about things."
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https://twitter.com/pjspears/status/896692510336180224
The day it all began--the table read of CMBYN script.
#victoiredubois #amiracasar @RealChalamet me #lucaguadagnino @armiehammer #michaelstuhlbarg
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Peter Spears
@pjspears
Aug 13
https://twitter.com/pjspears
Producer, "Call Me By Your Name"
Even as fans of Guadagnino's previous work, the actors can't entirely pinpoint how he produces such unhurried, everyday transcendence in Call Me. "What he allows us to see in certain [scenes], and the angles from which he allows us to see them…?" Stuhlbarg muses aloud, almost in a daze. "‘Look at this weaving path here. Look at this leaf. Look at the rain. Look at a waterfall.' All of these, in some perverse and magical language, help tell the story." The actor shakes his head. "I don't know how he did it."
"Luca's films are boundary-less," says Chalamet, who notes that Guadagnino never had him read for the part, instead trusting his instincts that the young actor would be perfect. "Anything within the composition of a shot bleeds into another part of a shot. The house is a character, the town is a character, the grass is a character..." Searching for an explanation, he adds, "There's a scene in I Am Love – Tilda Swinton is making love in the grass – and it's the most beautiful combination of nature and humanity that I've seen in a film."
Guadagnino, who's also a passionate cook, uses a culinary metaphor to explain his methods. "In food, you can make a broth, a stock," he says. "But ultimately, you can make a consommé, and the consommé is the purest essence of the stock you have made. I want to process myself into making consommé of films – take out everything that is not really necessary."
To that end, Call Me 's first cut was four hours, ultimately trimmed to a swooning two hours and ten minutes. But while the film never strains for significance, it's anchored by a stunningly compassionate and wise valedictory monologue delivered near the finale by Stuhlbarg to his son, telling him to follow his heart and not live a life characterized by regrets and what-ifs.
Stuhlbarg recalls his agent sending him the script with one comment: "Wait ‘til you get to the end." Best known for his work in the Coen brothers' A Serious Man and some key TV supporting roles (Boardwalk Empire, Fargo), the modest actor seems overwhelmed by the response his pivotal speech has inspired in critics and viewers. "It seems to have an impact on people, which is really interesting," he says. "I had no expectations. But it's provoked some wonderful conversations about parenting, generosity, compassion. How wonderful to participate in a discussion about kindness towards each other."
Call Me by Your Name concludes on a lyrical, melancholy note, though that may not be the whole story. Aciman's novel follows Elio and Oliver throughout the course of their lives, and Guadagnino has said he wants to make several sequels that continue the young men's love affair. ("I thought Luca started talking about it as a joke," Hammer says when his director's comments are brought up. "But he seems to get more and more serious about it.") Whether this tale ends being the beginning of something or the conclusion of it, the director and his actors have captured that universal, bittersweet moment when a seasonal fling begins to grow, hits full bloom and then ultimately runs its course.
"I mean, I grew up in Southern California and the Caribbean," Hammer says. "So it was just always summer. But I definitely had really intense emotional relationships when I was younger where you just think, ‘This is it – I am madly in love and will be for the rest of my life.'
"And then you grow up," he continues, "and maybe you grow apart. But don't cry because it's over – smile because it happened."
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http://www.vulture.com/2017/11/review-call-me-by-your-name-is-a-masterpiece.html
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Call Me by Your Name
Is a Masterpiece
By David Edelstein
November 22, 2017 8:01 pm
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Young Elio (Timothée Chalamet) in Luca Guadagnino's Call Me by Your Name
In Call Me by Your Name, the gifted young American actor Timothée Chalamet plays Elio, a 17-year-old who spends summers with his academic parents in their airy, rustic villa in Crema in northern Italy. In early scenes, the skinny, long-waisted Elio seems vaguely uncomfortable in his body, as if uncertain what to do with it apart from the de rigeur canoodling with teenage girls who swim with him in nearby lakes and ponds. It’s only when he stares from his bedroom window at the arrival of this year’s summer guest — a young scholar who’ll spend six weeks reading, writing, and working with the professor — that Elio seems to come out of his own head.
The 24-year-old visitor, Oliver (Armie Hammer), has an easy, almost arrogant physicality. He’s broad-shouldered, slim-hipped, absurdly handsome. But he’s hard to read. Oliver gives the shirtless Elio a quick shoulder massage and then heads off to play volleyball. Was it innocent or a come-on? Whichever, Oliver’s touch lingers. Elio sneaks into Oliver’s room and sticks his nose into a pair of discarded bathing trunks, inhaling sharply. He puts them on his head. He’s in heaven.
Call Me by Your Name takes place in summer, 1983. It has the feel of something recollected in tranquility, but the eroticism is startlingly immediate. The faithful adaptation of André Aciman’s novel is by James Ivory, but the movie has a different feel than Ivory’s own formal, somewhat stiff work. The Italian director Luca Guadagnino creates a mood of free-floating sexual longing. Oliver never wears long pants, only short shorts or swim trunks, and young men are always doffing their shirts and jumping into sparkling water or riding on bicycles along dirt roads. The flesh tones stand out against the villa’s pale whites and yellow walls — more tactile but on a continuum with the sculptures and oil paintings by men with similar longings centuries ago. Call Me by Your Name is hardly the first film set in Italy to juxtapose youth and beauty and fleeting seasons with ancient buildings and ruins. But I can’t recall such a continuum between the ephemeral and the enduring.
I also can’t remember a filmmaker who has captured the essence of midsummer this way, lazy but so vivid that every sound registers. Sound floats in through windows — of insects and birds but mostly wind. The presence of Nature can be felt in every one of cinematographer Sayombhu Mukdeeprom’s frames. It’s reflected in the bodies of the characters. Oliver is hard for Elio — and us — to read. Is he toying with the teenager? Or is something stirring in him, too? In this atmosphere, how can something not be stirring? There’s friction in the uncertainty, heightened when Oliver dances provocatively with Elio’s kinda-sorta girlfriend. The minutes go by and then we’re into the film’s second hour with everything maddeningly —but thrillingly — undefined.
The love scenes between Elio and Oliver aren’t explicit — they only feel as if they are. The title is said in a moment of passion. It’s Oliver’s fervent desire to dissolve his self, to become one with Elio. I should point out that Armie Hammer doesn’t look 24 — more like 29, which he was during filming, and that changes the dynamic. Make of that what you will (17 was above the age of legal consent in Italy), but it’s Elio who finally pushes Oliver over the brink — who calls the question.
Michael Stuhlbarg plays Elio’s father, an anthropology professor who gazes intently at his son, seems to know what’s happening — and doesn’t interfere. He and Elio have a revelatory conversation near the end, but it’s the very last shot that stays in mind, all but dissolving the boundary between viewer and actor. Everything in Call Me by Your Name registers momentously, from the scene that definitively raises the question, “Do I dare to eat a peach?” to the ’80s dance numbers to the yearning Sufjan Stevens song over the stunning credits. Chalamet gives the performance of the year. By any name, this is a masterpiece.
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http://m.imdb.com/title/tt5726616/mediaviewer/rm3976289024
Mafalda, Marzia and Elio in the kitchen.
Vanda Capriolo, Esther Garrel and Timothée Chalamet
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http://www.imdb.com/title/tt5726616/mediaviewer/rm1764710400
Luncheon under the trees: Mrs Perlman, Professor Perlman, Oliver and Elio
Amira Casar, Michael Stuhlbarg, Armie Hammer and Timothée Chalamet
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http://m.imdb.com/title/tt5726616/mediaviewer/rm3925957376
Oliver's prescription for Elio's nose bleed
Armie Hammer and Timothée Chalamet
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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
Australia 26 December 2017
France 17 January 2018
Brazil 18 January 2018
Poland 26 January 2018
Italy 1 February 2018 (Premiere?)
Greece 8 February 2018
Germany 1 March 2018
http://www.imdb.com/title/tt5726616/releaseinfo?linkId=43379176
USA*
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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
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Oliver and Elio lay back in the grass together, and Elio says, “I love this, Oliver,” and Oliver says, “What?” and Elio says, “Everything.” And then Oliver takes a pause before saying, “Us, you mean?”
https://nylon.com/articles/redefining-masculinity-armie-hammer-call-me-by-your-name
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Redefining Masculinity: On Armie Hammer in
Call Me by Your Name
It’s not a question of if this film will make you cry, but when and how much
by DAN CALLAHAN
Wednesday 22 November 2017
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Armie Hammer and Timothée Chalamet in Call Me by Your Name.
There is a “morning after” scene in the new film Call Me by Your Name that follows an extremely elaborate courtship between Elio, played by Timothée Chalamet, and Oliver, played by Armie Hammer. (There won’t be many plot spoilers in this article as much as what could be termed “emotional spoilers,” so just tread carefully until you see the movie.) Director Luca Guadagnino does not show us much of what they do in bed together—because that’s private and that’s for them and we wouldn’t be able to get anything from it just as observers. But we do get a sense of what they might have done sexually based on their behavior the next morning.
Elio is sitting on the bed, and he glances back at Oliver with what looks like slight contempt. It’s the sort of macho look that broadcasts, “Okay, I’ve had you, so now what?” Guadagnino cuts to Oliver, whose face is totally open and totally vulnerable. Oliver knows that Elio has pulled away from him a bit, and this bewilders and saddens him. He tries to smile slightly, and that slight smile is one of the most heartbreaking things I’ve ever seen in a movie.
In a recent interview with The Guardian, Hammer revealed that Guadagnino showed him a few minutes of Debra Winger in Bernardo Bertolucci's The Sheltering Sky (1990) to inspire him for this scene, and that was clearly an ideal choice. When I saw this close-up of Hammer’s Oliver trying to smile, I wondered how both director and actor had achieved this look of stirringly non-gendered pain and confusion. To get the very consciously masculine Hammer to show something soft and scared and broken, Guadagnino showed his actor some footage of Winger—a very macho actress—where she looked confused and hurt.
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André Aciman’s 2007 novel Call Me by Your Name is told from the point of view of Elio, a man who is remembering a summer love affair in his youth. Oliver, the object of his desire, is staying with Elio and his parents in Italy in order to assist Elio’s father. Since it is written in the first person, we get to read about Elio’s obsessive thoughts and feelings in detail, and Oliver necessarily remains somewhat opaque. But in Guadagnino’s film version of the novel—which was scripted by James Ivory and is set in 1983—there is a balance between the points of view of Elio and Oliver, and this balance is achieved by the extraordinarily sensitive way that Guadagnino films the faces and body language of his two lead actors.
When we first see Hammer’s Oliver, he is getting out of a car and he makes a joke about his height (Hammer himself is six foot five). He walks stiffly, and his voice has the exaggerated bass male aggressiveness of Jon Hamm’s Don Draper on Mad Men. But when Oliver flops himself down on his stomach on Elio’s bed, his body looks very open and submissive, and this establishes him visually as Elio’s object of desire. Oliver calls Elio “man” and “buddy” and says, “Later” in a very male 1983 way that sounds unfriendly because it is meant to ward off scrutiny. Sometimes Hammer sounds like a young Robert Redford when Oliver wants to indicate, “I’m masculine and I’m also cerebral,” but this is just a vocal mask beneath another vocal mask.
The feelings between Oliver and Elio start with a kind of surface hostility, and Oliver makes a huge mistake when he tries to signal his interest in Elio with a touch on the shoulder that turns into a brief back rub. Elio recoils from this clumsy male touch. In a courtship, one false or blunt move can delay or even destroy a romantic feeling, and the same could be said for a movie that deals with a courtship. Guadagnino and his two lead actors walk a tightrope with no net here. If they put one foot wrong, the whole movie won’t work, and this generates suspense on multiple levels.
The sun and sensuality of an Italian summer get Oliver and Elio back on track. Oliver allows himself to be dominated by Elio in conversation, and this is followed by a dance scene that has already become famous. Girls ogle Oliver on the dance floor as he grooves to “Lady, Lady, Lady,” a song from the Flashdance soundtrack. (Growing up in the 1980s, my parents would often put the Flashdance soundtrack on in the car, and I would get excruciatingly embarrassed when “Lady, Lady, Lady,” came on because the lyrics are so intimate and sexual.) 1980s pop music is an apt auditory setting for this story because so much of that music is so openly emotional and extravagant.
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The music changes to the Psychedelic Furs’ song “Love My Way,” and Hammer’s Oliver really lets himself go to it (this excerpted dance sequence has rightly delighted the internet). But Elio looks at Oliver’s dancing with hooded eyes, like a poker player, which reveals his crafty character. He maybe does fall more in love with Oliver when watching him dance to this song, but he would never reveal that on his face. In a fast cut, Elio is suddenly on the dance floor with Oliver, and he does “sexy” moves with his shoulders that look very contained next to Oliver’s goofy abandon. This is the perfect image of both who they are and who they will be to each other.
After the dance, there is a brief moment where Oliver still walks like the Big Man on Campus, but then he lets go and walks much more loosely and almost girlishly. Oliver is this big butch guy whose masculinity is revealed as very much a performance that he is tired of. He would much rather be in flux, gender-wise, and he starts to be as he and Elio very slowly reveal their feelings for each other. About 45 minutes into the movie, there is a key moment where Oliver does his “macho” voice for Elio, and Elio mocks it to his face. Elio reduces this macho voice to grunting nonsense noises, and this seems to free Oliver from his vocal prison. That’s what someone who loves you can do.
In a superbly staged scene where they finally verbally indicate their romantic emotions for each other, Oliver and Elio circle a World War I memorial and behave as if they are underground Resistance fighters who are planning a siege that might get them killed. “Are you saying what I think you’re saying?” Oliver asks. The emotional danger here is very intense. They are going to need to hide their love, but any wise person knows that to hide your love is really best; if you flaunt your love for another person, the gods might get angry. The stakes could not be higher here, and romantic love thrives on that, which is maybe why so many of our best contemporary film love stories, like Carol (2015) and Moonlight (2016), are between members of the same sex.
Oliver and Elio lay back in the grass together, and Elio says, “I love this, Oliver,” and Oliver says, “What?” and Elio says, “Everything.” And then Oliver takes a pause before saying, “Us, you mean?” The way that Hammer says the line, “Us, you mean?” couldn’t be more furtive or more exciting. Elio kisses Oliver and tries to take the lead physically, but Oliver stops him. There is their age difference to consider (Elio is 17 and Oliver is 24), but Oliver seems mainly just scared to do this openly with a guy. He treats Elio as ethically as possible and makes him wait. After Elio gets a bloody nose, Oliver gives him a secret foot massage, and then he kisses Elio’s foot, and the look on Hammer’s face here can only be described as “ardent.”
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This is courtly love between two very smart guys, and when they finally get together at midnight one night to make love, I felt like I shouldn’t be watching what was happening between them; that’s how intimate this scene is. Afterward, Oliver says, “Call me by your name and I’ll call you by mine,” which is like the moment in Wuthering Heights when Cathy cries, “I am Heathcliff!” They both are fully aware that their romance is finite and doesn’t have long to last.
Elio plays around with a peach and idly ejaculates into it, which is filmed in a very slowed-down, realistic way. Oliver makes another miscalculation when he grabs the peach and tries to eat it. This is the only moment after they sleep together where Oliver makes the mistake of treating Elio like someone who is more experienced. Elio starts to cry with embarrassment, and Oliver has to comfort him. They aren’t one person anymore but two people, and of course sometimes two people aren’t on the same track with each other.
In the novel, Oliver does eat the peach, but his almost eating it in the film works very well because it reveals something about the characters. Lest it should just seem like a gross sexual fetish, here is the extremely romantic way that Elio describes Oliver’s thinking in the book: “I believe with every cell in my body that every cell in yours must not, must never, die, and if it does have to die, let it die inside my body.” (Lines like this are given an, “Oh my God” reading in Hammer’s very urgent audio recording of Aciman’s novel, where the movie Oliver touchingly speaks for Elio.)
Elio’s parents Mr. Perlman (Michael Stuhlbarg) and Annella (Amira Casar) seem to know what is happening with their son and Oliver, but they tactfully do not meddle. Annella looks enigmatic at first as she watches over Elio and smokes her cigarettes, for she has the same hooded eyes as Elio. On a second viewing of this movie, it became clear to me that Annella not only knows what is happening but that she understands that Oliver is more in love with her son than Elio is with him. The way that Casar gets this across is the ultimate in worldliness and sophistication, in the best possible sense.
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It is Annella’s idea that Elio and Oliver should go away together for one more fling, and there are beautiful “time is running out” moments between them where Oliver seems to be memorizing every moment he has left with Elio. All of Oliver’s senses have come alive, and this is shown as very sweet, sexy, and even gently comic. “This!” Oliver cries ecstatically, drunkenly, with emphasis, on his last night with Elio. “This! You!” Call Me by Your Name is a great love story, and it is also a story about the way that Guadagnino’s camera loves and brings out Hammer as an actor who can express joy or inner turmoil with a glance.
The last scenes in Call Me by Your Name are so poignant that even the most hardboiled spectator will be likely to cry. (It’s not if you will cry at Call Me by Your Name, but more like when you will cry and how often.) Guadagnino ends his film with a phone call between Elio and Oliver. It is winter now, and Oliver says he is going to get married. The last shot is a long close-up of Elio’s face as he stares into the fire and the end credits roll. He is destroyed, and tears come out of his eyes, but he lets one of them slide into his mouth, like Barbara Stanwyck at the end of Stella Dallas (1937), and this indicates that he is finding a kind of enjoyment in his pain. Toward the end of this close-up, Elio starts to look very angry, and that’s what the film fades to black on.
Aciman is married to a woman, and he doesn’t believe in labeling sexuality. Guadagnino is gay. Elio and Oliver both seem bisexual, but Elio is likely going to move more toward women as he gets older, while Oliver is probably going to move toward men when he feels like he can. They won’t ever forget what they felt for each other, and maybe you could say that their lives will be ruined because of that.
But maybe what Call Me by Your Name (both novel and film) is saying is that you are lucky if you can have your life ruined by a love affair, if you can feel something with that much intensity. Something of that intensity wasn’t meant to last. But that close-up of Hammer’s face where Oliver tries to smile expresses the grief over that realization as profoundly as any human facial expression I’ve ever seen.
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http://armie-hammer.com/photos/thumbnails.php?album=269
https://twitter.com/search?q=%23CallMeByYourName%2C
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https://allywantstofly.tumblr.com/post/164978769932/whatever-happens-between-us-elio-i-just-want
https://eliopearlmans.tumblr.com/
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Mr. Guadagnino is very good at catching the indolent drift of long summer days, with their sleepiness and bared limbs. Everyone seems to move in slow motion at the villa, except perhaps the family’s hard-working maid. This languor fits the tempo of Elio and Oliver’s relationship, which evolves over meals, drowsy idylls, a little work and a spontaneous piano recital that becomes an overture to seduction. A gifted musician, Elio easily moves from piano to guitar (much as his family shifts from speaking Italian to French to English), talent that makes him seem at one with the villa’s miles of bookshelves, its velvet sofas, scattered Oriental rugs and tastefully arranged antiques.
https://www.nytimes.com/2017/11/22/movies/call-me-by-your-name-review-armie-hammer.html
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NYT Critic’s Pick
A Boy’s Own Desire in
Call Me by Your Name
by MANOHLA DARGIS
NOV. 22, 2017
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Timothée Chalamet in Call Me by Your Name
You don’t just watch Luca Guadagnino’s movies, you swoon into them. His best-known titles, “I Am Love” and “A Bigger Splash,” feature beautiful people with impeccable taste experiencing haute-bourgeois life intensely. Passion and drama upend those lives, but what’s most striking about these movies is their extraordinary palpable quality. In Mr. Guadagnino’s work, passion and drama are expressed in words, deeds and surging music but also in the vibrant, visceral textures that envelop his characters — the cool marble, succulent fruit, shadow and light, sheens of sweat. These are movies that turn your gaze into near-touch, inviting you to see and almost caress their sun-warmed bodies.
Mr. Guadagnino’s latest, “Call Me by Your Name,” is another ravishment of the senses, though this time there’s a strong narrative tethering all the churning feelings and sensuous surfaces. Like the 2007 novel by André Aciman on which it’s based, the story turns on an affair between Elio Perlman (Timothée Chalamet), a coltish 17-year-old American-Italian, and Oliver (Armie Hammer), an American in his 20s. Elio lives with his father (a tremendous Michael Stuhlbarg) and mother (Amira Casar) in a villa in northern Italy. Each summer the father, a professor of Greco-Roman culture, invites a student to work with him and stay with his family; this year it’s Oliver who moves in.
Elio and Oliver’s affair begins slowly with each circling the other at a distance, conveying the kind of nonchalance that’s a shield for interest. Oliver proves far better at this part of the game; he knows more than to look too long and too hard. Elio’s furtive, ducking glances, by contrast, tend to linger, hovering in the air like questions. He’s increasingly curious about this new guest, but soon inexplicably (to Elio, at least) irked by him as well, leading Elio to complain to his parents about Oliver’s standard signoff (“later”). But when Elio scribbles a private rebuke in a notebook, chastising himself for responding harshly toward Oliver, it’s as if he were writing an apologetic love letter.
Mr. Guadagnino is very good at catching the indolent drift of long summer days, with their sleepiness and bared limbs. Everyone seems to move in slow motion at the villa, except perhaps the family’s hard-working maid. This languor fits the tempo of Elio and Oliver’s relationship, which evolves over meals, drowsy idylls, a little work and a spontaneous piano recital that becomes an overture to seduction. A gifted musician, Elio easily moves from piano to guitar (much as his family shifts from speaking Italian to French to English), talent that makes him seem at one with the villa’s miles of bookshelves, its velvet sofas, scattered Oriental rugs and tastefully arranged antiques.
It’s an alluring milieu — charming, civilized and perfectly, if a shade too flawlessly, arranged. Here, even a busy breakfast table and the fruit on a tree can seem art directed. Mr. Guadagnino almost can’t help making everything look intoxicating, yet he also makes you believe in this family’s reality. The grand piano isn’t for show and neither are the books or the open affection and respect with which Elio and his parents treat one another. (The movie reminds you how rarely characters read for pleasure, much less listen to classical music.) “Call Me by Your Name” is set in 1983, so no one is staring into a smartphone. And the time frame means that AIDS doesn’t figure in the story, though there’s a suggestion that the closet does.
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A spontaneous piano recital: Mr. Hammer, left, and Mr. Chalamet.
The story primarily unfolds through Elio’s point of view. The restless camera tags alongside him, showing you what he sees, his erotic reveries and yearning. And it’s Elio who initiates the affair, at least overtly, though Oliver later admits to playing his part in what the story frames as a mutual seduction. Mr. Guadagnino avoids directly engaging the difference in Elio and Oliver’s ages, which might have forced him to explore the underside of his sumptuous surfaces to greater, messier effect. Instead, Mr. Guadagnino leans on beauty, as when Elio’s father poetically speaks to an increasingly agitated Oliver about the “ageless ambiguity” of some male statues (“as if they’re daring you to desire them”).
Written by James Ivory (the director of films like “Maurice”), “Call Me by Your Name” progresses through evasions and encounters, with Elio advancing, Oliver receding and their circling narrowing. The two don’t (can’t, won’t) always say what they mean. So Mr. Guadagnino speaks for them by eroticizing their world, making desire visible in the luxuriousness of the setting, in the green enveloping the villa, the gushing waters of a pool and the graceful lines of male statues. When Oliver hungrily eats a soft-boiled egg, cracking the shell and causing the yolk to messily spurt, Mr. Guadagnino’s lyricism slides into comedy; it’s hard to know just how self-mocking the moment is meant to be.
Even so, the lyricism seduces as does fragile, ecstatic Elio. “Call Me by Your Name” is less a coming-of-age story, a tale of innocence and loss, than one about coming into sensibility. In that way, it is about the creation of a new man who, the story suggests, is liberated by pleasure that doesn’t necessarily establish sexual identity. It’s important that Elio and Oliver have relationships with women, though for seemingly different reasons: the overheated Elio sleeps with a girlfriend (Esther Garrel), while Oliver carries on a more performative affair with a local (Victoire Du Bois). The women are not treated with much kindness, but these affairs further complicate the movie’s vision of pleasure’s fluidity.
There are moments when Mr. Guadagnino’s visual choices seem unintentionally in competition with the quieter, intricate emotions that his actors put across so movingly. He can be discreet to the point of coyness (bodies sweat but don’t necessarily grunt), but it is finally the insistent delicacy and depth of emotion that makes these characters so heart-skippingly tender. The charismatic Mr. Chalamet, Mr. Hammer and Mr. Stuhlbarg — whose brilliant delivery of a tricky speech pierces the heart and, crucially, the movie’s lustrous patina — transform beauty into feeling. In one alive, vulnerable and life-altering summer, Elio’s desire finds its purpose. He loves, and in loving, he becomes.
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Violante Visconti conceptually married the Perlmans’ worldliness with the villa’s nostalgic past to attain the eclectic, lived-in feel of a deeply loved home. “[Much] of the furniture belonged to my father,” she says. “That made it cozy and personal. The Perlmans are open-minded. They love books, music, history. … Their house is easygoing and non-structured, with flowers from the garden, furniture from their travels. It was there for generations. The Perlmans inherited it and added their lives to it. I wanted to give it the sense of time passing by.”
http://variety.com/2017/artisans/production/call-me-by-your-name-costumes-decor-1202621005/
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Luca Guadagnino Relied on a Pair of Longtime Friends for
Call Me by Your Name
Decor and Costumes.
by Tomris Laffly
NOVEMBER 23, 2017 10:15AM PT
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Timothée Chalamet, Michael Stuhlbarg and Armie Hammer in Call Me by Your Name
Two longtime friends of director Luca Guadagnino added their personal touch to “Call Me by Your Name,” his sensual summer romance from Sony Pictures Classics that’s set in northern Italy in 1983.
An interior decorator by trade, first-time set decorator Violante Visconti (Luchino Visconti’s grandniece) dressed the 17th-century villa where young Elio (Timothée Chalamet) lives with his scholarly parents, the Perlmans (Michael Stuhlbarg and Amira Casar) and falls for the visiting American intern Oliver (Armie Hammer).
Fashion designer and repeat Guadagnino collaborator Giulia Piersanti created the film’s understated costumes.
Visconti conceptually married the Perlmans’ worldliness with the villa’s nostalgic past to attain the eclectic, lived-in feel of a deeply loved home. “[Much] of the furniture belonged to my father,” she says. “That made it cozy and personal. The Perlmans are open-minded. They love books, music, history. … Their house is easygoing and non-structured, with flowers from the garden, furniture from their travels. It was there for generations. The Perlmans inherited it and added their lives to it. I wanted to give it the sense of time passing by.”
(https://hips.hearstapps.com/hmg-prod.s3.amazonaws.com/images/call-me11-1510006057.jpg?crop=1xw:1xh;center,top&resize=980:*)
Elio Perlman (Timothée Chalamet) enters the Villa Albergoni vestibule.
Most of the dishes and ’50s glassware belonged to Visconti’s parents and to Guadagnino. Maps, mirrors and paintings with Asian influences primarily came from Piva, an antiques store in Milan.
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The library of Villa Albergoni, site of the Perlman family home.
Visconti is especially fond of the pinkish couch in the library, a central piece in a number of scenes, calling it “a shabby-chic sofa in a place full of life and memories.” She recalls her collaboration with Samuel Deshors, the film’s production designer, who conceptualized many exteriors. “We obviously couldn’t have a normal swimming pool in this sort of garden,” she says. “[Samuel] had the clever idea of turning an animal watering trough into a pool.”
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For the costumes, Piersanti avoided going overboard. “Very period-y clothes would have done a disservice to the film,” she says. “The key was giving a sense of insouciant adolescent sensuality, summer heat and sexual awakening. I wanted to hint at a nostalgic, suspended period.”
As a result, Piersanti stuck with a few key pieces for each character. She pulled from her own memories of Italian summers, represented in Eric Rohmer’s “Pauline at the Beach,” “A Summer’s Tale” and “A Tale of Springtime.” For the Perlmans, she drew inspiration from her parents’ photo albums.
Mrs. Perlman’s casually chic wardrobe, consisting of mustard and army green shirts and silk bourette shorts, was custom-made based on vintage Armani pieces. Aiming to differentiate Oliver’s looks from everyone else’s, Piersanti chose big Ralph Lauren shirts, short shorts and high tops for him. “I was looking at some of Bruce Weber’s earliest photographs, of the ’80s sexy, healthy American man,” she says.
For Elio, who wears plenty of Lacoste throughout, Piersanti wanted to emphasize his evolved, confident style in the final scene with a bold shirt that came from a vintage shop in Milan. But she is mostly keen on Elio’s burgundy polo shirt and Fido Dido T-shirt. “They are from my husband’s closet,” she reveals. “I love that they will stay forever on film.”
Also see:
http://www.anothermag.com/design-living/10319/a-closer-look-at-the-sets-of-new-film-call-me-by-your-name
http://laterpeaches.tumblr.com/post/167012705693/a-closer-look-at-the-sets-of-new-film-call-me-by
More Interior Images from the the Villa Albergoni by Photography by Giulio Ghirardi
And see:
https://it.luxuryestate.com/italia/lombardia/cremona
https://it.luxuryestate.com/p16410421-villa-in-vendita-moscazzano
VILLA A MOSCAZZANO, CREMONA
And ESPECIALLY see:
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(https://pbs.twimg.com/card_img/927886336459264001/Ilu-nhAA?format=jpg&name=600x314)
The ancient villa in North Italy almost outshines Timothée Chalamet and Armie Hammer.
http://www.elledecor.com/celebrity-style/celebrity-homes/a13120998/call-me-by-your-name-movie-set/
TOUR THE 17TH-CENTURY ITALIAN VILLA
IN DIRECTOR LUCA GUADAGNINO’S
'CALL ME BY YOUR NAME'
The Lombardian Villa Albergoni propels — and rivals — the intimacy of
Timothée Chalamet and Armie Hammer in one of this year's richest films.
(https://images-na.ssl-images-amazon.com/images/M/MV5BMzM5ODM2MTMxOV5BMl5BanBnXkFtZTgwMDU5NTIxNDM@._V1_SX1777_CR0,0,1777,960_AL_.jpg)
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The screenplay of “Call Me by Your Name,” adapted from André Aciman’s novel of the same title, is by James Ivory. He has done a remarkable job, paring away pasts and futures, and leaving us with an overwhelming surge of now. On the page, events are recounted, in the first person, by an older Elio, gazing backward, but Timothée Chalamet’s Elio lacks the gift of hindsight. In any case, why is it a gift? Who wouldn’t prefer to be in the thick of love? The book is a mature and thoughtful vintage; in the film, we’re still picking the grapes.
https://www.newyorker.com/magazine/2017/12/04/call-me-by-your-name-an-erotic-triumph
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The Current Cinema
Call Me by Your Name, An Erotic Triumph
Luca Guadagnino’s latest film is emotionally acute and overwhelmingly sensual.
(https://media.newyorker.com/photos/59097b78019dfc3494ea36dd/1:1/w_48,c_limit/lane-anthony.png)By Anthony Lane December 4, 2017 Issue
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Luca Guadagnino’s sensuous film evokes the transformations of young love. Illustration by Bianca Bagnarelli
The new film by Luca Guadagnino, “Call Me by Your Name,” begins in the summer of 1983, in a place so enchanted, with its bright green gardens, that it belongs in a fairy tale. The location, the opening credits tell us, is “Somewhere in Northern Italy.” Such vagueness is deliberate: the point of a paradise is that it could exist anywhere but that, once you reach the place, it brims with details so precise in their intensity that you never forget them. Thus it is that a young American named Oliver (Armie Hammer) arrives, dopey with jet lag, at the house of Professor Perlman (Michael Stuhlbarg) and his Italian wife, Annella (Amira Casar), whose custom is to spend their summers there and also to return for Hanukkah. (Like them, Oliver is Jewish; a closeup shows a Star of David hanging from a chain around his neck.) The Professor, an American expert in classical archeology, requires an annual assistant, and Oliver is this year’s choice. “We’ll have to put up with him for six long weeks,” Annella says, with a sigh. Not long enough, as it turns out. You can pack a whole lifetime into six weeks.
The first words of the film are “The usurper.” They are uttered by the Perlmans’ only child—their son, Elio (Timothée Chalamet), who is seventeen. He stands at an upstairs window with his friend Marzia (Esther Garrel) and watches Oliver below, fearful that the American may break the reigning peace. The Professor is more welcoming, and he proposes a kind of free trade, both spatial and emotional, that will resound throughout. “Our home is your home,” he says to Oliver. “My room is your room,” Elio adds, a few seconds later, like an echo. He has moved into the adjoining room for the duration of Oliver’s stay, and they must share a bathroom. The sharing will deepen, from handshakes to confidences, and from cigarettes to kisses and other mouthly charms, concluding in the most profound exchange of all, whispered from a few inches’ distance and proclaimed in the title of the movie.
“Call Me by Your Name” is, among other things, an exercise in polyglottery, and Elio chats to his parents and friends in an easy blend of English, French, and Italian, sometimes sliding between tongues in the course of a single conversation. (Who would guess that a household, no less than a city, can be a melting pot?) His father and Oliver enjoy a clash of wits about the twisted root of the word “apricot,” tracing it through Arabic, Latin, and Greek, and mentioning that one branch leads to the word “precocious”—a nod to Elio, who listens to them with half a smile. He is a prodigy, voraciously bookish, who plays Bach al fresco on the guitar and then inside on the piano, in the manner of Liszt and of Busoni, with Oliver standing in the background, contrapposto, with the elegant tilt of a statue, drinking in the sound and the skill. “Is there anything you don’t know?” he asks, after Elio has told him about an obscure, bloody battle of the First World War.
Prodigies can be a pain, onscreen and off, and Elio—fevered with boyish uncertainties and thrills, though no longer a boy, and already rich in adult accomplishments, yet barely a man—should be an impossible role. Somehow, as if by magic, Chalamet makes it work, and you can’t imagine how the film could breathe without him. His expression is sharp and inquisitive, but cream-pale and woundable, too, and saved from solemnity by the grace of good humor; when Oliver says that he has to take care of some business, Elio retorts by impersonating him to his face. Chalamet is quite something, but Hammer is a match for him, as he needs to be, if the characters’ passions are to be believed. Elio is taken aback, at the start, by Oliver’s swagger—the hesitant youth, steeped in Europe, confronted with can-do American chops. Hammer doesn’t strut, but his every action, be it dismounting a bicycle, draining a glass of juice (apricot, of course), slinging a backpack over his shoulder, rolling sideways into a pool, or demolishing a boiled egg at breakfast until it’s a welter of spilled yolk suggests a person almost aggressively at home in his own body, and thus in the larger world. Hence the abrupt note that he sends to Elio: “Grow up. See you at midnight.”
You could, I suppose, regard Oliver as the incarnation of soft power. Certainly, his handsomeness is so extreme that the camera tends to be angled up at him, as if at one of the ancient bronze deities over which the Professor enthuses. When Oliver wades in a cold stream one glorious day, you stare at him and think, My God, he is a god. And yet, as he and Elio lounge on sun-warmed grass, it’s Oliver who seems unmanned, and it’s Elio who lays a purposeful hand directly on Oliver’s crotch. Now one, now the other appears the more carnally confident of the two. They take a while to find parity and poise, but, once they do, they are inextricable, rendered equal by ardor; the first shot of them, at dawn, after they sleep together, is of limbs so entangled that we can’t tell whose are whose. As for their parting, it is wordless. They look at one another and just nod, as if to say, Yes, that was right. That was how it is meant to be.
The screenplay of “Call Me by Your Name,” adapted from André Aciman’s novel of the same title, is by James Ivory. He has done a remarkable job, paring away pasts and futures, and leaving us with an overwhelming surge of now. On the page, events are recounted, in the first person, by an older Elio, gazing backward, but Chalamet’s Elio lacks the gift of hindsight. In any case, why is it a gift? Who wouldn’t prefer to be in the thick of love? The book is a mature and thoughtful vintage; in the film, we’re still picking the grapes.
It’s tempting to speculate how Ivory, who, as the director of “A Room with a View” (1985) and of “Maurice” (1987), showed his mastery of Italian settings and of same-sex romance, might have fared at the helm of the new film. The rhythm, I suspect, would have been more languorous, as if the weather had seeped into people’s lazy bones, whereas Guadagnino, an instinctive modernist, is more incisive. He and his longtime editor, Walter Fasano, keep cutting short the transports of delight; the lovers pedal away from us, on bikes, to the lovely strains of Ravel’s “Mother Goose Suite,” only for the scene to hit the brakes. “Call Me by Your Name” is suffused with heat, and piled high with fine food, but it isn’t a nice movie; you see it not to unwind but to be wound up—to be unrelaxed by the force with which rapture strikes. There is even a gratifying cameo by a peach, which proves useful in an erotic emergency, and merits an Academy Award for Best Supporting Fruit.
The film’s release could not be more propitious. So assailed are we by reports of harmful pleasures, and of the coercive male will being imposed through lust, that it comes as a relief to be reminded, in such style, of consensual joy. “I don’t want either of us to pay for this,” Oliver says. By falling for each other, he and Elio tumble not into error, still less into sin, but into a sort of delirious concord, which may explain why Elio’s parents, far from disapproving, bestow their tacit blessing on the pact. More unusual still is that the movie steers away from the politics of sexuality. Elio makes love to Marzia, on a dusty mattress, in a loft like an old dovecote, only hours before he meets with Oliver at midnight, but you don’t think, Oh, Elio’s having straight sex, followed by gay sex, and therefore we must rank him as bi-curious. Rather, you are curious about him and his paramours as individuals—these particular bodies, with these hungry souls, at these ravening moments in their lives. Desire is passed around the movie like a dish, and the characters are invited to help themselves, each to his or her own taste. Maybe a true love story (and when did you last see one of those?) has no time for types.
Not that anything endures. Late in the film, the Professor sits with his son on a couch, smokes, and talks of what has occurred. We expect condescension, instead of which we hear a confession. “I envy you,” he tells Elio, adding, “We rip out so much of ourselves to be cured of things faster that we go bankrupt by the age of thirty.” He once came near, he admits, to having what Elio and Oliver had, but something stood in the way, and he advises his child to seize the day, including the pain that the day brings, while he is still young: “Before you know it, your heart is worn out.” Much of this long speech is taken from Aciman’s novel, but Stuhlbarg delivers it beautifully, with great humility, tapping his cigarette. After which, it seems only natural that so rich a movie should close with somebody weeping, beside a winter fire. The shot lasts for minutes, as did the final shot of Michael Haneke’s “Hidden” (2005), but Haneke wanted to stoke our paranoia and our dread, while Guadagnino wants us to reflect, at our leisure, on love: on what a feast it can be, on how it turns with the seasons, and on why it ends in tears. ♦
This article will be published in its print form in the December 4, 2017, issue.
(https://media.newyorker.com/photos/59097b78019dfc3494ea36dd/1:1/w_48,c_limit/lane-anthony.png) Anthony Lane has been a film critic for The New Yorker since 1993. He is the author of “Nobody’s Perfect.” newyorker.com (http://newyorker.com).
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CALLMEBYYOURNAMEFANART
http://www.pictaram.org/sirayy
(https://abs.twimg.com/emoji/v2/72x72/1f351.png)
(https://scontent.cdninstagram.com/t51.2885-15/e35/22427572_398844643867237_1168592534599892992_n.jpg) by @sirayy
(https://scontent.cdninstagram.com/t51.2885-15/e35/23164193_654709848250416_2280978077737549824_n.jpg)
https://www.pictaram.org/post/BbJAlv7B1FP
http://www.pictaram.org/sirayy
"Why didn't you give me a sign?"
"I did. At least I tried."
"When?"
"After tennis once. I touched you. Just as a way of showing I liked you. The way you reacted made me feel I'd almost molested you. I decided to keep my distance."
Call Me By Your Name by André Aciman
Recited/Narrated by Armie Hammer
CALLMEBYYOURNAMEFANART by @sirayy
http://www.pictaram.org/sirayy
4:42 AM Nov 6, 2017 15 Notes, 514 Likes
(https://abs.twimg.com/emoji/v2/72x72/1f351.png)
(https://scontent.cdninstagram.com/t51.2885-15/e35/22427572_398844643867237_1168592534599892992_n.jpg) by @sirayy
(https://scontent.cdninstagram.com/t51.2885-15/e35/23164931_1329253403867012_1453108966631407616_n.jpg)
https://www.pictaram.org/post/BbMbvjqB7YT
http://www.pictaram.org/sirayy
Actually, I liked watching them dance together. Perhaps seeing him dance this way with someone made me realize that he was taken now, that there was no reason to hope.
Call Me By Your Name by André Aciman
Recited/Narrated by Armie Hammer
CALLMEBYYOURNAMEFANART by @sirayy
http://www.pictaram.org/sirayy
12:37 PM Nov 7, 2017 0 Notes, 217 Likes
(https://abs.twimg.com/emoji/v2/72x72/1f351.png)
(https://scontent.cdninstagram.com/t51.2885-15/e35/22427572_398844643867237_1168592534599892992_n.jpg) by @sirayy
(https://scontent.cdninstagram.com/t51.2885-15/e35/23348048_2020742944871660_626134883760078848_n.jpg)
https://www.pictaram.org/post/BbRrU0dBpZF
http://www.pictaram.org/sirayy
SICK AND TWISTED AND VERY, VERY SAD.
CALLMEBYYOURNAMEFANART by @sirayy
http://www.pictaram.org/sirayy
1:29 PM Nov 9, 2017 14 Notes, 675 Likes
Fan Art / Digital Art / Drawings / @sirayyg
#CMBYN #CallMeByYourName
#elio #elio perlman #oliver #ulliva #laterpeaches 🍑
#andré aciman #armie hammer #timothée chalamet #luca guadagnino
#book #novel #film #movie #sonyclassics #lgbt
#art #artwork #artist #digital art #digitalart #sketches
#digitalpainting #fanart #fanartdigital
#later!
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(https://scontent.cdninstagram.com/t51.2885-15/e35/22427572_398844643867237_1168592534599892992_n.jpg)
CALLMEBYYOURNAMEFANART
http://www.pictaram.org/sirayy
(https://abs.twimg.com/emoji/v2/72x72/1f351.png)
(https://scontent.cdninstagram.com/t51.2885-15/e35/22427572_398844643867237_1168592534599892992_n.jpg) by @sirayy
(https://scontent.cdninstagram.com/t51.2885-15/e35/22427572_398844643867237_1168592534599892992_n.jpg)
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
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(https://scontent.cdninstagram.com/t51.2885-15/e35/22427572_398844643867237_1168592534599892992_n.jpg) by @sirayy
(http://scontent.cdninstagram.com/t51.2885-15/e35/21878991_511354025881119_1164500586113007616_n.jpg)
http://www.pictaram.org/post/BZTyn4wBWS1
http://www.pictaram.org/sirayy
When he came down for breakfast he was wearing my bathing suit. No one would have given it another thought since everyone was always swapping suits in our house, but this was the first time he had done so and it was the same suit I had worn that very dawn when we'd gone for a swim. Watching him wearing my clothes was an un-bearable turn-on. And he knew it. It was turning both of us on.
Call Me By Your Name by André Aciman
Recited/Narrated by Armie Hammer
CALLMEBYYOURNAMEFANART by @sirayy
http://www.pictaram.org/sirayy
Sep 21, 2017 6 Notes, 410 Likes
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https://www.hollywoodreporter.com/features/armie-hammer-his-steamy-new-movie-a-charmed-upbringing-oscars-double-standards-1059752
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https://www.hollywoodreporter.com/features/armie-hammer-his-steamy-new-movie-a-charmed-upbringing-oscars-double-standards-1059752
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:laugh: :laugh: :laugh: :laugh: :laugh: :laugh: :laugh: :laugh: :laugh: :laugh: :laugh: :laugh: :laugh: :laugh: :laugh:
(The movie has developed a young and enthusiastic online fan base, the type typically associated with YA franchises, not art house fare. That's partly thanks to Chalamet's teenage hormonal following and partly because the film plays out like an elaborately mounted fanfic.)
https://www.hollywoodreporter.com/features/armie-hammer-his-steamy-new-movie-a-charmed-upbringing-oscars-double-standards-1059752
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Armie Hammer
on His Steamy New Movie,*
a Charmed Upbringing and
Oscar's "Double Standards"
by Seth Abramovitch November 20, 2017, 6:00am PST
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SHORT EXCERPT (please click link provided for the long read!)
•••
As Luca Guadagnino tells it — and that's with a thick Italian accent and much gesticulation — no one except Armie Hammer could ever have been his Oliver.
The adaptation of Call Me by Your Name had been in development almost since the book's 2007 release. In 2014, James Ivory (the 89-year-old half of Merchant Ivory Productions) came on board to write and potentially direct. Guadagnino, who was born in Palermo, Italy, was brought on as a consultant. By 2016, when the film had secured its $3.5 million budget, he had taken over as director. And he knew who he wanted as his star.
But, despite being "one of the most beautiful scripts I've ever read — I cried," Hammer was positive that Oliver wasn't someone he could inhabit. "There were things in the movie I'd never done on film. Not just the nudity, but the really intimate stuff. It scared me, to be honest." Hammer called Guadagnino to pass — but the director had other plans.
"Filmmakers are like charlatans," Guadagnino says with a devilish smile. "It requires a sort of seduction. So I said to him, 'Think about the fact that maybe your fears are a counterpart of your desires. Don't shy away from your fears!' " By the end of their conversation, Hammer was on board. (Guadagnino even managed to get Hammer to agree to full-frontal nudity — none of which made it into the final cut.)
"Luca is a sensualist," Hammer tells me as we make our way back to the city. "He floats through the ether like he wants to make love to everything. He'll literally be like, 'Ooohh — I love your jeans.' " He leans over and places a hand on my thigh, then slowly slides it toward my knee. "At first you're kind of like, 'Whoa.' " (I too was like, "Whoa.") "But then you're like, 'Yeah! They are really nice! Feel this part over here!'"
To get Hammer and Timothée Chalamet, both of whom are straight, comfortable with the many intimate moments depicted in the film, Guadagnino tossed his actors into the deep end. "It was our first official rehearsal," recounts Hammer. "We're in the field behind the villa — me, Timothee and Luca. And Luca says, 'Let's just start at scene 62.' So we flip to the scene, and the stage directions read: 'Elio and Oliver are laying on the berm making out aggressively.' " What followed was a moment of quiet hesitation. "Then we just went for it. Trial by fire." Chalamet, 21, says their offscreen dynamic was like that of close brothers — watching Mike Tyson documentaries and boxing matches and feasting at their favorite restaurants in Crema, the northern Italy town that served as the film's backdrop.
Tougher even than the love scenes for Hammer was one sequence in which Oliver dances with abandon at a disco to "Love My Way" by the Psychedelic Furs. "That was not fun — I don't really enjoy dancing," he says. "I very quickly become the 6-foot-5 gangly guy that's very easy to spot from across the room." In the scene, the locals, including Elio and some summering French girls, are entranced by the Adonis with the sick moves. "So Luca calls 'action' and literally everyone is ogling me, including, like, 50 extras off camera. And the music's pretty quiet, so we can record the dialogue. Here I am, dancing to this quiet music. And I'm just like, 'I hate myself! I hate my life!' " The scene has already gone viral on social media — as has much about Call Me by Your Name ahead of its Nov. 24 release. (The movie has developed a young and enthusiastic online fan base, the type typically associated with YA franchises, not art house fare. That's partly thanks to Chalamet's teenage hormonal following and partly because the film plays out like an elaborately mounted fanfic.)
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Hammer is well aware that the optics of the Elio-Oliver age gap (they are 17 and 24 in the book; Chalamet and Hammer were 19 and 29 during the shoot) will inevitably draw criticism. It did from James Woods, who tweeted in September that the project "chips away the last barriers of decency." Hammer's reply was swift and deadly: "Didn't you date a 19 year old when you were 60?" — a tweet that drew 64,000 likes. Hammer wasn't expecting his response to go viral; he was merely acting on impulse, irritated that Woods, who hadn't even seen the film, "had no moral high ground to stand on and was cheapening what we did."
"We weren't trying to make some salacious, predatory movie," Hammer continues. "The age of consent in Italy is 14. So, to get technical, it's not illegal there. Whether I agree with that or not, that's a whole 'nother Oprah, you know? Would it make me uncomfortable if I had a 17-year-old child dating someone in their mid-20s? Probably. But this isn't a normal situation: The younger guy goes after the older guy. The dynamic is not older predator versus younger boy."
As for the harassment scandals that have upended Hollywood, Hammer voices his unwavering support for the victims. "It's been permissible for too long for people in positions of power to abuse, and for the powerless to be expected to just take it. The system seems to be shaken, and thank God." But he's also certain that "no such power dynamics were at play in these two characters, and I'm excited for people to see the movie and realize that."
Of course, there's another way to consider Call Me by Your Name in this particular moment, and that's as a rare same-sex love story — one in which, as Hammer puts it, "no one gets AIDS, no one has their personal life destroyed and no one gets lynched." It's also a movie that prizes things like language, intellectualism, foreign cultures and fine art. In other words, a perfect rejection of our current political climate. All of which is to say that this could be Armie Hammer's perfect year.
Just don't ask him.
"I've heard the 'This is your moment' speech so many times," Hammer sighs as we return to the idyllic park where our journey began, the one bearing his great-grandfather's name. " 'I'm telling you, Armie, this movie is going to be the thing.' 'No, Armie, this movie is going to be the one.' The way I look at it is I'm building a collage of my work. Call Me by Your Name is going to do what it's going to do. And then the only thing I really care about is: Can I get more work afterward?"
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This story first appeared in the Nov. 20 issue of The Hollywood Reporter magazine.
https://www.hollywoodreporter.com/features/armie-hammer-his-steamy-new-movie-a-charmed-upbringing-oscars-double-standards-1059752
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CALLMEBYYOURNAMEFANART
https://twitter.com/mellowbeat__
(https://abs.twimg.com/emoji/v2/72x72/1f351.png)
(https://pbs.twimg.com/media/DMQYmV0UIAEBiLc.jpg:thumb) by @mellowbeat__
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https://twitter.com/mellowbeat__/status/935158840927993856
https://twitter.com/mellowbeat__
원작에 나오는 부분 #CallMeByYourName
나중에 깨지는 그 이론.. 결론적으로 무지개 수영복을 입혀주자.
Later cracked that theory; As a result, Rainbow swimsuit
CALLMEBYYOURNAMEFANART by @mellowbeat__
https://twitter.com/mellowbeat__
6:50 AM - 27 Nov 2017 7 Likes
#CMBYN #CallMeByYourName #laterpeaches #🍑
#elio perlman #oliver #ulliva
#timothée chalamet #armie hammer #andré aciman #luca guadagnino
#book #novel #film #movie #sonyclassics #lgbt
#art #artwork #artist #illustration
(https://abs.twimg.com/emoji/v2/72x72/1f351.png)
(https://pbs.twimg.com/media/DMQYmV0UIAEBiLc.jpg:thumb)
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(https://pbs.twimg.com/media/DMQYmV0UIAEBiLc.jpg:thumb) by @mellowbeat__
He had, it took me a while to realize, four personalities depending on which bathing suit he was wearing. [....] Yellow: sprightly, buoyant, funny, not without barbs--don't give in too easily; might turn to Red in no time. Green, which he seldom wore: acquiescent, eager to learn, eager to speak, sunny--why wasn't he always like this?
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https://twitter.com/mellowbeat__/status/916300226880663553
https://twitter.com/i/moments/809183241286496256
https://twitter.com/mellowbeat__
CALLMEBYYOURNAMEFANART by @mellowbeat__
https://twitter.com/mellowbeat__
6:52 AM October 6 2017 56 Likes
The Semiotics of the Bathing Suit
https://en.wikipedia.org/wiki/Semiotics
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https://www.garow.me/media/1571539586949360017_4225893710
CALLMEBYYOURNAMEFANART
https://twitter.com/CuZn34
(https://pbs.twimg.com/profile_images/909052678642323457/dJVy_UgD_400x400.jpg) by @CuZn34
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https://twitter.com/hashtag/cmbyn
https://twitter.com/CuZn34
He had, it took me a while to realize, four personalities depending on which bathing suit he was wearing. Knowing which to expect gave me the illusion of a slight advantage. Red: bold, set in his ways, very grown up, almost gruff and ill-tempered--stay away. Yellow: sprightly, buoyant, funny, not without barbs--don't give in too easily; might turn to Red in no time. Green, which he seldom wore: acquiescent, eager to learn, eager to speak, sunny--why wasn't he always like this? Blue: the afternoon he stepped into my room from the balcony, the day he massaged my shoulder, or when he picked up my glass and placed it right next to me.
Today was Red: he was hasty, determined, snappy.
CALLMEBYYOURNAMEFANART by @CuZn34
https://twitter.com/CuZn34
Sep 16 2017 11 Likes
#CMBYN #CallMeByYourName #elio #elio perlman #oliver #ulliva #armie hammer #timothée chalamet
#andré aciman #book #novel #luca guadagnino #film #movie #movies #film
#lgbt #lgbtmovie #sonyclassics #oscar
#painting #art #artist #fanart #twitter
#laterpeaches #🍑
#Red
#later!
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Timothée Chalamet is handed the difficult task of making Elio authentically aloof and cold at times. Though he’s a teenager desperate for the approval of everyone around him, he possesses a vulnerability that he displays only occasionally. Armie Hammer, who could so easily be reduced to the part of a typically handsome Hollywood stand-in, is mesmerizing; he switches between Oliver’s public brashness and private tenderness with ease, making his character far more than a simple object of desire.
https://www.theatlantic.com/entertainment/archive/2017/11/call-me-by-your-name-review/546872/
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The Sumptuous Love Story of
Call Me by Your Name
Luca Guadagnino’s tale of budding gay romance in 1980s Italy
is one of the most mesmerizing films of the year.
by DAVID SIMS
29 November 2017 6:00 AM ET
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Timothée Chalamet and Armie Hammer in Call Me by Your Name.
“What do you do around here?” the tall, strapping Oliver (Armie Hammer) asks Elio (Timothée Chalamet), the 17-year-old giving him a tour of the charming Italian village where Oliver will be living for the next six weeks. “Wait for the summer to end,” the bored-seeming Elio says with a sigh. “And what do you do in the winter? Wait for the summer to come?” Oliver shoots back. That only gets a chuckle from Elio, but that line nails the initial mood of Call Me by Your Name, Luca Guadagnino’s sumptuous new romance, which follows a deep connection that springs out of those restless days of late adolescence.
Elio is the intelligent, charming son of archeology professor Samuel Perlman (Michael Stuhlbarg), with whom Oliver, a graduate student, is interning for the summer. Guadagnino’s film, based on the 2007 novel by André Aciman, charts Elio and Oliver’s relationship, which develops haltingly at first but then burns brightly. It’s a swooning tale about the seismic power of first love—one that doesn’t dismiss Elio’s experience as a folly of youth, but instead digs into the unmistakable trace it leaves, for better or worse.
It’s also a story of queer love that isn’t tinged with horror or tragedy, a gay romance about a genuine attachment. At the same time, Call Me by Your Name doesn’t attempt to sanitize itself as a bland, “universal” film in hopes of appealing to a wider audience. It’s both intensely erotic and intensely contained, acknowledging the very private lives gay men were forced to lead in the early 1980s, when the film is set. As a result, in Call Me by Your Name, virtually every bit of physical contact is crucial and electrifying.
The intimacy Guadagnino (and James Ivory, who wrote the film’s script) finds in these characters is present from the beginning, but Chalamet (a 21-year-old budding superstar who I knew best from an old season of Homeland ) is the audience’s way in, as a boy on the verge of adulthood who develops immediate, if confused, attraction to the confident Oliver. Not long after the two first meet, Elio retires to his room and reclines in his bed, looking at the tuft of hair sprouting from his armpit, and lazily blowing on it. A few scenes later, Elio is bold enough to sneak into Oliver’s empty room and put Oliver’s swimsuit over his head.
Guadagnino doesn’t include these moments to advance the plot or to let the audience in on some secret; the connection between Elio and Oliver is apparent very quickly. Rather, he’s trying to sketch a portrait of personal, formative experiences of sexuality, and of Elio’s relationship with his own body. It’s tremendously insightful work from a director who has long appreciated actors’ bodies as more than aesthetic objects. In his 2009 film I Am Love, Guadagnino presented Tilda Swinton—as a married woman having a dangerous affair—at her most ravishing, and then spends the movie digging into her vulnerable psyche. In A Bigger Splash, a music producer played by Ralph Fiennes was all physicality, dancing wildly for the camera in an extended introduction, but Guadagnino goes on to expose just how strung out his character really was.
Even compared to the director’s previous films (which are excellent and worth watching), Call Me by Your Name is a huge step forward for Guadagnino. The story manages to transcend all its genre trappings: This isn’t just a luxurious vacation movie, but it’s still crammed to the gills with gorgeous shots of the Italian countryside and Elio’s family home. This isn’t just an erotic drama, and yet the love scenes are all choreographed with care. And most importantly, this isn’t just a coming-of-age tale, but the ardor Elio and Oliver have for each other feels utterly vital, as if every touch will be seared into their memories.
Chalamet is handed the difficult task of making Elio authentically aloof and cold at times. Though he’s a teenager desperate for the approval of everyone around him, he possesses a vulnerability that he displays only occasionally. Hammer, who could so easily be reduced to the part of a typically handsome Hollywood stand-in, is mesmerizing; he switches between Oliver’s public brashness and private tenderness with ease, making his character far more than a simple object of desire. And lurking in the background is Stuhlbarg, wonderful as a knowing father who is content to mostly let his son figure things out by himself, but who steps in with a guiding hand when things get a little tougher. (He also delivers one of the most astonishing film monologues of recent memory.)
Call Me by Your Name soaks in that end-of-summer mood throughout, one where each move in Elio and Oliver’s courtship is loaded with tension (simply because their time together is so short, and thus so meaningful). As such, it’s thrilling to watch, even as the pair waste the days away swimming, biking, and talking around their feelings; when their dynamic finally explodes into passion, it’s one of the year’s most satisfying film moments. Each element is carefully calibrated, but deployed with consummate grace—this is a film to rush to, and to then savor every minute of.
(https://cdn.theatlantic.com/assets/media/None/sims/headshot.png?1461093689) DAVID SIMS is a senior associate editor at The Atlantic, where he covers culture.
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https://gotham.ifp.org/
Best Feature
(https://gotham.ifp.org/img/award-nominees/Best-Feature/CALLMeBYN.JPG)
Call Me by Your Name
Luca Guadagnino, director; Peter Spears, Luca Guadagnino, Emilie Georges, Rodrigo Teixeira, Marco Morabito, James Ivory, Howard Rosenman, producers
(Sony Pictures Classics)
[youtube=825,450]http://www.youtube.com/watch?v=j9CvHQRP61M[/youtube]
CALL ME BY YOUR NAMEwins the 2017 IFP Gotham Award for Best Feature Independent Filmmaker Project
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Director Luca Guadagnino and team (including screenwriter James Ivory and producer Peter Spears) accept the IFP Gotham Award for Best Feature for CALL ME BY YOUR NAME at the 27th Annual IFP Gotham Awards. The ceremony took place on November 27th, 2017 at Cipriani Wall Street in New York City.
[youtube=825,450]http://www.youtube.com/watch?v=oV_IN9m0TdA[/youtube]
Timothée Chalamet winning the Breakthrough Actor Gotham Award for CALL ME BY YOUR NAMEIndependent Filmmaker Project
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Timothée Chalamet accepts the 2017 IFP Gotham Award for Breakthrough Actor for CALL ME BY YOUR NAME at the 27th Annual IFP Gotham Awards. The ceremony took place on November 27th, 2017 at Cipriani Wall Street in New York City.
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https://en.wikipedia.org/wiki/Gotham_Awards
The Gotham Independent Film Awards are American film awards, presented annually to the makers of independent films at a ceremony in New York City, the city first nicknamed "Gotham" by native son Washington Irving, in an issue of Salmagundi, published on November 11, 1807. Part of the Independent Filmmaker Project (IFP), "the largest membership organization in the United States dedicated to independent film" (founded in 1979), the awards were inaugurated in 1991 as a means of showcasing and honoring films made primarily in the northeastern region of the United States.
https://gotham.ifp.org/
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Nominations Announced
Thursday, October 19
Awards
Monday, November 27
Watch The IFP
Gotham Awards Online
Monday, November 27, 8pm
Exclusive Red Carpet Show
Begins 6:15pm
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http://monetsberm.tumblr.com/post/166570539041
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https://laterpeaches.tumblr.com/post/166570479648
http://monetsberm.tumblr.com/post/166570429896
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https://laterpeaches.tumblr.com/post/166570476928
http://monetsberm.tumblr.com/post/166570407956
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[youtube=825,450]http://www.youtube.com/watch?v=QOna2IYkzsQ[/youtube]
Find out why Armie Hammer's Mom refuses to seeCALL ME BY YOUR NAMESiriusXM
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Armie Hammer sits down with Andy Cohen (as well as Luca Guadagnino, Timothée Chalamet and Michael Stuhlbarg) in the SiriusXM studios in New York City to talk about his upcoming role as Oliver in Call Me by Your Name. Armie talks about how he believes his mother will not see Call Me by Your Name due to the film's content.
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THIS CONVERSATION IS LITERALLY BRILLIANT!
Touching, funny and intelligent!
Sweet and charming, jam packed with juicy details,
it is worth listening/watching for every minute of the 58:36!
(Of one of the many, many lovely moments, one for me, personally, is beyond amazing, at 2:42-4:37: we learn that, sometime in 2014, André, Luca and James Ivory met in a restaurant just immediately below James Ivory's apartment in NY (James is 89 years old, after all!)--a restaurant (on 52nd Street near 1st Ave, I happen to know) I've been to many, many times--I live two blocks away. So, I'm awestruck AND envious--if ONLY I could have been the fly on the wall!)
[youtube=825,450]http://www.youtube.com/watch?v=iGJcC2StRcc[/youtube]
CALL ME BY YOUR NAMELuca Guadagnino and André Aciman
with Hunter Harris (59:28)The New York Public Library
Published on Nov 27, 2017(https://yt3.ggpht.com/-Hyylhdo4Y_s/AAAAAAAAAAI/AAAAAAAAAAA/QUV9jb2rNSs/s88-c-k-no-mo-rj-c0xffffff/photo.jpg)
Celebrating the release of the new film Call Me by Your Name, a melancholic tale of first love and youthful exploration, director Luca Guadagnino and novelist André Aciman take to the NYPL stage. The two will discuss the making of the story, first in the form of the original acclaimed novel by Aciman, and now as a major feature film by Guadagnino. [New York Magazine's] Vulture's associate editor Hunter Harris moderates the discussion.
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(https://images-na.ssl-images-amazon.com/images/I/41zSKFCqOcL._SX340_BO1,204,203,200_.jpg)(https://images-na.ssl-images-amazon.com/images/I/41zSKFCqOcL._SX340_BO1,204,203,200_.jpg)(https://images-na.ssl-images-amazon.com/images/I/41zSKFCqOcL._SX340_BO1,204,203,200_.jpg)
(http://1.bp.blogspot.com/-PjXbTN5OCmY/UoHVDSQt4FI/AAAAAAAALts/xQdgh1Eq3hE/s1600/plus+tard+ou+jamais+andr%C3%A9+aciman.jpg)(http://1.bp.blogspot.com/-PjXbTN5OCmY/UoHVDSQt4FI/AAAAAAAALts/xQdgh1Eq3hE/s1600/plus+tard+ou+jamais+andr%C3%A9+aciman.jpg)
https://www.amazon.fr/Plus-tard-jamais-Andre-Aciman/dp/2879295750/ref=sr_1_1
The previous French edition of the book is being reissued with a title change, from 'Plus tard ou jamais' ('Later or never', pub. Nov 3 2008) to the more consistent 'Appelle-moi par ton nom' ('Call me by your name', pub. Feb 7 2018) but I'm sorry that I didn't buy a copy before all copies of the old title suddenly disappeared. Quel dommage!
(https://static.fnac-static.com/multimedia/Images/FR/NR/1f/2c/8b/9120799/1540-1/tsp20171121183011/Appelle-moi-par-ton-nom.jpg)HOWEVER-- why didn't they use 'The FONT'? (https://www.launchingfilms.com/assets_responsive/images/autumnwinter2017/callmebyyourname.jpg)
https://www.amazon.fr/Appelle-moi-par-ton-nom-Jean-Pierre/dp/2246815797
I have to say I think it's Very Annoying!! >:(
I mean--the Brazilians managed!
(https://www.intrinseca.com.br/upload/livros/MeChamePeloSeuNome_G.jpg)
https://www.intrinseca.com.br/livro/805/
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BTW, if, like me (and like André Aciman himself!) you wondered about the handmade, specifically designed 'font' for the movie poster and the opening titles (Lettering for the Poster and Credits by CHEN LI art & calligraphy 陈莉艺术 Milano, ITALIA), Luca, who thinks of everything, explained it all in this Q&A here: 52:10 - 53:53!
[youtube=825,450]http://www.youtube.com/watch?v=iGJcC2StRcc[/youtube]
https://www.youtube.com/watch?v=iGJcC2StRcc
CALL ME BY YOUR NAME
Luca Guadagnino and André Aciman
with Hunter Harris (59:28)
The New York Public Library
Published on Nov 27, 2017
(https://yt3.ggpht.com/-Hyylhdo4Y_s/AAAAAAAAAAI/AAAAAAAAAAA/QUV9jb2rNSs/s88-c-k-no-mo-rj-c0xffffff/photo.jpg)
Celebrating the release of the new film Call Me by Your Name, a melancholic tale of first love and youthful exploration, director Luca Guadagnino and novelist André Aciman take to the NYPL stage. The two will discuss the making of the story, first in the form of the original acclaimed novel by Aciman, and now as a major feature film by Guadagnino. [New York Magazine's] Vulture's associate editor Hunter Harris moderates the discussion.
(http://www.chenli.it/immagini/logo-bianco-chenli200.png)
http://www.chenli.it/calligraphy.html
(http://www.chenli.it/immagini/segni-s.jpg)
(https://theplaylist.net/wp-content/uploads/2017/08/call-me-by-your-name-poster-1-1200x520.jpg)
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CALLMEBYYOURNAMEFANART
https://twitter.com/mellowbeat__
(https://abs.twimg.com/emoji/v2/72x72/1f351.png)
(https://pbs.twimg.com/media/DMQYmV0UIAEBiLc.jpg:thumb) by @mellowbeat__
(https://pbs.twimg.com/media/DQCgrxCVoAEK_En.jpg)
https://twitter.com/mellowbeat__/status/936925430761664512
https://twitter.com/mellowbeat__
미묘하다
Subtle II
CALLMEBYYOURNAMEFANART by @mellowbeat__
https://twitter.com/mellowbeat__
3:50 AM - 2 Dec 2017 3 Likes
#CMBYN #CallMeByYourName #laterpeaches #🍑
#oliver #ulliva #elio #elio perlman
#armie hammer #timothée chalamet #andré aciman #luca guadagnino
#book #novel #film #movie #sonyclassics #lgbt
#art #artwork #artist #illustration
(https://abs.twimg.com/emoji/v2/72x72/1f351.png)
(https://pbs.twimg.com/media/DMQYmV0UIAEBiLc.jpg:thumb)
CALLMEBYYOURNAMEFANART
https://twitter.com/mellowbeat__
(https://abs.twimg.com/emoji/v2/72x72/1f351.png)
(https://pbs.twimg.com/media/DMQYmV0UIAEBiLc.jpg:thumb) by @mellowbeat__
(https://pbs.twimg.com/media/DIyeLgIV4AA_Rpl.jpg)
https://twitter.com/mellowbeat__/status/904271579848130560
https://twitter.com/mellowbeat__
미묘하다
Subtle
CALLMEBYYOURNAMEFANART by @mellowbeat__
https://twitter.com/mellowbeat__
2:15 AM - 3 Sep 2017 2 Likes
#CMBYN #CallMeByYourName #laterpeaches #🍑
#elio perlman #oliver #ulliva
#timothée chalamet #armie hammer #andré aciman #luca guadagnino
#book #novel #film #movie #sonyclassics #lgbt
#art #artwork #artist #illustration
(https://abs.twimg.com/emoji/v2/72x72/1f351.png)
(https://pbs.twimg.com/media/DMQYmV0UIAEBiLc.jpg:thumb)
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The film was shot in continuity, which allowed us to witness the onscreen maturity of both protagonist and actor. The experience became a dual rite of passage. “The main lesson tells us in a very delicate way that you should follow who you are,” editor Walter Fasano said. “And Timothée embodies this perfectly. The other day, I saw him at one of the premieres, and already, at 21, he’s another person. And so the [performance] really did grab that special moment of growing up in life and in front of the camera.”
http://www.indiewire.com/2017/12/call-me-by-your-name-luca-guadagnino-editing-oscars-1201903009/
(https://pmccorp.files.wordpress.com/2016/05/indiewire_5001.png?w=284)
Call Me by Your Name
Editing Was Crucial to the Year’s Best Love Story
Editor Walter Fasano discusses how he cut the Oscar-contending
coming-of-age drama, including the infamous peach scene.
by Bill Desowitz
@BillDesowitz
Dec 1, 2017 5:18 pm
(http://static.businessinsider.my/sites/3/2017/11/5a177a7a3dbef41e008b7f57.jpg)
Timothée Chalamet and Armie Hammer in Call Me by Your Name
With an affectionate nod to Bernardo Bertolucci and Eric Rohmer, Luca Guadagnino has made the year’s best love story: Call Me By Your Name. The same sex romance starring NYFCC Best Actor winner Timothée Chalamet (a breakout revelation) and Armie Hammer (who’s seductively feline) leads to something far more sublime than summer love. And it’s a movie in which desire and liberation blossom in the inviting and beautiful landscape of Northern Italy.
For Walter Fasano (Guadagnino’s go-to editor for 21 years), this dance of desire between 17-year-old Elio (Chalamet) and 24-year-old Oliver (Hammer) provided both an inner and outer poetry. “Our main intention was to let characters and the landscape breathe and not overwhelm with the editing,” he said. “At the same time, we wanted to have a control of the style and music editing for the ins and outs of shots because we did not want our personal taste to look self-indulgent.”
Based on the acclaimed novel by André Aciman and adapted by James Ivory and Guadagnino, Call Me By Your Name was shot near the director’s home in Crema, less than an hour from Milan, principally in a 17th century villa. Fasano said the close proximity for Guadagnino enhanced the relaxed, improvisational atmosphere of the production (shot on 35mm by cinematographer Sayombhu Mukdeeprom).
A Dual Rite of Passage
Finding the right tempo, though, became its own rhythmic dance: When to hold on the performance or when to cut. “To stay in the shot and not to cut, cut, cut may give the impression of being correct in the progression of the story and never be boring,” Fasano said. “Well, sometimes if you cut, cut, cut, you can give the impression that something is wrong and maybe creating some kind of tension that can get boring.”
The film was shot in continuity, which allowed us to witness the onscreen maturity of both protagonist and actor. The experience became a dual rite of passage. “The main lesson tells us in a very delicate way that you should follow who you are,” Fasano said. “And Timothée embodies this perfectly. The other day, I saw him at one of the premieres, and already, at 21, he’s another person. And so the [performance] really did grab that special moment of growing up in life and in front of the camera.”
(https://2.bp.blogspot.com/-F3_0FPazSVk/V1WIeDT9bXI/AAAAAAADFWY/-uitC4xI-GcxoQsgsubldfMmDuTgI6gWACLcB/s1600/ARMIE%2BHAMMER%2BSHORT%2BSHORTS%2B2.png)
http://www.mynewplaidpants.com/2016/06/armie-is-still-taking-italy.html
(https://pbs.twimg.com/media/DIVuDQMXkAENQrj.jpg)
https://twitter.com/cmbynmovie
Keeping the Glass of Water Scene
The editor’s favorite scene almost didn’t made the cut when one of the producers insisted that it was inconsequential. “They’re on their bikes and they go inside a courtyard where there is an image of Mussolini and a woman is cleaning some vegetables,” Fasano said. “And they ask for some water. And then they go back on their bikes, but that long shot when you can see them disappear into the distance, you start feeling that sun on the skin experience.”
“And so at the end of this hike, before they get to the place where they first kiss, Ravel’s music [“Une Barque sur L’Ocean”] is played, and they’re suddenly interrupted. It’s an abrupt cut that ends a moment of quiet, but at the same time it reminds you of the way you remember things where your recollection could stop immediately.”
The Importance of Bach
Music plays an important part of the movie. Along with two original songs by Sufijan Stevens (“Mystery of Love” and “Visions of Gideon”) and the inclusion of the Psychedelic Furs’ “Love My Way,” there are various classical pieces, including the aforementioned Ravel. However, the most important was Bach’s “Capriccio on the Departure of his Beloved Brother,” which Elio plays on guitar and piano.
(https://pixel.nymag.com/imgs/daily/vulture/2017/07/31/call-me-by-your-name-gifs/31-cmbyn-guitar-book.nocrop.w710.h2147483647.gif)
(https://media1.popsugar-assets.com/files/thumbor/3SvIVdcrCJpsbhQDLA1rnXrz6_U/fit-in/2048xorig/filters:format_auto-!!-:strip_icc-!!-/2017/11/20/056/n/1922283/tmp_qmXIYQ_bfd3281da7f7c8a9_MCDCAME_SP001.jpg)
But the way Elio teasingly alters the arrangement brings him closer to Oliver. It’s a form of foreplay yet also conveys control. “So he plays the guitar outside and then he goes to the piano,” said Fasano. “It’s the spark of an idea and he tells Oliver to follow him. Then there is this long shot without a camera move that is incredibly good. The movie is full of these subtle games and paths.”
The Peach Scene
The infamous peach scene from the novel, in which Elio masturbates with the hallowed out fruit and Oliver partakes of it, got changed in the movie. “Luca was very good at creating the perfect look and feel with our wonderful cinematographer, Sayombhu, and Timothée did the rest,” the editor said.
“It was just a couple of takes, timing was perfect, everything was very delicate, and we just put things together, being very attentive and the radio playing in the background. So, in a way, it was easy.”
Then Oliver entered and the tension takes a comical turn when he makes fun of Elio. “It’s the fear of being discovered and the fear of the separation, because, in a couple of days Oliver is running away,” added Fasano. “And the boldness of Oliver wanting to drink the juice is stopped by this incredible outcome. Again, they gave me everything and I just needed to put it together.”
A Father’s Speech
Another important scene involved the loving support provided by Elio’s father (brilliantly played by Michael Stuhlbarg) after a moment of heartbreak. In an unforgettable monologue, Mr. Perlman confesses envy for his son’s passion and implores him to follow his desire, despite the pain, and not shut himself off from emotional depth.
(https://78.media.tumblr.com/3f6f7014c5e62a718710f9e837964609/tumblr_oy15daPYKI1qe8tjno4_540.gif)
https://laterpeaches.tumblr.com/post/166541710078/bowie28-call-me-by-your-name-uk-trailer
http://bowie28.tumblr.com/post/166541404810
“It comes from the novel, and then it’s Michael’s magic after Luca put him at the most comfortable position,” Fusano said. “Then Luca said to me the same thing he tells his barber: ‘Please don’t cut too much. I just want to see a maximum of four cuts. But let the performance speak. I think Michael did it in three takes on three different levels of getting emotional. There was a moment in one cut where there was piano playing underneath, but we decided that silence was the best thing.”
(http://www.awardsdaily.com/wp-content/uploads/2017/08/5-878x494.jpg)
[youtube=999,600]http://www.youtube.com/watch?v=kRfoIKjwHvQ[/youtube]
https://www.youtube.com/watch?v=kRfoIKjwHvQ
This clip has been
floating out there for weeks--
finally now on Youtube!
CALL ME BY YOUR NAME (2017)
Clip: "Play that again--please!"
Armie Hammer & Timothée Chalamet
Movieclips Film Festivals & Indie Films
Published on Nov 14, 2017
(https://yt3.ggpht.com/-eusR1zxcqvw/AAAAAAAAAAI/AAAAAAAAAAA/p3a7GCpM0fA/s88-c-k-no-mo-rj-c0xffffff/photo.jpg)
[youtube=425,350]http://www.youtube.com/watch?v=NnYNjhkBNiw[/youtube]
see 06:34 - 7:54
Postilion's aria: Allegro poco
Bach - Capriccio in B-flat major BWV 992
("On the Departure of a Beloved Brother")
by Leon Fleisher
pianushko
Published on Sep 14, 2013
(https://yt3.ggpht.com/-Hxbvzvr5wlc/AAAAAAAAAAI/AAAAAAAAAAA/uHx2QAW8GHA/s88-c-k-no-mo-rj-c0xffffff/photo.jpg)
(http://www.littletownmart.com/fdh/narvaez_boat.jpg)
[youtube=780,750]http://www.youtube.com/watch?v=bTYUyDjVCRU[/youtube]
https://www.youtube.com/watch?v=bTYUyDjVCRU
Maurice Ravel: Miroirs III. Une Barque sur L'Ocean (1904-1905)
(pianist André Laplante)
Sounds familiar....
https://en.wikipedia.org/wiki/Maurice_Ravel
https://en.wikipedia.org/wiki/Miroirs
https://en.wikipedia.org/wiki/Andr%C3%A9_Laplante
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(https://pbs.twimg.com/profile_images/563634409/LAFCA_logo_square_bigger.jpg) LA Film Critics
@LAFilmCritics
3:12 PM - 3 Dec 2017
1629 Retweets 1,144 Likes
https://twitter.com/LAFilmCritics
https://twitter.com/LAFilmCritics/status/937459605168197633
Best Picture, Winner:
CALL ME BY YOUR NAME
2:58 PM - 3 Dec 2017
559 Retweets 1,153 Likes
https://twitter.com/LAFilmCritics
https://twitter.com/LAFilmCritics/status/937456021215178752
BEST DIRECTOR, Winner:
Guillermo del Toro, THE SHAPE OF WATER AND
Luca Guadagnino,
CALL ME BY YOUR NAME (TIE)
2:24 PM - 3 Dec 2017
854 Retweets 1,624 Likes
https://twitter.com/LAFilmCritics
https://twitter.com/LAFilmCritics/status/937447418601209856
BEST ACTOR, Winner:
Timothée Chalamet,
CALL ME BY YOUR NAME
(https://pbs.twimg.com/media/DNJOyX4WsAAxqqJ.jpg)
ALSO SEE:
http://variety.com/2017/film/awards/2017-los-angeles-film-critics-association-awards-1202629006/
Los Angeles Film Critics Assn. Crowns ‘Call Me by Your Name’ Best Picture of 2017
DECEMBER 3, 2017 10:33AM PT
(https://pmcvariety.files.wordpress.com/2017/11/call-me-by-your-name4.jpg?w=1000&h=563&crop=1)
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(https://pbs.twimg.com/profile_images/1212052627/NYFCC200x200_bigger.jpg) New York Film Critics Circle
@nyfcc
30 Nov 2017
https://twitter.com/hashtag/NYFCC?src=hash
https://twitter.com/IndieWire/status/936297705709690881
https://twitter.com/EW/status/936298651709771778
https://twitter.com/Variety/status/936304602567254017
https://twitter.com/THR/status/936298408146538497
BEST ACTOR, Winner:
Timothée Chalamet,
CALL ME BY YOUR NAME
(https://pbs.twimg.com/media/DP5llFuWkAEc-VZ.jpg:large)
ALSO SEE:
http://variety.com/2017/film/awards/2017-new-york-film-critics-circle-awards-voting-1202626767/
‘Lady Bird’ Named Best Picture by New York Film Critics Circle
NOVEMBER 30, 2017 8:05AM PT
Best Actor: Timothée Chalamet (“Call Me by Your Name”)
A breakthrough staple so far this season, Chalamet has caught fire as a bona fide lead actor contender in this year’s race. He’s also
had a busy year, appearing in “Hostiles” and “Lady Bird” as well. He is the youngest best actor winner in NYFCC history.
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Yet the slight murkiness of Oliver’s motivations becomes part of the film’s power. He remains a spiritual stranger — to us, to Elio, and to himself. Call Me by Your Name, in presenting a “well-adjusted” gay character who projects no self-loathing yet is unwilling to fully be himself, creates an expressionist vision of what the closet is: not simply a prison, but a precise and complex state of being that, for a long time, defined the way that a lot of people lived — and still does. The movie doesn’t attack the closet; it humanizes the closet.
The critique, though, is implicit. For who, in the end, wants to live that way? Oliver, sensual and liberated yet finally compartmentalized, is an archangel of erotic mystery who swoops down to tap Elio on the shoulder and bring him to life. And though Oliver comes on like the fierce, wise, and all-knowing one, it’s really Elio, in his confusion, who emerges as the more enlightened character.
http://variety.com/2017/film/columns/call-me-by-your-name-a-meditation-on-the-closet-1202629039/
(https://upload.wikimedia.org/wikipedia/en/thumb/f/f4/Variety_2013_logo.svg/1280px-Variety_2013_logo.svg.png)
Call Me by Your Name
A Love Story — and a Meditation on the Closet.
by Owen Gleiberman
@OwenGleiberman
DECEMBER 3, 2017 10:12AM PT
(http://s1.dmcdn.net/lYVam/1280x720-lT4.png)
Timothée Chalamet and Armie Hammer in Call Me by Your Name
Call Me by Your Name is a love story that seems, on the surface (and a ripe and gorgeous surface it is), to be all about the lyrical sensations of erotic and emotional discovery. The back-and-forth glances that could mean everything or nothing. The slow-burn calculus of mutual seduction. The tactility of flesh and food and freedom and summer. The ache of a desire that only expands the more it’s fulfilled. (And damn, what about that peach?) Yet if Call Me by Your Name were nothing more than the swoony tale of a high-art summer fling, it might not amount to all that much. The film’s true subject, in almost every scene, is what it looks like, and what it means, when everything the two people in question are doing and thinking and feeling has to remain hidden.
Elio (Timothée Chalamet), the dreamy, bookish 17-year-old son of an antiquities professor (Michael Stuhlbarg), whiling away the summer on his family’s lavish villa in Northern Italy, and Oliver (Armie Hammer), the tall, suave, and handsome doctoral candidate who’s staying there on a six-week research fellowship, take a good long time to zero in on their shared desire. That’s because they’re speaking in code. It’s not just that they never talk about their feelings for each other; they barely talk about the fact that they never talk about their feelings. (Even their hiding remains hidden.) The entire movie is a poeticized meditation on the experience of the closet: what it’s like to live there, how it once worked (even when things were starting to open up), and why it had to go away. (Not that it completely has, obviously.) Call Me by Your Name is a love story, but it’s really a spy movie. Right to the end, its drama erupts out of what happens, and what gets spoken, between the lines.
Almost everything that transpires between Elio and Oliver has the furtive, heightened quality of a tradecraft secret: their first physical contact during a volleyball game, when Oliver gives Elio an impromptu shoulder rub that may or may not be sexually suggestive (it’s confirmed only later that it was a purposefully dropped hint); the fantastically oblique dialogue they have in the middle of the town square, when they’re completely alone yet still act as if their words are being surreptitiously recorded — a remarkable sequence that the director, Luca Guadagnino, stages with a slow long circular camera movement that might have come out of a Spielberg espionage thriller, with a line like “Are you saying what I think you’re saying?” veering about as close to a confession of desire as anyone in the movie gets; the swimming, biking, and lolling-in-the-grass sequences, a case of would-be lovers hiding in plain sight; and the final phone conversation, in which the revelation of an impending marriage is treated as if it were the most natural thing in the world. Elio and Oliver both have involvements with women, which could make referring to either character as “gay” sound reductive. Yet their affair defines them both: It’s the love that Oliver embraces but can’t accept — and the one that allows Elio to open the door to who he is.
The singular pull, and quiet power, of Call Me by Your Name relates to the fact that nearly every movie you could think of that deals with the hiding — that is, the suppression — of gay life carries an overt message. Brokeback Mountain, for instance, was a romantic tragedy that depicted the price of sexual freedom as nothing less than survival. (The price of being openly gay was being murdered.) Far from Heaven, a heightened soap opera of dazzlingly ironic sincerity, was rooted in the anguished yearning of Dennis Quaid’s character — an executive on the down-low who experiences his erotic longings as a curse from which he can only dream of escaping
Call Me by Your Name, by contrast, features no overt element of moral reckoning and, significantly, no component of shame. The film unfolds in a tranquil art-film Eden of robust sensual delight, and the distinguishing feature of Armie Hammer’s performance is its cool, calm, and collected charisma; his presence hums with a blithely macho low-voiced command, the way Jon Hamm’s did on Mad Men. Oliver treats the high secrecy of his desires not as a curse but as a law of the universe, and we have to guess a bit as to his motivations. How much of his outwardly “straight” identity comes from the fact that he’s worried about disrupting his tenure track, and how much comes from the fact that his father, as he says at one point, would have him committed otherwise? Since the film is set in 1983, 14 years after the Stonewall riots unleashed the era of gay liberation, a part of us wonders: If you’re so damn confident, why not just be who you are?
Yet the slight murkiness of Oliver’s motivations becomes part of the film’s power. He remains a spiritual stranger — to us, to Elio, and to himself. Call Me by Your Name, in presenting a “well-adjusted” gay character who projects no self-loathing yet is unwilling to fully be himself, creates an expressionist vision of what the closet is: not simply a prison, but a precise and complex state of being that, for a long time, defined the way that a lot of people lived — and still does. The movie doesn’t attack the closet; it humanizes the closet.
The critique, though, is implicit. For who, in the end, wants to live that way? Oliver, sensual and liberated yet finally compartmentalized, is an archangel of erotic mystery who swoops down to tap Elio on the shoulder and bring him to life. And though Oliver comes on like the fierce, wise, and all-knowing one, it’s really Elio, in his confusion, who emerges as the more enlightened character. Oliver is content to suppress his life force — that’s the only way that makes sense to him — but Elio represents the dawn of a new way. That fire he’s staring into during the film’s extraordinary final shot isn’t simply the memory of the passion he shared with Oliver. It’s the life of passion that awaits him in the future. It’s the burn of a desire that’s untrapped.
COMMENTS:
DECEMBER 3, 2017 AT 12:20 PM
Pat says:
Watched Call Me By Your Name twice and I believe once it expand and more people watching, the box office will be propelled by repeat viewing. Nowadays it’s rare to watch a movie that sticks in your brain after leaving the cinema. I am still thinking this movie a lot after I watched it the first time in AFI Fest, because I believe the story deeply resonates with a lot people no matter what’s your sexual orientation.
DECEMBER 3, 2017 AT 12:52 PM
Mckey Smith says:
I’d like to know what women think of this movie.
DECEMBER 3, 2017 AT 1:45 PM
DaGP says:
Woman, here. It is a beautiful love story. And wow, the sexual chemistry between Elio and Oliver is intense. The pacing of the film helps build the sexual tension, so when things really get going, it is a release and relief.
DECEMBER 3, 2017 AT 4:20 PM
Kelz says:
Also a woman. However, I haven’t seen the film yet, I just became obsessed with it after seeing the trailer (which gave me chills) and falling down a wormhole of clips and interviews (also have an art history degree). I just requested the book from my local library and look forward to the film coming to my local indie theatre.
This is a fantastic review by the way!
DECEMBER 3, 2017 AT 4:54 PM
Jon says:
I don’t think any movie ever depicted my life as a 20-year old more accurately. I was right between Oliver and Elio in age in 1983. I slept with girls (had a very serious gf who is still one of my best friends) but fell madly in love with a guy who broke my heart into pieces, partly because his life was “too gay” for me (internalized homophobia). At that time the conventional wisdom was, if you had a choice to not be gay you wouldn’t be gay. I married the mother of my children after my broken heart and lived a closeted life, claiming to be “bi” for the 12 years we were married. Then I met the love of my life and unlike the the first time, I made the decision to be myself and we’ve been together ever since.
This movie was one of the best and most universal I’ve ever seen. The end is devastating. I saw it a week ago and I still can’t shake it.
-
(https://pbs.twimg.com/media/DIyeLgIV4AA_Rpl.jpg)(https://pbs.twimg.com/media/DQCgrxCVoAEK_En.jpg)
https://twitter.com/mellowbeat__/status/904271579848130560 3 Sep 2017 https://twitter.com/mellowbeat__/status/936925430761664512 (https://twitter.com/mellowbeat__/status/936925430761664512) 2 Dec 2017
https://twitter.com/mellowbeat__
CALLMEBYYOURNAMEFANART by @mellowbeat__
Yet the slight murkiness of Oliver’s motivations becomes part of the film’s power. He remains a spiritual stranger — to us, to Elio, and to himself. Call Me by Your Name, in presenting a “well-adjusted” gay character who projects no self-loathing yet is unwilling to fully be himself, creates an expressionist vision of what the closet is: not simply a prison, but a precise and complex state of being that, for a long time, defined the way that a lot of people lived — and still does. The movie doesn’t attack the closet; it humanizes the closet.
The critique, though, is implicit. For who, in the end, wants to live that way? Oliver, sensual and liberated yet finally compartmentalized, is an archangel of erotic mystery who swoops down to tap Elio on the shoulder and bring him to life. And though Oliver comes on like the fierce, wise, and all-knowing one, it’s really Elio, in his confusion, who emerges as the more enlightened character. Oliver is content to suppress his life force — that’s the only way that makes sense to him — but Elio represents the dawn of a new way. That fire he’s staring into during the film’s extraordinary final shot isn’t simply the memory of the passion he shared with Oliver. It’s the life of passion that awaits him in the future. It’s the burn of a desire that’s untrapped.
http://variety.com/2017/film/columns/call-me-by-your-name-a-meditation-on-the-closet-1202629039/
(https://upload.wikimedia.org/wikipedia/en/thumb/f/f4/Variety_2013_logo.svg/1280px-Variety_2013_logo.svg.png)
Call Me by Your Name
A Love Story — and a Meditation on the Closet.
by Owen Gleiberman
@OwenGleiberman
DECEMBER 3, 2017 10:12AM PT
(https://pbs.twimg.com/media/DQCgrxCVoAEK_En.jpg)(https://pbs.twimg.com/media/DIyeLgIV4AA_Rpl.jpg)
https://twitter.com/mellowbeat__/status/936925430761664512 2 Dec 2017 https://twitter.com/mellowbeat__/status/904271579848130560 (https://twitter.com/mellowbeat__/status/904271579848130560) 3 Sep 2017
https://twitter.com/mellowbeat__
CALLMEBYYOURNAMEFANART by @mellowbeat__
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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
Australia 26 December 2017
France 17 January 2018 ??
Brazil 18 January 2018
Portugal 18 January 2018
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*
(https://78.media.tumblr.com/de43ed433aa66bdcad83e8befedd7efb/tumblr_ozj4xvxb7L1wypyaqo1_1280.jpg)
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
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Sorry, thread's too long for me to find it efficiently.
Was it here that I saw something about a bad review from The New Yorker?
It must have been on line because I would say Anthony Lane's review in the December 4 "hard copy" is generally favorable.
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Sorry, thread's too long for me to find it efficiently.
Was it here that I saw something about a bad review from The New Yorker?
It must have been on line because I would say Anthony Lane's review in the December 4 "hard copy" is generally favorable.
Here Jeff, is first:
the BAD REVIEW by Richard Brody (his blog online, Nov. 28 2017, also posted in the Bettermost Culture Tent New Yorker thread)
immediately followed below by:
the GOOD REVIEW by Anthony Lane (New Yorker December 4 Issue, also posted in this thread and also in the Bettermost Culture Tent New Yorker thread):
Richard Brody
"All that’s missing is the Web site offering Elio-and-Oliver tours through the Italian countryside, with a stopover at the Perlman villa. Instead of gestural or pictorial evocations of intimacy, the performers act out the script’s emotions with a bland literalness that—due to the mechanistic yet vague direction—is often laughable, as in the case of the pseudo-James Dean-like grimacing that Luca Guadagnino coaxes from Timothée Chalamet."
https://www.newyorker.com/magazine/2017/12/04/call-me-by-your-name-an-erotic-triumph
(https://www.filepicker.io/api/file/XTPkt5hMRAyvVpAFmWdt)
Richard Brody
The Empty, Sanitized Intimacy of
Call Me by Your Name
(https://media.newyorker.com/photos/59097b758b51cf59fc423c61/1:1/w_48,c_limit/brody-richard.png)By Richard Brody November 28, 2017 4:00PM
(https://2qibqm39xjt6q46gf1rwo2g1-wpengine.netdna-ssl.com/wp-content/uploads/2017/11/9471413_web1_M-Call-Me-edh-171124.jpg)
In “Call Me by Your Name,” starring Armie Hammer and Timothée Chalamet, the director Luca Guadagnino displays no real interest
in the characters, only in the story. Photograph by Sayombhu Mukdeeprom / Sony Pictures Classics
Luca Guadagnino’s new film, “Call Me by Your Name,” may be progressive in its appropriately admiring depiction of a loving and erotic relationship between two young men, but its storytelling is backward. It is well known, and therefore no spoiler to say, that it’s a story, set in 1983, about a summer fling between a graduate student named Oliver (Armie Hammer), who’s in his mid-twenties, and Elio (Timothée Chalamet), the seventeen-year-old son of the professor with whom Oliver is working and at whose lavish estate in northern Italy he’s staying. Half a year after their brief relationship, Oliver and Elio speak, seemingly for the first time in many months. Elio affirms that his parents were aware of the relationship and offered their approval, to which Oliver responds, “You’re so lucky; my father would have carted me off to a correctional facility.” And that’s the premise of the film: in order to have anything like a happy adolescence and avoid the sexual repression and frustration that seem to be the common lot, it’s essential to pick the right parents. The movie is about, to put it plainly, being raised right.
If Guadagnino had any real interest in his characters, what Elio and Oliver say about their parents near the end of the movie would have been among the many confidences that they share throughout. Long before the two become lovers, they’re friends—somewhat wary friends, who try to express their desire but, in the meantime, spend lots of time together eating meals and taking strolls, on bike rides and errands—and the story is inconceivable without the conversation that they’d have had as their relationship developed. And yet, as the movie is made, what they actually say to each other is hardly seen or heard.
They’re both intellectuals. Oliver is an archeologist and a classicist with formidable philological skills and philosophical training; he reads Stendhal for fun, Heraclitus for work, and writes about Heidegger. Elio, who’s trilingual (in English, French, and Italian) is a music prodigy who transcribes by ear music by Schoenberg and improvises, at the piano, a Liszt-like arrangement of a piece by Bach and a Busoni-like arrangement of the Liszt-like arrangement, and he’s literature-smitten as well. But for Guadagnino it’s enough for both of them to post their intellectual bona fides on the screen like diplomas. The script (written by James Ivory) treats their intelligence like a club membership, their learning like membership cards, their intellectualism like a password—and, above all, their experience like baggage that’s checked at the door.
What their romantic lives have been like prior to their meeting, they never say. Is Oliver is the first man with whom Elio has had an intimate relationship? Has Elio been able to acknowledge, even to himself, his attraction to other men, or is the awakening of desire for a male a new experience for him? What about for Oliver? Though Elio and Oliver are also involved with women in the course of the summer, they don’t ever discuss their erotic histories, their desires, their inhibitions, their hesitations, their joys, their heartbreaks. They’re the most tacit of friends and the most silent of lovers—or, rather, in all likelihood they’re voluble and free-spoken, as intellectually and personally and verbally intimate as they are physically intimate, as passionate about their love lives as about the intellectual fires that drive them onward—but the movie doesn’t show them sharing these things. Guadagnino can’t be bothered to imagine (or to urge Ivory to imagine) what they might actually talk about while sitting together alone. Scenes deliver some useful information to push the plot ahead and then cut out just as they get rolling, because Guadagnino displays no interest in the characters, only in the story.
For that matter, Guadagnino offers almost nothing of Elio’s parents’ talk about whatever might be going on with their son and Oliver. Not that the parents (played by Michael Stuhlbarg and Amira Casar) are absentee—they’re present throughout, and there are even scenes featuring them apart from both Elio and Oliver, talking politics and movies with friends, but there isn’t a scene of them discussing their son’s relationship. They don’t express anything about it at all, whether approval or fear or even practical concern regarding the reactions of the neighbors. The characters of “Call Me by Your Name” are reduced to animated ciphers, as if Guadagnino feared that detailed practical discussions, or displays of freedom of thought and action, might dispel the air of romantic mystery and silent passion that he conjures in lieu of relationships. The elision of the characters’ mental lives renders “Call Me by Your Name” thin and empty, renders it sluggish; the languid pace of physical action is matched by the languid pace of ideas, and the result is an enervating emptiness.
There are two other characters whose near-total silence and self-effacement is a mark of Guadagnino’s blinkered and sanitized point of view—two domestic employees, the middle-aged cook and maid Mafalda (Vanda Capriolo) and the elderly groundskeeper and handyman Anchise (Antonio Rimoldi), who work for Elio’s family, the Perlmans. What do they think, and what do they say? They’re working for a Jewish family—the Perlmans, Elio tells Oliver (who’s also Jewish), are the only Jewish family in the region, even the only Jewish family ever to have set foot in the village—and they observe a brewing bond between Elio and Oliver. Do they care at all? Does the acceptance of this homosexual relationship exist in a bubble within the realm of intellectuals, and does that tolerance depend upon the silencing of the working class? Is there any prejudice anywhere in the area where the story takes place?
The one hint that there might be any at all comes in a brief scene of Elio and Oliver sharing a furtive caress in a shadowed arcade, when they brush hands and Oliver says, “I would kiss you if I could.” (That pregnant line, typically, ends the scene.) Even there, where the setting—the sight lines between the town at large and the character’s standpoint—is of dramatic significance, Guadagnino has no interest in showing a broad view of the location, because of his bland sensibility and flimsy directorial strategy, because of his relentless delivery of images that have the superficial charm of picture postcards. Adding a reverse angle or a broad pan shot on a setting is something that Guadagnino can’t be bothered with, because it would subordinate the scene’s narrow evocations to complexities that risk puncturing the mood just as surely as any substantive discussion might do.
To be sure, there’s much that a good movie can offer beside smart talk and deep confidences; for that matter, the development of characters is a grossly overrated quality in movies, and some of the best directors often do little of it. There’s also a realm of symbol, of gesture, of ideas, of emotions that arise from careful attention to images or a brusque gestural energy; that’s where Guadagnino plants the movie, and that’s where the superficiality of his artistry emerges all the more clearly. He has no sense of positioning, of composition, of rhythm, but he’s not free with his camera, either; his actors are more or less in a constant proscenium of a frame that displays their action without offering a point of view.
The intimacy of Elio and Oliver is matched by very little cinematic intimacy. There are a few brief images of bodies intertwined, some just-offscreen or cannily framed sex, but no real proximity, almost no closeups, no tactile sense, no point of view of either character toward the other. Guadagnino rarely lets himself get close to the characters, because he seems to wish never to lose sight of the expensive architecture, the lavish furnishings, the travelogue locations, the manicured lighting, the accoutrements that fabricate the sense of “order and beauty, luxury, calm, and sensuality.” All that’s missing is the Web site offering Elio-and-Oliver tours through the Italian countryside, with a stopover at the Perlman villa. Instead of gestural or pictorial evocations of intimacy, the performers act out the script’s emotions with a bland literalness that—due to the mechanistic yet vague direction—is often laughable, as in the case of the pseudo-James Dean-like grimacing that Guadagnino coaxes from Chalamet. Even the celebrated awkward dance that Oliver performs at an outdoor night spot was more exhilarating when performed to a Romanian song by an anonymous young man at a computer screen. Hammer is game, playful, and openhearted, but the scene as filmed is calculatedly cute and disingenuous. (Such faults in performance fall upon directors, not because they pull puppet strings but because they create the environment and offer the guidance from which the performances result, and then they choose what stays in the movie.)
There are moments of tenderness—telegraphed from miles away but nonetheless moving, as when Oliver grasps Elio’s bare shoulder and then makes light of it, when he reaches out to touch Elio’s hand, when Elio slides his bare foot over Oliver’s—that are simply and bittersweetly affecting. They’re in keeping with the story of a love affair of mutual discovery that is sheltered from social circumstances, from prejudice, from hostility, from side-eyes or religious dogma—and that nevertheless involves heartbreak. It’s a story about romantic melancholy and a sense of loss as a crucial element of maturation and self-discovery, alongside erotic exploration, fulfillment, and first love. The idea of the film is earnest, substantial, moving, and quite beautiful—in its idea, its motivation, its motivating principle. It offers, in theory, a sort of melancholy romantic realism. But, as rendered by Guadagnino, it remains at the level of a premise, a pitch, an index card.
Near the end of the film, Professor Perlman delivers a monologue to Elio that concentrates the movie’s sap of intellectualized understanding and empathy into a rich and potent Oscar syrup. The speech is moving and wise; Stuhlbarg’s delivery of it, in inflection and gesture, is finely burnished. Here, Guadagnino’s direction is momentarily incisive, in a way that it has not been throughout the film, perhaps because the professor’s academicized liberalism toward matters of sex is the one thing that truly excites the director. The entire film is backloaded—and it’s nearly emptied out in order for him to lay his cards, finally, on the table.
(https://media.newyorker.com/photos/59097b758b51cf59fc423c61/1:1/w_48,c_limit/brody-richard.png) Richard Brody began writing for The New Yorker in 1999, and has contributed articles about the directors François Truffaut, Jean-Luc Godard, and Samuel Fuller. He writes about movies in his blog for newyorker.com. He is the author of “Everything Is Cinema: The Working Life of Jean-Luc Godard.” newyorker.com (http://newyorker.com) https://www.newyorker.com/culture/richard-brody
As I said, here is the GOOD REVIEW (Anthony Lane, December 4 Issue):
Anthony Lane
The screenplay of “Call Me by Your Name,” adapted from André Aciman’s novel of the same title, is by James Ivory. He has done a remarkable job, paring away pasts and futures, and leaving us with an overwhelming surge of now. On the page, events are recounted, in the first person, by an older Elio, gazing backward, but Timothée Chalamet’s Elio lacks the gift of hindsight. In any case, why is it a gift? Who wouldn’t prefer to be in the thick of love? The book is a mature and thoughtful vintage; in the film, we’re still picking the grapes.
https://www.newyorker.com/magazine/2017/12/04/call-me-by-your-name-an-erotic-triumph
(https://www.filepicker.io/api/file/XTPkt5hMRAyvVpAFmWdt)
The Current Cinema
Call Me by Your Name, An Erotic Triumph
Luca Guadagnino’s latest film is emotionally acute and overwhelmingly sensual.
(https://media.newyorker.com/photos/59097b78019dfc3494ea36dd/1:1/w_48,c_limit/lane-anthony.png)By Anthony Lane December 4, 2017 Issue
(https://media.newyorker.com/photos/5a146fea3ecaf719d7e9d0b4/master/w_1023,c_limit/171204_r31056.jpg)
Luca Guadagnino’s sensuous film evokes the transformations of young love. Illustration by Bianca Bagnarelli
The new film by Luca Guadagnino, “Call Me by Your Name,” begins in the summer of 1983, in a place so enchanted, with its bright green gardens, that it belongs in a fairy tale. The location, the opening credits tell us, is “Somewhere in Northern Italy.” Such vagueness is deliberate: the point of a paradise is that it could exist anywhere but that, once you reach the place, it brims with details so precise in their intensity that you never forget them. Thus it is that a young American named Oliver (Armie Hammer) arrives, dopey with jet lag, at the house of Professor Perlman (Michael Stuhlbarg) and his Italian wife, Annella (Amira Casar), whose custom is to spend their summers there and also to return for Hanukkah. (Like them, Oliver is Jewish; a closeup shows a Star of David hanging from a chain around his neck.) The Professor, an American expert in classical archeology, requires an annual assistant, and Oliver is this year’s choice. “We’ll have to put up with him for six long weeks,” Annella says, with a sigh. Not long enough, as it turns out. You can pack a whole lifetime into six weeks.
The first words of the film are “The usurper.” They are uttered by the Perlmans’ only child—their son, Elio (Timothée Chalamet), who is seventeen. He stands at an upstairs window with his friend Marzia (Esther Garrel) and watches Oliver below, fearful that the American may break the reigning peace. The Professor is more welcoming, and he proposes a kind of free trade, both spatial and emotional, that will resound throughout. “Our home is your home,” he says to Oliver. “My room is your room,” Elio adds, a few seconds later, like an echo. He has moved into the adjoining room for the duration of Oliver’s stay, and they must share a bathroom. The sharing will deepen, from handshakes to confidences, and from cigarettes to kisses and other mouthly charms, concluding in the most profound exchange of all, whispered from a few inches’ distance and proclaimed in the title of the movie.
“Call Me by Your Name” is, among other things, an exercise in polyglottery, and Elio chats to his parents and friends in an easy blend of English, French, and Italian, sometimes sliding between tongues in the course of a single conversation. (Who would guess that a household, no less than a city, can be a melting pot?) His father and Oliver enjoy a clash of wits about the twisted root of the word “apricot,” tracing it through Arabic, Latin, and Greek, and mentioning that one branch leads to the word “precocious”—a nod to Elio, who listens to them with half a smile. He is a prodigy, voraciously bookish, who plays Bach al fresco on the guitar and then inside on the piano, in the manner of Liszt and of Busoni, with Oliver standing in the background, contrapposto, with the elegant tilt of a statue, drinking in the sound and the skill. “Is there anything you don’t know?” he asks, after Elio has told him about an obscure, bloody battle of the First World War.
Prodigies can be a pain, onscreen and off, and Elio—fevered with boyish uncertainties and thrills, though no longer a boy, and already rich in adult accomplishments, yet barely a man—should be an impossible role. Somehow, as if by magic, Chalamet makes it work, and you can’t imagine how the film could breathe without him. His expression is sharp and inquisitive, but cream-pale and woundable, too, and saved from solemnity by the grace of good humor; when Oliver says that he has to take care of some business, Elio retorts by impersonating him to his face. Chalamet is quite something, but Hammer is a match for him, as he needs to be, if the characters’ passions are to be believed. Elio is taken aback, at the start, by Oliver’s swagger—the hesitant youth, steeped in Europe, confronted with can-do American chops. Hammer doesn’t strut, but his every action, be it dismounting a bicycle, draining a glass of juice (apricot, of course), slinging a backpack over his shoulder, rolling sideways into a pool, or demolishing a boiled egg at breakfast until it’s a welter of spilled yolk suggests a person almost aggressively at home in his own body, and thus in the larger world. Hence the abrupt note that he sends to Elio: “Grow up. See you at midnight.”
You could, I suppose, regard Oliver as the incarnation of soft power. Certainly, his handsomeness is so extreme that the camera tends to be angled up at him, as if at one of the ancient bronze deities over which the Professor enthuses. When Oliver wades in a cold stream one glorious day, you stare at him and think, My God, he is a god. And yet, as he and Elio lounge on sun-warmed grass, it’s Oliver who seems unmanned, and it’s Elio who lays a purposeful hand directly on Oliver’s crotch. Now one, now the other appears the more carnally confident of the two. They take a while to find parity and poise, but, once they do, they are inextricable, rendered equal by ardor; the first shot of them, at dawn, after they sleep together, is of limbs so entangled that we can’t tell whose are whose. As for their parting, it is wordless. They look at one another and just nod, as if to say, Yes, that was right. That was how it is meant to be.
The screenplay of “Call Me by Your Name,” adapted from André Aciman’s novel of the same title, is by James Ivory. He has done a remarkable job, paring away pasts and futures, and leaving us with an overwhelming surge of now. On the page, events are recounted, in the first person, by an older Elio, gazing backward, but Chalamet’s Elio lacks the gift of hindsight. In any case, why is it a gift? Who wouldn’t prefer to be in the thick of love? The book is a mature and thoughtful vintage; in the film, we’re still picking the grapes.
It’s tempting to speculate how Ivory, who, as the director of “A Room with a View” (1985) and of “Maurice” (1987), showed his mastery of Italian settings and of same-sex romance, might have fared at the helm of the new film. The rhythm, I suspect, would have been more languorous, as if the weather had seeped into people’s lazy bones, whereas Guadagnino, an instinctive modernist, is more incisive. He and his longtime editor, Walter Fasano, keep cutting short the transports of delight; the lovers pedal away from us, on bikes, to the lovely strains of Ravel’s “Mother Goose Suite,” only for the scene to hit the brakes. “Call Me by Your Name” is suffused with heat, and piled high with fine food, but it isn’t a nice movie; you see it not to unwind but to be wound up—to be unrelaxed by the force with which rapture strikes. There is even a gratifying cameo by a peach, which proves useful in an erotic emergency, and merits an Academy Award for Best Supporting Fruit.
The film’s release could not be more propitious. So assailed are we by reports of harmful pleasures, and of the coercive male will being imposed through lust, that it comes as a relief to be reminded, in such style, of consensual joy. “I don’t want either of us to pay for this,” Oliver says. By falling for each other, he and Elio tumble not into error, still less into sin, but into a sort of delirious concord, which may explain why Elio’s parents, far from disapproving, bestow their tacit blessing on the pact. More unusual still is that the movie steers away from the politics of sexuality. Elio makes love to Marzia, on a dusty mattress, in a loft like an old dovecote, only hours before he meets with Oliver at midnight, but you don’t think, Oh, Elio’s having straight sex, followed by gay sex, and therefore we must rank him as bi-curious. Rather, you are curious about him and his paramours as individuals—these particular bodies, with these hungry souls, at these ravening moments in their lives. Desire is passed around the movie like a dish, and the characters are invited to help themselves, each to his or her own taste. Maybe a true love story (and when did you last see one of those?) has no time for types.
Not that anything endures. Late in the film, the Professor sits with his son on a couch, smokes, and talks of what has occurred. We expect condescension, instead of which we hear a confession. “I envy you,” he tells Elio, adding, “We rip out so much of ourselves to be cured of things faster that we go bankrupt by the age of thirty.” He once came near, he admits, to having what Elio and Oliver had, but something stood in the way, and he advises his child to seize the day, including the pain that the day brings, while he is still young: “Before you know it, your heart is worn out.” Much of this long speech is taken from Aciman’s novel, but Stuhlbarg delivers it beautifully, with great humility, tapping his cigarette. After which, it seems only natural that so rich a movie should close with somebody weeping, beside a winter fire. The shot lasts for minutes, as did the final shot of Michael Haneke’s “Hidden” (2005), but Haneke wanted to stoke our paranoia and our dread, while Guadagnino wants us to reflect, at our leisure, on love: on what a feast it can be, on how it turns with the seasons, and on why it ends in tears. ♦
This article will be published in its print form in the December 4, 2017, issue.
(https://media.newyorker.com/photos/59097b78019dfc3494ea36dd/1:1/w_48,c_limit/lane-anthony.png) Anthony Lane has been a film critic for The New Yorker since 1993. He is the author of “Nobody’s Perfect.” newyorker.com (http://newyorker.com).
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Here Jeff, is first:
the BAD REVIEW by Richard Brody (his blog online, Nov. 28 2017, also posted in the Bettermost Culture Tent New Yorker thread)
immediately followed below by:
the GOOD REVIEW by Anthony Lane (New Yorker December 4 Issue, also posted in this thread and also in the Bettermost Culture Tent New Yorker thread):
Thanks, John. I missed that on TNY thread. I know that at the end of Lane's reviews in the "hard copy" magazine, there is always a notation about Brody blogging about movies on line.
Hmmm. I think I need to see if I can download some of those photos of Armie Hammer. :laugh: I know a lot of people don't like "scruff," or beards of any kind, but in these pics I think they make him look more mature and less like a pretty-boy.
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Hmmm. I think I need to see if I can download some of those photos of Armie Hammer. :laugh: I know a lot of people don't like "scruff," or beards of any kind, but in these pics I think they make him look more mature and less like a pretty-boy.
Jeff, just in case you didn't see the Scruff Gallery above in the thread--here it is below: :laugh: :laugh: :laugh:
(https://pbs.twimg.com/media/DK2ZulHWkAEQWxd.jpg:large)
https://twitter.com/KitKowalski/status/913555345666125824
https://twitter.com/hashtag/callmebyyourname?lang=en
They have no mercy...
5:05 PM - 28 Sep 2017
#ArmieHammer #CallMeByYourName #cmbyn #outmagazine
And--the server's down!!
The internet is broken!!
:laugh: :laugh: :laugh: :laugh:
The Art of Seduction:
Armie Hammer & the Hottest Movie of the Season
"I KNOW THAT I WILL CARRY THE EXPERIENCE OF MAKING THIS MOVIE FOR THE REST OF MY LIFE.
I DON’T WANT TO SAY MOVIES CAN CHANGE THE WORLD, BUT IF WE CAN CHANGE ONE PERSON’S
PERSPECTIVE, WE CAN CHANGE THAT PERSON’S WORLD."
— Armie Hammer on Call Me by Your Name
https://laterpeaches.tumblr.com/post/165985913183/i-know-that-i-will-carry-the-experience-of-making
http://bowie28.tumblr.com/post/165852864145
https://laterpeaches.tumblr.com/
http://bowie28.tumblr.com/
(https://pbs.twimg.com/media/DK2ZulHWkAEQWxd.jpg:large)
(https://www.out.com/sites/out.com/files/2017/09/29/armie-hammer-x750.jpg)
(https://www.out.com/sites/out.com/files/2017/09/29/02-armie-hammer.jpg)
https://www.out.com/out-exclusives/2017/10/02/art-seduction-armie-hammer-hottest-movie-season
(http://68.media.tumblr.com/1922705757ac2cb1b25dda3f1a149a56/tumblr_ox1tkpNMgU1wx4tjzo2_r1_540.png)
(http://68.media.tumblr.com/e4f4f39f75db8307e4e7e0786a990dc0/tumblr_ox1tkpNMgU1wx4tjzo3_r1_540.png)
(http://68.media.tumblr.com/0b3f00118c9d67c683a238883248c6a5/tumblr_ox1tkpNMgU1wx4tjzo5_r1_540.png)
(http://68.media.tumblr.com/3448d00827b53d0109e5d996b2c460a3/tumblr_ox1tkpNMgU1wx4tjzo6_r1_540.png)
http://monetsberm.tumblr.com/post/165870563616/laterpeaches-i-know-that-i-will-carry-the
http://monetsberm.tumblr.com/
https://www.out.com/out-exclusives/2017/10/04/art-seduction-armie-hammer-hottest-movie-season
(https://upload.wikimedia.org/wikipedia/commons/2/2e/Out_Magazine_Logo.svg)
The Art of Seduction:
Armie Hammer & the Hottest Movie of the Season
"I KNOW THAT I WILL CARRY THE EXPERIENCE OF MAKING THIS MOVIE FOR THE REST OF MY LIFE.
I DON’T WANT TO SAY MOVIES CAN CHANGE THE WORLD, BUT IF WE CAN CHANGE ONE PERSON’S
PERSPECTIVE, WE CAN CHANGE THAT PERSON’S WORLD."
— Armie Hammer on Call Me by Your Name
(https://www.out.com/sites/out.com/files/2017/10/02/01-armie-hammer.jpg)
Star Armie Hammer,
director Luca Guadagnino & novelist André Aciman on
Call Me by Your Name 's passionate road
to the screen.
BY AARON HICKLIN
WED, 2017-10-04 07:12
Is there a sexier book than Call Me by Your Name, André Aciman’s 2007 paean to eros awoken during a sultry, sensuous Italian summer? “This novel is hot,” wrote Stacey D’Erasmo in the first line of her review for The New York Times, echoing the sentiments of the book’s legions of fans for whom it quickly became a touchstone of adolescent gay longing with a satisfying twist—one often denied in our coming-out narratives: Desire is rewarded; hunger is sated. Boy gets boy. In the novel’s most famous scene, boy also gets peach—a kind of dry run for what the narrator, Elio Perlman, fantasizes about doing with Oliver, a research assistant staying at his family’s summer villa on the Italian Riviera.
That scene, which plays out across several pages with potent intensity, almost didn’t make it into the novel. Aciman thought about cutting it, then left it to his editor to decide. Something similar happened after Luca Guadagnino, best known for exquisite meditations on passions both thwarted and unbridled in movies like I Am Love, signed on to direct the movie. “I was tempted to remove it from the script,” he confesses. “In the book, it is so strong and explicit that I thought it was a metaphor, something that couldn’t exist in real life.” Although he ultimately decided it would be coy to delete the scene, Guadagnino grappled with how to depict it. “I was struggling with the possibility that you can masturbate yourself with such a fruit,” he explains. “So I grabbed a peach and I tried, and I have to say—it works.” It wasn’t only Guadagnino who needed to understand the mechanics of making love to a piece of fruit. “I went to Timothée [Chalamet, who plays Elio], and said, ‘We shoot the scene, because I tried it and it worked.’ And he said, ‘I tried, too, and I already knew it worked.’ ”
Funny as the anecdote is, it also illuminates the way in which Guadagnino engages with his actors. After all, this isn’t American Pie, and the scene with the peach feels as naked and vulnerable as cinema gets, and as drenched in symbolism as a Renaissance painting. “I’ve never been so intimately involved with a director before,” says Armie Hammer, who plays Oliver, the all-American object of Elio’s fantasies. “Luca was able to look at me and completely undress me. He knew every single one of my insecurities, every time I needed to be pushed, and when I needed to be protected.” It was a rare experience for the actor, who had wanted to work with Guadagnino for many years. “I probably fell in love with Luca the same way Elio fell in love with [my character] Oliver,” he says. “I looked at him with amazement.” The feeling was mutual. “I fell in love with Armie when I saw him in The Social Network,” says Guadagnino, who has a buoyant, infectious energy. “And then I had the privilege of meeting him, and I fell in love again. And I’ve never recovered from falling in love with him.”
and etc.
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SCRUFF/
NOT SCRUFF
(https://media.wmagazine.com/photos/59838de704027c40d504123d/16:9/pass/0917.w.callme.lo.jpg)
https://media.wmagazine.com/photos/59838de704027c40d504123d/16:9/pass/0917.w.callme.lo.jpg
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Jeff, just in case you didn't see the Scruff Gallery above in the thread--here it is below: :laugh: :laugh: :laugh:
Yes, I did see them. That's why I mentioned it. ;D
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Yes, I did see them. That's why I mentioned it. ;D
Well--have fun google-imaging Armie-Scruff! :D
(https://i1.wp.com/thats-normal.com/wp-content/uploads/2016/10/armiehammerphotoshoot2.jpg?resize=570%2C381)(https://i1.wp.com/thats-normal.com/wp-content/uploads/2016/10/armiehammerphotoshoot4.jpg?resize=570%2C381&ssl=1)
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[youtube=999,539]http://www.youtube.com/watch?v=T4grnewqeCk[/youtube]
https://www.youtube.com/watch?v=T4grnewqeCk
Yet another great clip I've
only now noticed and
have finally posted! :DCALL ME BY YOUR NAME (2017)
"Many Latin words are derived from the Greek. In the case of 'apricot,' however, it's the other way around;
the Greek takes over from Latin. The Latin word was praecoquum, from pre-coquere, pre-cook,
to ripen early, as in 'precocious,' meaning premature. The Byzantines borrowed praecox, and it
became prekokkia or berikokki, which is finally how the Arabs must have inherited it as al-birquq."
Armie Hammer, Timothée Chalamet,
Michael Stuhlbarg and Amira Casar
Social News XYZ
Published on Nov 17, 2017
(https://yt3.ggpht.com/-i9cOJw6g2i0/AAAAAAAAAAI/AAAAAAAAAAA/Mf58zmAoY_g/s88-c-k-no-mo-rj-c0xffffff/photo.jpg)
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.
Oliver is the latest in a string of annual research assistants joining Professor Perlman (Michael 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.
"It's a long story, so bear with me, Pro." Suddenly Oliver had become serious. "Many Latin words are derived from the Greek. In the case of 'apricot,' however, it's the other way around; the Greek takes over from Latin. The Latin word was praecoquum, from pre-coquere, pre-cook, to ripen early, as in 'precocious,' meaning premature.
(https://www.starkbros.com/images/dynamic/1454-960x960.jpg)(https://www.starkbros.com/images/dynamic/1454-960x960.jpg)(https://www.starkbros.com/images/dynamic/1454-960x960.jpg)(https://www.starkbros.com/images/dynamic/1454-960x960.jpg)
"The Byzantines borrowed praecox, and it became prekokkia or berikokki, which is finally how the Arabs must have inherited it as al-birquq."
(https://www.starkbros.com/images/dynamic/1454-960x960.jpg)(https://www.starkbros.com/images/dynamic/1454-960x960.jpg)(https://www.starkbros.com/images/dynamic/1454-960x960.jpg)(https://www.starkbros.com/images/dynamic/1454-960x960.jpg)
My mother, unable to resist his charm, reached out to him and tousled his hair and said, "Che muvi star!"
"He is right, there is no denying it," said my father under his breath, as though mimicking the part of a cowered Galileo forced to mutter the truth to himself.
(https://www.starkbros.com/images/dynamic/1454-960x960.jpg)(https://www.starkbros.com/images/dynamic/1454-960x960.jpg)(https://www.starkbros.com/images/dynamic/1454-960x960.jpg)(https://www.starkbros.com/images/dynamic/1454-960x960.jpg)
"Courtesy of Philology 101," said Oliver.
All I kept thinking of was apricock precock, precock apricock.
(https://www.starkbros.com/images/dynamic/1454-960x960.jpg)(https://www.starkbros.com/images/dynamic/1454-960x960.jpg)(https://www.starkbros.com/images/dynamic/1454-960x960.jpg)(https://www.starkbros.com/images/dynamic/1454-960x960.jpg)
One day I saw Oliver sharing the same ladder with the gardener, trying to learn all he could about Anchise's grafts, which explained why our apricots were larger, fleshier, juicier than most apricots in the region. He became fascinated with the grafts, especially when we discovered that the gardener could spend hours sharing everything he knew about them with anyone who cared to ask.
Call Me By Your Name by André Aciman
Recited/Narrated by Armie Hammer
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CALLMEBYYOURNAMEFAN
https://www.garow.me/users/erkinaken/4225893710
my thoughts only
going nowhere
(https://scontent.cdninstagram.com/t51.2885-19/s150x150/21372127_114640965919083_7751548261332156416_a.jpg) by @erkinaken(https://scontent.cdninstagram.com/t51.2885-15/s640x640/sh0.08/e35/23967586_886775124825003_2405346599619264512_n.jpg)
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
#CMBYN #CallMeByYourName #callmebyyournamemovie
#paristheatre #newyork #newyorkcity #nyc #movie #theater
#takenbyme #📷 @chadmeihuizen 2017/12/05 05:43:06 👌...
#elio perlman #Elio #Oliver #laterpeaches #🍑
#timothée chalamet #armie hammer #luca guadagnino #andré aciman
#film #movie #sonyclassics #lgbt
my thoughts only
going nowhere
(https://scontent.cdninstagram.com/t51.2885-19/s150x150/21372127_114640965919083_7751548261332156416_a.jpg)
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https://www.goldenglobes.com/
(https://www.goldenglobes.com/sites/all/themes/custom/modernglobes/logo.png?p0maxg)(https://www.goldenglobes.com/sites/all/themes/custom/modernglobes/images/75.png?p0maxg)
(https://www.goldenglobes.com/sites/default/files/watch_it_again.jpg)(https://www.goldenglobes.com/sites/default/files/download_nominees_1.jpg)
Golden Globe Nominees 2018
https://www.goldenglobes.com/
(https://www.goldenglobes.com/sites/default/files/styles/portrait_medium/public/film_tv-1/Call-Me-By-Your-Name.jpg?itok=Ut1_-XeY)
NOMINEE
Best Motion Picture, Drama:
CALL ME BY YOUR NAME
(https://www.goldenglobes.com/sites/default/files/styles/portrait_medium/public/actress_actors-5/Timothe%CC%81e-Chalamet-090817-Call-Me-By-Your-Name-C2.jpg?itok=4qOzGEQy&c=f23a63dc960c0657d00358e974a41cbf)
NOMINEE
Best Performance by an Actor
in a Motion Picture - Drama:
Timothée Chalamet,
CALL ME BY YOUR NAME
(https://www.goldenglobes.com/sites/default/files/styles/portrait_medium/public/actress_actors-1/Armie-Hammer-090817-Call-Me-By-Your-Name-C2.jpg?itok=knDjjkCE)
NOMINEE
Best Performance by an Actor
in a Supporting Role in any Motion Picture:
Armie Hammer,
CALL ME BY YOUR NAME
(https://pbs.twimg.com/media/DNJOyX4WsAAxqqJ.jpg)
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Congrats to all!
But, Sufjan was robbed!!!
Best Original Song – Motion Picture
"Home," Ferdinand
"Mighty River," Mudbound
"Remember Me," Coco
"The Star," The Star
"This Is Me," The Greatest Showman
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Congrats to all!
But, Sufjan was robbed!!!
Best Original Song – Motion Picture
"Home," Ferdinand
"Mighty River," Mudbound
"Remember Me," Coco
"The Star," The Star
"This Is Me," The Greatest Showman
I know!!! :P :P :P
Of course it should have gone to:
(http://www.hotelolivi.com/source/jamaica-3.jpg)
[youtube=800,472]http://www.youtube.com/watch?v=DCsyocpQyok[/youtube]
FULL LENGTH https://www.youtube.com/watch?v=DCsyocpQyok (https://www.youtube.com/watch?v=DCsyocpQyok) WITH LYRICS
Whew! At long last!
From soundtrack, not screening.
As before, top image from
Baia Jamaica, Sirmione,
Lago di Garda.
Sufjan Stevens - Mystery of Love
Call Me by Your Name
Soundtrack released November 3 2017
Jonathan Leo
Published on Nov 3, 2017
(https://yt3.ggpht.com/-F0IAuCYGT54/AAAAAAAAAAI/AAAAAAAAAAA/4MR2b1vzMhY/s88-c-k-no-mo-rj-c0xffffff/photo.jpg)
But I also love:
(https://68.media.tumblr.com/5385d5c623fba7cd330de9f74523b54c/tumblr_ouc4l4497R1wwjl4jo1_r1_1280.jpg)(http://static.stereogum.com/uploads/2017/01/IMG_0475_bw-1485544300-640x480.jpg)
(http://static.stereogum.com/uploads/2017/01/IMG_0475_bw-1485544300-640x480.jpg)(https://68.media.tumblr.com/5385d5c623fba7cd330de9f74523b54c/tumblr_ouc4l4497R1wwjl4jo1_r1_1280.jpg)
[youtube=1100,650]http://www.youtube.com/watch?v=EiBUIwzN6FA[/youtube]
https://www.youtube.com/watch?v=EiBUIwzN6FA
The very last
moments of the movie--
Sufjan Stevens - Visions of Gideon
Call Me by Your Name
Soundtrack released November 3 2017
Jonathan Yule
Published on Nov 3, 2017
(https://yt3.ggpht.com/-QUU5WsMBCA0/AAAAAAAAAAI/AAAAAAAAAAA/pb5W8TLzrMw/s88-c-k-no-mo-rj-c0xffffff/photo.jpg)
Oh well! We'll see what happens with the Oscars! :P :P :P
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(https://pbs.twimg.com/profile_images/1255015267/familyDSC_5411_2_400x400.jpg) Peter Spears
@pjspears
1:23 PM - 11 Dec 2017
373 Retweets 1,228 Likes
https://twitter.com/pjspears?lang=en&lang=en
https://twitter.com/pjspears/status/940331330176454656
10 yrs ago we set out to make the movie we needed when we were growing up, a great cinematic romance that challenged conventions and proved that love is love- that the magic, beauty and mystery of first love is something shared by all. Thank you for recognizing that today, HFPA.
(http://newsdesk.hearst.co.jp/var/nd/storage/images/2017/12/golden-globes-nominations-2018-171212-hns/node_19950/273232-1-jpn-JP/_1.jpg)
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CALLMEBYYOURNAMEFANART
https://twitter.com/mellowbeat__
(https://abs.twimg.com/emoji/v2/72x72/1f351.png)
(https://pbs.twimg.com/media/DMQYmV0UIAEBiLc.jpg:thumb) by @mellowbeat__
(https://pbs.twimg.com/media/DRSVlEuUEAE1_pk.jpg)
https://twitter.com/mellowbeat__/status/942542694605189120
https://twitter.com/mellowbeat__
어머나 이게 뭐람 (https://abs.twimg.com/emoji/v2/72x72/1f351.png)
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
(https://abs.twimg.com/emoji/v2/72x72/1f351.png)
(https://pbs.twimg.com/media/DMQYmV0UIAEBiLc.jpg:thumb)
(http://br.web.img3.acsta.net/pictures/17/09/11/23/53/5940465.jpg)
CALLMEBYYOURNAMEFANART
http://www.pictaram.org/sirayy
(https://abs.twimg.com/emoji/v2/72x72/1f351.png)
(https://scontent.cdninstagram.com/t51.2885-15/e35/22427572_398844643867237_1168592534599892992_n.jpg) by @sirayy
(https://scontent.cdninstagram.com/t51.2885-15/e35/22427572_398844643867237_1168592534599892992_n.jpg)
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
CALLMEBYYOURNAMEFANART
http://jgiampietro.tumblr.com/
(https://abs.twimg.com/emoji/v2/72x72/1f351.png)
(http://78.media.tumblr.com/avatar_d747967fa585_128.png) by JGiampietro
(http://78.media.tumblr.com/b99f4347f884cfb27d8a9947e4f909c9/tumblr_oxguzxUo5O1rrax8bo1_1280.jpg)
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
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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
(https://upload.wikimedia.org/wikipedia/commons/thumb/9/93/The_Logo_of_The_Washington_Post_Newspaper.svg/2000px-The_Logo_of_The_Washington_Post_Newspaper.svg.png)
Call Me by Your Name
is among the best movies of the year
★★★★
by Ann Hornaday
December 14 2017
(https://video-images.vice.com/articles/5a1c8f8525a2824a160ce086/lede/1511825726271-CMBYN.jpeg?crop=0.9604938271604938xw:1xh;center,center&resize=0:*)
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.
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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
(https://upload.wikimedia.org/wikipedia/en/thumb/c/c0/Vice_logo.svg/1024px-Vice_logo.svg.png)
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
(https://video-images.vice.com/articles/5a1c8f8525a2824a160ce086/lede/1511825726271-CMBYN.jpeg?crop=0.9604938271604938xw:1xh;center,center&resize=0:*)
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.
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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
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Australian Broadcasting Corporation
Call Me by Your Name
★★★★
Review by CJ Johnson
Duration: 7:55 - 12:05
Broadcast: Wed 13 Dec 2017, 10:00pm
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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.
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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*
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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
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CALL ME BY YOUR NAME
RELEASE DATES
USA 22 December 2017 (Boston, Philadelphia, Minneapolis and etc.)*
Finally! Although, it's actually opening today.
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Finally! Although, it's actually opening today.
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
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Call Me by Your Name
is full of light and landscape
and unstoppable beauty
★★★1/2
by Ty Burr
[email protected]
December 20 2017
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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.
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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/
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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
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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.
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At last, I saw a marquee that said, "Coming Soon: Call Me by Your Name"!!!!!!
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At last, I saw a marquee that said, "Coming Soon: Call Me by Your Name"!!!!!!
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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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
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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
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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--
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
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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
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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.
And 9 months before that--
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
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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
(http://cdn2.thr.com/sites/default/files/2017/01/call_me_by_your_name_sundance_still_2_-_publicity_-_h_2017.jpg)
‘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.
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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.
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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.
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. :(
CALLMEBYYOURNAMEFAN
https://www.garow.me/users/erkinaken/4225893710
my thoughts only
going nowhere
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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
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(https://68.media.tumblr.com/5385d5c623fba7cd330de9f74523b54c/tumblr_ouc4l4497R1wwjl4jo1_r1_1280.jpg)
[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 Elio
Call Me by Your Name
Sufjan 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
(https://yt3.ggpht.com/-KKlTh0gcmzg/AAAAAAAAAAI/AAAAAAAAAAA/RLWwrLOQvFo/s88-c-k-no-mo-rj-c0xffffff/photo.jpg)
Once again--
but this time
the Sufjan Stevens song
from the actual recording,
not from a screening--
These are the last few minutes of the movie,
Elio looking into the fire, crying and remembering--
until his mother's voice calls
"Elio--"
(https://68.media.tumblr.com/5385d5c623fba7cd330de9f74523b54c/tumblr_ouc4l4497R1wwjl4jo1_r1_1280.jpg)(http://static.stereogum.com/uploads/2017/01/IMG_0475_bw-1485544300-640x480.jpg)
(http://static.stereogum.com/uploads/2017/01/IMG_0475_bw-1485544300-640x480.jpg)(https://68.media.tumblr.com/5385d5c623fba7cd330de9f74523b54c/tumblr_ouc4l4497R1wwjl4jo1_r1_1280.jpg)
[youtube=1100,650]http://www.youtube.com/watch?v=EiBUIwzN6FA[/youtube]
https://www.youtube.com/watch?v=EiBUIwzN6FA
The accompanying
still is the very last few
moments of the movie--
Sufjan Stevens - Visions of Gideon
Call Me by Your Name
Soundtrack released November 3 2017
Jonathan Yule
Published on Nov 3, 2017
(https://yt3.ggpht.com/-QUU5WsMBCA0/AAAAAAAAAAI/AAAAAAAAAAA/pb5W8TLzrMw/s88-c-k-no-mo-rj-c0xffffff/photo.jpg)
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.
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
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(http://qqp9u102slh1hz2aq2e5ig91-wpengine.netdna-ssl.com/wp-content/uploads/2017/12/CMBYN-best-scenes-part-1-2.1.jpg)
[youtube=1100,650]http://www.youtube.com/watch?v=wjKlIg4aZDk[/youtube]
https://www.youtube.com/watch?v=wjKlIg4aZDk
WOAH! 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 Elio
Armie 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
(https://yt3.ggpht.com/-HybgiV6eKBE/AAAAAAAAAAI/AAAAAAAAAAA/eiNUjaHcKy0/s88-c-k-no-mo-rj-c0xffffff/photo.jpg)
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
(https://yt3.ggpht.com/-Mi-oETjcJWE/AAAAAAAAAAI/AAAAAAAAAAA/nuGxrGZaFDk/s88-c-k-no-mo-rj-c0xffffff/photo.jpg)
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(https://mz-prod.s3.amazonaws.com/uploads/photo/file/328711/large_a3d5343609e4ebec2a7c612041a1800d-callme.jpg)
[youtube=1100,620]http://www.youtube.com/watch?v=Y-14zFlaXXE[/youtube]
https://www.youtube.com/watch?v=Y-14zFlaXXE
Yep, there are going to be a lot of these--
good, bad, middling. I like this video--simply because
it's lovely to remember the wonderful images--
"Where are you now?"
Timothée Chalamet - as Elio
Armie Hammer - as Oliver
Call Me by Your Name
'Faded' (2015)
(Alan Walker and Iselin Solheim)
ISHTAR
Published on Dec 21, 2017
(https://yt3.ggpht.com/-uJPqqjJlPpk/AAAAAAAAAAI/AAAAAAAAAAA/by43-RPVmN0/s88-c-k-no-mo-rj-c0xffffff/photo.jpg)
And here's the original video;
the song is from 2015--
[youtube=1100,650]http://www.youtube.com/watch?v=60ItHLz5WEA[/youtube]
https://www.youtube.com/watch?v=60ItHLz5WEA
'Faded' (2015)
(Alan Walker and Iselin Solheim)
Alan Walker
Published on Dec 3, 2015
(https://yt3.ggpht.com/-k7WILhueCts/AAAAAAAAAAI/AAAAAAAAAAA/aQWUNVk_moE/s88-c-k-no-mo-rj-c0xffffff/photo.jpg)
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Otherwise, they’re a study in contrasts. The solidly built 24-year-old Oliver is confident and bruisingly athletic; Elio, long and lanky, tends to hang on the outskirts of social situations, testing the waters. The first time Oliver touches him – casually, even fraternally – Elio jolts like he’s been shocked. It’s the first spark. A love affair is inevitable, but Luca Guadagnino doesn’t skim over Elio’s prolonged longing, which is what makes Call Me By Your Name most potent as a coming-of-age picture, not a mere romance.
https://www.austinchronicle.com/calendar/film/2017-12-22/call-me-by-your-name/
(https://www.adacalhoun.com/images/news/_featuredNewsImageLarge/Chronicle_logo_2010.jpg)
REVIEW:
Call Me by Your Name
★★★★1/2
by KIMBERLEY JONES
Fri 22 Dec 2017
(https://i.guim.co.uk/img/media/668d8cff94289f72b74dd8212035ebd86a8c4f5a/228_0_3436_2062/master/3436.jpg?w=1300&q=55&auto=format&usm=12&fit=max&s=f5c32565ae6a722d96fff321cbafda9e)
A study in contrasts, it’s the first spark... Armie Hammer and Timothée Chalamet in Call Me by Your Name
Heavy with summer heat yet so light, so lyrical, in its vision of that catch-of-breath space between adolescence and adulthood, Call Me By Your Name is a revelation – a richly evocative reminder of that time of life when cuddles with parents overlap with the nervous, excited baring of body and soul of first love.
Seventeen-year-old Elio Perlman (Timothée Chalamet) is on that cusp, and he can feel it. It’s making him scratchy. An only child vacationing with his parents in their villa in northern Italy in 1983, Elio fills the days lazily: swimming, eating, napping, transcribing music (he’s a talented pianist), sometimes bored, sometimes sullen from the displacement of being no longer a kid, but not quite an adult. In other words – a teenager. That displacement turns literal in the opening moments of the film, when Elio must cede his bedroom to Oliver (Armie Hammer), an American grad student come abroad to intern with Elio’s father (Michael Stuhlbarg), an antiquities scholar. “The usurper,” Elio smirkingly nicknames Oliver, in French; one of the film’s seductive qualities – of which there are many, including the luscious scenery – is the way the whole Perlman family slides in and out of languages, English, French, Italian, and dead, the latter in a charmingly eggheaded pas de deux over etymological roots.
That fluidity in language isn’t showing off. Director Luca Guadagnino (A Bigger Splash, I Am Love) and screenwriter James Ivory (adapting from André Aciman’s formative novel) layer such details to enrich and distill the relationships. When Elio switches to English with his French girlfriend, she feels the chill. When the close-knit Perlman trio curls up on a rainy night to read aloud a 17th century romance, it’s a perfect summation of their love of learning, of beauty, of opening up to sensation. And when Elio spies a Star of David on a chain around Oliver’s neck, he finds a point of commonality with the American usurper.
Otherwise, they’re a study in contrasts. The solidly built 24-year-old Oliver is confident and bruisingly athletic; Elio, long and lanky, tends to hang on the outskirts of social situations, testing the waters. The first time Oliver touches him – casually, even fraternally – Elio jolts like he’s been shocked. It’s the first spark.
A love affair is inevitable, but Guadagnino doesn’t skim over Elio’s prolonged longing, which is what makes Call Me By Your Name most potent as a coming-of-age picture, not a mere romance. Their age gap has caused some consternation, especially in this particular cultural moment in which consent is rightfully being chewed over on a public stage. It’s worth noting that the film is set in the more permissive early Eighties, and they’re comfortably within the consent laws of Italy. If that doesn’t check the boxes for you, that’s fine; this isn’t the movie for you. Still, the film doesn’t pretend the age gap doesn’t exist. Oliver’s hesitancy in starting the affair, and the care he takes with Elio, are so crucial to the story. In his best work since his breakout in The Social Network, Hammer physically conveys the transformation of Oliver under Elio’s influence, his body tight with restraint, then loosening to the point of a childlike giddiness.
Guadagnino uses a technique throughout of fixing the camera focus and letting his actors move in and out of it, a stylistic choice that reaches its emotional apex with Hammer, at the end of Oliver’s Italian idyll. No words are spoken, but again there’s that layering of detail: We know enough to know the stakes are higher for Oliver, and the camera shifts from focused to fuzzy subtly convey how full up with feeling he is. Chalamet – who co-starred in Lady Bird, another coming-of-age picture that would make a toothsome double feature with this one – brings great physicality to his part, too. But it’s his face that’ll stop your heart, especially in two prolonged close-ups set to original songs by Sufjan Stevens, confessional lyrics simpatico with the actor’s open face. As for words? The script gives Stuhlbarg – a character actor who elevates everything he’s in – the monologue of a lifetime, which he delivers sotto voce, all kindness.
And that is perhaps the prevailing note of Call Me By Your Name – of kindness, of tenderness. Be it a besotted lover, a best friend, or devoted parents, they’re all a kind of welcoming committee, nurturing Elio into adult feeling. That includes pain. And it is a gift.
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CALLMEBYYOURNAMEFANART
http://www.pictaram.org/sirayy
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Merry Xmas to sweetie @tchalamet 🎄🎄 🍑 🙊🙊
CALLMEBYYOURNAMEFANART by @sirayy
http://www.pictaram.org/sirayy
1:29 PM Dec 24, 2017 19 Notes, 427 Likes
Fan Art / Digital Art / Drawings / @sirayyg
#CMBYN #CallMeByYourName
#elio #elio perlman #oliver #ulliva #laterpeaches 🍑
#timothée chalamet #armie hammer #andré aciman #luca guadagnino
#book #novel #film #movie #sonyclassics #lgbt
#art #artwork #artist #digital art #digitalart #sketches
#digitalpainting #fanart #fanartdigital
#Merry Xmas!
#later!
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:o :o :o :o
:D :D :D :D
Merry Christmas is right !!!
(https://pbs.twimg.com/profile_images/826497435367202816/5S_xTNyT_400x400.jpg) Kyle Buchanan
@kylebuchanan
6:32 AM - 25 Dec 2017
96 Retweets 404 Likes
https://twitter.com/kylebuchanan
https://twitter.com/kylebuchanan/status/945301109916106752
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FYI:
!!! :o ::) :laugh:
(https://pbs.twimg.com/profile_images/826497435367202816/5S_xTNyT_400x400.jpg) Kyle Buchanan
@kylebuchanan
7:53 AM - 23 Jan 2017
50 Retweets 137 Likes
https://twitter.com/kylebuchanan
(http://i.imgur.com/wqinnal.png)
https://www.reddit.com/r/Sufjan/comments/5qjyqg/some_tweets_i_found_about_call_me_by_your_name/
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FYI:
(https://pbs.twimg.com/profile_images/826497435367202816/5S_xTNyT_400x400.jpg) Kyle Buchanan
@kylebuchanan
6:32 AM - 25 Dec 2017
96 Retweets 404 Likes
https://twitter.com/kylebuchanan
https://twitter.com/kylebuchanan/status/945301109916106752
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http://www.vulture.com/2017/11/who-is-call-me-by-your-name-actor-timothe-chalamet.html
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Call Me by Your Name 's
Timothée Chalamet Is a Superfan Who Made It Big
The 21-year-old lead of 2017’s most swoon-worthy film is about to blow up.
How he’s dealing with fame, acclaim, and those old rap videos.
By Kyle Buchanan
November 29, 2017 11:01 am
(https://pixel.nymag.com/imgs/daily/vulture/2017/11/29/22-timothee-chalamet-feature.w512.h600.2x.jpg)
Photo by: Matt Winkelmeyer/Getty Images
It was July 3, 2010, and Amar’e Stoudemire was the most-wanted man in New York City. The star basketball player had just opted out of his contract with the Phoenix Suns, and rumors were flying that he was about to sign an insanely lucrative five-year contract with the New York Knicks worth almost $100 million. Stoudemire arrived in the city that afternoon and, like so many out-of-towners had before him, he decided to commemorate the occasion by taking in a Broadway show.
“Rock of Ages,” he tweeted. “It’s going to be great.”
When Timothée Chalamet saw that tweet, he zipped up his white hoodie and sprang into action. The then-14-year-old LaGuardia High School student stuffed a Knicks jersey into his backpack and raced from his Hell’s Kitchen home to the Brooks Atkinson Theatre near Times Square, hoping to win an autograph from the hotly pursued basketball star. Rock of Ages had already started by the time Chalamet got there, but he camped out for two hours until Stoudemire finally emerged from the theater, a New York Yankees cap pulled low on his head but his nearly seven-foot body still pitched to the heavens.
Chalamet darted in, offering his jersey and a felt-tip marker. The boy had come prepared. So had the paparazzi, who’d been staking out the Brooks Atkinson alongside him.
Chalamet, who is now 21 and starring in the film Call Me by Your Name, recalled the story recently at the Regent Beverly Wilshire Hotel, building to a triumphant smile. “In fact,” he said, “the first picture of Amar’e ever holding a New York jersey was in the Daily News, and there’s a young me holding the jersey up to him to get him to sign it!”
(https://pixel.nymag.com/imgs/daily/vulture/2017/11/22/22-timothee-chalamet-fan.nocrop.w710.h2147483647.jpg)
Chalamet and Stoudemire in 2010. Photo: Splash News / Alamy Stock Photo
Chalamet is on the verge of becoming a major actor, but to spend any time with him is to learn that he is still a big fan at heart. Just this week, after winning the Breakthrough Actor trophy at the Gotham Awards, an excited Chalamet used his speech to pay tribute to New York artists who inspire him — “John Leguizamo! Cardi B! Martin Scorsese!” he extolled — and now, thanks to Call Me by Your Name, Chalamet has devoted young fans of his own. They call him “King” on Twitter, and they dig up his old audition videos and school projects to disseminate like contraband on Tumblr. They wish Chalamet “good morning” and “good night” every day without fail, and they change their screen names to incorporate his. All this for a movie that has only just come out in the United States, and an actor who is tipped to be nominated for an Academy Award but is not yet a household name.
“It’s thrilling,” Chalamet said, “with a grain of salt.” As an example, he described to me an October screening of Call Me by Your Name at Lincoln Center where he sat onstage, basking in applause and audience adoration, and then fell backward out of his chair: “To do that in front of 1,300 people was devastating in the moment, but also a great lesson of, ‘You know what, man? Nothing’s changed.’”
Nothing, perhaps, except the fans who found it so endearing that a clip of his fall then got over a thousand likes on Twitter.
All that attention is fitting, given the story that has put Chalamet in the spotlight. In Call Me by Your Name, he plays precocious Elio, who spends six summer weeks in Italy fixated on Oliver (Armie Hammer), the handsome grad student who has come to work with Elio’s professor father. Before he becomes Oliver’s lover, Elio is the strapping American’s most ardent fan, and in the André Aciman book that Call Me by Your Name is based on, Elio’s thoughts spill out in first-person as he analyzes every word uttered, swimsuit worn, or move made by his crush. Call Me by Your Name isn’t just a love story between two people, it’s a story of being sustained by the act of love, of stoking it constantly and delighting in the pain and joy that it brings. Though the story takes place in the early 1980s, it’s easy to imagine a modern-day Elio who, instead of scrawling unsent love notes to Oliver, would post those missives to a social-media account to be read by online friends in the throes of their own obsessions.
Chalamet is well-cast to portray that feeling. Like Elio, he enthuses about what he loves; he also occupies that liminal phase between boy and man, and is now transitioning from aspirant to full-time artist. Chalamet grew up in New York City and has been acting since he was a child, popping up in Homeland and Interstellar as well as leading the John Patrick Shanley play Prodigal Son, but unlike many former child performers, who can become hardened and artificial over time, Chalamet remains an appealing open book.
“Timmy is, without a doubt, the most emotionally accessible human being I have ever come across in my life,” Hammer told me. “You say something to him and you watch the entire thought process play out on his face.” I can confirm that: During a conversation about one of Call Me by Your Name ’s music cues — Joe Esposito’s addictively cheesy ballad Lady, Lady, Lady, which plays as Elio watches Oliver dance with a girl friend — Chalamet went from smiling to choked up in the span of a few seconds. “God, even talking about it now brings tears to my eyes, and I don’t know why,” he said.
Director Luca Guadagnino needed that level of vulnerability for Call Me by Your Name, since many near-wordless stretches of the film involve Elio alone, including an already famous final shot that plays out in minutes of stunning close-up. Chalamet was recommended to the director by Call Me by Your Name producer Peter Spears, whose husband is Chalamet’s agent, and in their initial meeting, Guadagnino found himself beguiled by the young actor’s emotional acuity. Once he was officially cast in the film, Chalamet relocated to Italy weeks early to take language and music lessons, reading Aciman’s book over and over as preparation. “There is the intellectual research that does go into it, and I try to do that as diligently as I can,” Chalamet said, “but when it comes time to shoot, in my experience, I try to throw it all away and trust that I’ve done the work.”
To judge from the rave reactions he has gotten from critics and fans, that hard work has paid off, but Chalamet was quick to credit his collaborators. (Guadagnino, he told me, “is one of the most talented filmmakers of his generation, in my naïve 21-year-old opinion.”) He also said he couldn’t have gone to those intimate places without the musicians who’ve had a profound effect on him as an artist, including rapper Kid Cudi: “I’ve been inspired to do emotionally substantial work like Call Me by Your Name because of an album like Man on the Moon,” he said. Lil B is another rapper that “I feel like some people might roll their eyes at,” Chalamet said, “but he really had a transformative effect on me when I was 15 and 16, preaching about live and let live, loving and accepting people for who they are.” Chalamet is such an acolyte that he once raised his hand at a public Q&A with Lil B and asked the rapper to knight him; he was beckoned to the stage, where Lil B had him drop down on one knee and then brought his forehead to Chalamet’s own. “There’s a video online of it,” said Chalamet, who then grinned. “It’s recognizably me. I’ll see if someone can find it.”
(UPDATE: They did, within half an hour: https://twitter.com/cmbynmafia/status/935911540930134017 )
His fans have already exhumed plenty of other Chalamet clips, including a treasure trove of rap videos that Chalamet performed as “Lil’ Timmy Tim” during his stint at LaGuardia, some of which went nearly as viral as his co-star Hammer’s jubilant dance scene in Call Me by Your Name. “You know, there was a certain relief in that,” he said. “The first reaction is obviously a big ‘Aww.’ But for better or worse, people know what a goofball I am now.” Still, Chalamet is particular about how he navigates social media. Hammer has quit Twitter more than once, and Chalamet understood how one could reach a breaking point. “You don’t want to expose yourself to it too much,” he said. “Even in the brief moments where you do swipe through your mentions a little bit, there could be, like, the errant mean thing that somebody said as a joke, and with most actors, there’s a sensitivity to these things.”
It helps that he has been too busy to fully indulge. The day after Call Me by Your Name ’s triumphant debut at the Sundance Film Festival in January, Chalamet auditioned to play Steve Carell’s drug-addicted son in the drama Beautiful Boy, then had to quickly drop 20 pounds from his already-slim frame to commit to that role through the summer. “It was a great way to digest how Call Me by Your Name was being received, as a sidebar,” he said. “I was just trying to be disciplined and devoted to the work.” With that under his belt, and a Woody Allen film that Chalamet stars in but has not yet figured out how to address, he has begun preparing for his extensive Call Me by Your Name publicity tour by studying early interviews of LeBron James and Jennifer Lawrence on YouTube. “When I go back and watch her early press kits, or even LeBron’s, I’m so impressed because they were so poised and well-spoken.” Has he ever run into the Hunger Games star? “I did get to meet her once briefly,” Chalamet said, joking, “I camped out at a press line for Mother!”
In the meantime, he’s trying to look on the bright side of fame, hoping that Call Me by Your Name and his supporting role in Greta Gerwig’s Lady Bird will help him book more movies of that caliber. “The most humbling part of these experiences is realizing how ladder-oriented it is,” he said. “And that’s only fair. It’s a testament to gatekeeping, I guess, and you do have to earn your stripes.” Another potential perk: People will now have to learn how to spell his name correctly. “My mom’s two-decade exhale of relief!” he said. “On the projects I was working on when I was 12, 13, 14, she was sending many an email to non-obliging producers saying, ‘It’s not Timothy with a y, there’s an accent on the first ‘e,’ and the accent faces this way!’”
And then there’s the chance that one of his heroes might now admire him, too. As Chalamet and I walked out of his hotel room, I mentioned that the singer Frank Ocean, whose lyrics Chalamet frequently tweets, would almost certainly check out Call Me by Your Name at some point. “You think he’s gonna see it?” Chalamet said. “Oh my God, that would be insane!”
He lurched into me, dizzy, and grabbed my arm for balance. “I’ve lost feeling,” he said, before mumbling with such excitement that I couldn’t even make out the words anymore.
Spoken like a true fan.
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[youtube=1100,590]http://www.youtube.com/watch?v=sY34-Xohcug[/youtube]
https://www.youtube.com/watch?v=sY34-Xohcug
This video has just been posted on YouTube today.
It probably will be taken down very soon. If you really want to see it, do it quickly!
(FYI, the loud crackling and popping sounds are from the large open fireplaces in the Living Room and Study)
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 Elio
with
Armie Hammer (on the other end of the telephone),
Michael Stuhlbarg and Amira Casar
Call Me by Your Name
All copyrighted material belongs their respective owners
Decaffeinated Bones
Published on Dec 27, 2017
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(https://images-na.ssl-images-amazon.com/images/M/MV5BNGYxMDJiNDMtMzZmZi00ZGJiLTliZjMtNDA0ZjQzOTI5YzI4XkEyXkFqcGdeQXVyMzI3NjY2ODc@._V1_SX1777_CR0,0,1777,999_AL_.jpg)
[youtube=1100,590]http://www.youtube.com/watch?v=Nr7BTBwZoxU[/youtube]
https://www.youtube.com/watch?v=Nr7BTBwZoxU/size]
This video has just been posted on YouTube today.
It probably will be taken down very soon. If you really want to see it, do it quickly!
This sad 3:12 scene is in three sections:
Oliver and Elio part wordlessly at the train station, then Elio's anguished phone call to his mother, Annella,
and Annella taking Elio home in the car.
SPOILER!
IF YOU WANT TO WAIT
UNTIL YOU SEE THE MOVIE
DON'T WATCH THE VIDEO!Timothée Chalamet - as Elio
with
Armie Hammer - as Oliver
and
Amira Casar - as Annella
Call Me by Your Name
All copyrighted material belongs their respective owners
Decaffeinated Bones
Published on Dec 27, 2017
(https://yt3.ggpht.com/-H_NhvngheQ0/AAAAAAAAAAI/AAAAAAAAAAA/Ntp3NwAm35k/s88-c-k-no-mo-rj-c0xffffff/photo.jpg)
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Peter Spears @pjspears 7:39 AM - 28 Sep 2017
https://twitter.com/pjspears?lang=en
TBT. BTS Making movies. Italy 2016/1983 Call Me By Your Name
So, after seeing the movie at NYFF last night, I realized that, like Elio, I found that I had been faking being 'adult' for what seemed like years, and that, suddenly, I found myself unable to make my own way home, and, after feeding a gettone into the antiquated telephone, I needed to call Mom and ask her, tearfully, to pick me up from the station near Clusone, Bergamo.
I also need to see the four hour version of the movie right away, please. Without people who feel it 'necessary' to loudly applaud during the last shot with Timothée staring into the fire just because Luca quietly put the movie title in the lower left of the frame, so no one could hear Sufjan's singing, or figure out his lyrics. Thanks.
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On screen, Armie Hammer lives and breathes Oliver, who is an extremely complex character to read and to understand, seeming both flippant and contemplative. In a gesture as minute as the flicker of his eyes or the softening of creases around the mouth, Hammer captures Oliver’s confidence and his privilege as a young man navigating his way through youth, who is unafraid to express his vulnerability. Yet it is Timothée Chalamet, as the seventeen-year-old Elio, who gives a truly outstanding performance here; outstanding in that his presence is very ordinary, very modest, and with only slight alterations of body and facial expression, he can convey a vast range of impressions about his world. He plays piano gorgeously and riffs on the modes of composers, he reads, transcribes music and fills his conversation with references to philosophy, art and classical literature. He is in every way an intellectual equal to the scholarly Oliver, who says to him, “Is there nothing you don’t know?” The relevance here is that there is; Elio yearns for experiences in life and love.
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https://fourthreefilm.com/2017/02/call-me-by-your-name/
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BERLINALE 2017 Review
Call Me by Your Name
by ELOISE ROSS
FEBRUARY 25, 2017
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Not simply a story of an introvert and an extrovert finding love with one another, but a portrait of desire:
Armie Hammer and Timothée Chalamet and in Luca Guadagnino's Call Me by Your Name
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BERLIN -- The importance of the title Call Me by Your Name comes rather late into Luca Guadagnino’s film, long after the narrative and sexual tension between its two leads has been established. It emerges as a phrase spoken at a moment of shared desire and risk, when one lover expresses something almost more powerful than love, and hopes that the other will be welcoming. New lovers Oliver (Armie Hammer) and Elio (Timothée Chalamet), exploring their feelings, call each other by their own names, and this verbal exchange of appellation brings them closer together, somehow invigorating their intimacy via an unconditional acceptance. This exchange also recalls their arrangement in the home, Elio having moved into an adjacent room as his father requested him to leave his bedroom their visitor. The two men are brought together not as equals, but their divide is clearly dismantled by their declaration of familiarity. The film, concerned with a group of beautiful people who are living exquisitely affluent lives —which has become typical of Guadagnino’s work—traces the lives of these two men amongst them. Its world premiere at Sundance Film Festival seemed an incongruous event, as refined as it is amidst a festival slate of typically indie films, thus it was fitting that Sony Pictures Classics bought the US theatrical rights prior to the festival’s commencement. No doubt, demand for this film will be great.
Set in Lombardy in 1983, where the Perlman family live in a beautiful seventeenth century palazzo home, Call Me by Your Name focuses on 24-year-old Oliver, the present year’s intern invited by Mr. Perlman (Michael Stuhlbarg) for a summer of work, research and vacation. Elio’s father and mother Annella (Amira Casar) are loving and understanding parents, depicted as naturally warm and yet not immune to the gentle bickering that is becoming of a close family. Walking amongst ancient buildings and sun-drenched meadows, the Perlman family and their friends speak a transient combination of English, French and Italian. Thus Call Me by Your Name becomes, after his most recent international successes I Am Love and A Bigger Splash, another Guadagnino film distinctly concerned with the cinematic evocation of summer, of cosmopolitan delight, of warmth and light and the feeling of comfort that comes with these things. The warm air, bright sunlight, refreshing water of local lakes and palatial swimming holes all come alive in the director’s embrace, as these sensuous elements did in his earlier films. Close-up framings of peach orchards, stretches of grass, surfaces of water, generate a haptic texture, particularly when woven throughout the classical blocking and wide shots that define much of the rest of the film. While the characters’ time together is finite, and this knowledge is a weight over the entire film, the framing serves to suggest their immersion in the summer place.
With last year’s A Bigger Splash having one of the best opening title sequences of 2016, Guadagnino is again putting himself forward as a contender with his title design. The film opens simply with close-ups of the face and torso of an ancient Greco-Roman sculpture, cracked and worn but clearly a giant of [his] time. This ancient slate is coloured with flashy, cursive lines as credit text in bright colours appears, dissonant but not disharmonious, which suggests that a declared respect for tradition will be brightened with some more playful contours. The sculpture’s significance comes later too, on one of Mr. Perlman’s archeological expeditions, as [he] is brought up from the bottom of a beautiful ocean plateau. The cinematography by Sayombhu Mukdeeprom, known for creating slow, meditative cinematic moments with Apichatpong Weerasethakul in films such as Uncle Boonmee Who Can Recall His Past Lives and Blissfully Yours, displays the same characteristic control over its visual and sensory subject matter. Stylistically, this film is absolutely worthy of its grand romantic narrative.
Adapted from a 2007 novel by André Aciman, the screenplay—written by Guadagnino, editor Walter Fasano, and James Ivory—shares something of the slow desperation and unspoken desire of The Remains of the Day, the 1993 Kazuo Ishiguro adaptation directed by Ivory. The emotional orbits of each film are not dissimilar, considering the mutual understanding between two parties and a heartbreak almost too mundane to bear, but at a certain narrative point Call Me by Your Name takes a different direction, introducing distinctly personal growth. Witnessing this sensitive character development is one of the pleasures of the film. On screen, Hammer lives and breathes Oliver, who is an extremely complex character to read and to understand, seeming both flippant and contemplative. In a gesture as minute as the flicker of his eyes or the softening of creases around the mouth, Hammer captures Oliver’s confidence and his privilege as a young man navigating his way through youth, who is unafraid to express his vulnerability. Yet it is Chalamet, as the seventeen-year-old Elio, who gives a truly outstanding performance here; outstanding in that his presence is very ordinary, very modest, and with only slight alterations of body and facial expression, he can convey a vast range of impressions about his world. He plays piano gorgeously and riffs on the modes of composers, he reads, transcribes music and fills his conversation with references to philosophy, art and classical literature. He is in every way an intellectual equal to the scholarly Oliver, who says to him, “Is there nothing you don’t know?” The relevance here is that there is; Elio yearns for experiences in life and love.
At first, Elio’s fascination with Oliver seems as though it might not be romantic attraction but a sort of jealous desire to be him, to have Oliver’s confidence. Watching, mesmerised, as Oliver dances with a woman at an outdoor nightclub—the Psychedelic Furs’ “Love My Way” pointedly serving as the soundtrack to the moment—Elio seems to wish he had the same dancing ability. After he notices Oliver’s thin gold chain bearing a Star of David pendant, Elio mentions that he also has one, and he begins to wear it. Whether it is out of a desire to be like Oliver, or from an encouragement that to bear his Jewishness was not taboo (“My mother says we are Jews of discretion,” Elio declares), the notion of self-acceptance is clear. Their sexual tension is understated, too, in their coy touches and in the glances between Oliver and Elio that are full of desire, but often inflected with a warm insolence, as though both teenager and adult are engaging in a childish and naïve flirting. Neither man knows whether to pursue consummation of his feelings, and Call Me by Your Name spends a long time focusing on the relationship between two people who are at once getting to know each other, and at the same time shying behind an uncertainty of how to do so. One of the many beautiful things about this film, and definitely a cornerstone of its narrative and emotional poise, is Oliver’s urbanity, particular perhaps to a type of Jew from New England, that is visibly shaken when he navigates his feelings for Elio. A quote read from Marguerite of Navarre’s The Heptaméron, “Is it better to speak or to die,” is returned to by several characters and has a searing thematic resonance in the film. If it sounds like this could be too heavy-handed, it is not in Guadagnino’s skilled hands.
Sufjan Stevens, a lyricist whose song work is defined by its literary influences and thematic focus, provides two songs for the soundtrack that offer a choral commentary. These songs are interwoven with a selection of classical music, both within the story as played by characters, and as composed soundtrack that includes work by John Adams. This music accompanies significant events, but also composed shots of household sundries, like wet bathers in the sun, providing the mundane with a sense of romance and grandeur. A commonly quoted note of praise for Aciman is that he is, “an acute grammarian of desire,” and this is absolutely sustained in Guadagnino’s film.
Along with Mike Mills’ upcoming 20th Century Women, Call Me by Your Name is one of the most honest reflections of human behaviour I have seen in years. Characters reach mutual understandings, sometimes with glances, sometimes with long discussions, sometimes with silences. Both Elio and Oliver begin their summer in Italy engaging in flirtations and sexual encounters with women; their discovery of each other becomes more than a discovery of love shared with another — on a deeper level, it is a discovery of themselves. This is not simply a story of an introvert and an extrovert finding love with one another, but a portrait of desire, told with Guadagnino’s unique and detailed attention to place.
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[youtube=1100,590]http://www.youtube.com/watch?v=5ZBi8Xh7doA[/youtube]
https://www.youtube.com/watch?v=5ZBi8Xh7doA
Again, I like this video--simply
because it's lovely to remember
the wonderful images--
Wish You Were Here
Timothée Chalamet - as Elio
Armie Hammer - as Oliver
Call Me by Your Name
'Wish You Were Here' (2011)
(Avril Lavigne)
Let us just say that I was not okay after making this one.
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.
Decaffeinated Bones
Published on Dec 27, 2017
(https://yt3.ggpht.com/-H_NhvngheQ0/AAAAAAAAAAI/AAAAAAAAAAA/Ntp3NwAm35k/s88-c-k-no-mo-rj-c0xffffff/photo.jpg)
And here's the original video:
[youtube=1100,650]http://www.youtube.com/watch?v=VT1-sitWRtY[/youtube]
https://www.youtube.com/watch?v=VT1-sitWRtY
'Wish You Were Here' (2011)
(Avril Lavigne)
AvrilLavigneVEVO
Published on Sep 8, 2011
(https://yt3.ggpht.com/-2ncBsq-Zvuw/AAAAAAAAAAI/AAAAAAAAAAA/z3TbPc5BZ2M/s88-c-k-no-mo-rj-c0xffffff/photo.jpg)
[/quote]
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[youtube=1100,620]http://www.youtube.com/watch?v=ey8ugiHmGaw[/youtube]
https://www.youtube.com/watch?v=ey8ugiHmGaw
Very clever!
Kiss Me Hard Before You Go | Summertime Sadness | I Just Wanted You To Know
That Baby You're The Best
Timothée Chalamet - as Elio
Armie Hammer - as Oliver
Call Me by Your Name
'Summertime Sadness' (2012)
(Lana Del Rey)
“Later is better than never.”
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.
Laurel Chen
Published on Dec 26, 2017
(https://yt3.ggpht.com/-VphgO8ymYQU/AAAAAAAAAAI/AAAAAAAAAAA/R5t8eFQ2_Yw/s88-c-k-no-mo-rj-c0xffffff/photo.jpg)
And here's the original video:
[youtube=1100,650]http://www.youtube.com/watch?v=TdrL3QxjyVw[/youtube]
https://www.youtube.com/watch?v=TdrL3QxjyVw
'Summertime Sadness' (2012)
(Lana Del Rey)
LanaDelReyVEVO
Published on Aug 23, 2013
(https://yt3.ggpht.com/-JXK6ocQ08J8/AAAAAAAAAAI/AAAAAAAAAAA/aGPAhXfQpMw/s88-c-k-no-mo-rj-c0xffffff/photo.jpg)
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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/
(http://artsatl.wpengine.com/wp-content/uploads/2017/03/aalogo-1.png)
Call Me by Your Name
is a coming-of-age film filled with deep joy and rich insight
by Steve Murray
December 22 2017
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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.
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http://dailyfilmfix.com/?p=4926
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Call Me by Your Name
by Jonathan W. Hickman
December 22 2017
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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.
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[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 Elio
Call Me by Your Name
Sufjan 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
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[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 Elio
with
Armie Hammer - as Oliver
Call Me by Your Name
All copyrighted material belongs their respective owners
ʙᴇʀᴛʜᴀ
(alexiabertha)
Published on Jan 2, 2018
(https://yt3.ggpht.com/-xEbNKvngV5c/AAAAAAAAAAI/AAAAAAAAAAA/kTZ-QBjC-NI/s88-c-k-no-mo-rj-c0xffffff/photo.jpg)
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
(https://yt3.ggpht.com/-XhzL4daKbt0/AAAAAAAAAAI/AAAAAAAAAAA/TGSx3LzOjyQ/s88-c-k-no-mo-rj-c0xffffff/photo.jpg)
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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
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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
(https://cdn.vox-cdn.com/uploads/chorus_image/image/57728287/call_me_by_your_name_sony_pictures_ringer.0.jpg)
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/content/dam/slate/articles/arts/movies/2018/01/180103_MovieCLUB_bestof2017.jpg)
http://www.slate.com/articles/arts/the_movie_club/features/2018/movie_club_2017/the_rules_of_movie_stardom_are_broken.html
(http://www.slate.com/content/dam/slate/articles/arts/movies/2018/01/180103_MOVIECLUB_Brokenrules.jpg.CROP.promo-xlarge2.jpg)
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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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/
(https://upload.wikimedia.org/wikipedia/commons/thumb/b/b4/The_Atlantic_magazine_logo.svg/2000px-The_Atlantic_magazine_logo.svg.png)
The Shadow Over
Call Me by Your Name
The acclaimed depiction of gay romance forgoes politics and doesn’t mention
AIDS—but there are hints at a broader, darker context for its story.
by SPENCER KORNHABER
JAN 3, 2018
(https://i.ytimg.com/vi/7xD-Zbik5sc/maxresdefault.jpg)
Esther Garrel, Timothée Chalamet and Armie Hammer in Call Me by Your Name.
The masterful shot that closes Call Me by Your Name asks the viewer to do the same thing the character on screen is doing: think. Over seven minutes, Elio Perlman, the 17-year-old played by Timothée Chalamet, simply stares into a crackling fireplace as tears well in his eyes. He presumably is reflecting on his tryst with Oliver, Armie Hammer's 24-year-old grad student who visited Elio’s Italian home for the summer. And on Elio’s own father’s life in the closet, revealed to him toward the end of the film. And maybe on his future, perched as he is on the cusp of adulthood, and having just had an affair that felt life-changing.
The audience should be reflecting on those things, too. It’s possible, though, they’d be considering something surely not on Elio’s mind: AIDS. At least, that was the case for me—a fact that has gotten me into arguments with friends who are, understandably, wary of over-reading a film devoted to young love’s bittersweetness and the glory of short shorts.
The acclaim for Luca Guadagnino’s adaptation of André Aciman’s novel has, overwhelmingly, focused on its cinematic loveliness and emotional power. As Guadagnino’s camera inhabits the gaze of a young man whose fantasy becomes reality, it refreshingly depicts “a story of queer love that isn’t tinged with horror or tragedy,” as my colleague David Sims wrote (scroll down to see below). The flip side is that Call Me by Your Name ’s prettiness has come in for rebuke, too, with some critics faulting it for trying too much to appeal to a “universal” audience, and others asking why it has won so much more attention than more provocative, political queer stories.
But I’d argue there actually is a tinge of tragedy to Call Me by Your Name, and part of the richness of the movie is in the way it makes a larger point while mostly keeping politics off screen. The story does feel sealed, its characters happily isolated in a landscape of ripe fruit and ancient ruins that almost feels pre-electricity. Yet on the edges of the film are reminders of the broader social struggle that Elio and Oliver feel temporarily exempted from—and maybe, just maybe, of the epidemic that queer men were beginning to contend with.
Oliver and Elio’s archeologist dad read into the surfaces of the artifacts they unearth—“there’s not a straight line in any of these statues; they’re all curved, as if daring you to desire them,” Mr. Perlman says. The viewer should bring the same scrutiny to Guadagnino’s surfaces. Why, for example, are there so many flies in the movie? Elio swats bugs away repeatedly, and faint buzzing often joins the idyllic soundscape. Flies are especially noticeable in the scene of Oliver and Elio’s first kiss, as well as in the final shot before the fireplace.
The tale unfolds in rural Italian summer, redolent with natural rot—fair enough. But surely there’s a reason Guadagnino draws attention to that rot. At Slate, Eleanor Cummins speculates that the insects, which have short lifespans, symbolize the temporary nature of Elio and Oliver’s affair ( http://www.slate.com/blogs/browbeat/2017/12/08/why_are_there_so_many_houseflies_in_call_me_by_your_name.html ). Maybe so. But flies can obviously connote human death and illness, too.
The same can be said for blood, such as the blood that suddenly, inexplicably spills from Elio’s nose at dinner. Or such as the blood crusted on a nasty gash on Oliver’s hip. When he first shows his wound to Elio, it’s a sensual tease—though a gory one. Later, right after their first make-out, Oliver points to the injury again, this time to kill the mood. “I think it’s starting to get infected,” he says. These touches—pungent, corporal—fit with a story about physical desire. But they also inject a note of queasiness, raising the thought of the body’s fragility.
Maybe the horror-film flashes are meant simply to reinforce the fear Oliver and Elio must feel. Their relationship is forbidden, we sense, because of their age difference, because Elio is the son of the Oliver’s boss, and because they are the same sex. Though none of these factors is spoken of directly, both characters clearly feel a dalliance would be taboo. Elio at one point makes a homophobic crack about his parents’ gay friends. And despite his brash, swaggering affect, Oliver comes off as especially worried about the external world’s judgment. “We haven’t done anything to be ashamed of, and that’s a good thing,” he tells Elio after breaking off their first kiss. “I want to be good.”
The miraculous nature of the story stems not only from Elio and Oliver overcoming their fears, but also from the way the obstacles they face simply vanish—because, we later learn, those obstacles were illusory for them. In the monologue Elio’s father gives toward the end of the film, forbidden love is made okay, even encouraged. More than that, Mr. Perlman’s confession—that he has wanted but never had the kind of relationship his son has enjoyed—marks the moment when Call Me by Your Name telescopes out. An intimate, specific story must be considered against the larger circumstances that queer people faced. In that context, it becomes a tale, more broadly, of liberation—and perhaps its limits.
When Oliver calls the Perlman household to announce he’s engaged to a woman, it reads as a capitulation for the outwardly swashbuckling American who pursued Elio and hid the fact that he had a girl back at home. Outside of the permissive paradise of the Italian summer, we’re reminded, there are rules. But Elio may have escaped to a freer future than his lover could access, one less constrained by shame and repression. “You’re so lucky,” the older man tells the younger one over the phone. “My father would have carted me off to a correctional facility.” Even so, Elio is shaken by Oliver’s call.
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 he 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 Elio 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.
I’m not suggesting that the movie telegraphs Elio’s future as one of sickness (Guadagnino has talked about filming sequels that follow these characters years later, Before Sunset–style, and the book closes with a series of flash-forwards). The critic Eric Eidelstein persuasively argues that the film’s flies and blood could be red herrings, subverting the cliché of the ill-fated gay romance.
( https://mic.com/articles/186253/call-me-by-your-name-avoids-the-thing-that-hangs-over-too-many-lgbtq-films-tragedy#.BfGYXaVc3 )
But the flip side of that subversion is an understanding that prejudice is not the only reason gay people have, so often, been saddled with tragic stories in pop culture. It is an understanding that the year’s other splashy European queer film, 120 Beats Per Minute, about AIDS activism in Paris in the early ’90s, need not be seen as a foil to Call Me by Your Name but as a companion piece. Self-actualization—or simply loving as one wants—was not the entire struggle.
The queer utopia Elio and Oliver built is poignantly temporary and limited—both for reasons that the movie spells out, and conceivably for historical reasons that go unmentioned but perhaps not unconsidered. In his sermon, Mr. Perlman invites his son to live his truth, but emphasizes that doing so inevitably means opening oneself up to pain. He also makes a statement that’s queer in the sense of holding opposed meanings, happy and sad. “When you least expect it,” he says, “Nature has cunning ways of finding our weakest spot.”
(https://cdn.theatlantic.com/assets/media/None/spencer_headshot_2016_bw_2-1/headshot.jpg?1461780075) Spencer Kornhaber is a staff writer at The Atlantic covering pop culture and music.
Timothée Chalamet is handed the difficult task of making Elio authentically aloof and cold at times. Though he’s a teenager desperate for the approval of everyone around him, he possesses a vulnerability that he displays only occasionally. Armie Hammer, who could so easily be reduced to the part of a typically handsome Hollywood stand-in, is mesmerizing; he switches between Oliver’s public brashness and private tenderness with ease, making his character far more than a simple object of desire.
https://www.theatlantic.com/entertainment/archive/2017/11/call-me-by-your-name-review/546872/
(https://upload.wikimedia.org/wikipedia/commons/thumb/b/b4/The_Atlantic_magazine_logo.svg/2000px-The_Atlantic_magazine_logo.svg.png)
The Sumptuous Love Story of
Call Me by Your Name
Luca Guadagnino’s tale of budding gay romance in 1980s Italy
is one of the most mesmerizing films of the year.
by DAVID SIMS
29 November 2017 6:00 AM ET
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Timothée Chalamet and Armie Hammer in Call Me by Your Name.
“What do you do around here?” the tall, strapping Oliver (Armie Hammer) asks Elio (Timothée Chalamet), the 17-year-old giving him a tour of the charming Italian village where Oliver will be living for the next six weeks. “Wait for the summer to end,” the bored-seeming Elio says with a sigh. “And what do you do in the winter? Wait for the summer to come?” Oliver shoots back. That only gets a chuckle from Elio, but that line nails the initial mood of Call Me by Your Name, Luca Guadagnino’s sumptuous new romance, which follows a deep connection that springs out of those restless days of late adolescence.
Elio is the intelligent, charming son of archeology professor Samuel Perlman (Michael Stuhlbarg), with whom Oliver, a graduate student, is interning for the summer. Guadagnino’s film, based on the 2007 novel by André Aciman, charts Elio and Oliver’s relationship, which develops haltingly at first but then burns brightly. It’s a swooning tale about the seismic power of first love—one that doesn’t dismiss Elio’s experience as a folly of youth, but instead digs into the unmistakable trace it leaves, for better or worse.
It’s also a story of queer love that isn’t tinged with horror or tragedy, a gay romance about a genuine attachment. At the same time, Call Me by Your Name doesn’t attempt to sanitize itself as a bland, “universal” film in hopes of appealing to a wider audience. It’s both intensely erotic and intensely contained, acknowledging the very private lives gay men were forced to lead in the early 1980s, when the film is set. As a result, in Call Me by Your Name, virtually every bit of physical contact is crucial and electrifying.
The intimacy Guadagnino (and James Ivory, who wrote the film’s script) finds in these characters is present from the beginning, but Chalamet (a 21-year-old budding superstar who I knew best from an old season of Homeland ) is the audience’s way in, as a boy on the verge of adulthood who develops immediate, if confused, attraction to the confident Oliver. Not long after the two first meet, Elio retires to his room and reclines in his bed, looking at the tuft of hair sprouting from his armpit, and lazily blowing on it. A few scenes later, Elio is bold enough to sneak into Oliver’s empty room and put Oliver’s swimsuit over his head.
Guadagnino doesn’t include these moments to advance the plot or to let the audience in on some secret; the connection between Elio and Oliver is apparent very quickly. Rather, he’s trying to sketch a portrait of personal, formative experiences of sexuality, and of Elio’s relationship with his own body. It’s tremendously insightful work from a director who has long appreciated actors’ bodies as more than aesthetic objects. In his 2009 film I Am Love, Guadagnino presented Tilda Swinton—as a married woman having a dangerous affair—at her most ravishing, and then spends the movie digging into her vulnerable psyche. In A Bigger Splash, a music producer played by Ralph Fiennes was all physicality, dancing wildly for the camera in an extended introduction, but Guadagnino goes on to expose just how strung out his character really was.
Even compared to the director’s previous films (which are excellent and worth watching), Call Me by Your Name is a huge step forward for Guadagnino. The story manages to transcend all its genre trappings: This isn’t just a luxurious vacation movie, but it’s still crammed to the gills with gorgeous shots of the Italian countryside and Elio’s family home. This isn’t just an erotic drama, and yet the love scenes are all choreographed with care. And most importantly, this isn’t just a coming-of-age tale, but the ardor Elio and Oliver have for each other feels utterly vital, as if every touch will be seared into their memories.
Chalamet is handed the difficult task of making Elio authentically aloof and cold at times. Though he’s a teenager desperate for the approval of everyone around him, he possesses a vulnerability that he displays only occasionally. Hammer, who could so easily be reduced to the part of a typically handsome Hollywood stand-in, is mesmerizing; he switches between Oliver’s public brashness and private tenderness with ease, making his character far more than a simple object of desire. And lurking in the background is Stuhlbarg, wonderful as a knowing father who is content to mostly let his son figure things out by himself, but who steps in with a guiding hand when things get a little tougher. (He also delivers one of the most astonishing film monologues of recent memory.)
Call Me by Your Name soaks in that end-of-summer mood throughout, one where each move in Elio and Oliver’s courtship is loaded with tension (simply because their time together is so short, and thus so meaningful). As such, it’s thrilling to watch, even as the pair waste the days away swimming, biking, and talking around their feelings; when their dynamic finally explodes into passion, it’s one of the year’s most satisfying film moments. Each element is carefully calibrated, but deployed with consummate grace—this is a film to rush to, and to then savor every minute of.
(https://cdn.theatlantic.com/assets/media/None/sims/headshot.png?1461093689) DAVID SIMS is a senior associate editor at The Atlantic, where he covers culture.
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The same can be said for blood, such as the blood that suddenly, inexplicably spills from Elio’s nose at dinner. Or such as the blood crusted on a nasty gash on Oliver’s hip. When he first shows his wound to Elio, it’s a sensual tease—though a gory one. Later, right after their first make-out, Oliver points to the injury again, this time to kill the mood. “I think it’s starting to get infected,” he says. These touches—pungent, corporal—fit with a story about physical desire. But they also inject a note of queasiness, raising the thought of the body’s fragility.
CALLMEBYYOURNAMEFANART
https://twitter.com/mellowbeat__
(https://abs.twimg.com/emoji/v2/72x72/1f351.png)
(https://pbs.twimg.com/profile_images/901012823798566912/fIUK4b24_400x400.jpg)by @mellowbeat__
(https://pbs.twimg.com/media/DK-b-GxUMAAh7eV.jpg)
https://twitter.com/mellowbeat__/status/914120757533229056
https://twitter.com/mellowbeat__
(https://pbs.twimg.com/media/DLESI86VAAAVoii.jpg)
https://twitter.com/mellowbeat__/status/914532208253165568
https://twitter.com/mellowbeat__
The stealth and and stubbornness of his caresses sent chills down my spine. A sudden giddiness overtook me. No, I wasn't going to cry, this wasn't a panic attack, it wasn't a "swoon," and I wasn't going to come in my shorts either, though I liked this very, very much, especially when the arch of his foot lay on top of my foot. When I looked at my dessert plate and saw the chocolate cake speckled with raspberry juice, it seemed to me that someone was pouring more and more red sauce than usual, and that the sauce seemed to be coming from the ceiling above my head until it suddenly hit me that it was streaming from my nose. I gasped, and quickly crumpled my napkin and brought it to my nose, holding my head as far back as I could. "Ghiaccio, ice, Mafalda, per favore, presto," I said, softly, to show that I was in perfect control of the situation. "I was up at the hill this morning. Happens all the time," I apologizing to the guests.
There was a scuffle of quick sounds as people rushed in and out of the dining room. I had shut my eyes. Get a grip, I kept saying to myself, get a grip. Don't let your body give the whole thing away.
"Was it my fault?" he asked when he stopped into my bedroom after lunch.
I did not reply. "I'm a mess, aren't I?"
He smiled and said nothing.
Call Me By Your Name by André Aciman
Recited/Narrated by Armie Hammer
(https://pbs.twimg.com/media/DGaDBZBV0AE7ezw.jpg)
A few scenes from Call Me By Your Name taken at a premiere, source unknown.
https://twitter.com/badpostchalamet @badpostchalamet timothée updates
https://twitter.com/apeachpricot @apeachpricot
CALLMEBYYOURNAMEFANART by @mellowbeat__
https://twitter.com/mellowbeat__
Sept 30 and Oct 01, 2017
#CMBYN #CallMeByYourName #Elio #Oliver #laterpeaches #🍑
#elio perlman #oliver #ulliva
#andré aciman #armie hammer #timothée chalamet #luca guadagnino
#book #novel #film #movie #sonyclassics #lgbt
#art #artwork #artist #illustration
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(https://pbs.twimg.com/profile_images/901012823798566912/fIUK4b24_400x400.jpg)
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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/
(https://68.media.tumblr.com/5385d5c623fba7cd330de9f74523b54c/tumblr_ouc4l4497R1wwjl4jo1_r1_1280.jpg)
[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 Elio
Call Me by Your Name
Sufjan 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
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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/content/dam/slate/articles/arts/movies/2018/01/180103_MovieCLUB_bestof2017.jpg)
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
(http://www.slate.com/content/dam/slate/articles/arts/movies/2018/01/180104_MOVIECLUB_cmbyn-grass.jpg.CROP.promo-xlarge2.jpg)
Timothée Chalamet and Armie Hammer in Call Me by Your Name.
Call Me By Your Name ’s detractors are wrong to insist
that its sex scenes should have been more explicit.
By Mark Harris
JAN. 4 2018 12:01 PM
EXCERPT:
(....)
This year’s best movies seemed to spark a lot of discussion about endings.
(....)
Which brings me to the dialogue-free ending of Call Me by Your Name—that minutes-long close-up in which Timothée Chalamet’s Elio, still processing, starts to come to terms with the end of one narrative and the beginning of his own. It’s rare that a movie offers two kinds of acting virtuosity. But Call Me does. We’re given the deeply gifted 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). And in contrast, we have Michael Stuhlbarg’s indelible work as Elio’s father—an example of what a great actor with decades of experience, after unostentatiously building and deepening his character with very limited screen time throughout the movie, can bring forth within a single climactic monologue. Stuhlbarg opens up a man’s soul—he gives us a father’s loving delicacy about presuming too much, a conflicted middle-aged romantic’s unvoiced regrets, and a professor’s desire to teach a pupil. To be in a moviehouse and hear people start to cry at that moment is the best argument for the communality of the theatrical experience I can make. Well, that and Wonder Woman.
I liked Beach Rats very much; although its end felt to me slightly too didactic a take on the cost of the closet, the film is true and observant and compassionate, one of the highlights of a generally strong year for LGBTQ movies (see also God’s Own Country and BPM (Beats Per Minute), among others). Perhaps because I’m about the age that Elio would be today, Call Me by Your Name sits atop that list for me. 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, I think, to set Call Me in a chronological, class, and geographic bubble—nobody can say anything about the “privilege” of these characters that the movie doesn’t say itself. If any dissent from its very warm reception has frustrated me, it’s the low drumbeat from some gay writers that the movie somehow pulls its punches—that it’s too polite to look at sex between Elio and Oliver, that it should show more, that it needs to go there.
No, it doesn’t. First of all, nudity as a signpost of artistic integrity is something we should all move past. Second, penises are about the most readily available commodity in the whole large world of gay indies. But what dismays me most is that this critique feels like it’s about what the critic wants rather than what the movie needs. I haven’t heard a persuasive case that something meaningful would be articulated about Elio or Oliver if you showed sucking or erections or penetration; it feels more like an ideological insistence that Call Me should have the balls, no pun intended, to risk affronting more people, to be more in-your-face. As if the movie were a candidate that somehow failed to placate its base. (It’s also strange to see what’s described as Call Me ’s reticence invoked as symptomatic of a double standard, as if mainstream heterosexual romantic dramas are brimming with vulvas and cumshots.) Yes, André Aciman’s novel is more explicit (in ways that feel persuasive and ways that don’t), but novels aren’t movies, and to put it plainly, I don’t think that a film adaptation owes its audience dick in that regard.
I want to focus on one crucial shot, when Luca Guadagnino and cinematographer Sayombhu Mukdeeprom move the camera off of Elio and Oliver as they’re about to have sex. If you view that action as moving away, as avoiding something, as fearfulness, you miss what the camera is moving toward. In one of the film’s few temporal markers, it pans across a poster on the wall next to the bed—a French Open drawing of Björn Borg that is prominently dated 1981. Just two years later—right when the movie takes place—Larry Kramer’s AIDS warning “1,112 And Counting” would appear in the New York Native. Kramer’s words—“Our continued existence as gay men upon the face of this earth is at stake. Unless we fight for our lives, we shall die”—convey a vast and dangerous world outside of the very temporary sanctuary in which Elio and Oliver find themselves. We are in their present, but suddenly also in our past. Safe sex is probably not on their minds at that moment—not in the Eden that, as the camera moves past the wall to a tree outside the window, you’re reminded they are inhabiting only temporarily. For me, it’s a moment of sharp sorrow, not of timidity. To be sure, it can be valuable to think about what, or who, a movie doesn’t show you; it’s always worth considering what’s outside the borders. But sometimes, while you’re policing the margins, you can miss what’s right in front of you.
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Well, here's a new video
for Mystery of Love (2017)
released today:
[youtube=1100,590]http://www.youtube.com/watch?v=KQT32vW61eI[/youtube]
https://www.youtube.com/watch?v=KQT32vW61eI
'Mystery of Love' (2017)
(Sufjan Stevens)
Music video for “Mystery of Love” by Sufjan Stevens from the Call Me By Your Name soundtrack
featuring footage from the film as well as footage filmed at the M.A.N.
(Museo Archeologico Nazionale of Naples).
Call Me By Your Name is Now Playing in Select Theaters, playing nationwide on Friday, January 19th.
Pitchfork
Published on Jan 4, 2018
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Oy, the Golden Globes.
CMBYN didn't win anything.
Armie lost to Sam Rockwell in "Three Billboards...". Haven't seen it. Check this in the Times (https://www.nytimes.com/2018/01/07/movies/sam-rockwell-globes-racism-cop.html?mabReward=ART_CB1&recid=0yrk0HKnbgqNROR5ts37qwKKXEQ&recp=0&moduleDetail=recommendations-0&action=click&contentCollection=Movies®ion=Footer&module=WhatsNext&version=WhatsNext&contentID=WhatsNext&src=recg&pgtype=article).
Best song went to the ungrammatical, generic, bloviating mess "This is Me" from "Greatest Showman". Poor Sufjan, not even nominated. The other nominations were all from animated films.
Timothée lost to Gary Oldman as Churchill in "Darkest Hour". Why, oh, why, do these shows continue to award impressions of real people? Especially those from the 20th century where there are hundreds of hours of footage and recordings??? Rather than a complicated character created out of airy nothing? (Of course, I'm also thinking of Heath's Ennis vs. Philip Seymour Hoffman's Capote impression.) It was some consolation to see Timothée up on stage with the cast of "Lady Bird", that won for Best Comedy/Musical.
And Best Drama went to (what critic Wesley Morris called) "the moral and emotional and metaphorical confusion that is ‘Three Billboards Outside Ebbing, Missouri.'" It seems violence trumps love.
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Timothée lost to Gary Oldman as Churchill in "Darkest Hour". Why, oh, why, do these shows continue to award impressions of real people? Especially those from the 20th century where there are hundreds of hours of footage and recordings??? Rather than a complicated character created out of airy nothing? (Of course, I'm also thinking of Heath's Ennis vs. Philip Seymour Hoffman's Capote impression.)
That is a good point. Perhaps they should create separate awards, like they do for best original script/best adapted script. Call Me By Your Name is winning with audiences, anyway!
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Call Me By Your Name is winning with audiences, anyway!
Thanks, Lee. I don't know, though. Without a few wins, nominations alone could cause the potential audience to dwindle.
And Best Drama went to (what critic Wesley Morris called) "the moral and emotional and metaphorical confusion that is ‘Three Billboards Outside Ebbing, Missouri.'" It seems violence trumps love.
You know, Paul, I'm not the most objective person re Call Me, but I have a separate, very subjective iron in this fire.
Ok, for years I have loathed and despised Martin McDonagh. Now I put him lower than Paul Haggis. Well, I said I was anything but objective.
>:(
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While I am not discounting those winning the "Golden Globes" we need to remember that the voting membership is about 90 people (that's it) who when all is said and done, are not substantial film critics.
https://en.wikipedia.org/wiki/Hollywood_Foreign_Press_Association
I will not place a lot of dismay for CMBYN b/c of the GG. They really have done a PR job on the public.
V.
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BAFTAs announced today.
CMBYN has several nominations: Best Film, Best Director for Luca, Best Leading Actor for Timothée, Best Adapted Screenplay for James, and "Rising Star Award" for Timothée (this is voted by the public).
Awards are presented February 18 at the Royal Albert Hall.
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Bless the BAFTAs! It was they who awarded our Jake!
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Bless the BAFTAs! It was they who awarded our Jake!
Yes, indeed!
Stephen Fry has retired, however, and Joanna Lumley will host this year.
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This.
(https://pbs.twimg.com/profile_images/923675453931622401/1GXQarcE_400x400.jpg) iana
@yorgosIanthimos
3:22 PM - Jan 8, 2018
499 Retweets 1,578 Likes
https://twitter.com/yorgosIanthimos
https://twitter.com/yorgosIanthimos/status/950462706720628736
nothing but respect for MY three billboards
(https://pbs.twimg.com/media/DTC4yIoX4AAFxKZ.jpg)
(https://pbs.twimg.com/media/DTC4yIrXUAAGJT1.jpg)
(https://pbs.twimg.com/media/DTC4yIsWsAA8PJC.jpg)
Obviously referencing:
(https://pbs.twimg.com/profile_images/1255015267/familyDSC_5411_2_400x400.jpg) Peter Spears
@pjspears
3:41 PM - 4 Oct 2017
5 Retweets 60 Likes
https://twitter.com/pjspears?lang=en&lang=en
https://twitter.com/pjspears/status/915708403888066560
This.
(https://pbs.twimg.com/profile_images/915641529011724290/OWQmC8X9_bigger.jpg) Armie Hammer Global
@ArmieHGlobal
3:23 PM - 4 Oct 2017
29 Retweets 106 Likes
https://twitter.com/ArmieHGlobal
https://twitter.com/ArmieHGlobal/status/915703978368880640
Call Me By Your Name posters in the subway in London (https://abs.twimg.com/emoji/v2/72x72/1f351.png) (https://abs.twimg.com/emoji/v2/72x72/1f499.png)
(https://pbs.twimg.com/profile_images/923675453931622401/1GXQarcE_400x400.jpg) iana
@yorgosIanthimos
3:19 PM - 4 Oct 2017
54 Retweets 194 Likes
https://twitter.com/yorgosIanthimos
https://twitter.com/yorgosIanthimos/status/915702858229714945
king’s cross st pancras !!
SHES HERE AND SHES BEAUTIFUL
(https://pbs.twimg.com/media/DLU64kZWkAEgn3y.jpg)
(https://pbs.twimg.com/media/DLU64kuXUAAp3V5.jpg)
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Just FYI.
(https://pbs.twimg.com/profile_images/1255015267/familyDSC_5411_2_400x400.jpg) Peter Spears
@pjspears
1:23 PM - 11 Dec 2017
373 Retweets 1,228 Likes
https://twitter.com/pjspears?lang=en&lang=en
https://twitter.com/pjspears/status/940331330176454656
10 yrs ago we set out to make the movie we needed when we were growing up, a great cinematic romance that challenged conventions and proved that love is love- that the magic, beauty and mystery of first love is something shared by all. Thank you for recognizing that today, HFPA.
(http://newsdesk.hearst.co.jp/var/nd/storage/images/2017/12/golden-globes-nominations-2018-171212-hns/node_19950/273232-1-jpn-JP/_1.jpg)
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Also FYI:
http://www.vulture.com/2018/01/oscars-2018-your-guide-to-the-three-billboards-backlash.html
(http://images.nymag.com/news/articles/reasonstoloveny/2015/img/ny-logo.svg)
(http://images.amcnetworks.com/ifc.com/wp-content/uploads/2016/05/Vulture-Logo-Main.jpg)
Your Guide to the
Three Billboards
Backlash
By Nate Jones
January 10, 2018 9:00 am
(https://pixel.nymag.com/imgs/daily/vulture/2018/01/08/08-three-billboards.w710.h473.jpg)
Two Golden Globe winners. Merrick Morton/Fox Searchlight Pictures
Unlike last year, when the battle between Moonlight and La La Land became for many viewers a proxy war for the struggle against the incoming administration, the first few months of this year’s Oscars race denied us the pleasures of another stark contest. In part, this was because the industry gave us enough offscreen monsters that we didn’t need to turn a movie into one. But it’s also because, for those of us prone to treating awards ceremonies as referendums on the state of social progress, this year has an embarrassment of worthy winners: Get Out, a horror film with a clearer view of American racism than a million liberal-humanist dramas; Lady Bird, Greta Gerwig’s sensitive portrait of mother-daughter tension; and Call Me by Your Name, a love story so beautiful that, as one E! red-carpet host revealed at the Golden Globes, it made his straight friends finally realize gay relationships were as real as their own.
Amid the hubbub over #TimesUp, Oprah’s speech, and James Franco elbowing Tommy Wiseau, you may not have noticed something else that happened at the Globes: With its four wins Sunday night, Martin McDonagh’s Three Billboards Outside Ebbing, Missouri not only became the Oscar front-runner, it was also officially inaugurated as this year’s La La Land, the movie whose awards success is seen as emblematic of America’s various ills.
Few people would have anticipated either of these things happening from reading coverage of Three Billboards after its premiere at the Toronto Film Festival in September. Back then, the movie was widely pitched as standing on the right side of the current political divide, with early critics seeing Frances McDormand’s Mildred Hayes as a standard-bearer for #nastywomen everywhere. (As Owen Gleiberman wrote in Variety, “She’s woke, she’s fierce, she’s beyond shame or scruples, she’s screaming truth to power, she’s charged up with the wrath of an avenger.”) Though the film won the festival’s top prize and McDormand was widely assumed to be a strong contender for Best Actress, Three Billboards was marketed as something different from the usual toothless Oscar bait: pricklier, more raw, less interested in making you love it.
The film came out to generally positive reviews in November, when audiences began noticing something that the Toronto reviews had barely touched on — the film’s odd blind spot on race. I’ll let my colleague Angelica Jade Bastién go into it further later this week, but briefly: The second half of the movie largely belongs to Sam Rockwell’s Dixon, a ne’er-do-well cop with a history of racist violence who gets some measure of redemption by the end of the film. Dixon’s arc has made Rockwell a shoo-in for Best Supporting Actor races at the same time as it’s rubbed some viewers the wrong way thanks to a noticeable bit of sleight of hand: McDonagh never lets us meet the black person Dixon is said to have tortured, which lets his past crimes stay entirely in the abstract. (Dixon does do another terrible thing onscreen, but the movie is careful to give him a very good excuse, and he subsequently suffers so much that his victim immediately forgives him.) And as Kyle Buchanan noted, the film’s only other black characters are all “good-hearted ciphers.”
On Twitter, NPR’s Gene Demby has been one of the leading voices against Three Billboards, calling the film’s rapturous reception at Toronto an indictment of the whiteness of the critical establishment: “I think festival audiences are so used to the centrality of white people’s inner lives treated as the Actual Emotional Stakes that they don’t get what’s janky about a movie set in a town where cops torture black [people] but the plot is about thwarted justice for a white lady,” he wrote in one thread. Other media outlets soon followed suit. The Washington Post ’s Alyssa Rosenberg has written how the film’s handling of Dixon undermines its own moral convictions. At the Daily Beast, Ira Madison III, a McDonagh fan, called the film “unearned, manipulative and altogether offensive.” The HuffPost’s Zeba Blay compared it to a white liberal’s racist uncle.
So yes, a whole lot of people did not like Three Billboards even before the Golden Globes. But on Sunday, the film’s warm embrace from the Hollywood Establishment went from something theoretical to painfully concrete. The film won in Best Supporting Actor (they loved the racist-cop redemption arc), Best Screenplay (over Get Out ’s Jordan Peele), Best Actress in a Drama (no one was upset about this one), and Best Drama (where Get Out wasn’t even competing). Martin McDonagh may not have won in Best Director, but he was part of that all-male slate of nominees, and so indicted all the same.
Accordingly, Three Billboards was treated to the ritual social-media dunking that greets all unworthy awards winners:
(https://pbs.twimg.com/profile_images/760939156478369792/PqehvLus_400x400.jpg) Jake Weisman
@weismanjake
11:54 PM - Jan 7, 2018
336 Retweets 2,792 Likes
https://twitter.com/weismanjake
https://twitter.com/weismanjake/status/950229080007307264
I'm actually thrilled Three Billboards Outside Ebbing, Missouri won the Golden Globe for best picture because it gives us an excellent opportunity to remember that there is no justice in this world and most people are dumb sheep with trash opinions.
Never forget that Crash won best picture & it is easily one of the worst pieces of shit ever made. History is on the side of the people who knew that not only was Brokeback Mountain a superior film, but Crash was a piece of garbage written and directed by a Scientologist rapist.
Just as Donald Trump winning the presidency exposed the seedy underbelly of American politics, so does Three Billboards Outside Ebbing, Missouri give us a chance to realize that most movies are horrible, and we MUST do better.
(https://pbs.twimg.com/profile_images/932660941124243456/cBQXIFUb_400x400.jpg) jomny sun
@jonnysun
8:29 PM - 7 Jan 2018
1,143 Retweets 5,527 Likes
https://twitter.com/jonnysun
https://twitter.com/jonnysun/status/950222878745743360
the golden globes ending on a Three Billboards win is like a film about a strong independent woman ending by finding sympathy for the violent and racist cop who perpetrated police brutality
i love love love mcdormand, rockwell, and even mcdonagh’s other work but this film was... woof
Three Billboards followed this up by turning in a strong showing in Tuesday’s BAFTA nominations. This awards season may not have the same crackerjack finish as last year’s, but as least we’ve finally found a good villain.
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Well, it's been over 10 years since I posted on this site. Glad to see it's still around.
We now have a new movie to love and I'd like to contribute to the discussion by sharing a PDF I made. It's all of the shooting locations for CMBYN shown on Google Maps. The link opens directly to the PDF, but it can be downloaded. I made it in case I ever go back to Italy (last time 1975) so I can find the places where this wonderful film was made. I did the same for BBM and toured southern Alberta for a few days back in 2007. I hope some of you find this helpful.
https://www.dropbox.com/s/sme5r647mbdfq2a/CMBYN%20Locations.pdf?dl=0
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Thank you! I can hardly wait to see the film. It may not open here until later but I'm hoping for the 19 Jan 18. If I ever get to Italy, I'm sure some of these will be on the play list.
It was great as people posted their personal photos from visiting the locations. I hope people do the same with CMBYN. Maybe there's a "Finding CMBYN" web site out there like "Finding Brokeback"
http://www.findingbrokeback.com/
Later, V.
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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 & etc.)*
Australia 26 December 2017
Netherlands 11 January 2018
Taiwan 12 January 2018
USA 12 January 2018 (Detroit and Indianapolis)*
Brazil 18 January 2018
Portugal 18 January 2018
Estonia 19 January 2018
USA 19 January 2018 (NATIONWIDE)*
Italy 25 January 2018
Finland 26 January 2018
Norway 26 January 2018
Poland 26 January 2018
Spain 26 January 2018
Philippines 31 January 2018 (Ayala Malls Cinemas - select)
Denmark 1 February 2018
Greece 8 February 2018
Hungary 8 February 2018
Romania 9 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*
(https://78.media.tumblr.com/de43ed433aa66bdcad83e8befedd7efb/tumblr_ozj4xvxb7L1wypyaqo1_1280.jpg)
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
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Well, it's been over 10 years since I posted on this site. Glad to see it's still around.
Welcome paradise, glad to see you back! I was in Alberta too in 2007 but just for a few days. Yes, we've been keeping the campfire going. Pull up a log, put your boot in the fire!
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(https://pbs.twimg.com/profile_images/1255015267/familyDSC_5411_2_400x400.jpg) Peter Spears
@pjspears
3:57 PM - 10 Jan 2018
52 Retweets 260 Likes
https://twitter.com/pjspears?lang=en&lang=en
https://twitter.com/pjspears/status/951241520262168577
Couldn't be happier for dear friend and author @aaciman- his book "Call Me By Your Name" has hit the New York Times bestseller list!
(https://pbs.twimg.com/media/DTN8zCxVAAAxMtZ.jpg:large)
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Saw it, finally and loved it! I especially loved Armie Hammer and Timothée Chalamet. They were just perfect in their individual roles and perfect together. What a wonderful speech the father gave, he nearly, well, did, steal the show for a few minutes. I don't think I would have appreciated the film nearly as much without my Brokeback experience. I would have seen it as another Room With a View, updated for more modern times.
A couple of quibbles. The mom didn't know? Of course she knew. Otherwise, why would she have chosen that passage to translate from German. I'm so done with clueless or missing moms in movies.
The other one (a mild spoiler follows). They're on the bed. Finally, first night in the tent is happening and suddenly, the camera operator LOSES CONTROL of the camera and it slides unsteadily to the right and looks OUT THE WINDOW at a TREE. WTF? Excuse me!!
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Saw it, finally and loved it! I especially loved Armie Hammer and Timothée Chalamet. They were just perfect in their individual roles and perfect together. What a wonderful speech the father gave, he nearly, well, did, steal the show for a few minutes. I don't think I would have appreciated the film nearly as much without my Brokeback experience. I would have seen it as another Room With a View, updated for more modern times.
A couple of quibbles. The mom didn't know? Of course she knew. Otherwise, why would she have chosen that passage to translate from German. I'm so done with clueless or missing moms in movies.
The other one (a mild spoiler follows). They're on the bed. Finally, first night in the tent is happening and suddenly, the camera operator LOSES CONTROL of the camera and it slides unsteadily to the right and looks OUT THE WINDOW at a TREE. WTF? Excuse me!!
From the clips I've seen, Elio's mom knew. She knew driving him back in that car scene. How could she not know?
As for the scene you describe, the director discussed that in an interview. The director said he wanted you to focus on what was outside and not intrude but know on purpose. Sometimes it is not what you see that is the most powerful... --> http://www.indiewire.com/2017/12/call-me-by-your-name-sex-scene-luca-guadagnino-1201910219/
V.
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Saw it, finally and loved it! I especially loved Armie Hammer and Timothée Chalamet. They were just perfect in their individual roles and perfect together. What a wonderful speech the father gave, he nearly, well, did, steal the show for a few minutes. I don't think I would have appreciated the film nearly as much without my Brokeback experience. I would have seen it as another Room With a View, updated for more modern times.
Yay, glad you loved it too!
A couple of quibbles. The mom didn't know? Of course she knew. Otherwise, why would she have chosen that passage to translate from German. I'm so done with clueless or missing moms in movies.
***spoilers***
I have struggled with this too. To me, the question is "know what?" At first viewing, I thought it referred to Elios' relationship with Oliver. Of couse she knew! She's comforting him while driving him home from the station, etc. Far from clueless, she was very gently supportive and knowing.
After my second viewing, I think the "what" is Dad's revelation that he came close to a gay relationship at some point. Did other people hear it this way???
The other one (a mild spoiler follows). They're on the bed. Finally, first night in the tent is happening and suddenly, the camera operator LOSES CONTROL of the camera and it slides unsteadily to the right and looks OUT THE WINDOW at a TREE. WTF? Excuse me!!
Agree with Vincent.
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[youtube=425,350]http://www.youtube.com/watch?v=VwIJwZRq4YM[/youtube]
From the novel:
Perlman: "Then let me say one more thing. It will clear the air. I may have come close, but I never had what you had. Something always held me back or stood in the way".....
Elio (narrator): We said good night. On my way upstairs I vowed to ask him about his life. We'd all heard about his women when he was young, but I'd never even had an inkling of anything else.
Was my father someone else? And if he was someone else, who was I?
So, is this what "does Mother know?" refer to? Perlman says, "I don't think she does".
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Since we're on the subject, I thought I'd share my experience of seeing the film the second time.
Toward the beginning of Perlman's speech are these lines:
"You had a beautiful friendship. Maybe more than a friendship. And I envy you. In my place, most parents would hope the whole thing goes away, or pray that their sons land on their feet soon enough. But I am not such a parent."
There were cheers! And tears.
"I am not such a parent." Just wow.
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What a wonderful speech the father gave, he nearly, well, did, steal the show for a few minutes. I don't think I would have appreciated the film nearly as much without my Brokeback experience. I would have seen it as another Room With a View, updated for more modern times.
A couple of quibbles. The mom didn't know? Of course she knew. Otherwise, why would she have chosen that passage to translate from German. I'm so done with clueless or missing moms in movies.
(https://78.media.tumblr.com/f8a2dc1d8481f73de38f14a207bc6974/tumblr_p1aqw7Ntol1qlxzewo3_540.gif)
I'm with you on that, Lee. About six weeks ago, two days after the NYC release, and just after my second screening (I've seen the film four times total now), I said this in the New Yorker Culture Tent thread:
The CAST is amazing. (The cliche that there are no small parts is certainly true here.) Elio's mother (Amira Casar), in a smaller role, IS AMAZING. A different--and better!--review noted that Elio's mother has the same facial expression, the same hooded eyes as her son when either of them (separately), with an appraising glance, looks at--well, at Oliver, of course. And I went: woah!
(https://images-na.ssl-images-amazon.com/images/M/MV5BMzM5ODM2MTMxOV5BMl5BanBnXkFtZTgwMDU5NTIxNDM@._V1_SX1777_CR0,0,1777,960_AL_.jpg)
http://www.imdb.com/title/tt5726616/mediaviewer/rm1764710400
Luncheon under the trees: Mrs Perlman, Professor Perlman, Oliver and Elio
Amira Casar, Michael Stuhlbarg, Armie Hammer and Timothée Chalamet
And her eyes--everywhere:(http://78.media.tumblr.com/3cbeed0e6889fecd48e0b1538a5f3f76/tumblr_oy500kJkGv1vjtz8bo1_540.gif)
(https://78.media.tumblr.com/9e0319b6090a2625b8f9156a845db6b5/tumblr_p1c7y7BINg1qzjwylo4_500.gif)
(https://78.media.tumblr.com/caca4f1b0263a149dbdb1eedc63f769f/tumblr_p1ocdg6bwa1qjtg4to9_r1_540.gif)
From the clips I've seen, Elio's mom knew. She knew driving him back in that car scene. How could she not know?
V.
I have struggled with this too. To me, the question is "know what?" At first viewing, I thought it referred to Elios' relationship with Oliver. Of course she knew! She's comforting him while driving him home from the station, etc. Far from clueless, she was very gently supportive and knowing.
Indeed.
(https://78.media.tumblr.com/311282a9f2fd325a3b7e5da8660554eb/tumblr_inline_p23kw4QEL01r6lc2q_540.gif)
(https://images-na.ssl-images-amazon.com/images/M/MV5BNGYxMDJiNDMtMzZmZi00ZGJiLTliZjMtNDA0ZjQzOTI5YzI4XkEyXkFqcGdeQXVyMzI3NjY2ODc@._V1_SX1777_CR0,0,1777,999_AL_.jpg)
(http://cinemavine.com/wp-content/uploads/2017/08/call-me-your-name-movie-trailer-Timothe%CC%81e-Chalamet-1.png)
By the way--doesn't that anguished crooked arm look strangely familiar?
Oh Luca, you are a genius! Timmy too, of course!
(https://hips.hearstapps.com/hmg-prod.s3.amazonaws.com/images/call-me17-1510008218.jpg?crop=1xw:1xh;center,top&resize=980:*)
A statue seen on a trip to an archaeological site in Lake Garda.
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(https://hips.hearstapps.com/hmg-prod.s3.amazonaws.com/images/call-me17-1510008218.jpg?crop=1xw:1xh;center,top&resize=980:*)
A statue seen on a trip to an archaeological site in Lake Garda.
More Crooked Arms!!
CALLMEBYYOURNAMEFANART
http://marqslo.tumblr.com/
(https://abs.twimg.com/emoji/v2/72x72/1f351.png)
(http://78.media.tumblr.com/3598f11fb2c694b0a1ac4bfb3a998392/tumblr_ouext7dmw01tox78wo1_500.jpg) by mary / 19 / slytherin thunderbird
(http://78.media.tumblr.com/3626132d6d527523fb566029c9475441/tumblr_oyag03qWuI1tox78wo1_1280.jpg)
http://marqslo.tumblr.com/post/166716750512/twenty-years-was-yesterday-and-yesterday-was
http://laterpeaches.tumblr.com/post/167148602642/marqslo-twenty-years-was-yesterday-and
http://marqslo.tumblr.com/
Twenty years was yesterday,
and yesterday was just earlier this morning,
and morning seemed light-years away.Call Me By Your Name by André Aciman
Recited/Narrated by Armie Hammer
by mary / 19 / slytherin thunderbird http://marqslo.tumblr.com/4th November 2017 223 Notes
#timothée chalamet #elio #elio perlman #armie hammer #oliver #ulliva #actor
#call me by your name #cmbyn #andré aciman #luca guadagnino #lgbt
#movies #film #lgbtmovie #oscar #laterpeaches 🍑
#art #my art #artist #portrait #drawing #fanart
#artists on tumblr #illustration #trash
#later!
CALLMEBYYOURNAMEFANART by mary / 19 / slytherin thunderbird
http://marqslo.tumblr.com/
(https://abs.twimg.com/emoji/v2/72x72/1f351.png)
(http://78.media.tumblr.com/3598f11fb2c694b0a1ac4bfb3a998392/tumblr_ouext7dmw01tox78wo1_500.jpg)
CALLMEBYYOURNAMEFANART
https://stang1996.deviantart.com/
(https://abs.twimg.com/emoji/v2/72x72/1f351.png)
(https://orig00.deviantart.net/3ea2/f/2017/181/c/c/profile_picture_by_stang1996-dbeks3m.png) by stang1996
(https://img00.deviantart.net/5244/i/2017/252/f/1/call_me_by_your_name_by_stang1996-dbmu81m.png)
https://stang1996.deviantart.com/art/Call-Me-By-Your-Name-703489594
https://stang1996.deviantart.com/
Reading poetry (Paul Celan) on Monet's Berm
(can't wait to watch the film!)
CALLMEBYYOURNAMEFANART by stang1996
https://stang1996.deviantart.com/
Artist | Student | Digital Art
Thailand
I'm STNG from Thailand.
21 / university student / astray romanticist
Fan Art / Digital Art / Painting & Airbrushing / Movies & TV©2017 stang1996
#CMBYN #CallMeByYourName #cmbyn trailer #cmbyn discourse
#elio #elio perlman #oliver #ulliva #peach #laterpeaches 🍑
#timothée chalamet #armie hammer #andré aciman #luca guadagnino
#book #novel #film #movie #gay movie #sonyclassics #lgbt
#animeboy #digitalart #digitalpainting #fanartdigital #yaoi
#art #my art #artwork #artist
(https://abs.twimg.com/emoji/v2/72x72/1f351.png)
(https://orig00.deviantart.net/3ea2/f/2017/181/c/c/profile_picture_by_stang1996-dbeks3m.png)
Oh yeah!
(https://hips.hearstapps.com/hmg-prod.s3.amazonaws.com/images/call-me17-1510008218.jpg?crop=1xw:1xh;center,top&resize=980:*)
A statue seen on a trip to an archaeological site in Lake Garda.
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[youtube=425,350]http://www.youtube.com/watch?v=VwIJwZRq4YM[/youtube]
From the novel:
Perlman: "Then let me say one more thing. It will clear the air. I may have come close, but I never had what you had. Something always held me back or stood in the way".....
Elio (narrator): We said good night. On my way upstairs I vowed to ask him about his life. We'd all heard about his women when he was young, but I'd never even had an inkling of anything else.
Was my father someone else? And if he was someone else, who was I?
So, is this what "does Mother know?" refer to? Perlman says, "I don't think she does".
His speech is awesome! His frank admission that he came close to having a gay relationship is just over the top. As far as mom knowing that scene where she is driving Elio back, she clearly knows what is up and is comforting him. Maybe she never said anything to his dad.. but it is very clear, she knew what was happening.
I also agree with your point. The "what" is somewhat ambiguous. Does Mom know about me and Oliver, I think that is of course. Does Mom know about what you are admitting to me (that you came close to having a gay relationship) is also quite possibly what Elio is asking his dad. WOW... I had not even considered that angle but given the conversation, it is something which is well within the scope of the deep-ass conversation.
Oh MY. You guys are damn good. Those crooked arms from the statue surfacing from the deep and Elio's crooked arms, he's also surfacing from a deep emotional experience.. WOW, just damn WOW. I can tell, I'll need to see this gem multiple times to absorb all these nuances.
Keep'm coming! Amazing.
V.
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Oh MY. You guys are damn good. Those crooked arms from the statue surfacing from the deep and Elio's crooked arms, he's also surfacing from a deep emotional experience.. WOW, just damn WOW. I can tell, I'll need to see this gem multiple times to absorb all these nuances.
Keep'm coming! Amazing.
V.
It's not us, it's Luca, we swear!
Here's another tidbit re the subaqueous statue. When it is brought up from the depths of Lago di Garda and put on the beach, Elio and Oliver, side-by-side, are both intently inspecting it. There is one shot taken just above and behind Oliver, looking down at the sculpture's face, and Oliver's splayed fingers are gently playing over the statue's open lips.
Well.
(http://cdn2.thr.com/sites/default/files/2017/01/call_me_by_your_name_sundance_still_2_-_publicity_-_h_2017.jpg)
Sometime later, lying flat side-by-side in the grass (the area known as Monet's Berm in the book only), Elio says "I love this Oliver."
Oliver says "Us, you mean?" Elio says "Everything."
And THAT is when Oliver half rolls, half raises, turns towards Elio, his fingers gently playing on Elio's open lips--but Pygmalion/Armie/Oliver discovers that Galatea/Timmy/Elio's lips are far much responsive than that old bronze sculpture!
BOOM!
(https://pbs.twimg.com/media/DGaDBZBVoAAXURr.jpg)
It's wonderful.
CALLMEBYYOURNAMEFANART
https://twitter.com/chroniclikerrr
https://yotagram.com/cmbyn_art/
(https://abs.twimg.com/emoji/v2/72x72/1f351.png)
(https://pbs.twimg.com/profile_images/950728960211525632/2JE5oVOl_400x400.jpg) by Nikko Tan
@chroniclikerrr
(https://scontent-iad3-1.cdninstagram.com/t51.2885-15/e35/21984670_151234002140552_3972133918827610112_n.jpg)
https://yotagram.com/p/1611937636757317796/
https://yotagram.com/cmbyn_art/
https://twitter.com/chroniclikerrr
Monet's Berm
(Sampled the colors from Monet's paintings in Bordighera)
CALLMEBYYOURNAMEFANART by Nikko Tan
@chroniclikerrr
https://twitter.com/chroniclikerrr
https://twitter.com/hashtag/callmebyyourname?lang=en
Sep 26, 2017 0 Notes, 35 Likes
Fan Art / Digital Art / Drawings / Nikko Tan / @chroniclikerrr
#CMBYN #CallMeByYourName
#elio #elio perlman #oliver #ulliva #laterpeaches 🍑
#andré aciman #armie hammer #timothée chalamet #luca guadagnino
#book #novel #film #movie #sonyclassics #lgbt
#art #artwork #artist #digital art #digitalart
#digitalpainting #fanart #fanartdigital
#cmbyn_art #monet
(https://abs.twimg.com/emoji/v2/72x72/1f351.png)
(https://pbs.twimg.com/profile_images/950728960211525632/2JE5oVOl_400x400.jpg)
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A couple of quibbles. The mom didn't know? Of course she knew. Otherwise, why would she have chosen that passage to translate from German. I'm so done with clueless or missing moms in movies.
Lee! Something else to make your eyes pop:
The original two American producers Peter Spears (the husband of Timmie's agent, and the man who first read André Aciman's book still in galley form and bought the rights) and partner Howard Rosenman were literally begging and scrounging for funds for TEN YEARS. Year after year, meeting after meeting with potential backers, the people with real money would read (or rather, LISTEN as Peter or Luca would explain or act out) the story of the script. And the money men (a lot of them Americans, I think) would say--but WHERE is the CONFLICT? There HAS to be CONFLICT in the THIRD ACT, isn't there?? Otherwise there is NO MOVIE, right? And Luca would explain that he does not believe in strained, artificial constructs forcing fake drama. The money men would mostly bail, but one guy thought he had a GREAT idea, the perfect conflict/resolution that would make it the perfect movie. He would bring in all the money needed for the production IF--(this is for real, it was actually proposed)-IF--
--they could make the Mother EVIL.
No. Luca and Peter rolled their eyes and kept looking, and finally two new producers, Emilie Georges from France and Rodrigo Teixeira from Brazil and another producer from Italy liked Luca's No-Conflict gay love story and came up with the money (although a much smaller amount than Peter, Luca and James first planned).
Aren't you glad that beautiful, sweet, subtle, complex, WISE mom, Amira Casar, didn't have to be Evil? For Conflict in the 'Third Act'?
Omg! ::) ::) ::)
FYI, I think maybe possibly the producers Emilie and Rodrigo are the two people in the back row extreme left in this photo taken at the 2017 Berlin Film Festival, February 2017.
(https://thumbs.mic.com/ZTFlNjliMjYyZSMvQ2FjTTZQYU1DVUY3TVpmQnNjdG9zeml5Z1FRPS8weDE1Nzo0NzIweDI0NDMvMTYwMHg5MDAvZmlsdGVyczpmb3JtYXQoanBlZyk6cXVhbGl0eSg4MCkvaHR0cHM6Ly9zMy5hbWF6b25hd3MuY29tL3BvbGljeW1pYy1pbWFnZXMvbGd3eHJsYmpxbTV3MDlhZ21zYWM0YnBsdXdveWU1bzV5azVxZGNnc29ienZnbzZvZXJ3YnV5Yzg0cDFycHlweC5qcGc.jpg)
The (partial) cast and crew of Call Me by Your Name
Front Row: Victoire Du Bois (Chiara) Esther Garrel (Marzia) Timothée Chalamet (Elio) André Aciman (Author--and Mounir)
Amira Casar (Annella) Luca Guadagnino (Director)
Center Back Row: Peter Spears (Producer--and Isaac) and, Far Right Back Row: Armie Hammer (Oliver)
Photo: Pascal Le Segretain/Getty Images
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It's not us, it's Luca, we swear!
Here's another tidbit re the subaqueous statue. When it is brought up from the depths of Lago di Garda and put on the beach, Elio and Oliver, side-by-side, are both intently inspecting it. There is one shot taken just above and behind Oliver, looking down at the sculpture's face, and Oliver's splayed fingers are gently playing over the statue's open lips.
Well.
Sometime later, lying flat side-by-side in the grass (the area known as Monet's Berm in the book only), Elio says "I love this Oliver."
Oliver says "Us, you mean?" Elio says "Everything."
And THAT is when Oliver half rolls, half raises, turns towards Elio, his fingers gently playing on Elio's open lips--but Pygmalion/Armie/Oliver discovers that Galatea/Timmy/Elio's lips are far much responsive than that old bronze sculpture!
BOOM!
It's wonderful.
That connection. That scene. Luca must have a photographic memory to be able to run all those concurrent threads thru the film in a subtle but intentional manner. I am speechless. I am wondering how many more of these are lurking in the frames.
BTW, that is a well published photo and once you described the scene, I've seen a youtube clip with that very cut in it.. so I got it instantly. V.
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I am so struck by Elio's dad's devastating speech... just unnerving. If only...
Youtube -> (removed by Sony)
Transcription
Right now you may not want to feel anything. Maybe you never learn to feel anything.
And, um - maybe it's not to me you want to speak about these things.
But um - feel something, you obviously did.
Look you had a beautiful friendship. Maybe more than a friendship. And I envy you.
In my place, most parents would hope the whole thing goes away. Pray their sons land on their feet.
But, I am not such a parent.
We rip out so much of ourselves to be cured of things faster that we go bankrupt by the age of 30.
And have less to offer each time we start with someone new.
But to make yourself feel nothing, so as not to feel anything. What a waste.
Have I spoken out of turn?
And I'll say one more thing. It'll clear the air.
I may have come close but I never had what you two have.
Something always...held me back. Or...stood in the way.
How you live your life is your business.
Just remember - our hearts and bodies are given to us only once.
And before you know it, your heart's worn out.
And as for your body, there comes a point where no one looks at it, much less wants to come near it.
Right now there's sorrow, pain. Don't kill it! and with it, the joy you feel.
Does Mom know?
I don't think she does.
V.
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[youtube=425,350] [/youtube].
“Mistery (sic) of Love” by Different Miguel
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[youtube=425,350]http://youtu.be/T3fWBB25Ce0[/youtube].
“Visions of Gideon” by Different Miguel
-
[youtube=425,350]http://youtu.be/J0zHef23ajo[/youtube].
“Visions of Gideon” by Nicole Frances
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[youtube=425,350] [/youtube].
“Mistery (sic) of Love” by Different Miguel
Hi, Paul--
Don't know why your 3 Youtube posts above
don't work (on my iPhone, yes, but not on my
laptop). Anyway, here they are again:
[youtube=1100,590]http://www.youtube.com/watch?v=7tb09SOhgpM&feature=youtu.be[/youtube]
https://www.youtube.com/watch?v=7tb09SOhgpM&feature=youtu.be
Sufjan Stevens - Mistery of Love [Call Me By Your Name OST 🍑] (Piano Cover)
'Mystery of Love' (2017)
(Sufjan Stevens)
EDIT: Following a few requests, I'll be uploading Visions of Gideon next so subscribe if you feel
like hearing that one. Thanks for the suggestions, likes, comments and all! Great way to end the year :)
I couldn't not cover this after hearing it featured in 'Call Me By Your Name'.
Chords: Cmaj7, Dmaj7, Emin7, Bmin7
Call Me By Your Name is Now Playing in Select Theaters, playing nationwide on Friday, January 19th.
Different Miguel
Published on Dec 13, 2017
(https://yt3.ggpht.com/-SvRlHHE1xn0/AAAAAAAAAAI/AAAAAAAAAAA/s0r0zJLRFn8/s88-c-k-no-mo-rj-c0xffffff/photo.jpg)
[youtube=425,350]http://youtu.be/T3fWBB25Ce0[/youtube].
“Visions of Gideon” by Different Miguel
[youtube=1100,590]http://www.youtube.com/watch?v=T3fWBB25Ce0&feature=youtu.be[/youtube]
https://www.youtube.com/watch?v=T3fWBB25Ce0&feature=youtu.be
Sufjan Stevens - Visions of Gideon [Call Me By Your Name OST 🍑] (Piano Cover)
'Visions of Gideon' (2017)
(Sufjan Stevens)
Following a few requests after the 'Mistery of Love' video, here you have it :) thanks for watching everyone!
And if you have any suggestions for upcoming covers, please let me know in the comments!
Chords: C#maj7, Ebmaj7, Fmin7, Cmin7
Call Me By Your Name is Now Playing in Select Theaters, playing nationwide on Friday, January 19th.
Different Miguel
Published on Jan 2, 2018
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[youtube=425,350]http://youtu.be/J0zHef23ajo[/youtube].
“Visions of Gideon” by Nicole Frances
[youtube=1100,590]http://www.youtube.com/watch?v=J0zHef23ajo&feature=youtu.be[/youtube]
https://www.youtube.com/watch?v=J0zHef23ajo&feature=youtu.be
Visions of Gideon - Orchestra Version
'Visions of Gideon' (2017)
(Sufjan Stevens)
"is it a video?"
LISTEN ON SOUNDCLOUD: https://soundcloud.com/francolvoord/visions-of-gideon-orchestra-version
SOCIAL MEDIA:
twitter: http://twitter.com/monetsberms
ig: http://instagram.com/francroos
Call Me By Your Name is Now Playing in Select Theaters, playing nationwide on Friday, January 19th.
Nicole Frances
Published on Nov 20, 2017
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avidreader 231 1 week ago omg i love that you put mystery of love at the end.
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Thanks, John. Mistery of youtube. :)
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I have another thought about who knows what.
When the boys head off to Bergamo, Annella invites both Marzia and Chiara to dinner. I imagine they all talked about the boys' relationship then.
When Elio returns, sitting in Annella's car, Marzia approaches him. She says something like, I'm sorry you're so sad. Then she says she is not mad at him, and can they be friends. "Pour la vie".
Thoughts?
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I have another thought about who knows what.
When the boys head off to Bergamo, Annella invites both Marzia and Chiara to dinner. I imagine they all talked about the boys' relationship then.
When Elio returns, sitting in Annella's car, Marzia approaches him. She says something like, I'm sorry you're so sad. Then she says she is not mad at him, and can they be friends. "Pour la vie".
Thoughts?
Very interesting thought, Paul, one that I hadn't really considered.
I think Annella is a kind, 'motherly' person, and she wanted the two rather downcast, forlorn girls to feel better about themselves, not feel excluded from the inviting environs of Villa Perlman.
I doubt there was any direct conversation at dinner that night about Elio and Oliver's affaire, but I'm sure that Annella's oblique, kindly comments were certainly informational without being indelicate or inconsiderate and possibly instructional without being sermonic; I think we can assume that there are two Professors Perlman residing at the heavenly Villa. We know little about Chiara's internal world, but I think it obvious that Marzia is an intelligent, thoughtful and sensitive girl, and I'm sure she got Annella's gracious, good-hearted drift.
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Wow, at long last!
:o :o :o :o :o :o
:D :D :D :D :D :D
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 & etc.)*
Australia 26 December 2017
Netherlands 11 January 2018
Taiwan 12 January 2018
USA 12 January 2018 (Detroit and Indianapolis)*
Brazil 18 January 2018
Portugal 18 January 2018
Estonia 19 January 2018
USA 19 January 2018 (NATIONWIDE)*
Italy 25 January 2018
Finland 26 January 2018
Norway 26 January 2018
Poland 26 January 2018
Spain 26 January 2018
Philippines 31 January 2018 (Ayala Malls Cinemas - select)
Denmark 1 February 2018
Greece 8 February 2018
Hungary 8 February 2018
Romania 9 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*
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CALL ME BY YOUR NAME Limited Edition Poster
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14th January 2018 1,350 Likes
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#later!
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CALL ME BY YOUR NAME
OLIVER'S SHORTS Limited Edition Pin
ELIO'S PEACH Limited Edition Pin
gold plated pin $15.00 each $20.00 for the set
1" die-cast gold plated metal, limited edition.
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13th January 2018 2,679 Likes
#timothée chalamet #elio #elio perlman #armie hammer #oliver #ulliva #actor
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(https://pbs.twimg.com/media/DMQYmV0UIAEBiLc.jpg:thumb) by @mellowbeat__
He had, it took me a while to realize, four personalities depending on which bathing suit he was wearing. [....] Yellow: sprightly, buoyant, funny, not without barbs--don't give in too easily; might turn to Red in no time. Green, which he seldom wore: acquiescent, eager to learn, eager to speak, sunny--why wasn't he always like this?
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https://twitter.com/mellowbeat__/status/916300226880663553
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"We wasted so many days--so many weeks."
"Wasted? I don't know. Perhaps we just needed
time to figure out if this is we wanted."
The next morning we went swimming together.
It was scarcely past six o'clock.
"How are you?" I asked, mimicking his question
to me yesterday morning.
"You should know."Call Me By Your Name by André Aciman
Recited/Narrated by Armie Hammer
CALLMEBYYOURNAMEFANART by @mellowbeat__
https://twitter.com/mellowbeat__6:52 AM October 6 2017 56 Likes
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#andré aciman #armie hammer #timothée chalamet #luca guadagnino
#book #novel #film #movie #sonyclassics #lgbt
#art #artwork #artist #illustration
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my thoughts only
going nowhere
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The Semiotics of the Bathing Suit
https://en.wikipedia.org/wiki/Semiotics
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https://twitter.com/hashtag/cmbyn
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He had, it took me a while to realize, four personalities depending on which bathing suit he was wearing. Knowing which to expect gave me the illusion of a slight advantage. Red: bold, set in his ways, very grown up, almost gruff and ill-tempered--stay away. Yellow: sprightly, buoyant, funny, not without barbs--don't give in too easily; might turn to Red in no time. Green, which he seldom wore: acquiescent, eager to learn, eager to speak, sunny--why wasn't he always like this? Blue: the afternoon he stepped into my room from the balcony, the day he massaged my shoulder, or when he picked up my glass and placed it right next to me.
Today was Red: he was hasty, determined, snappy.
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CALLMEBYYOURNAMEFANART
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Hi I'm Apple, my hobbies include crying,
eating stressing, drawing and reading
fan fictions. Don't be afraid to ask me
stuff hit me up or send requests!
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I feel like a good chunk of this book is just… 🍑
#pls dont attack me about how problematic this book/movie is im aware
#dumb comic idk #oliver running from his feelings like
'LATER'
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15.10.17 +795 notes
#CMBYN #CallMeByYourName #laterpeaches #🍑
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#timothée chalamet #armie hammer #andré aciman #luca guadagnino
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https://www.hollywoodreporter.com/news/james-ivory-adapting-call-me-by-your-name-his-film-legacy-1075848
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James Ivory
on His Film Legacy and
Adapting
Call Me by Your Name
by Scott Roxborough
[email protected]
6:30 AM PST 1/19/2018
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The 89-year-old filmmaker and directing half of the Merchant Ivory cannon is enjoying a late-career renaissance with his screenplay to Luca Guadagnino's awards season favorite.
At 89, James Ivory isn't done yet.
The American filmmaker, whose collaboration with producer Ismail Merchant (and their longtime screenwriter, the late Ruth Prawer Jhabvala) made Merchant Ivory a byword for classy cinema in the mid-1980s and early '90s, has staged a dramatic late-career comeback with Call Me by Your Name, which Ivory wrote and co-produced for director Luca Guadagnino.
The touching gay love story, based on Andre Aciman's acclaimed 2007 novel, earned Ivory his first-ever BAFTA nomination for best adapted screenplay, and it's a near certainty he'll pick up his first Oscar nomination in the same category, adding to his three best directing noms (for Room With a View, Howard's End and The Remains of the Day) when the Academy unveils this year's contenders Tuesday.
Ivory's script is a master class in subtlety and restraint. With sparse, superficially light dialogue giving the story the time and space to explore the slowly simmering tale of shared desire between Elio (Timothée Chalamet), a dreamy, bookish 17-year-old, and Oliver (Armie Hammer), a suave, handsome doctoral candidate who’s staying with Elio's family in Northern Italy on a six-week research fellowship. Despite its focus on secret love, Call Me by Your Name also stands out in the cannon of queer cinema in having no overt political message or element of moral judgment or reckoning. There are no villains in the film and shame never rears its ugly head.
Speaking to The Hollywood Reporter 's European bureau chief Scott Roxborough, Ivory draws links between the new film and his earlier work, reflects on the cinematic legacy of Merchant Ivory and explains why he still has at least one more film left in him.
Congratulations on the BAFTA nomination. This is the first time you've been nominated for your writing, isn't it?
Thank you. Yes. I've never had a writing nomination before. I've been involved in several of our screenplays. I mean, I was a co-writer on six or seven of them, I guess. But this is the first to get this sort of recognition.
How did you originally get involved with Call Me by Your Name ? Weren't you originally attached to direct the film?
Yeah. Well, actually it came about before that. The people who have the film rights are neighbors of mine in upstate New York and I've known them for several years. And then one day, I don't exactly remember the sequence anymore — whether I had already read the novel and knew it or whether they introduced me to the novel — but anyway they got in touch with me and wondered whether I would become an executive producer for the film. So I said sure. Then they were attempting to raise money and get it going. And then time passed, but they could never seem to attract a director, you know, an experienced director whom financiers would be willing to back. Finally, they got in touch with Luca Guadagnino. I believe the way it worked was that he thought that we should co-direct, which I've never done, but I didn't see why I couldn't. And as the film would have had a good many scenes in Italian, I thought that was a good idea because I don't speak Italian. But I said if I'm going to be a co-director, I want my own screenplay.
That was sometime back in 2014. And I worked on and off on that screenplay for a good six months. Eventually, in early spring or late winter of 2015, I was done and I turned it in and everyone seemed to like it very much. Nobody would ask me to change anything, everyone was happy, and then they again attempted to raise money for it. Finally, when the French financiers Memento came into it, they didn't really want to have two directors. They thought it would be a very awkward situation. That it would slow us down. And that's true, it could have. I mean, if you got into long discussions with your fellow director on the set, the hours of the day could really pass quickly. And it wasn't that kind of a film where there was a lot of spare money. So I just sold them the rights to the screenplay. But it still took them a while to raise the money. They were really strapped for the budget and many of the things that I had put into the screenplay weren't possible to include in the film. Because it would have meant big-unit movies all around Italy. Which they couldn't afford.
How different was the final version from the film you originally envisioned when you were writing the screenplay?
Not very much. Originally the idea was to make the film in Sicily by the sea, like in the novel. My script had a lot of scenes at the beach, but they didn't have the money to do that. So they just concentrated it and made it in and around Milan and Crema, Cremona, Italy, where Luca lives. One big change that came about because it would have been too expensive, was when the two boys go off on a little trip together toward the end of the story in the film. Originally, as in the novel, they were going to make a trip to Rome. It was an entire chapter of the novel and I just dropped that, I thought we couldn't do it, and I devised another kind of a little trip they'd make. The idea was they would have some time together away from the house. But that, too, was too expensive, so they had to think up another solution, which was to have everyone else leave and they are alone in the house, which is what's in the film. [Note by JG--James seems a little bit confused here. If this 'another solution' was ever considered as a cost saving device, it most certainly is NOT in the actual released film.]
Was it a different challenge adapting this book than some of the other works you've done as a director, adapting some of the great works of English and American literature by the likes of Henry James and E.M. Forster?
Well, you know those heavy books like Henry James and Forster. I was not the co-writer on those films. I can tell you that when Ruth Prawer Jhabvala, our writer, when she would work on some of these grander novels like, say, a book like The Golden Bowl, that would take her months and I wouldn't know what she was doing, really. We would have had some discussions about it, but she would be working on her own and then she'd finally come up with a script and then Ismail would discuss with her if we wanted some changes.
But on this, I just sat with the novel and I would just write out the script in longhand. I would just go through it bit by bit, scene by scene. Sometimes I would invent things. I mean the whole business of the statue that they find at the bottom of the lake, that's all an invented thing. You have to drop great chunks of things from the book and come up with other things. But it's a slow process.
I would basically just write in longhand, and after I got something that I liked, I would type that up on a typewriter. I never work on a computer. I can't write on a computer. It's just not possible for me to do that. And so gradually, bit by bit by bit, over many, many months, it all came together.
Did you work closely with Luca during that time?
No, I didn't. I scarcely saw him during all that. He was making A Bigger Splash. At one point, I went to Italy and went to that island off Sicily where he was working because I made some huge cuts in the novel and I just wanted to talk a little before I went any further. But I couldn't. He was shooting a film and it was impossible.
What was the most challenging thing about adapting the book? Everyone talks about, from the book and the film, the sex scene with the peach. On its surface, it seems an almost impossible scene to shoot.
Everybody said that when they knew I was involved and they'd read the book. They'd say: "What are you going to do about that scene? You can't have a scene like that!" Or they say the opposite: "You must not drop that scene; it's a wonderful scene. You must be sure to have that in the script." And then: "Is it in the script, Jim? Did you do it?" And all this sort of thing. I just figured it out as best I could. And luckily the actors did such a wonderful job with it. So they really have to be praised for the way they did it.
The other scene that everyone talks about is close to the end, the long talk between the son and the father. Is that taken directly from the novel?
A lot of it is. I mean, the scene itself is in the book. It's longer. But because it's so near the end of the film, it's really dangerous to have such a long dialogue scene. By that time, your audience is just about ready to get up out of their seats. But what the father had to say had such meaning, it was so powerful, that we had to conclude with it, or pretty much conclude. A lot of it is in the novel. I didn't have to write anything more for that scene, maybe just make some cuts. But it was there in the book.
The scene stands out also because there is so little dialogue in the rest of the film. And what dialogue that you've written seems very casual and very light.
Well finally the father really has something to say! If you know the novel, the story is carried by the thoughts and memories of Elio. So basically all the exposition comes from Elio, and he recalls what was said and so forth. There are no long patches of dialogue in the book. So there really wasn't much need for a lot of dialogue earlier on. Neither in the film or in the novel, because it's a first-person narrative.
Do you see a connection between this film and your body of work? Some people have drawn links between the themes of Call Me by Your Name and Maurice (1987), another gay love story, starring James Wilby and Hugh Grant, adapted from the E.M. Forster novel.
Maurice and this film are quite different in that Maurice has a happy ending, an absolute happy ending: The two young men get together and apparently, they're going to live happily ever after. It's an idea that was laughed at when when E.M. Forster's book came out (posthumously in 1971). And the story in Maurice is really a tortured kind of thing. Maurice goes through all kinds of awful things and real problems. They have to hide the affair because in those days, in Edwardian times, it was criminal. By the time you get to the 1980s (when Call Me by Your Name is set), it's a very different world. And so there was not that threat hanging over the two boys. The worst thing that could happen to them probably would be some sort of parental disapproval, and even the parental disapproval wasn't there. One is a story of stress and the other is a story of desire. Really two different things.
When I finally saw Call Me by Your Name, strangely it seemed to me that it had more to do with the final film I made in Argentina: The City of Your Final Destination (2009). And I didn't write that screenplay, that was written by Ruth, but the tone of the two films is similar. Again, it's a group of people, foreigners, living in a big house and speaking in one language to the servants, in another language among themselves and nursing their secret loves. It seems to me that those two films resemble each other. I saw more resemblance to that film than to anything else that I have done.
Have you been surprised by the reception of this film?
It's been wonderful. It was there right from the very first show at Sundance last year. Right on down to now, people are just crazy about it and it's very interesting. And I think audiences are probably really quite hungry for stories like that, which are just unavowed romances and done lightly. Something that's light in tone and not some huge melodrama or something. Strangely, it's similar to Maurice. Maurice was not a film that just appealed to gay men. There are always many, many women, and particularly young girls, who loved Maurice. I have to feel that it sort of transcends actual sex. And I've seen that in the audiences for Call Me by Your Name — and people reported this to me from seeing the film in London — that it's not just gay audiences sitting there: It's older couples who apparently love it, and so many older women have told me how much they love it.
I think it's that people love romances told in this kind of way, romances which have a kind of glamour to them. The glamour is partly supplied by Italy and partly supplied by Luca, the world he chooses to depict in his movies: Upper-middle-class, well-off worlds of people living privileged lives, usually in some wonderful house. That appeals to people. I'm not saying it's anything bad or good, it's just simply something that we like and I, too, like it. My films are like that. Most of my films are set in an upper-middle-class world of well-off people who may have all kinds of emotional problems, but they live well. Part of the appeal of Call Me by Your Name is it's a world people would like to be in. It's summertime in Italy. That's something we all crave.
Another thing that's interesting about the film is there isn't any real villain. You seem to have great sympathy and emotion for every character you've written.
Yes, I do. It's basically a light, happy film. I think people want that. Maybe they didn't know that they want it. Maybe in this sort of troubled political world that we're in today, it's a kind of escapist thing.
Do you see the film as political in any way?
No, not really. I don't really know. I don't think of it that way. I wasn't out to make any sort of political statement. Of course, that's one of the things about about Luca in Italy. He's criticized by his fellow Italians for not taking more of a stance and having more of a political thrust to what he does. Which is what you are supposed to do in Italy — if you're in the arts you have to be a bit more serious. I think they hold that against him. And I've encountered stuff like that in my films. In the past, people said: You just make films about well-off people and you really should make films about the struggles of poor people. That's not quite true, because we started out that way. Our first films are not about rich, well-off people, but about the poor and struggling. And my partner, Ismail Merchant, he always, in all his films, his features and his documentaries, looked at the struggles of people who didn't have anything.
Looking back now, many years later, how do you view the Merchant Ivory canon and the brand that it came to represent?
Well, now that they're restoring the films, and every three or four months a new one comes out, and I'm involved in that, so I see them again. I watched them several times because I get involved in the color grading and things like that. It's not as if I'm rediscovering them or re-evaluating them or anything, but I'm seeing them again. And generally I'm pretty satisfied with what I've done. With some of them, I wished I had done this or that differently, or I'd cast somebody else. But it's all it's done now and finished. And on the whole I'm pretty pleased with what we did.
Do you have a personal favorite of your films?
There's several of them that I like. I like the films that are sort of semi-autobiographical like Mr. and Mrs. Bridge (1990) and A Soldier's Daughter Never Cries (1998), and the French film we made, the very first French film, which was Quartet (1981). I mean, all of these have autobiographical aspects to them, which are appealing to me. But I like some of the big ones very much, too. Particularly A Room With a View (1985), of course, and Remains of the Day (1993).
Call Me by Your Name is getting an incredible reception. Does this spur you to go further? You've been working on another directorial project, right? An adaptation of Richard II ?
Yes, and I'm hoping the enthusiasm for this film will help me. I've been working on Richard II now for five years and haven't been able to pin down anybody willing to finance it. When you tell a film financier that you want to do a Shakespeare film, their face drops. Shakespeare films don't have a very wonderful history at the box office. But we have a very, very good screenplay written by Chris Terrio, who wrote and is now busy writing the new Justice League and the new Star Wars. Anyway, he wrote a very good script for Richard II and Tom Hiddleston has agreed to play Richard and Damian Lewis will play Bolingbrook, the other king. And I've done a lot of looking at locations and that kind of thing. So we'll see.
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Rottentomatoes.com gives CMBYN a 96% fresh rating. (The only current film with a higher rating is Paddington 2 with 100%, go figure.)
I was curious, and checked the top critic reviews. Only one was negative. From Canada's Globe and Mail, a reviewer named Kate Taylor.
Read on, if you dare.
(I can't do John's lovely graphics.)
Elevator pitch: Pass the condoms.
Oh to be 17, in love and in Lombardy! Director Luca Guadagnino adapts the André Aciman novel about a precocious Jewish teenager sexually awakening one Italian summer in the 1980s. In his parents’ holiday villa, Elio (Timothée Chalamet) falls for his father’s archeology assistant, the bumptious American grad student Oliver (Armie Hammer), and discovers a love that can just dare to speak its name. The romantic tension is exquisite; the sex is luscious (including that soon-to-be-notorious scene with a peach) but as the al fresco dining, the refreshing swims, the liberal parents and the forgiving girlfriend pile up, the effect becomes precious and the film shifts from languid to long. Chalamet does an excellent job capturing first love and its inevitable heartbreak; Hammer is seductive as Oliver, but laughably implausible as a scholar, especially in a gag-inducing scene where he discourses on the etymology of the word apricot. Perhaps this multilingual, almost-pre-AIDS idyll does not stretch credulity – the family is surely based on Aciman’s own internationalist clan – but it can try the patience. – Kate Taylor
Armie: "bumptious"? "laughably implausible as a scholar"? Kate Taylor can try the patience.
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As for the "non top critic" pans, (this includes the National Review), and there are a handful, DON'T GO THERE! It's a cesspool of bizarre puritanism.
One particularly laughable one, by a certain Sherilyn Connelly of some rag called SFWeekly (!), includes her posting this in the comments section:
(https://uploads.disquscdn.com/images/60e823be0770d5c9cb222f5097a336131ab82620a0a0ffbbc3ef4216d6d02d8f.jpg)
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Oscar nominations are out tomorrow. Fingers crossed.
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... Kate Taylor can try the patience.
Critics are paid to be critics and one way to get press is to disagree. There are a few critics I read, the rest - irrelevant. Critics are like a*((*, everyone's got one. :) V.
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::) ::) ::) ::) ::) ::) ::) ::) ::) ::) ::) ::) ::) ::) ::) ::) ::) ::) ::)
:laugh: :laugh: :laugh: :laugh: :laugh: :laugh: :laugh: :laugh: :laugh: :laugh: :laugh: :laugh: :laugh: :laugh: :laugh: :laugh: :laugh: :laugh: :laugh:
As for the "non top critic" pans, (this includes the National Review), and there are a handful, DON'T GO THERE! It's a cesspool of bizarre puritanism.
One particularly laughable one, by a certain Sherilyn Connelly of some rag called SFWeekly (!), includes her posting this in the comments section:
(https://uploads.disquscdn.com/images/60e823be0770d5c9cb222f5097a336131ab82620a0a0ffbbc3ef4216d6d02d8f.jpg)
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(I can't do John's lovely graphics.)
Be happy you are not an Aphasic with a bad case of obsessive compulsive disorder like me, Paul! ;D
Rottentomatoes.com gives CMBYN a 96% fresh rating. (The only current film with a higher rating is Paddington 2 with 100%, go figure.)
I was curious, and checked the top critic reviews. Only one was negative. From Canada's Globe and Mail, a reviewer named Kate Taylor.
Armie: "bumptious"? "laughably implausible as a scholar"? Kate Taylor can try the patience.
Read on, if you dare.
( https://beta.theglobeandmail.com/arts/awards-and-festivals/tiff/the-globes-guide-to-tiff-2017-movies/article35939881/?film=17 )
Critics are paid to be critics and one way to get press is to disagree. There are a few critics I read, the rest - irrelevant. Critics are like a*((*, everyone's got one. :) V.
Yeah, well. I had scanned down the long, long list of top critics quite awhile ago: https://www.rottentomatoes.com/m/call_me_by_your_name/reviews/?type=top_critics
with the legion of their red tomato icons (https://developer.apple.com/library/content/documentation/LanguagesUtilities/Conceptual/ATV_Template_Guide/Art/Rotten-Tomatoes-Fresh-Large_2x.png), and saw Ms. Taylor's lone sore thumb splattered green icon thusly:
(https://lh3.googleusercontent.com/aE1pzL48Z0C8wr8luADEcUjEfjFaNxN4hWwfrTTw9_dA9OZBiFuQMmxaA8zG42Uv12Pg=s72) (https://developer.apple.com/library/content/documentation/LanguagesUtilities/Conceptual/ATV_Template_Guide/Art/Rotten-Tomatoes-Rotten-Large_2x.png) It can try the patience. | Original Score: 2.5/4
And I thought--Nope! That tiny face and that tiny, wizened, precious, 5-word précis just didn't make me feel as though I needed to click through to see the Full Review.
NOPE! Wasn't gonna do it! ::) ::) ::)
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Ugh. Nothing for Luca Guadagnino for Director.
Nothing for Armie Hammer, nothing for Michael Stuhlbarg. WTF?? >:( >:(
However, yes, nominations for Call Me By Your Name as Best Picture (and for the producers Peter Spears and Luca Guadagnino, Yay!)
and nominations for Timothée Chalamet, James Ivory and Sufjan Stevens (Mystery of Love). So: :) :)
Side note, though: nothing whatsoever for Blade Runner 2049 ? Disgusting!! >:( >:(
UPDATE: They did get quite a few nominations:
Best Cinematography
Roger Deakins, Blade Runner 2049
Best Production Design
Dennis Gassner, Alessandra Querzola, Bladerunner 2049
Best Sound Editing
Mark A. Mangini, Theo Green, Blade Runner 2049
Best Sound Mixing
Ron Bartlett, Dough Hemphill, Mac Ruth, Blade Runner 2049
Best Visual Effects
John Nelson, Paul Lambert, Richard R. Hoover, Gerd Nefzer, Blade Runner 2049
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I practically had to take a shower after reading a few of those reviews.
Yay for Sufjan, finally! I hope he performs the song.
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Yay for Sufjan, finally! I hope he performs the song.
YAY!! And Yes!!! :D :D :D
https://www.oscars.org/news/tag/2018-oscars
(https://www.oscars.org/sites/oscars/files/styles/news_image_default/public/90th_oscars_logo.jpg?itok=5OZShA6O)
90TH OSCARS NOMINATIONS ANNOUNCEMENT
(https://www.goldenglobes.com/sites/default/files/styles/portrait_medium/public/film_tv-1/Call-Me-By-Your-Name.jpg?itok=Ut1_-XeY)
NOMINEE
Best Motion Picture:
CALL ME BY YOUR NAME
(https://www.goldenglobes.com/sites/default/files/styles/portrait_medium/public/actress_actors-5/Timothe%CC%81e-Chalamet-090817-Call-Me-By-Your-Name-C2.jpg?itok=4qOzGEQy&c=f23a63dc960c0657d00358e974a41cbf)
NOMINEE
Best Actor in a Leading Role:
Timothée Chalamet,
CALL ME BY YOUR NAME
(https://cdn.pastemagazine.com/www/articles/Sufjan%20Stevens%20by%20Theo%20Wargo%20Getty%20Square.jpg)
NOMINEE
Best Music (Original Song)
“The Mystery of Love” by
Sufjan Stevens,
CALL ME BY YOUR NAME
(http://waytofamous.com/images/james-ivory-05.jpg)
NOMINEE
Best Writing (Adapted Screenplay)
James Ivory,
CALL ME BY YOUR NAME
(https://pbs.twimg.com/media/DNJOyX4WsAAxqqJ.jpg)
(https://pbs.twimg.com/media/DUPOaCeUMAEfhdT.jpg:large)
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Comments from:
https://www.nytimes.com/2018/01/23/movies/oscar-nominations.html
NYT:
2018 Oscar Nominations: ‘The Shape of Water’ Leads the Race
By BROOKS BARNES UPDATED 11:45 AM
(https://s3.amazonaws.com/pimage.timespeople.nytimes.com/2769/0724/cropped-27690724.jpg?0.5883699557743967) mikeo26 Albany, NY 2 hours ago
Interesting that 'Call Me By Your Name' managed to cop only 4 Oscar nods, albeit three for Best Picture , Adapted Screenplay and Actor. One glaring omission was Luca Guadagnino for director, but the 5 count limit always leaves out strong work. James Ivory's scenario of Andre Aciman's novel is an outstanding example of how to adapt a very literary, first person narrative into a viable, transformative viewing experience : not a slavish blueprint but completely honoring the book's spirit. Guadagnino's visual conception and direction is brilliant and should have been recognized with nominations.
17 Recommend
(https://s3.amazonaws.com/pimage.timespeople.nytimes.com/6396/074/cropped-6396074.jpg?0.7140716461110296) Tom midwest 2 hours ago
Always interesting. We live out here in red state flyover land and at least half the movies will never be shown in the theater. The latest shoot em up or action picture? of course. Drama? not likely.
25 Recommend
(https://s3.amazonaws.com/pimage.timespeople.nytimes.com/6396/074/cropped-6396074.jpg?0.7140716461110296) AB Illinois 5 hours ago
Nice that the directing category includes two people of color, and a woman. And one of the white men (Paul Thomas Anderson) should have won already.
Very happy Sufjan Stevens was nominated for original song--it's both a great song and worked perfectly in the film.
3 Recommend
(https://s3.amazonaws.com/pimage.timespeople.nytimes.com/6396/074/cropped-6396074.jpg?0.7140716461110296) Mark Esposito Bronx 4 hours ago
Biggest surprise was the exclusion of Three Billboards from the director's category, which, thankfully diminishes its chances of winning best picture. Who should have been nominated: Mudbound for best picture and the director of Call Me By Your Name, hands down the best pictures of the year.
3 Recommend
(https://s3.amazonaws.com/pimage.timespeople.nytimes.com/6396/074/cropped-6396074.jpg?0.7140716461110296) SandyG Edina, MN 3 hours ago
Michael Stuhlbarg deserved to be nominated for his outstanding performance in "Call Me By Your Name" - I get teary just thinking about his emotional conversation with his son. And Jamie Bell! He gave a beautiful, heart-breaking performance in "Movie Stars Don't Die in Liverpool", and I don't understand why that movie was completely overlooked.
2 Recommend
(https://s3.amazonaws.com/pimage.timespeople.nytimes.com/6396/074/cropped-6396074.jpg?0.7140716461110296) Me US 4 hours ago
Jake Gyllenhaal was robbed. He deserves at least a nomination.
2 Recommend
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Nothing for Armie Hammer, nothing for Michael Stuhlbarg. WTF?? >:( >:(
https://www.nytimes.com/2018/01/19/movies/michael-stuhlbarg-call-me-by-your-name-shape-of-water.html
It’s Time to Take a Serious Look at Michael Stuhlbarg
By ADAM COOK JAN. 19, 2018
During awards season, a handful of performances from the past year become the only ones we talk about, leaving the rest draped in shadow. If there were a Most Valuable Per Minute of Screen Time award, surely Michael Stuhlbarg’s name would be the one on everyone’s lips.
Since his breakthrough lead performance in the Coen brothers’ “A Serious Man” (2009), Mr. Stuhlbarg, a Juilliard graduate who made a name for himself in New York theater, has been cast only in minor roles in movies, albeit by major directors. He’s probably best known to viewers for his recurring TV characters on “Boardwalk Empire” and “Fargo.”
Now Mr. Stuhlbarg, 49, is enjoying a midlife big-screen breakout, effortlessly elevating everything he appears in. He had a standout year in 2017 with supporting performances in three major awards contenders: “Call Me by Your Name,” “The Post” and “The Shape of Water.” But is he getting his due? While some critics’ groups have given him prizes, he wasn’t nominated for a Golden Globe, and it remains to be seen if the Academy of Motion Picture Arts and Sciences will follow suit.
Far from your typical Hollywood leading man, Mr. Stuhlbarg nevertheless is making a strong case for juicier parts as he quietly steals scenes in acclaimed films opposite more decorated performers.
Here are five reasons to take a closer look at Michael Stuhlbarg:
Hugo (2011)
Mr. Stuhlbarg proved to be the perfect vessel for Martin Scorsese’s infectious expression of cinephilia when he played Rene Tabard, a French film scholar who helps the titular hero uncover the past of a toy shop owner who turns out to be the pioneering director George Méliès (Ben Kingsley). When Tabard recounts a childhood visit to a Méliès film set, Mr. Stuhlbarg’s narration establishes a bittersweet but reverential tone. His big, bearded grin as he compliments Méliès’s perennial leading lady, Jeanne D’Alcy — “You are as lovely now as you were in the movies” — could have been just a touching highlight of this charming ode to the history of cinema, but he plays the scene with such delicate admiration that when D’Alcy’s eyes well up, it is difficult not to do the same.
Lincoln (2012)
Here is a testament to Mr. Stuhlbarg’s ability to create unforgettable characters with limited screen time. Steven Spielberg’s “Lincoln” has a bloated ensemble cast that leaves several heavy-hitting thespians on the sidelines for much of its duration. Mr. Stuhlbarg makes just three brief appearances as Congressman George Yeaman, a wild card in the fight to pass the 13th Amendment, thus abolishing slavery. In a scene opposite none other than Daniel Day-Lewis as Lincoln, Mr. Stuhlbarg hardly has any dialogue as he listens to the president’s impassioned plea. He does so much with his facial expressions — he would have been a great silent actor, though with his skills, he could have excelled in any era of screen acting — and his visibly tormented inner conflict plays off Lincoln’s dignified confidence. Finally, when Yeaman casts his vote, spontaneously springing to his feet, Mr. Stuhlbarg’s orgasmic “Aye!” serves as one of the film’s most triumphant gestures.
Trumbo (2015)
A profound misfire, this biopic is a dramatically inert attempt to pay tribute to the blacklisted screenwriters caught up in the Red Scare. Its single stroke of genius is the casting of Mr. Stuhlbarg as the actor Edward G. Robinson. Robinson’s Communist sympathies knocked him off Hollywood’s A-list, prompting him to name names to the House Un-American Activities Committee. Robinson was an unlikely leading man whose average-joe appearance and earnestness make him a comparable presence to Mr. Stuhlbarg, but here Robinson is at his most vulnerable after he betrays his peers and is plagued by regret in later years. He feeds excuses like “I did what I had to do” and “I didn’t give them anything they didn’t already have” to Bryan Cranston’s Dalton Trumbo, but the look in Mr. Stuhlbarg’s eyes conveys the story of a haunted man with a level of nuance and emotion that stands out from the rest of the film.
The Shape of Water (2017)
With Sally Hawkins, Michael Shannon, Richard Jenkins and Octavia Spencer credited ahead of him, Mr. Stuhlbarg again manages to take a minor role and make it his own. In this Cold War fantasy romance between a cleaning woman and the mysterious amphibian man at the laboratory where she works, he plays Dr. Robert Hoffstetler, a scientist who is also a Russian spy. Though he never gives off the air of swing-for-the-fences method acting, Mr. Stuhlbarg has said that his process includes a lot of preparation to understand the psychology of his characters (he even keeps the details in order with a color-coded notebook). Sometimes his inspiration is how someone looks, in this case a picture of Peter Lorre that he stumbled upon, he explained to ScreenCrush. That’s a telling choice as the malleable Lorre could pivot quickly from menacing to lovable and that’s precisely what Mr. Stuhlbarg does here, taking full advantage of a character who is not what he seems. The film’s most riveting dilemma is that facing Hoffstetler: He’s torn between his morality and his country, which has asked him to kill the amphibian man. Mr. Stuhlbarg adds an extra dimension of intrigue and emotional range to this highly praised fairy tale.
Call Me by Your Name (2017)
Timothée Chalamet and Armie Hammer are deservedly two of the year’s most-talked-about actors for their turns in this moving gay coming-of-age romance, but Mr. Stuhlbarg, as Mr. Chalamet’s father, delivers the showstopper in “Call Me by Your Name.” In a soliloquy that may stand as the most stirring single scene of last year — one that prompted the singer-songwriter Frank Ocean to proclaim Mr. Stuhlbarg his “new dad” — the parent has a tender talk with his son following a discreet heartbreak. It’s a moment that deepens his character and shifts the focus from the blossoming young man to someone whose own matters of the heart have left him forever changed. “You had a beautiful friendship. Maybe more than a friendship. And I envy you.” Mr. Stuhlbarg delivers these poignant words with great sincerity and pathos, opting for naturalistic restraint where others would have telegraphed the emotions. Mr. Chalamet’s tearful reaction is in sync with the audience’s. With a remarkable display of unconditional love in an all-too-rare portrayal of a parent’s acceptance of their child’s sexuality, Mr. Stuhlbarg’s graceful conviction makes this movie moment immortal.
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Mr. Perlman’s speech just blew me away. I’m thoroughly impressed whenever I come across such artfully delivered fundamental truths pertaining to the human condition in literature and films, the latter being furthermore founded upon astounding acting, just like Michael Stuhlbarg’s.
“[...] and have less to offer each time we start with someone new.”
“[...] our hearts and bodies are given to us only once, and before you know it, your heart's worn out, and, as for your body, there comes a point where no one looks at it, much less wants to come near it.”
This left me dumbstruck. And inexplicably miserable. Put yourself in the shoes of all those aching people. I know, CMBYN is a film. So is BBM. But think of how many such helpless Elios, Olivers, Jacks and Ennises have to throttle their true feelings, confine their insatiable desires, conform to the society, give up their dreams.
I read the book. I liked it even more than the film. André Aciman has proved to be an agonizingly wise writer, judging by the strong individual conscience presented through the characters.
MILD BOOK SPOILER “[...] but I felt I should say it, because this was the moment to say it, because it suddenly dawned on me that this was why I had come, to tell him “You are the only person I’d like to say goodbye to when I die, because only then will this thing I call my life make any sense. And if I should hear that you died, my life as I know it, the me who is speaking with you now, will cease to exist. [...] We missed out on so much. It was a coma. Tomorrow I go back to my coma, and you to yours.”
So, so sad.
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CALLMEBYYOURNAMEFANART
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Peaches
this beautiful piece was commissioned for me as a gift from my husband 🍑
art by my amazingly talented friend @bbbreakfast (twitter)
CALLMEBYYOURNAMEFANART by AMSBT manda
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December 26th, 2017 1,124 Likes
Fan Art / Digital Art / Drawings / AMSBT manda / @BBbreakfast
#CMBYN #CallMeByYourName
#elio #elio perlman #oliver #ulliva #laterpeaches 🍑
#andré aciman #armie hammer #timothée chalamet #luca guadagnino
#book #novel #film #movie #sonyclassics #lgbt
#art #artwork #artist #digital art #digitalart #bbbreakfast
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http://www.pictaram.org/post/BZTyn4wBWS1
http://www.pictaram.org/sirayy
When he came down for breakfast he was wearing my bathing suit. No one would have given it another thought since everyone was always swapping suits in our house, but this was the first time he had done so and it was the same suit I had worn that very dawn when we'd gone for a swim. Watching him wearing my clothes was an un-bearable turn-on. And he knew it. It was turning both of us on.
Call Me By Your Name by André Aciman
Recited/Narrated by Armie Hammer
CALLMEBYYOURNAMEFANART by @sirayy
http://www.pictaram.org/sirayy
Sep 21, 2017 6 Notes, 410 Likes
CALLMEBYYOURNAMEFANART
http://www.pictaram.org/sirayy
(https://abs.twimg.com/emoji/v2/72x72/1f351.png)
(https://scontent.cdninstagram.com/t51.2885-15/e35/22427572_398844643867237_1168592534599892992_n.jpg) by @sirayy
(https://scontent.cdninstagram.com/t51.2885-15/e35/22427572_398844643867237_1168592534599892992_n.jpg)
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
CALLMEBYYOURNAMEFANART
http://jgiampietro.tumblr.com/
(https://abs.twimg.com/emoji/v2/72x72/1f351.png)
(http://78.media.tumblr.com/avatar_d747967fa585_128.png) by JGiampietro
(http://78.media.tumblr.com/b99f4347f884cfb27d8a9947e4f909c9/tumblr_oxguzxUo5O1rrax8bo1_1280.jpg)
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
-
Is everybody happy with the Oscar nominations? I only glanced at them, but was happy to see Timothée's and Michael Stuhlbarg's names as Best Actor/Supporting, and the film named first in the Best Picture list. But Armie wasn't there, boo hoo. He had a strong performance but there were many strong performances this year in that category.
I saw Phantom Thread last night. Loved the costumes. The people in them? Not so much. I feel like I would have to read the book to understand the movie; that's always disappointing.
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Is everybody happy with the Oscar nominations? I only glanced at them, but was happy to see Timothée's and Michael Stuhlbarg's names as Best Actor/Supporting, and the film named first in the Best Picture list. But Armie wasn't there, boo hoo. He had a strong performance but there were many strong performances this year in that category.
Michael Stuhlbarg wasn't nominated this year.
I'm very happy for the best film nomination and for Timothée, but I believe both are long shots.
James Ivory may have a shot for adapted screenplay.
I'm most happy for Sufjan Stevens and his marvelous song.
-
Michael Stuhlbarg wasn't nominated this year.
Must have been wishful thinking on my part.
I'm most happy for Sufjan Stevens and his marvelous song.
Me too!
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Mr. Perlman’s speech just blew me away. I’m thoroughly impressed whenever I come across such artfully delivered fundamental truths pertaining to the human condition in literature and films, the latter being furthermore founded upon astounding acting, just like Michael Stuhlbarg’s.
“[...] and have less to offer each time we start with someone new.”
“[...] our hearts and bodies are given to us only once, and before you know it, your heart's worn out, and, as for your body, there comes a point where no one looks at it, much less wants to come near it.”
This left me dumbstruck. And inexplicably miserable. Put yourself in the shoes of all those aching people. I know, CMBYN is a film. So is BBM. But think of how many such helpless Elios, Olivers, Jacks and Ennises have to throttle their true feelings, confine their insatiable desires, conform to the society, give up their dreams.
I read the book. I liked it even more than the film. André Aciman has proved to be an agonizingly wise writer, judging by the strong individual conscience presented through the characters.
MILD BOOK SPOILER “[...] but I felt I should say it, because this was the moment to say it, because it suddenly dawned on me that this was why I had come, to tell him “You are the only person I’d like to say goodbye to when I die, because only then will this thing I call my life make any sense. And if I should hear that you died, my life as I know it, the me who is speaking with you now, will cease to exist. [...] We missed out on so much. It was a coma. Tomorrow I go back to my coma, and you to yours.”
So, so sad.
Yes, I can hardly watch the youtube cuts and just feel the tragedy in his words. V.
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Michael Stuhlbarg wasn't nominated this year.
Michael Stuhlbarg wasn't nominated for anything by the Academy this year. Considering how many chances they had, it's revolting. Is the Academy as stupid as Trump now?
(Then I remember Crash.)
-
http://www.vulture.com/2018/01/cmbyn-sequel-will-address-aids-luca-guadagnino-says.html
(http://images.nymag.com/news/articles/reasonstoloveny/2015/img/ny-logo.svg)
(http://images.amcnetworks.com/ifc.com/wp-content/uploads/2016/05/Vulture-Logo-Main.jpg)
Luca Guadagnino
Plans to Address the AIDS Epidemic in the
Call Me by Your Name
Sequel
By Jackson McHenry
@McHenryJD
January 25, 2018 4:14 pm
(http://www.indiewire.com/wp-content/uploads/2017/01/luca-guadanigno.jpg)
Photograph by Daniel Bergeron (Photo stolen from IndieWire 10-17-17 and used here by JG just because solemnity, gravitas!)
While Call Me by Your Name skirted many of the typical tropes of gay love story, its sequel may tackle one of them directly: the specter of HIV and AIDS. Speaking with The Hollywood Reporter *, Luca Guadagnino said the sequel, which will likely be set in the late 1980s around the time of the fall of the Berlin Wall, will certainly address the epidemic. “I think it’s going to be a very relevant part of the story,” he said. “I think Elio (Timothée Chalamet) will be a cinephile, and I’d like him to be in a movie theater watching Paul Vecchiali’s Once More … That could be the first scene [in the sequel].” Once More (also known as Encore) was released in 1988 and was the first French feature film to address the disease.
If that were the opening scene, then the sequel would a far different tone than the sunnier original (and André Aciman’s original novel), that, it seems, is Guadagnino’s intention. “In my opinion, Call Me can be the first chapter of the chronicles of the life of these people that we met in this movie,” he said. “If the first one is a story of coming of age and becoming a young man, maybe the next chapter will be, what is the position of the young man in the world, what does he want — and what is left a few years later of such an emotional punch that made him who he is?” Not to give Luca any notes, but if we open with Elio watching Once More and wearing Billowy, the hand-me-down shirt he got from Oliver, that might be too much to bear.
*https://www.hollywoodreporter.com/rambling-reporter/call-me-by-your-name-director-reveals-details-planned-sequel-1077963
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ITALY, at long last!
:o :o :o :o :o :o
:D :D :D :D :D :D
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 & etc.)*
Australia 26 December 2017
Netherlands 11 January 2018
Taiwan 12 January 2018
USA 12 January 2018 (Detroit and Indianapolis)*
Brazil 18 January 2018
Portugal 18 January 2018
Estonia 19 January 2018
USA 19 January 2018 (NATIONWIDE)*
Italy 25 January 2018
Finland 26 January 2018
Norway 26 January 2018
Poland 26 January 2018
Spain 26 January 2018
Philippines 31 January 2018 (Ayala Malls Cinemas - select)
Denmark 1 February 2018
Greece 8 February 2018
Hungary 8 February 2018
Romania 9 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
S. Korea 22 March 2018
Japan 27 April 2018
http://www.imdb.com/title/tt5726616/releaseinfo?linkId=43379176
USA*
(https://78.media.tumblr.com/de43ed433aa66bdcad83e8befedd7efb/tumblr_ozj4xvxb7L1wypyaqo1_1280.jpg)
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
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CALLMEBYYOURNAMEFANART
http://appei.tumblr.com/
(https://abs.twimg.com/emoji/v2/72x72/1f351.png)
(http://static.tumblr.com/3c8fb727cb50c12c8eea9e63c3a01f88/kniztm7/S3Tovro9l/tumblr_static_d63ipxmendc8k4s4k8c44ssoo.png) by Apple
Hi I'm Apple, my hobbies include crying,
eating stressing, drawing and reading
fan fictions. Don't be afraid to ask me
stuff hit me up or send requests!
(http://78.media.tumblr.com/c6ee7a4b5307126fa7de9b93325e30c3/tumblr_ozck6il52I1ux4dx6o1_1280.png)
http://appei.tumblr.com/post/167461960619/appei-hi-yes-look-at-this-trash-im-making-into
http://appei.tumblr.com/
Hi yes look at this trash I’m making into the keychain
because I impulse bought from Zap creatives 🍑
CALLMEBYYOURNAMEFANART by Apple
http://appei.tumblr.com/
13.11.17 +108 notes
#CMBYN #CallMeByYourName #laterpeaches #🍑
#elio #elio perlman #oliver #ulliva
#timothée chalamet #armie hammer #andré aciman #luca guadagnino
#book #novel #film #movie #sonyclassics #lgbt
#art #my art #artwork #artist #fetish shirts!
(https://abs.twimg.com/emoji/v2/72x72/1f351.png)
(http://static.tumblr.com/3c8fb727cb50c12c8eea9e63c3a01f88/kniztm7/S3Tovro9l/tumblr_static_d63ipxmendc8k4s4k8c44ssoo.png)
CALLMEBYYOURNAMEFANART
https://twitter.com/mellowbeat__
(https://abs.twimg.com/emoji/v2/72x72/1f351.png)
(https://pbs.twimg.com/media/DMQYmV0UIAEBiLc.jpg:thumb) by @mellowbeat__
(https://pbs.twimg.com/media/DIjx-PxV4AAdesV.jpg)
https://twitter.com/mellowbeat__/status/903237788040011776
https://twitter.com/mellowbeat__
Two Shirts
(https://78.media.tumblr.com/be1a963c1da4b71952b1db32ada5a65d/tumblr_oxxas9SiNd1qetpq0o2_r1_540.gif)
http://www.gramunion.com/tagged/cmbynedit
(https://pixel.nymag.com/imgs/daily/vulture/2017/07/31/call-me-by-your-name-gifs/31-cmbyn-handshake.nocrop.w710.h2147483647.gif)
http://www.vulture.com/2017/08/all-the-gifs-you-need-from-the-call-me-by-your-name-trailer.html
(https://78.media.tumblr.com/80f60f2630e4deb4f8b626d297f7dbec/tumblr_oy1b1dcD1U1sonqjko6_r1_400.gif)
http://www.gramunion.com/arandomexperience.tumblr.com/166549033899
(ok, re the last gif, sue me. The billowy shirt of Oliver's that Elio lusts for and finally receives as a
gift-fetish is the blue oxford, not striped, but artist Mellowbeat's artwork is clever and Elio is so lustful!)
CALLMEBYYOURNAMEFANART by @mellowbeat__
https://twitter.com/mellowbeat__
5:47 AM - 31 Aug 2017
#CMBYN #CallMeByYourName #Elio #Oliver #laterpeaches #🍑
#elio perlman #oliver #ulliva #billowy #shirts
#andré aciman #armie hammer #timothée chalamet #luca guadagnino
#book #novel #film #movie #sonyclassics #lgbt
#art #artwork #artist #illustration
(https://abs.twimg.com/emoji/v2/72x72/1f351.png)
(https://pbs.twimg.com/media/DMQYmV0UIAEBiLc.jpg:thumb)
(http://montages.no/files/2017/10/cmbyn2.jpg)
(https://68.media.tumblr.com/bc7cc76c8606b6eb2bc99f1dd4ca8672/tumblr_obo7n0buRI1vcmvdlo1_1280.jpg)
ttps://www.instagram.com/p/BGpNEnkw5uJ/
"So long, Sirmione!" 📸
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CALLMEBYYOURNAMEFANART
http://bbbreakfast.tumblr.com/
@BBbreakfast
(https://abs.twimg.com/emoji/v2/72x72/1f351.png)
(http://78.media.tumblr.com/avatar_e47c26303e95_128.pnj) by AMSBT manda
@BBbreakfast
(https://68.media.tumblr.com/5826d4838ae4807b3364368fd07703ab/tumblr_p1kqkdscNJ1vsqp6bo1_1280.png)
https://kookybill.tumblr.com/post/168968942822/searbao-this-beautiful-piece-was-commissioned#notes
http://searbao.tumblr.com/post/168963672191/this-beautiful-piece-was-commissioned-for-me-as-a
http://www.gramunion.com/kookybill.tumblr.com/168968942822
http://searbao.tumblr.com/image/168963672191
https://www.inprnt.com/gallery/bbbreakfasttt/
http://bbbreakfast.tumblr.com/
https://kookybill.tumblr.com/
Peaches
this beautiful piece was commissioned for me as a gift from my husband 🍑
art by my amazingly talented friend @bbbreakfast (twitter)
CALLMEBYYOURNAMEFANART by AMSBT manda
@BBbreakfast
https://twitter.com/bbbreakfast?lang=en
December 26th, 2017 1,124 Likes
Fan Art / Digital Art / Drawings / AMSBT manda / @BBbreakfast
#CMBYN #CallMeByYourName
#elio #elio perlman #oliver #ulliva #laterpeaches 🍑
#andré aciman #armie hammer #timothée chalamet #luca guadagnino
#book #novel #film #movie #sonyclassics #lgbt
#art #artwork #artist #digital art #digitalart #bbbreakfast
#digitalpainting #fanart #fanartdigital
#cmbyn_art
(https://abs.twimg.com/emoji/v2/72x72/1f351.png)
(http://78.media.tumblr.com/avatar_e47c26303e95_128.pnj)
(https://abs.twimg.com/emoji/v2/72x72/1f351.png)
(https://a.deviantart.net/avatars/k/e/keoning.jpg?2) by Keoning
(https://img08.deviantart.net/32c6/i/2017/214/4/2/elio_perlman_by_keoning-dbimu7w.jpg)
https://keoning.deviantart.com/art/Elio-Perlman-696426620
(https://abs.twimg.com/emoji/v2/72x72/1f351.png)
☼ welcome to my place ☼
(https://68.media.tumblr.com/avatar_47c75e6495d3_64.png) by anqua.tumblr.com(https://68.media.tumblr.com/b00f8b3439bd8e9bc811dd86da95d744/tumblr_ou6lf6XW7s1ty6stwo1_1280.jpg)
http://www.gramunion.com/anqua.tumblr.com/163805888410
(https://abs.twimg.com/emoji/v2/72x72/1f351.png)
(https://scontent.cdninstagram.com/vp/c3bf6776c1b581ff39dacba68007fecc/5AE45326/t51.2885-19/s150x150/23098789_1968649626724612_4981964078252556288_n.jpg)by smartie128
(https://68.media.tumblr.com/23e9c32f178aa09d2b1e52c726041936/tumblr_ouqzkt1oue1wwjl4jo1_1280.jpg)
https://callmebyurnameandillcallubymine.tumblr.com/post/164229823091/from-smartie128-on-instagram
https://callmebyyourname-movie.tumblr.com/image/164254725386
https://callmebyyourname-movie.tumblr.com/
http://picbear.com/smartie128
Peaches again 😙
CALLMEBYYOURNAMEFANART by @smartie128
http://picbear.com/smartie128
August 14 2017 - 06:58
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CALLMEBYYOURNAMEFANART
http://monarchist.tumblr.com/
I paint sometimes.
(https://abs.twimg.com/emoji/v2/72x72/1f351.png)
(https://i.pinimg.com/736x/53/4f/da/534fda3af803c1c534a46789a51ec552.jpg)by MONARCHIST
(https://78.media.tumblr.com/509273a8585822f439f5b3643a6958c6/tumblr_p1dnmiDcCe1qgrlqzo1_1280.jpg)
http://monarchist.tumblr.com/post/168829147177/i-just-watched-this-and-i-am-a-weeping-mess
http://monarchist.tumblr.com/archive
http://monarchist.tumblr.com/
i just watched this and i am a weeping mess"We wasted so many days--so many weeks."
CALLMEBYYOURNAMEFANART by MONARCHIST
http://monarchist.tumblr.com/December 23 2017 216 Notes
#CMBYN #CallMeByYourName #Elio #Oliver #laterpeaches #🍑
#elio perlman #oliver ulliva
#armie hammer #timothée chalamet #andré aciman #luca guadagnino
#book #novel #film #movie #sonyclassics #lgbt
#art #my art #artwork #artist #paint
(https://abs.twimg.com/emoji/v2/72x72/1f351.png)
(https://i.pinimg.com/736x/53/4f/da/534fda3af803c1c534a46789a51ec552.jpg)
(https://78.media.tumblr.com/ce976641eebb9360f0c35e9a866a42a0/tumblr_oy15daPYKI1qe8tjno5_540.gif)
(https://78.media.tumblr.com/835ec729d48e9b3605e113cb9b035203/tumblr_oy15daPYKI1qe8tjno6_540.gif)
(https://78.media.tumblr.com/d991d3c6e2a2b9ff70e656689c469df8/tumblr_oy15daPYKI1qe8tjno3_540.gif)
(https://pbs.twimg.com/media/DG3tH8OUIAEf9mf.jpg)
https://twitter.com/search?q=%23CallMebyYourName
(https://pbs.twimg.com/media/DG3tH8SUwAATRHH.jpg)
https://twitter.com/search?q=%23CallMebyYourName
https://twitter.com/hashtag/callmebyyourname?lang=en
https://www.tumblr.com/tagged/elio-and-oliver
https://twitter.com/chroniclikerrr
by Nikko Tan
@chroniclikerrr
(https://pbs.twimg.com/profile_images/919851966146101249/ffU0LD8X_400x400.jpg)
(https://pbs.twimg.com/media/DGJdotDXsAEN9xG.jpg)
https://mariecampanula.tumblr.com/post/163675935985/inauguration-post-on-my-tumblr-i-fell-so-very
https://twitter.com/mariecampanula
#Marie Campanula
(https://pbs.twimg.com/profile_images/862034319027691526/MOGm9_ne_400x400.jpg)
(https://abs.twimg.com/emoji/v2/72x72/1f351.png)
(https://pbs.twimg.com/media/DMQYmV0UIAEBiLc.jpg:thumb) by @mellowbeat__
(https://pbs.twimg.com/media/DIPIOR5UIAE3eJM.jpg)
https://twitter.com/i/moments/809183241286496256
https://twitter.com/mellowbeat__/status/901784510546587649
https://twitter.com/mellowbeat__
https://twitter.com/yorkeos
-
Timothée - who has been wowing audiences with his performance in 'Call Me By Your Name' - left the event with the much sought after Actor of the Year statuette.
Other winners included Lesley Manville, who won Supporting Actress of the Year for 'Phantom Thread', and Hugh Grant took home the award for Supporting Actor of the Year for 'Paddington 2'.
Upon collecting his gong, Grant quipped: "First Trump and Brexit, and now me winning awards. It's the end of days!"
London Critics’ Circle Film Awards – Nominations/AwardsACTOR OF THE YEAR
Timothée Chalamet – Call Me By Your Name – Winner(http://www.zapgossip.com/wp-content/uploads/2018/01/d55ff21c4bd509e5058f9623f948f9a8.jpg)
[youtube=960,540]http://www.youtube.com/watch?v=nlMPSmwitl8[/youtube]
https://www.youtube.com/watch?v=nlMPSmwitl8
Timothée Chalamet of Call Me By Your Name
accepts award for Actor of the Year at the London Critics’ Circle Film Awards 2018
allisxn
Published on Jan 28, 2018
(https://yt3.ggpht.com/-9bf96ZClRjI/AAAAAAAAAAI/AAAAAAAAAAA/MfvsYQX0MaU/s88-c-k-no-mo-rj-c0xffffff/photo.jpg)
The winners were announced on January 28 at London’s May Fair Hotel (Stratton Street, Mayfair, London, W1J 8LT).
Alice Lowe and Steve Oram hosted the ceremony, at which time
Kate Winslet received the critics’ highest honor, The Dilys Powell Award for Excellence in Film.
FILM OF THE YEAR
Call Me By Your Name – Nominated
God’s Own Country – Nominated
BRITISH/IRISH FILM OF THE YEAR: The Attenborough Award
Dunkirk – Winner
God’s Own Country – Nominated
DIRECTOR OF THE YEAR
Luca Guadagnino – Call Me By Your Name – Nominated
SCREENWRITER OF THE YEAR
James Ivory – Call Me By Your Name – Nominated
ACTOR OF THE YEAR
Timothée Chalamet – Call Me By Your Name – Winner
SUPPORTING ACTOR OF THE YEAR
Hugh Grant – Paddington 2 – Winner
Michael Stuhlbarg – Call Me By Your Name – Nominated
BRITISH/IRISH ACTOR OF THE YEAR
Josh O’Connor – God’s Own Country – Nominated
YOUNG BRITISH/IRISH PERFORMER OF THE YEAR
Harris Dickinson – Beach Rats – Winner
BREAKTHROUGH BRITISH/IRISH FILMMAKER: The Philip French Award
Francis Lee – God’s Own Country – Winner
TECHNICAL ACHIEVEMENT AWARD
Blade Runner 2049 – Dennis Gassner, production design – Winner
God’s Own Country – Joshua James Richards, cinematography – Nominated
http://deadline.com/2017/12/london-critics-circle-nominations-2017-three-billboards-phantom-thread-lady-macbeth-1202229652/
https://www.theguardian.com/film/2018/jan/29/three-billboards--three-london-critics-circle-awards-oscars-martin-mcdonagh-frances-mcdormand
https://www.list.co.uk/article/98787-billboards-and-timothee-chalamet-win-big-at-london-film-critics-circle-awards/
(https://www.independent.ie/entertainment/movies/article36539723.ece/BINARY/ipanews_5a8c9ff5-7310-4c47-ad1c-f14317a817c1_embedded234694015)
(https://metrouk2.files.wordpress.com/2018/01/911521190.jpg?w=620&h=813&crop=1)
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https://www.list.co.uk/article/98294-timothee-chalamet-thanks-armie-hammers-wife-in-acceptance-speech/
(https://files.list.co.uk/assets/img/common/logo.png)
The 29th Annual Palm Springs International Film Festival Awards Gala:
Timothee Chalamet thanks Armie Hammer's wife in acceptance speech
3 January 2018
(https://files.list.co.uk/images/2018/01/03/538ee0aac44e0e49472840ead14ce891a06eef22.jpg)
Timothée Chalamet thanked Armie Hammer's wife Elizabeth Chambers for letting him "crawl" over her husband while filming 'Call Me By Your Name'
Timothée Chalamet thanked Armie Hammer's wife for letting him "crawl" over her husband.
The 22-year-old actor stars alongside 'The Lone Ranger' actor in the coming-of-age film 'Call Me By Your Name', and at the 29th Annual Palm Springs International Film Festival Awards Gala on Tuesday (02.01.18), Chalamet won the rising star award.
At the event in California, Chalamet - who won the award alongside co-honouree Gal Gadot - thanked Hammer for his "brotherhood" but turned towards his wife Elizabeth Chambers and gave a more comical speech.
He said: "It's truly an awesome feeling to get to be in the Rising Stars category tonight alongside Gal Gadot. Gal, your film has literally made 250 times more money than my movie has. I'm left feeling a little insecure, unqualified to be up here but it's OK.
"Armie, it's a lot easier to be up here because you're one of my best buddies. Seriously I'm grateful for your big brotherhood and your guidance and friendship.
"To have someone in your position, and as talented as you are, be a mentor to me for the last two years is invaluable to me. I really mean it, man.
"And special thanks to Armie's wife, Elizabeth Chambers, who is here tonight, as well, who is as crucial to this process as anyone.
"And for letting me crawl all over your husband for two months. Thank you for that."
'Call Me By Your Name' - which is based on the novel of the same name - follows the story of a young Italian man named Elio (Chalamet) who meets Oliver (Hammer) after he visits the country to stay at his parents' villa.
The pair then develop a passionate relationship, as they bond over their shared Jewish heritage and their sexuality.
Both actors have been nominated for a Golden Globe for their performance in the new movie by Luca Guadagnino.
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Interview on a French
chat show, Quotidien,
by Yann Barthès
in both French and English
(with subtitles--er, somewhat)
PART 1[youtube=960,540]http://www.youtube.com/watch?v=WpzVhNZMxTc[/youtube]
https://www.youtube.com/watch?v=WpzVhNZMxTc
PART 2[youtube=960,540]http://www.youtube.com/watch?v=b2hdEjTW56U[/youtube]
https://www.youtube.com/watch?v=b2hdEjTW56U
Timothée Chalamet and Armie Hammer
of Call Me By Your Name interviewed by
Yann Barthès on Quotidien (French TV)
allisxn
Published on Jan 25, 2018
(https://yt3.ggpht.com/-9bf96ZClRjI/AAAAAAAAAAI/AAAAAAAAAAA/MfvsYQX0MaU/s88-c-k-no-mo-rj-c0xffffff/photo.jpg)
ORIGINAL IN FRENCH[youtube=960,540]http://www.youtube.com/watch?v=-WGi-BP3JSE[/youtube]
https://www.youtube.com/watch?v=-WGi-BP3JSE
Quotidien - Invités Timothée Chalamet et Armie Hammer : atouts charme du jour
(https://yt3.ggpht.com/-8Pba9UzCAQI/AAAAAAAAAAI/AAAAAAAAAAA/bvC9_yEdRSA/s48-c-k-no-mo-rj-c0xffffff/photo.jpg) Comment by
subscriber John Cock - 4 days ago (edited) Jan 26
"when the host realizes he's in love" (9:25 - 9:28min)
sandra innit
Published on Jan 25, 2018
(https://yt3.ggpht.com/-itDf7tzl8XA/AAAAAAAAAAI/AAAAAAAAAAA/E-BKJ6mPo_k/s88-c-k-no-mo-rj-c0xffffff/photo.jpg)
https://en.wikipedia.org/wiki/Quotidien
https://en.wikipedia.org/wiki/Yann_Barth%C3%A8s
(https://upload.wikimedia.org/wikipedia/commons/2/29/Quotidien_Logo.png)
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It's wonderful to see the adulation. . .and the funny clothes!!
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It's wonderful to see the adulation. . .and the funny clothes!!
Yup!! 8) 8) 8) ::) ::) ::) :laugh: :laugh: :laugh: (Shiny, no??)
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So last night, I pointed the car north and made the hundred mile round trip I had been planning to make since November. To the same theater where I had seen Brokeback Mountain, The Grandin. Call Me By Your Name was playing in a short run of only a week in one of the side theaters. It was the 5:10 showing, I think there were six of us to see it, but when we came out there was a healthy crowd waiting on the next showing.
It was not the gut punch Brokeback was, but what it was was wonderful. So lush, so perfect in its setting and cinematography. The story, the identifying, oh mah gawd peaches!
1983, will there ever be anything like it again? While Jack Twist met his end these two were on the other side of the world, exchanging shirts. Seeing something like this movie is like being given permission to reimagine ones own life, to walk up to that familiar line never crossed and just tell the guy, hey, I know things. Things I would want to share with you. And maybe it was because there were in Italy, maybe because they were educated, there was just enough wiggle room for that guy to take a chance.
1983 will never come again. Not in my life or anyone else's. The kids coming up they will have there own summer of love. Art like this it opens up something in us that is not natural, to look back and try to inform our own stories by the ones we have read or seen. It is a phenomenon that only recent generations would know of. Being able to look back, and appreciate, and long for.
I checked my local library, they have 4 copies, and a waiting list of holds for it. Yeah, I will be spending some time with this one.
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I also thought that Jess would have a fucking fit it she ever saw it.
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Thank you, Truman.
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Parody, I suppose.
(https://mymodernmet.com/wp/wp-content/uploads/2018/01/honest-movie-posters-10-733x1024.jpg)
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So if fans of BBM are Brokies, would fans of CMBYN be.........Peaches? :laugh:
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:laugh: :laugh:
Peachy keens!
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So if fans of BBM are Brokies, would fans of CMBYN be.........Peaches? :laugh:
Pretty much, Truman! (#gaymerch #gayart #laterpeaches 🍑) ;D ;D
(https://1.bp.blogspot.com/-2FQdSnWgFP8/V2LPiFNK7cI/AAAAAAADF_Y/lRIfdvUYqWoFxOJfjad1siFICB6LLEdLgCLcB/s1600/call%2Bmy%2Bby%2Byour%2Bname%2Bpeach.png)
http://www.mynewplaidpants.com/2016/06/peach-of-day.html
http://www.mynewplaidpants.com/
CALLMEBYYOURNAMEFANART
https://www.instagram.com/stephendraw/
(https://abs.twimg.com/emoji/v2/72x72/1f351.png)
(https://instagram.fewr1-1.fna.fbcdn.net/t51.2885-19/s150x150/26267090_438308219919723_6687550219183194112_n.jpg)
by Stephen Author \ Illustrator \ designer of wearable goods 🇨🇦
(https://static1.squarespace.com/static/52e7e717e4b086bf4969dc52/t/5a618a6a71c10ba72c72ec13/1516339072058/?format=1500w)
CALL ME BY YOUR NAME
OLIVER'S SHORTS Limited Edition Pin
ELIO'S PEACH Limited Edition Pin
gold plated pin $15.00 each $20.00 for the set
1" die-cast gold plated metal, limited edition.
https://www.stephen-mcdermott.com/shop/olivers-shorts-limited-edition-pin
https://www.instagram.com/p/Bd3yXbkBeyj/?taken-by=stephendraw
https://www.stephen-mcdermott.com/shop/elio-oliver-pin-set-of-3
https://www.stephen-mcdermott.com/shop/elios-peach
https://www.stephen-mcdermott.com/shop
(https://pbs.twimg.com/media/DT0gjN9UMAEmMfS.jpg)
(https://static1.squarespace.com/static/52e7e717e4b086bf4969dc52/560cb986e4b02a28350dc165/5a1cd83f652dea2e1ab5006f/1511839809648/aasfasf.jpg?format=750w)(https://static1.squarespace.com/static/52e7e717e4b086bf4969dc52/560cb986e4b02a28350dc165/5a1cd7768165f542d6f81f0d/1512600154638/sdsaf.jpg?format=750w)
(https://pbs.twimg.com/media/DT0gjN7UMAA5Uhj.jpg)
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by Stephen Author \ Illustrator \ designer of wearable goods 🇨🇦 https://www.instagram.com/stephendraw/
13th January 2018 2,679 Likes
#timothée chalamet #elio #elio perlman #armie hammer #oliver #ulliva #actor
#call me by your name #cmbyn #andré aciman #luca guadagnino #lgbt
#movies #film #lgbtmovie #oscar #laterpeaches 🍑
#art #my art #artist #fanart #work #artistsoninstagram #instagay #gayart #gaystagram #gay #love
#instagay #gaypin #gaypins #pinstagram #pingame #instapin #pin #enamelpinstagram
#enamelpingame #instaenamelpin #enamelpin #enamelpins #enamelgaypin
#gaymerch #pincollector #pinoftheday
#later!
CALLMEBYYOURNAMEFANART by Stephen Author \ Illustrator \ designer of wearable goods 🇨🇦
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Parody, I suppose.
(https://st.depositphotos.com/2046901/3044/v/950/depositphotos_30448197-stock-illustration-sun-drawing.jpg) Heh!! ;D ;D
(https://mymodernmet.com/wp/wp-content/uploads/2018/01/honest-movie-posters-10-733x1024.jpg)
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Sent to me by Meryl. From Vanity Fair.
“I Couldn’t Write Silence”: Call Me by Your Name Author André Aciman on the Oscar-Nominated Film Adaptation of His Novel
“What I do is chisel a statue down to its finest, most elusive details,” writes the author, whose novel is the basis for Luca Guadagnino’s now best-picture-nominated film. “What a film director does is make the statue move.”
by ANDRÉ ACIMAN
JANUARY 24, 2018 10:58 AM
I arrived on the film set of Call Me by Your Name an hour after landing in Milan. I was tired, jet-lagged, and needed an hour to rest, but my driver took me directly to a square in the town of Pandino where the film crew was assembled and preparing for a shoot. At the center of the piazza was a World War I monument, and tucked away in a corner was a tiny café.
This was not the kind of piazza I had pictured when writing Call Me by Your Name years earlier. The town square I imagined was far smaller and stood high on a hill overlooking a windswept Mediterranean. Here in Italy’s landlocked Lombardy region there was no sea whatsoever, nor even a telltale hint of a breeze in the air and, drenched under an intensely blinding noonday sun, the square felt spookily deserted. Right away, I knew that very little in the film would correspond to my novel and, like any author, was wistfully resigned to watching my story morph under someone else’s vision.
Before me stood the two lead actors, Timothée Chalamet (Elio, in the film) and Armie Hammer (Oliver), and the director Luca Guadagnino. All three greeted me warmly before going back to discussing a scene for which everyone was busily setting up. Meanwhile, I was shown around the piazza. The signs in the shop windows bore prices for food and clothing in liras, not euros; one of the billboards sported a very dated Communist Party poster; a boxy, old, gray Fiat stood away from the square, and against the wall of the small café, I spotted an obsolete red Illy coffee sign. The square, I was told, was retrofitted for 1983. “Who could possibly spot the small cursive prices in liras on the shop windows?” I asked Peter Spears, the producer. Guadagnino, like his idol Luchino Visconti, the great Italian film director of The Leopard and Death in Venice fame, is a stickler for these micro-devilish details.
Moments later, the actors hopped on their bicycles and vanished from the piazza, waiting to be summoned as the camera rolled. Then, the word “action,” and suddenly Elio and Oliver ride into the square. They stop, buy cigarettes, and begin to smoke. They stand before the statue, which Oliver mistakenly assumes is a World War II memorial. No, Elio interjects, it commemorates the battle of the Piave, a devastating battle where the Italians sustained huge losses despite their victory.
I’ve arrived at the most difficult and, perhaps, most important scene in my novel. Three minutes later, in a single tracking shot, the climactic moment of the film is done. This was the “avowal” scene: a moment when Elio finds the nerve to tell Oliver, though very obliquely, that, despite what everyone thinks, he “knows very little about things that matter.” Elio and Oliver wrap around opposite sides of the war memorial. “What things that matter?” Oliver asks. “You know what things.” “Why are you telling me this?” asks an intrigued, though still baffled Oliver. “Because I thought you should know.” “Because you thought I should know?” asks Oliver again, beginning to seize Elio’s meaning. “Because I wanted you to know,” Elio repeats, almost speaking the words to himself.
It had taken me two whole days and five pages to capture the diffident dialogue between the two would-be lovers. But Guadagnino had distilled it in just a few minutes. They shot it three to four more times. For me, the message was clear: film cuts and trims with savage brevity, where a shrug or an intercepted glance or a nervous pause between two words can lay bare the heart in ways written prose is far more nuanced and needs more time and space on the page. But the thing is, I couldn’t write silence. I couldn’t measure pauses and breaths and the most elusive yet expressive body language.
Cinema can be an entirely magical medium. What I do as a writer, and what Guadagnino does as a film director, is more than speak two different languages. What I do is chisel a statue down to its finest, most elusive details. What a film director does is make the statue move.
I recall that when discussing his plans for the film, Guadagnino had told me that he would end the film with a shot of young Elio weeping before the camera. My heart sank. This was not at all what I had envisaged for the ending. The last pages of my novel sought to capture the lovers 20 years later as they reconnect and tell each other that, despite the years, they’ve forgotten nothing. Guadagnino told me that he had asked Sufjan Stevens to compose part of the soundtrack. I could not believe that a popular contemporary songwriter was particularly adapted to my story, especially since I had hoped for Haydn. But I kept quiet, thinking that perhaps the role of an author is never to intrude on someone else’s medium.
When I finally saw the film at the Berlin International Film festival, I was stunned. The ending captured the very spirit of the novel I had written in ways that I could never have imagined or anticipated, and as for the music, it resonated with the love of the two young men, so much so that the final scene with Elio and Sufjan’s song stayed with me long, long after I walked out of the movie theater and, as happens so rarely, into the next morning and the evening after that.
https://www.vanityfair.com/hollywood/2018/01/call-me-by-your-name-author-andre-aciman-on-oscar-nominated-film-adaptation?mc_cid=76ceb89988&mc_eid=93fc88e1bf
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This is a very cool thing. "Interactive" google map thingie, of the very piazza in Pandino with the Piave memorial.
https://www.google.it/maps/@45.4051949,9.5527923,3a,60y,258.68h,92.82t/data=!3m6!1e1!3m4!1sdJV1pl3fEk-5bWHJBjP1qg!2e0!7i13312!8i6656
Be sure to click on "satellite" and mouse your way to the little square just south of the castello. Double-click on the green hexagonal square in the center.
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Thank you Paul--and Meryl!
Cinema can be an entirely magical medium. What I do as a writer, and what Guadagnino does as a film director, is more than speak two different languages. What I do is chisel a statue down to its finest, most elusive details. What a film director does is make the statue move.
I recall that when discussing his plans for the film, Guadagnino had told me that he would end the film with a shot of young Elio weeping before the camera. My heart sank. This was not at all what I had envisaged for the ending. The last pages of my novel sought to capture the lovers 20 years later as they reconnect and tell each other that, despite the years, they’ve forgotten nothing. Guadagnino told me that he had asked Sufjan Stevens to compose part of the soundtrack. I could not believe that a popular contemporary songwriter was particularly adapted to my story, especially since I had hoped for Haydn. But I kept quiet, thinking that perhaps the role of an author is never to intrude on someone else’s medium.
When I finally saw the film at the Berlin International Film festival, I was stunned. The ending captured the very spirit of the novel I had written in ways that I could never have imagined or anticipated, and as for the music, it resonated with the love of the two young men, so much so that the final scene with Elio and Sufjan’s song stayed with me long, long after I walked out of the movie theater and, as happens so rarely, into the next morning and the evening after that.
https://www.vanityfair.com/hollywood/2018/01/call-me-by-your-name-author-andre-aciman-on-oscar-nominated-film-adaptation?mc_cid=76ceb89988&mc_eid=93fc88e1bf
"When I finally saw the film at the Berlin International Film festival, I was stunned."
AT THE PRESS CONFERENCE
AND PHOTO CALL
February 13, 2017
(https://thumbs.mic.com/ZTFlNjliMjYyZSMvQ2FjTTZQYU1DVUY3TVpmQnNjdG9zeml5Z1FRPS8weDE1Nzo0NzIweDI0NDMvMTYwMHg5MDAvZmlsdGVyczpmb3JtYXQoanBlZyk6cXVhbGl0eSg4MCkvaHR0cHM6Ly9zMy5hbWF6b25hd3MuY29tL3BvbGljeW1pYy1pbWFnZXMvbGd3eHJsYmpxbTV3MDlhZ21zYWM0YnBsdXdveWU1bzV5azVxZGNnc29ienZnbzZvZXJ3YnV5Yzg0cDFycHlweC5qcGc.jpg)
The (partial) cast and crew of Call Me by Your Name
Front Row: Victoire Du Bois (Chiara) Esther Garrel (Marzia) Timothée Chalamet (Elio) André Aciman (Author--and Mounir)
Amira Casar (Annella) Luca Guadagnino (Director)
Center Back Row: Peter Spears (Isaac--and Producer) and, Far Right Back Row: Armie Hammer (Oliver)
Photo: Pascal Le Segretain/Getty Images
AT THE PREMIERE
February 13, 2017
FYI, distinguished author André Aciman and producer Peter Spears of Call Me by Your Name play a visiting gay couple from Chicago in the movie (and who insist in speaking atrocious Italian to the Perlmans)--everyone is saying the scene is hilarious!
(https://upload.wikimedia.org/wikipedia/commons/1/19/Call_Me_By_Your_Name_Berlinale_8609_8610.jpg)
From left: Armie Hammer (Oliver) Timothée Chalamet (Elio) (?) Amira Casar (Annella) André Aciman (Author--and Mounir)
Esther Garrel (Marzia) Victoire Du Bois (Chiara) Peter Spears (Producer--and Isaac)
(https://2.bp.blogspot.com/-TNBPMrmzjig/WKrc9nAQhdI/AAAAAAAAhGY/FtuqSJL5XIcTA2jIasBgsCipJ1ekEy6iACLcB/s1600/67th%2Bannual%2BBerlin%2BInternational%2BFilm%2BFestival.jpg)
9 February to 18 February 2017
https://en.wikipedia.org/wiki/67th_Berlin_International_Film_Festival
(FYI, American actress Maggie Gyllenhaal was a juror!)
(https://68.media.tumblr.com/8131f96bd8ed0ac355719912f0e1664d/tumblr_ou5qn3pmiU1wwjl4jo1_1280.jpg)
(https://upload.wikimedia.org/wikipedia/commons/2/26/Call_Me_By_Your_Name_Berlinale_8579.jpg)
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This is a very cool thing. "Interactive" google map thingie, of the very piazza in Pandino with the Piave memorial.
https://www.google.it/maps/@45.4051949,9.5527923,3a,60y,258.68h,92.82t/data=!3m6!1e1!3m4!1sdJV1pl3fEk-5bWHJBjP1qg!2e0!7i13312!8i6656
Be sure to click on "satellite" and mouse your way to the little square just south of the castello. Double-click on the green hexagonal square in the center.
Thanks, Paul--VERY cool thing! :D :D
(http://78.media.tumblr.com/ecd2515c7412b10fdc910c31bcaac49f/tumblr_p38t0oimy11qlpgzuo1_r1_1280.jpg)
http://waterinthemouth.tumblr.com/
Please note "Pandino ai suoi caduti" ("Pandino to her fallen") to the right of the large plaque, there is another dated 1940-1946, listing the dead from WWII. So the memorial is for BOTH wars (at least) and therefore Oliver's line in the scene wasn't wrong after all! I'm glad, I was upset I thought it was a mistake--
Me with yet another bugaboo-bugbear: Does (clearly super-intelligent) Oliver REALLY ask (in 1983!) about a war memorial statue--"Is that from WWII?" when the bronze soldier is wearing puttees and a WWI flat soup dish on his head? Mortifying! But Oliver didn't (creepily) feed the dopey line to Elio to allow Elio feel smart, the momentarily dopey SCRIPT made Oliver feed Elio that stupid line. (Maybe for the 2017 audience this isn't an issue? Aren't WWI & WWII in the Middle Ages anyway? What's the diff!) But the stupid line made me cringe because Oliver IS smart and he wasn't trying to butter up Elio. And again, for me the removal of the book's Rome episode from the script rankles. For a fan of Aciman's book, replacing the Dantean weekend in Rome with a (literal) bus-and backpack holiday to Bergamo and bucolic environs is disappointing. But, in these degenerate, tawdry Trumpian times, compared to what else you'll see in the multiplex--yes. Yes, it is a masterpiece. And when the two boys with backpacks were climbing towards the pretty falls and were shouting their names at each other in glee, I shed tears. :)
My apologies Luca and Walter! I shouldn't have doubted you!
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It was not the gut punch Brokeback was, but what it was was wonderful. So lush, so perfect in its setting and cinematography. The story, the identifying, oh mah gawd peaches!
1983, will there ever be anything like it again? While Jack Twist met his end these two were on the other side of the world, exchanging shirts. Seeing something like this movie is like being given permission to reimagine ones own life, to walk up to that familiar line never crossed and just tell the guy, hey, I know things. Things I would want to share with you. And maybe it was because there were in Italy, maybe because they were educated, there was just enough wiggle room for that guy to take a chance.
1983 will never come again. Not in my life or anyone else's. The kids coming up they will have there own summer of love. Art like this it opens up something in us that is not natural, to look back and try to inform our own stories by the ones we have read or seen. It is a phenomenon that only recent generations would know of. Being able to look back, and appreciate, and long for.
“The past is a foreign country; they do things differently there.”
--L. P. Hartley (the author of The Go-Between (1953). https://en.wikipedia.org/wiki/The_Go-Between )
Location and circumstances. Acceptance, permission, privilege, tolerance, luck: Jack Twist had none of those. And Jack's 1983 was certainly different than Elio's--
Your comment, Truman, made me look up this quote:
The movie takes place “somewhere in northern Italy,” but it’s actually set at the peak of Western civilization—which, in case you didn’t know it, was the summer of 1983. In the breezy villa of a beloved American professor of antiquities (Michael Stuhlbarg), multiple languages are spoken by a loving family. Plates of food are passed around along with side dishes of intellectual debate and affectionate teasing. Girls in sundresses pedal to the lake on bicycles. A brilliant pop song, the Psychedelic Furs’ “Love My Way,” throbs out of radios and on the dance floor. And brainy discussions of art history compete for time with more tangible pleasures (not just volleyball).
https://www.timeout.com/us/film/call-me-by-your-name
FYI, there's this:
Timeline in the lives of Jack and Ennis
by - surf501 (Mon Dec 19 2005 20:39:12 )
Here goes after seeing the movie four times (EDIT: Have now seen movie 9 times), and reading the published version of the screenplay, certain year milestones are noted:
1963 - The year they meet, summer. After Brokeback, Ennis marries Alma the same year.
1964 - Ennis and Alma are married, and expecting their first child. The movie at the Drive-in is "Surf Party", from 1964.
1966 - Fourth of July when Ennis beats up the foul mouthed Biker. The announcer in the background clearly says Fourth of July, 1966. Same summer, Jack attempts to pick up Jimbo the Rodeo Clown, then meets Lureen.
1967 - Four years after the summer on Brokeback, Jack and Ennis reunite.
Flashback: 1952 - Ennis' father takes him and his brother to see the murdered body of Earl, the rancher. Ennis says he is 9 years old, which means he must have turned 20 later in the fall of 1963, after the summer on Brokeback, which makes sense since the book says he was "not yet twenty", which seems to imply "not yet twenty, but almost/soon will be".
1969 - The "Where's my Blue Parka?" scene. The screenplay is messed up here about dates. In the space of two pages the year changes from 1971 to 1969 to a scene with a wall calendar that says 1973! I think that 1969 is supposed to be the correct year, but then why would little Bobby need a tutor at age of only 2 or 3? In the movie though we are free to place it in any year we choose in a given late sixties, early 70's range.
1972 - The montage where Jack is letting bobby drive the tractor and Ennis is baling hay out the back of a truck
1973 - Ennis and Alma sit in their apartment on a Saturday night and watch an episode of "Kojack". Alma wants to go to the Church social, but Ennis dosesn't feel like hanging out with "..that fire and brimstone crowd."
1975 - Ennis and Alma divorce. The date is read by the judge. I believe it's in July. The 5th? (Correction: The date of their divorce is November 6th) Jack drives up to see Ennis, hoping this means they will now be able to live together.
1977 - Thanksgiving with Ennis at Alma and Monroe's, and at the Twist Household. You hear the year read by the announcer at the football game on television. The screenplay describes Bobby as being 10, which means he would have had to be two when he needed the tutor.
1978 - Jack and Ennis go to the Mountains again, "Aww go to hell Ennis Del Mar, you want to live your miserable *beep* life, go ahead..." Jack and Lureen meet Randall and LaShawn Malone, at a benefit dinner dance. Ennis meets Cassie.
1979 - Scene with Ennis, Cassie, and Alma Jr. at the bar. The screenplay describes Alma Jr. as 15 yrs,
1981/1983 - Jack and Ennis meet for the last time in 1981 (screenplay) or 1983 (book). In the book, Proulx says they go everywhere but back to Brokeback. In the movie it seems like they always return to Brokeback or we assume so. Cassie confronts Ennis in the Diner.
1982 - In the screenplay, this is the year Jack is killed, and Ennis has the phone coversation with Lureen. Ennis meets Jack's parents.
1984 - Final scenes in movie with Ennis and Alma Jr., the reversed shirts.
"You know it could be like this, just like this, always"
Black Hat White Hat
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This is lovely. :D :D
I just wish the Vice video kept
showing more storyboards
and Luca and André kept yarning
all the way to the end
of the movie!
[youtube=960,540]http://www.youtube.com/watch?v=5u2MAUPbFxo[/youtube]
https://www.youtube.com/watch?v=5u2MAUPbFxo
Luca Guadagnino and André Aciman
Inside The Making of Call Me By Your Name
Storyboard / VICE News / HBO
In another installment of Storyboard, VICE News chats with Call Me By Your Name 's director Luca Guadagnino and author André Aciman, on the novel's inception and the movie's production.
VICE News
Published on Dec 4, 2017
(https://yt3.ggpht.com/-C_54SDZRV_U/AAAAAAAAAAI/AAAAAAAAAAA/tATYqE6eIT0/s88-c-k-no-mo-rj-c0xffffff/photo.jpg)
I think those two have become best friends, no?? ;) ;)
(https://upload.wikimedia.org/wikipedia/commons/2/26/Call_Me_By_Your_Name_Berlinale_8579.jpg)
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CALLMEBYYOURNAMEFANART
http://www.gramunion.com/allarica.tumblr.com
https://allarica.deviantart.com/
(https://abs.twimg.com/emoji/v2/72x72/1f351.png)
(https://api.tumblr.com/v2/blog/allarica.tumblr.com/avatar/128) by Allarica
(Moya Tsaritsa)
(https://78.media.tumblr.com/6668c652629f579fae99dad8cfa86b7c/tumblr_p30j5nBORv1qcebdzo2_1280.png)
http://www.gramunion.com/allarica.tumblr.com/170041489169
http://www.gramunion.com/allarica.tumblr.com?page=3
http://www.gramunion.com/allarica.tumblr.com
(https://img00.deviantart.net/e61c/i/2018/026/5/4/elio_and_oliver_by_allarica-dc17ayf.png)
https://www.deviantart.com/art/Elio-and-Oliver-727614519
https://allarica.deviantart.com/
"We wasted so many days- so many weeks.
Why didn't you give me a sign?"
"I did! At least I tried."
This movie was SO... 🍑
CALLMEBYYOURNAMEFANART by Moya Tsaritsa (allarica)
http://www.gramunion.com/allarica.tumblr.com
https://allarica.deviantart.com/
Jan 24 2018 157 notes
#CMBYN #CallMeByYourName #laterpeaches #🍑
#elio #elio perlman #oliver #ulliva
#timothée chalamet #armie hammer #andré aciman #luca guadagnino
#book #novel #film #movie #sonyclassics #lgbt
#art #my art #artwork #artist #allarica #allaricasworks
(https://abs.twimg.com/emoji/v2/72x72/1f351.png)
(https://api.tumblr.com/v2/blog/allarica.tumblr.com/avatar/128)
Night Scene with cigarette--
(http://78.media.tumblr.com/c95aaff8e79a2acb11cef498045f01b3/tumblr_oz7hlqj6DO1wypyaqo4_1280.jpg)
(https://78.media.tumblr.com/ce976641eebb9360f0c35e9a866a42a0/tumblr_oy15daPYKI1qe8tjno5_540.gif)
(https://78.media.tumblr.com/835ec729d48e9b3605e113cb9b035203/tumblr_oy15daPYKI1qe8tjno6_540.gif)
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This is lovely. :D :D
I just wish the Vice video kept
showing more storyboards
and Luca and André kept yarning
all the way to the end
of the movie!
I think those two have become best friends, no?? ;) ;)
Yes! And, yes!
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Good to see these two
companion photos from the
same shoot shown together--
(https://s-media-cache-ak0.pinimg.com/originals/61/5e/cb/615ecb8d753aa090d1be7bd22f259e2c.jpg)
(https://static01.nyt.com/images/2017/11/19/arts/19callmebyyourname1/merlin_130052999_b18a7d0e-7a56-43d3-aca7-d2600a5e1497-superJumbo.jpg?quality=100&auto=webp)
From:
The Times is half endearing and half annoying with its insistence in calling our Dynamic Duo as "Mr. Hammer" and "Mr. Chalamet." What is NOT endearing and is ALL annoyance is the Times studiously avoiding the topic of CMBYN entirely until now because it does not like to review or even comment on movies until the official première in New York. Gray Lady, wake up! ::) ::)
https://www.nytimes.com/2017/11/17/movies/timothee-chalamet-armie-hammer-call-me-by-your-name.html
(http://a1.nyt.com/assets/foundation/20140108-142003/images/logos/nyt-logo-185x26.svg)
Call Me by Your Name
A Love Story Fueled by Strangers’ Chemistry
By Cara Buckley Nov. 17, 2017
(https://static01.nyt.com/images/2017/11/19/arts/19callmebyyourname1/merlin_130052999_b18a7d0e-7a56-43d3-aca7-d2600a5e1497-superJumbo.jpg?quality=100&auto=webp)
Armie Hammer, left, and Timothée Chalamet hadn’t met before being cast in “Call Me by Your Name.”
“It was the luck of the universe, or something, that there was just a natural bond as humans,” Mr. Chalamet said.
Ryan Pfluger for The New York Times
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CALLMEBYYOURNAMEFANART
https://www.instagram.com/ssd85132/
(https://abs.twimg.com/emoji/v2/72x72/1f351.png)
(https://instagram.fewr1-1.fna.fbcdn.net/vp/348247681b05647af45567c84414a699/5B0B9FAF/t51.2885-19/s150x150/25038253_1712229095508359_5436941246796922880_n.jpg) by ssd85132
•
虫羊氏 [達人專欄] 1983
(https://78.media.tumblr.com/a4e49b0f520c228ea4890dfcecfe853c/tumblr_p34e2sbaSP1unlewbo1_1280.jpg)
http://www.gramunion.com/illcallubymine.tumblr.com/170319184055
https://www.instagram.com/p/BeV_O27FwpI/?taken-by=ssd85132
https://home.gamer.com.tw/creationDetail.php?sn=3869775
Because I Wanted You to Know
CALLMEBYYOURNAMEFANART by ssd85132
•
虫羊氏 [達人專欄] 1983
https://www.instagram.com/ssd85132/
Jan 28 2018 417 notes
#CMBYN #CallMeByYourName #laterpeaches #🍑
#elio #elio perlman #oliver #ulliva
#timothée chalamet #armie hammer #andré aciman #luca guadagnino
#book #novel #film #movie #sonyclassics #lgbt
#art #my art #artwork #artist #ssd85132 #虫羊氏 1983
(https://abs.twimg.com/emoji/v2/72x72/1f351.png)
(https://instagram.fewr1-1.fna.fbcdn.net/vp/348247681b05647af45567c84414a699/5B0B9FAF/t51.2885-19/s150x150/25038253_1712229095508359_5436941246796922880_n.jpg)
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CALLMEBYYOURNAMEFANART
https://www.instagram.com/ssd85132/
(https://abs.twimg.com/emoji/v2/72x72/1f351.png)
(https://instagram.fewr1-1.fna.fbcdn.net/vp/348247681b05647af45567c84414a699/5B0B9FAF/t51.2885-19/s150x150/25038253_1712229095508359_5436941246796922880_n.jpg) by ssd85132
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虫羊氏 [達人專欄] 1983
(https://68.media.tumblr.com/f79506a5205da06c5269acc79d224df9/tumblr_p39b6hgqNp1unlewbo1_1280.jpg)
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/
Elio Elio Elio Elio--
Oliver.
”I remember everything.”
CALLMEBYYOURNAMEFANART by ssd85132
•
虫羊氏 [達人專欄] 1983
https://www.instagram.com/ssd85132/
Jan 28 2018 67 likes
#CMBYN #CallMeByYourName #laterpeaches #🍑
#elio #elio perlman #oliver #ulliva
#timothée chalamet #armie hammer #andré aciman #luca guadagnino
#book #novel #film #movie #sonyclassics #lgbt
#art #my art #artwork #artist #ssd85132 #虫羊氏 1983
#workingprogress #artgallery
(https://abs.twimg.com/emoji/v2/72x72/1f351.png)
(https://instagram.fewr1-1.fna.fbcdn.net/vp/348247681b05647af45567c84414a699/5B0B9FAF/t51.2885-19/s150x150/25038253_1712229095508359_5436941246796922880_n.jpg)
FYI:(https://imageresizer.static9.net.au/RoA-f38ObjlYwCY95oi48aPtN3g=/1440x0/smart/http%3A%2F%2Fprod.static9.net.au%2F_%2Fmedia%2F2018%2F01%2F19%2F14%2F23%2FCMBYN-VILLA-5.jpg)
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CALLMEBYYOURNAMEFANART
https://hnykoko.deviantart.com/
(https://abs.twimg.com/emoji/v2/72x72/1f351.png)
(https://orig00.deviantart.net/4840/f/2017/082/c/e/profile_picture_by_hnykoko-db3bf95.jpg) by hnykoko
(pale_fish)
(https://img00.deviantart.net/7151/i/2018/029/6/9/elio_01_by_hnykoko-dc1lxka.png)
https://twitter.com/hnykoko/status/958221121240920064
https://www.deviantart.com/art/Elio-01-728297002
https://hnykoko.deviantart.com/
"Oliver."
CALLMEBYYOURNAMEFANART by hnykoko
https://hnykoko.deviantart.com/
10:11 PM - 29 Jan 2018 4 notes
#CMBYN #CallMeByYourName #laterpeaches #🍑
#elio #elio perlman #oliver #ulliva
#timothée chalamet #armie hammer #andré aciman #luca guadagnino
#book #novel #film #movie #sonyclassics #lgbt
#art #my art #artwork #fanartdigital #illustration #illustrationdigital
#pale_fish #hnykoko
(https://abs.twimg.com/emoji/v2/72x72/1f351.png)
(https://orig00.deviantart.net/4840/f/2017/082/c/e/profile_picture_by_hnykoko-db3bf95.jpg)
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Elio Elio Elio Elio--
Oliver.
”I remember everything.”
Gets me every time.
-
That phone call, that is it. The defining nail in the coffin. It is the bittersweet confirmation of having moved on.
-
That phone call, that is it. The defining nail in the coffin. It is the bittersweet confirmation of having moved on.
Elio Elio Elio Elio--
Oliver.
”I remember everything.”
Gets me every time.
[youtube=1100,590]http://www.youtube.com/watch?v=sY34-Xohcug[/youtube]
https://www.youtube.com/watch?v=sY34-Xohcug
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)
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 Elio
with
Armie Hammer (on the other end of the telephone),
Michael Stuhlbarg and Amira Casar
Call Me by Your Name
All copyrighted material belongs their respective owners
Decaffeinated Bones
Published on Dec 27, 2017
(https://yt3.ggpht.com/-H_NhvngheQ0/AAAAAAAAAAI/AAAAAAAAAAA/Ntp3NwAm35k/s88-c-k-no-mo-rj-c0xffffff/photo.jpg)
This nicely segues into
the next (and final) scene:
[youtube=1100,650]http://www.youtube.com/watch?v=HzFQ4CgWYY4[/youtube]
https://www.youtube.com/watch?v=HzFQ4CgWYY4
This is also still up since December 21, although other identical posts have been taken down since.
As per all caveats above, watch quickly.
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 Elio
Call Me by Your Name
Sufjan 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
(https://yt3.ggpht.com/-GlQe7S_6qvA/AAAAAAAAAAI/AAAAAAAAAAA/FxSY22N-B5w/s88-c-k-no-mo-rj-c0xffffff/photo.jpg)
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(https://i.pinimg.com/736x/fd/6b/52/fd6b52642f797d08a94ab24d338d16d4.jpg)
(https://78.media.tumblr.com/f3bd81bb183fb05ba5aa6b5a977f1b56/tumblr_p24mn1JjR61r0gwrlo2_1280.jpg)
Elio Elio Elio Elio--
Oliver.
”I remember everything.”
Gets me every time.
This is what gets me every time:
"Do you mind?" says Oliver.
(https://img.youtube.com/vi/qTkF2NkSmU8/0.jpg)
(https://78.media.tumblr.com/caca4f1b0263a149dbdb1eedc63f769f/tumblr_p1ocdg6bwa1qjtg4to9_r1_540.gif)
(https://cdn.vox-cdn.com/thumbor/xlU0Mc_gQvZ4qIGlCPwa2uPv4LE=/800x0/filters:no_upscale()/cdn.vox-cdn.com/uploads/chorus_asset/file/10084601/call_me_by_your_name_4.png)
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.
(https://68.media.tumblr.com/f79506a5205da06c5269acc79d224df9/tumblr_p39b6hgqNp1unlewbo1_1280.jpg)
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/
Also, interestingly:
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/
(https://i.ytimg.com/vi/w_map-e1eAs/maxresdefault.jpg)
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:) :) :)
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.
(https://78.media.tumblr.com/b0171976af94cc96f8bd380c85fc4ed1/tumblr_inline_p284okWu7P1qh53l2_540.gif)
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/content/dam/slate/articles/arts/movies/2018/01/180103_MovieCLUB_bestof2017.jpg)
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
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http://www.vulture.com/2018/01/sufjan-stevens-on-his-call-me-by-your-name-songs.html
(http://images.nymag.com/news/articles/reasonstoloveny/2015/img/ny-logo.svg)
(http://images.amcnetworks.com/ifc.com/wp-content/uploads/2016/05/Vulture-Logo-Main.jpg)
Sufjan Stevens
on the First Time He Saw
Call Me by Your Name
By Kyle Buchanan
@kylebuchanan
January 16, 2018 3:00 pm
(https://pixel.nymag.com/imgs/daily/vulture/2018/01/12/12-sufjan-stevens.w245.h368.2x.jpg)
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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Oh wow. Now I get it. Elio's shirts. Both whlte and black. And both have talking heads--
Oh my.
(https://cdn.vox-cdn.com/uploads/chorus_asset/file/10084601/call_me_by_your_name_4.png)(http://qqp9u102slh1hz2aq2e5ig91-wpengine.netdna-ssl.com/wp-content/uploads/2017/12/CMBYN-best-scenes-part-1-2.1.jpg)
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HA!
Mama Annella approves!
(https://3.bp.blogspot.com/-9zWOLyXEdPE/WlZut3s8zxI/AAAAAAADeyI/Q415lSFVqUsVC_ullyEiKsi9A8Iod410QCLcBGAs/s1600/timmy%2Bamira.gif)
(https://cdn-images-1.medium.com/max/1600/0*s0Y5_NIUdL8hP-xL.jpg)
(https://i.pinimg.com/474x/7a/33/e4/7a33e43777d88f2157c9e0d41e208ae3--beautiful-men-beautiful-people.jpg)
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(https://pbs.twimg.com/profile_images/945314544011960320/XXFRhKFn_400x400.jpg) CALL ME BY YOUR NAME FAN SUPPORT GROUP
@CMBYNFanSupport
12:40 PM - 28 Jan 2018
129 Retweets 167 Likes
https://twitter.com/CMBYNFanSupport
https://twitter.com/CMBYNFanSupport/status/957714953682804737
The deleted scenes we want to see. (https://abs.twimg.com/emoji/v2/72x72/1f498.png)
#CallMeByYourName #CMBYN #TimotheeChalamet #ArmieHammer
(https://pbs.twimg.com/media/DUp8qJXVQAADL7I.jpg)
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Hmmmm--Deleted Scene Photo Set? We Want More Dep't!
(http://i15.photobucket.com/albums/a362/jadams77/apartment%20mirror%20ban%202_zpswlc2edy3.png)(http://i15.photobucket.com/albums/a362/jadams77/bj4_zpsgyhtyeq8.png) (http://2.bp.blogspot.com/-g0Pd7dsoFto/UiXpNRBZ8KI/AAAAAAACDLE/jnTcDaU62Ts/s1600/tsb.png)
http://www.mynewplaidpants.com/2018/01/pics-of-sun-day.html
http://www.mynewplaidpants.com/
SUNDAY, JANUARY 28, 2018
Pics of the Sun Day
(https://1.bp.blogspot.com/-v1hebMijrgo/Wm5cxiFQwjI/AAAAAAADfkk/clygp0eSY44wjIn7Lq9Xe1cJUJrRs_RpwCEwYBhgL/s1600/CALL%2BME%2BBY%2BYOUR%2BNAME%2BARMIE%2BSHIRTLESS%2BBTS.jpg)
(https://3.bp.blogspot.com/-kZut9Wyi-9c/Wm5cyFCVvYI/AAAAAAADfkg/-kJj-GBLCPsGu4pUWb2gOZgxl1bKtuVtwCLcBGAs/s1600/ARMIE%2BSHIRTLESS%2BTIMMY%2BPOOL%2BBTS.png)
(https://2.bp.blogspot.com/-Cz1n9LmgU-4/Wd0vbmVCu3I/AAAAAAADbAY/KohfETsoAv4CzuQ4D0_1POqxvwycIFIJACLcBGAs/s1600/timothee%2Bchalamet%2Barmie%2Bhammer%2Bcall%2Bme%2Bby%2Byour%2Bname%2Blegs.png)
(https://pbs.twimg.com/media/DIVCT4bXgAAuut3.jpg)
(https://pbs.twimg.com/media/DIVuDQQW0AAP1cx.jpg)
https://twitter.com/cmbynmovie
The next morning we went swimming together. [....] Later, as he performed his own version of the dead-man's float, I wanted to hold him, as swimming instructors do when they hold your body so lightly that they seem to keep you afloat with barely a touch of their fingers. Why did I feel older than he was at that moment? I wanted to protect him from everything this morning, from the rocks, from the jellyfish, now that jellyfish season was upon us--
CALLMEBYYOURNAMEFANART
SOURCE FRAGMENTS
(http://moviepic.manmankan.com/yybpic/juzhao/201707/10600_75062.jpg)
http://www.manmankan.com/dy2013/haibao/10600/pic/index.shtml
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(https://api.tumblr.com/v2/blog/elioetoliver.tumblr.com/avatar/128)
http://www.gramunion.com/elioetoliver.tumblr.com
Family table
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http://www.gramunion.com/elioetoliver.tumblr.com/170312616005
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(https://pbs.twimg.com/profile_images/961290100134043651/PXJnGGJv_400x400.jpg) מָאוֹר
@chalametic
11:02 PM - 25 Jan 2018
3,403 Retweets 6,258 Likes
https://twitter.com/chalametic
https://twitter.com/chalametic/status/956784458631405568
troye sivan holding the bible!
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(https://pbs.twimg.com/profile_images/961367327408234496/D_Z88wkg_400x400.jpg) moira
@suchaprettyliar
6:45 PM - 6 Feb 2018
373 Retweets 871 Likes
https://twitter.com/suchaprettyliar
https://twitter.com/suchaprettyliar/status/961068339786268672
troye talking about cmbyn (https://abs.twimg.com/emoji/v2/72x72/1f497.png) (https://abs.twimg.com/emoji/v2/72x72/1f497.png)
at Music Box SD (San Diego's ENERGY 97.3FM Stage)
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Click to watch https://twitter.com/suchaprettyliar/status/961068339786268672
and see what Troye says about CMBYN and Timothée Chalamet
https://en.wikipedia.org/wiki/Troye_Sivan
Troye Sivan: His Life Story
https://www.youtube.com/watch?v=PHKBXE6XOpA
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Seems that Beppe hadn't read the Aciman book before writing his article, as it's clear that Timmy's friendship with the little old lady named Mafalda who lives in what was his apartment building in Crema had nothing to do with the housekeeper Mafalda in Guadagnino's movie--
https://www.nytimes.com/2018/02/09/opinion/crema-italy-call-me.html
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BEPPE SEVERGNINI
My Simple Italian Town Is at Risk of an Oscar
by Beppe Severgnini
Feb. 9, 2018
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Piazza del Duomo in Crema, Italy. The success of “Call Me by Your Name” will likely bring many visitors to the northern Italian town.
Credit Beppe Severgnini
CREMA, Italy — The mother of a childhood friend of mine, now in her 90s, still lives in our small hometown, Crema, near Milan. A few months ago, she started to tell us about a young, charming American actor named Tim who would pick her up in the mornings to have coffee in the piazza.
My friend was worried and a little embarrassed. “My mother has a vivid imagination,” he told us. She resented that. “I’m not making things up!” she snapped.
She was right. Tim turned out to be Timothée Chalamet, the 22-year-old star of Call Me by Your Name and an Oscar nominee for best actor. The movie has been nominated in three other categories, too, including best picture.
And it was filmed entirely in Crema, where its director, Luca Guadagnino — originally from Palermo, Sicily — came to live a few years ago. The cast and crew set up camp here and stayed for some time. Mr. Chalamet rented an apartment in the building where my friend’s mother lived, and they all got along so well that her name, Mafalda, now resounds across the movie; Mr. Guadagnino gave it to the character of the hard-working housemaid. To be honest, I don’t think my friend’s mom will watch this coming-of-age gay romance. But she feels vindicated.
Call Me by Your Name, adapted for the screen by James Ivory from a 2007 novel by André Aciman, is set in the summer of 1983. Young Elio — played by the New-York-born Mr. Chalamet — is visiting his upper-class, academic parents (Michael Stuhlbarg and Amira Casar) in the northern Italian countryside. His dad, an archaeologist, invites an American graduate student named Oliver (Armie Hammer) to work with him for a few weeks. Elio is at first unimpressed by their guest. But soon enough he finds Oliver attractive, and things start to happen.
The movie tells a tender love story, and the two main characters are convincing (Elio’s family less so). But the real star is Crema. Mr. Guadagnino discovered a dreamlike quality in my hometown — in the cobbled squares, the narrow alleys, the stunning summer light, the unexpected shade. And in the surrounding countryside: the winding lanes, the spring water, the deep green of the old trees and the luscious gardens of the mansions, rich in charm and poor in maintenance. And the young women swaying on their bicycles, fading into the horizon.
I grew up among all this. I’ve traveled the world and now work in Milan, but I’ve always lived here, where I was born — just 100 yards from the palazzo where Mr. Guadagnino set up home. The house where I grew up and still live is down the road. My wife’s family home is across the street. The piazza where the two main characters have their life-changing one-to-one is right under my office window. I can see the site now, as I’m writing.
Mr. Guadagnino and I have never met. But I congratulate him. He has seen Crema with a newcomer’s fresh eye, and he succeeds in passing it on to his audience. A few years ago, the director Paolo Sorrentino, from Naples, did the same with Rome, and the result, The Great Beauty, went on to win the Oscar for best foreign-language film in 2014. No Roman director could have done it. You need to be surprised to surprise others.
It’s happening again with Call Me By Your Name, and that’s a good thing. It will bring many visitors to lovely Crema, which has never been on the tourist trail.
Founded in the sixth century, the town was destroyed by the Germans in the 12th century and conquered by the Venetians in the 15th century. Crema was a proud part of the Republic of Venice for three and a half centuries. The marble lions of Mark the Evangelist, Venice’s patron saint, still grace the town hall and the Torrazzo, the main gate leading into the Piazza del Duomo.
And now, thanks to this movie, many foreigners will discover that Italy is not one gigantic Tuscany, a soft drug peddled in predictable packages, such as hills in the sunset, olive groves, lemon trees and white wine. Crema has none of that. Our land is flat; we grow wheat and corn, not olives; and our wine comes in bottles from Piedmont or Veneto. In Crema you will not bump into an American on every street corner. In Cortona, you do. Sorry, Frances Mayes — there are too many foreigners under the Tuscan sun.
Crema offers the right mix of mild unpredictability and sensory reassurance. Every spring and summer we have friends stay, and they are all enchanted. You may think I’m being too romantic, or even biased. But I do believe that a town like ours represents the stunning, ordinary charm of Italy better than those world-famous cities. Rome, Venice and Florence are unique and breathtaking, but overwhelming. Crema takes you by the hand and slowly teaches you what Italy is about: its old houses and waterways, the deep green and lighthearted conversation, the ripe fruit (the sexual potential of peaches and apricots is fully explored in Mr. Guadagnino’s movie).
We know the pleasures of pausing and observation in my country. We don’t look at people, we see them. And we seduce our visitors gently.
Italy can be infuriating — its politics, its bureaucracy, the slow pace of change, the occasional “furbo” (trickster) getting in the way. But it is a land rich in the variety of human nature, as the travel writer E.R.P. Vincent depicted it in 1927. Luigi Barzini Jr., some 40 years later, in his book “The Italians,” tried to explain the reasons behind the attraction: “The art of living, this disreputable art developed by the Italians to defeat regimentation, is now becoming an invaluable guide for survival for many people.”
A half-century on, those assessments still ring true. Last summer, when an English friend, enjoying her aperitivo under our huge magnolia tree, asked me to sum up Italy in a sentence, I said, “Italy can have you fuming and purring in the space of 100 meters or the course of 10 minutes.” Call Me By Your Name may or may not end up as best picture, but it will convince you that I’m right.[/size]
(https://static01.nyt.com/images/2013/10/11/opinion/contributors_severgnini/contributors_severgnini-thumbLarge-v2.jpg) Beppe Severgnini is the editor in chief of Corriere della Sera ’s magazine 7, the author of “La Bella Figura: A Field Guide to the Italian Mind” and a contributing opinion writer.
Can't wait to see this film! Thanks for all your lovely images and words. Crema looks like a wonderful place, just south of the Lake District and east of Milan.
Yes, Lee--lovely!L'Arco del Torrazzo, o semplicemente il Torrazzo,
The Arch of Torrazzo, or simply the Torrazzo,
è una monumentale porta rinascimentale di Crema
is a monumental Renaissance gateway in Crema
e mette in comunicazione piazza Duomo con via XX settembre.
and connects Piazza Duomo with Via XX Settembre.
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(https://imagesvc.timeincapp.com/v3/fan/image?&c=sc&w=1911&h=970&url=https://culturess.com/wp-content/blogs.dir/386/files/2016/04/call-me-by-your-name.jpg)
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Mr. and Mrs. Hammer in Crema, Summer 2016
https://it.wikipedia.org/wiki/Arco_del_Torrazzo
AND click here for the latest lovely (nighttime!) image:
https://www.instagram.com/p/BVdf1FKhMeT/?hl=en&taken-by=armiehammer
https://www.instagram.com/armiehammer/?hl=en
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armiehammer
Crema Cathedral
June 17 2017
9,017 likesIt's been exactly one year to the day that we wrapped Call Me By Your Name and
here I find myself in the Duomo of Crema, Italy eating a kebab and drinking a beer.
Huh. Life's funny like that I guess.
Yup, he liked it.
He really liked it!
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It seems Mafalda is also the Argentinian Charlie Brown:
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It seems Mafalda is also the Argentinian Charlie Brown:
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Ha!
Very interesting story re Crema and Mafalda: Luca's casting director happened to be driving in the area when she spied this local woman bicycling by (Crema, bicycles, you get the idea) and the casting director laid chase, catching her and asking: "Could you possibly be interested in being in a movie?" And there you have it: Mafalda, the Perlman family housekeeper! (Real name: Vanda Capriolo.)
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Mafalda, the Perlmans' cook and housekeeper, in the kitchen.
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http://m.imdb.com/title/tt5726616/mediaviewer/rm3976289024
Mafalda, Marzia and Elio in the kitchen.
Vanda Capriolo, Esther Garrel and Timothée Chalamet
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More video updates,
André and Luca, keep 'em coming
re the sequels!!
[youtube=960,540]http://www.youtube.com/watch?v=XN7WeM5rcSY[/youtube]
https://www.youtube.com/watch?v=XN7WeM5rcSY
André Aciman and
The Sequel(s) of CALL ME BY YOUR NAME | TIFF 2018
TIFF Originals
Published on Feb 2, 2018
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André Aciman, the writer of Call Me By Your Name, discusses potential sequels.
The latest from director Luca Guadagnino (I Am Love, A Bigger Splash) explores the tentative relationship that blooms between Elio (Timothée Chalamet), a 17-year-old boy on the cusp of adulthood, and his professor father's older research assistant Oliver (Armie Hammer), who joins the family at their vacation villa over the course of an Italian summer. With a script by James Ivory, Guadagnino has fashioned André Aciman's 2007 novel of sexual awakening into a note-perfect tale of forbidden love.
André Aciman is an American essayist and novelist originally from Alexandria, Egypt. He teaches Comparative Literature at the Graduate Center of City University of New York. He is the author of Out of Egypt: A Memoir, False Papers, Alibis, and four novels: Enigma Variations, Call Me by Your Name, Eight White Nights, Harvard Square. He is the co author and editor of Letters of Transit and of The Proust Project. Aciman is the recipient of a Whiting Writers' Award, a Guggenheim Fellowship as well as a fellowship from The New York Public Library's Cullman Center for Scholars and Writers. He has written for The New York Times, The New Yorker, The New Republic, The New York Review of Books, and he has also appeared in several volumes of Best American Essays.
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(https://pbs.twimg.com/profile_images/950782029452464128/ZFUeWyFn_400x400.jpg) 원１ＡＭ
@1AM_already2
1:29 AM - 24 Jan 2018
25 Retweets 50 Likes
https://twitter.com/1AM_already2
https://twitter.com/1AM_already2/status/956096609347129344
로마에 간 콜바넴팀 A call to Rome
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AND YOU KNOW WHY THEY WERE THERE??
BECAUSE:
ITALY, at long last!
:o :o :o :o :o :o
:D :D :D :D :D :D
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 & etc.)*
Australia 26 December 2017
Netherlands 11 January 2018
Taiwan 12 January 2018
USA 12 January 2018 (Detroit and Indianapolis)*
Brazil 18 January 2018
Portugal 18 January 2018
Estonia 19 January 2018
USA 19 January 2018 (NATIONWIDE)*
Italy 25 January 2018
Finland 26 January 2018
Norway 26 January 2018
Poland 26 January 2018
Spain 26 January 2018
Philippines 31 January 2018 (Ayala Malls Cinemas - select)
Denmark 1 February 2018
Greece 8 February 2018
Hungary 8 February 2018
Romania 9 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
S. Korea 22 March 2018
Japan 27 April 2018
http://www.imdb.com/title/tt5726616/releaseinfo?linkId=43379176
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Oh, he's good!![youtube=960,540]http://www.youtube.com/watch?v=KvTD7HhlLKU[/youtube]
https://www.youtube.com/watch?v=KvTD7HhlLKU
Why I Love CALL ME BY YOUR NAME
Thanks for watching!
Find me online:
http://www.twitter.com/tiernanbe
http://www.instagram.com/tiernanbe
TheBookTuber
Published on Jan 9, 2018
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https://www.wsj.com/articles/director-luca-guadagnino-on-call-me-by-your-name-his-most-heartfelt-film-yet-1511280648
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Director Luca Guadagnino on
Call Me by Your Name
His Most Heartfelt Film Yet
Over the course of his career, the Italian auteur has proven himself a
master of desire and elegance. With his latest film, he reaches for utopia
by Ned Beauman
Nov. 21, 2017 11:10 a.m. ET
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WILD SIDE Luca Guadagnino at his apartment, part of a restored 17th-century palazzo, in northern Italy. PHOTO: BROOMBERG & CHANARIN
A FIRST-TIME visitor to director Luca Guadagnino’s home in northern Italy will likely wander around in search of a swimming pool. There has to be a pool somewhere. Throughout the director’s work, pools are wellsprings of human drama and forever murky with sex and danger—from the hedonistic teenage pool party that opens Melissa P. (2005), to the corpses fished out of pools in both I Am Love (2009) and A Bigger Splash (2015), to the trunks that the love-struck protagonist of his new film Call Me by Your Name pulls over his head to inhale their scent. If you believe these films, any day that goes by without at least a quick dip is incomplete. So where is Guadagnino’s pool?
“I can’t swim!” Guadagnino, 46, confesses. “If you throw me in the water and I can’t touch the ground, I would drown. A few years ago I tried [to learn], and after one lesson the trainer said to me, ‘You’re a desperate case, I can’t do any more. Go.’ ” On a conscious level, he says, the aquatic motif in his films is mere coincidence. “But my unconscious is alive and kicking, and I think it wants me to deal with water. I defy my fears in cinema, but not in reality.”
Guadagnino almost didn’t make Call Me by Your Name, which was released nationwide last month, because he was reluctant to return to the world of “rich people lounging in the ennui of summer”—it felt like one swimming pool too many. Even the critics championing his films have acknowledged that one of the chief pleasures of his work is the opportunity to bask in this over-the-top vision of life. I Am Love, for instance, was shot in the Villa Necchi Campiglio, a seminal rationalist mansion in Milan; its star, frequent Guadagnino collaborator Tilda Swinton, wore costumes created by Raf Simons for Jil Sander; on-screen meals were conceptualized by chef Carlo Cracco of the double-Michelin-starred-restaurant Cracco; extras for the party scenes were recruited from Milan high society.
(https://si.wsj.net/public/resources/images/BN-WF882_LUCATA_8RH_20171120160805.jpg)
Guadagnino at home. PHOTO: BROOMBERG & CHANARIN
At first glance one has trouble distinguishing between Guadagnino-world onscreen and Guadagnino-world at home. His apartment, part of a restored 17th-century palazzo in the town of Crema, is 90 percent perfection and 10 percent achingly perfect imperfections, like the flaky green paint he chose to leave almost untouched on the ceilings that vault overhead, or the antique church candlesticks permitted to lean at a precipitous angle toward the cashmere-upholstered couch. Armie Hammer, one of the stars of Call Me by Your Name, describes Guadagnino as “the most epicurean human being I’ve ever experienced: his house, his food, the way he walks, the way he talks, the way he wears clothes, the way he looks at things.”
But Guadagnino denies that such trappings are really so essential to him, either in his life or in his work. “I could be perfectly happy on the street,” he insists, even if he knows that won’t sound very credible to those who might dismiss him as, in his own words, “a posh sort of director who indulges in beauty and luxury.” He speculates that the next project he embarks on could be about a family living in public housing; and indeed his forthcoming remake of Dario Argento’s 1977 horror classic, Suspiria, which transplants the story to a dour Berlin, promises no scenes of high-end interior design (and no swimming pools either). “I don’t want to be thought of as a fascist of beauty.”
Guadagnino decided to become a director at 8 years old because he wanted to make horror films. “So in a way Suspiria is my debut,” he says, “because it’s the debut of my desires as a child. This is a homage not to Dario Argento but to the emotions that Dario Argento made in me. I don’t want to make people jump—I want them to feel overwhelmed.” Born in Palermo in 1971, Guadagnino spent his early childhood in Ethiopia, where his father worked as a teacher. When he was 5, the family moved back to Sicily, and his father provided what Guadagnino calls his “bad education,” taking him to films like Suspiria and Psycho and Apocalypse Now and Lawrence of Arabia. “They had a huge impact on me,” he says. “They forged a sense of excess.” He pestered his mother into buying him a Super 8 camera. Later, he chose not to train at film school, but instead studied film theory at the Sapienza University of Rome and began making shorts and documentaries.
His first full-length film, The Protagonists, made when he was 27, today seems wildly ahead of its time: It’s a meta-theatrical true-crime documentary long before Kate Plays Christine and Casting JonBenet. Perhaps if it came out now it would find an enthusiastic audience on Netflix, or perhaps it’s too daring for that; not many directors would put wrenching interviews with the parents of a murder victim in the same film as gratuitous nudity and a blooper reel. By contrast, his fourth, Melissa P., an adaptation of the erotic novel 100 Strokes of the Brush Before Bed, feels thoroughly generic. “I was really embarrassed with how it turned out,” Guadagnino says, and it forever altered his approach to directing. “Studios often fear directors, and in that case they just didn’t want to give me any power. I edited the film the way I wanted, but they dismantled it. I was less assured, and I didn’t have a producer who was able to defend me. And that’s why I started producing my own movies after Melissa P. After that, I never allowed anybody else to step in the way of doing movies the way I wanted.”
I Am Love represented a remarkable turnaround. Guadagnino and Swinton conceived the film entirely on their own terms, and the result was a tour de force. In the U.S., it was nominated for a Golden Globe for best foreign language film and earned $5 million at the box office (which in art film terms is a hit). Although it looks extravagant, it was made on a relatively tight budget; Guadagnino has told a story about the actress Alba Rohrwacher eating tinier and tinier bites of a yellow Ladurée macaron in each take because they couldn’t afford a replacement box.
(https://si.wsj.net/public/resources/images/BN-WG292_LUCA_O_8H_20171121110312.jpg)
SWEET ESCAPE A selection of some of Guadagnino’s films. From left:
“The Protagonists” (1999), “Melissa P.” (2005), “I Am Love” (2009).
PHOTO: EVERETT COLLECTION
(https://si.wsj.net/public/resources/images/BN-WG293_LUCA2__8H_20171121110323.jpg)
A Bigger Splash” (2015) and “Call Me by Your Name” (2017).
PHOTO: EVERETT COLLECTION
It was only after I Am Love that Guadagnino finally had the courage to move away from Rome. “I was really unhappy there, but I had this idea that being a director meant being in Rome because that’s where the Italian cinema industry is,” he explains. “I Am Love gave me the confidence to see world cinema, and not Italian cinema, as my playground.” He had always felt like an outsider in the capital. “The Italian critics have been not very nice to me as a filmmaker. They lash my films, never giving them any space. But it’s OK. I’m past that. I don’t do movies that work within the rules of Italian cinema. But I am not too defiant. I am just myself.” When asked what rules he is breaking, Guadagnino suggests that his films are too operatic for Italy. Which might sound rather paradoxical to non-Italians, but as Guadagnino sees it, the melodramatic spirit of Rossellini, Bertolucci and Antonioni was nearly stamped out by the conservative turn Italian culture took in the 1980s. In his films, he does what he can to keep that spirit alive.
Call Me by Your Name, set in 1983, is an adaptation of André Aciman’s novel about the love affair between a 17-year-old boy (played in the film by Timothée Chalamet) and a postgraduate student (Armie Hammer) who comes to stay with his family for the summer. At first, Guadagnino was planning to help the producers out only with some location scouting, but with no other director yet in place, “I started to fantasize with my friend James Ivory about what could have been our version of the film.” Alongside Oscar-nominated films like The Remains of the Day and A Room With a View, Ivory’s filmography as a director includes 1987’s Maurice, one of the first times a gay love story was depicted in a prestige movie. After resolving to work together on the project, Guadagnino and Ivory went to meet Aciman. “I had heard horrible stories about what directors do to books, so I was a bit nervous,” Aciman says. “But they understood the book. I felt confident in Luca’s point of view.” Aciman ended up playing a cameo role in the film as one half of an older gay couple who come over for lunch.
One change Guadagnino did make was to transplant the story from the Ligurian seaside to Crema, which gave him the chance to film some scenes in the courtyard downstairs from his apartment and others in the Piazza del Duomo around the corner. In the evenings, he occasionally cooked dinner for his actors in his own kitchen. “To shoot a movie that deals with that tone, while simultaneously living in that tone, was incredible,” Hammer says. “I contemplated never making another movie again—it’s all downhill from here.”
‘I don’t want to be thought of as a fascist of beauty.’
—Luca Guadagnino
After the film’s premiere at January’s Sundance Film Festival, critics hailed Call Me by Your Name as a landmark in the canon of queer cinema. Guadagnino allows the straightforward story—a summer romance with none of the contrived obstacles we have come to expect from the genre—to sprawl out over a running time of more than two hours. “You may remember the moment in which you finally got to spend an evening close to the girl or the boy you really were coveting for months, and the gazes became more insistent, the first moment of touch was a thrill and the conversations went on forever? You need breathing time to indulge in that kind of emotional flow,” says Guadagnino. This is especially palpable in a scene where Chalamet’s character Elio yearningly observes Hammer’s character Oliver as he dances to the pop music of Guadagnino’s youth at an outdoor disco. “I remember many, many parties and discos where I was sitting on a chair just looking at people dancing,” says Guadagnino, who is gay. “That’s the most personal autobiographical moment in the film, when Elio is gazing. And then he gets involved. I used not to.”
In the middle of our conversation, Guadagnino goes into the kitchen and returns with a plate of apricots and cherries. He could scarcely have chosen a more appropriate, not to say provocative, snack, because Call Me by Your Name is suffused with the scent of stone fruit: There is not only a detailed discussion of the etymology of apricot, but also an unforgettable sequence in which Chalamet’s character pleasures himself with a peach and afterward Hammer’s character tastes it.
(https://si.wsj.net/public/resources/images/BN-WF879_LUCAPO_8RH_20171120160723.jpg)
Director Luca Guadagnino at his home in Crema, Italy. PHOTO: BROOMBERG & CHANARIN
It wasn’t Guadagnino’s intention to scandalize his audience. “The way we show the sex scenes, it’s tender, it’s unmorbid, it’s as natural as the water in the pond. I hope that anyone who sees this movie with their children or with their parents will not feel embarrassed.” Guadagnino is eager for families to watch the film together because he believes there is so much for them to take away from it. At the heart of Call Me By Your Name is his enduring interest in “how people can teach you things, and how you learn, and how you swap positions, and when you grow up your parents need you, but when you were younger you needed them.” The single most moving scene may be a monologue by Michael Stuhlbarg, playing Elio’s father, in which he counsels his son on heartbreak. “That’s what drove me to make the film: How do we represent this invisible, beautiful transmission of knowledge that is a force between generations?”
To get across what he’s trying to accomplish with his work, Guadagnino quotes the philosopher Slavoj Žižek. What we learn from true love, Žižek writes, is “not to mystify the existing reality, to paint it with false colors, but quite the contrary: to summon up the strength to translate the sublime (utopian) vision into everyday practice—in short, to practice utopia.” In Guadagnino’s films, an afternoon around the swimming pool can become a kind of paradise, but not just because the weather is good and the peaches are ripe; rather, because it’s a zone of feeling where what he calls “a revolutionary happy ending” can be fought for and won. “All my characters are running away from illusion and aiming for something ungraspable,” he says. “But it’s not only the characters. I hope the movie can have a transformative essence for the viewer. I think that’s wonderful. I think that’s utopian.”
-
And FYI:
(https://pbs.twimg.com/profile_images/1255015267/familyDSC_5411_2_bigger.jpg)
Peter Spears @pjspears Aug 13
https://twitter.com/pjspears
Producer, "Call Me By Your Name"
The day it all began--the table read of CMBYN script.
#victoiredubois #amiracasar @RealChalamet me #lucaguadagnino @armiehammer #michaelstuhlbarg
(https://pbs.twimg.com/media/DHGxFPLVYAAx8lZ.jpg)
https://twitter.com/pjspears/status/896692510336180224
http://www.imdb.com/title/tt5726616/fullcredits/
Armie Hammer ... Oliver
Timothée Chalamet ... Elio
Michael Stuhlbarg ... Mr. Perlman
Amira Casar ... Annella
Esther Garrel ... Marzia
Victoire Du Bois ... Chiara
Andre Aciman ... Mounir (as André Aciman)
Peter Spears ... Isaac (and Producer)
Luca Guadagnino ... Director
But of course we know where that fabulous loggia with the refectory table is located--
https://www.nytimes.com/2016/08/01/t-magazine/luca-guadagnino-home-italy-interior-design.html
(http://a1.nyt.com/assets/foundation/20140108-142003/images/logos/nyt-logo-185x26.svg)
The director Luca Guadagnino’s exquisitely art-directed movies have become something of an obsession among interior designers.
But his ultimate set is his own apartment in a 17th-century palazzo outside of Milan. The property had been empty for 40 years before
Guadagnino spent six months renovating it. With the help of painters, he created custom paint colors for each room.
https://www.nytimes.com/slideshow/2016/08/01/t-magazine/luca-guadagnino-milan-home-interior-design/s/01tmag-luca-slide-E6UZ.html
(http://68.media.tumblr.com/bfd65222ef26f6309c62e5b4f98e23e2/tumblr_oba594vWpJ1uui69bo10_1280.png)
(https://static01.nyt.com/images/2016/08/01/t-magazine/01tmag-luca-slide-HP6L/01tmag-luca-slide-HP6L-superJumbo.jpg)
https://www.nytimes.com/slideshow/2016/08/01/t-magazine/luca-guadagnino-milan-home-interior-design/s/01tmag-luca-slide-HP6L.html
Guadagnino says his next house will have a garden. Photo: Mikael Olsson
(http://68.media.tumblr.com/6edf1e7bdbe9c97e6e15a295d1c95ce1/tumblr_oba594vWpJ1uui69bo8_1280.png)
https://www.nytimes.com/2016/08/01/t-magazine/luca-guadagnino-home-italy-interior-design.html
Light floods the loggia, on the second floor of the palazzo. Gio Ponti Superleggera chairs by Cassina flank the dining table,
with vintage Danish chairs in the foreground. The ornately painted door is original to the building. Credit Mikael Olsson
(https://static01.nyt.com/images/2016/08/01/t-magazine/01tmag-luca-slide-OM18/01tmag-luca-slide-OM18-superJumbo.jpg)
https://www.nytimes.com/slideshow/2016/08/01/t-magazine/luca-guadagnino-milan-home-interior-design/s/01tmag-luca-slide-OM18.html
Guadagnino in front of a distressed mirrored panel of his design [in the Dining Room]. Photo: Mikael Olsson
(https://static01.nyt.com/images/2016/08/01/t-magazine/01tmag-luca-slide-3K5Z/01tmag-luca-slide-3K5Z-facebookJumbo-v2.jpg)
https://www.nytimes.com/2016/08/01/t-magazine/luca-guadagnino-home-italy-interior-design.html
In the living room of the director Luca Guadagnino’s apartment in a 17th-century palazzo, furniture by Piero Castellini
and 18th-century Japanese painted panels. Photo: Mikael Olsson[/color]
(http://inoutdesignblog.com/wp-content/uploads/2016/08/07_Luca2.jpg)
https://www.nytimes.com/slideshow/2016/08/01/t-magazine/luca-guadagnino-milan-home-interior-design/s/01tmag-luca-slide-Y3DH.html
In the living room, the original frescoed ceiling and terracotta tiles uncovered during renovation,
sofa and chairs by Piero Castellini covered in C&C Milano fabrics and a La Manufacture Cogolin rug.
Guadagnino worked with the painters to hand-mix the color of the walls.
(https://static01.nyt.com/images/2016/08/01/t-magazine/01tmag-luca-slide-FTK4/01tmag-luca-slide-FTK4-superJumbo.jpg)
https://www.nytimes.com/slideshow/2016/08/01/t-magazine/luca-guadagnino-milan-home-interior-design/s/01tmag-luca-slide-FTK4.html
In the dining room, chairs by Enzo Mari for Hermès, 19th-century church candlesticks mounted as lamps and a La Manufacture Cogolin rug.
On the sideboard, a 1920s porcelain dog by Gio Ponti for Richard Ginori and Hermès glasses.
(https://static01.nyt.com/images/2016/08/01/t-magazine/01tmag-luca-slide-7BE0/01tmag-luca-slide-7BE0-superJumbo.jpg)
https://www.nytimes.com/slideshow/2016/08/01/t-magazine/luca-guadagnino-milan-home-interior-design/s/01tmag-luca-slide-7BE0.html
A Tibetan tapestry hangs over a Hästens bed in the master bedroom, with Castellini chairs covered in Dedar fabric and
curtains of Hermès fabric. Photo: Mikael Olsson
(http://inoutdesignblog.com/wp-content/uploads/2016/08/06_Luca1.jpg)
https://www.nytimes.com/slideshow/2016/08/01/t-magazine/luca-guadagnino-milan-home-interior-design/s/01tmag-luca-slide-VBRX.html
A fishtail palm with a backdrop of Farrow & Ball wallpaper in the black bathroom.
Photo: Mikael Olsson
https://www.nytimes.com/2016/08/01/t-magazine/luca-guadagnino-home-italy-interior-design.html
(http://a1.nyt.com/assets/foundation/20140108-142003/images/logos/nyt-logo-185x26.svg)
One Italian Filmmaker’s
Ultimate Set — His Own Home
Luca Guadagnino conjures a world of dark beauty in his films,
and in his apartment in a 17th-century palazzo outside of Milan.
By DANA THOMAS
AUG. 1, 2016
“I hate the concept of beauty for the sake of it. It is overrated,” says the Italian filmmaker Luca Guadagnino. This might sound odd coming from the creator of such movies as 2009’s I Am Love and this year’s A Bigger Splash, each filled with ravishing, fashionable people moving through exquisitely appointed, haute bourgeois settings — a style that could be described as high aesthete with latent passions lurking beneath. “Environment is essential. I like anything that has to do with form and space,” says Guadagnino. “But I am also a humanist [with] a very strong love and attraction for character. That’s the mixture.”
What he strives for, says his friend and frequent collaborator, the actress Tilda Swinton, is something “vital, passionate and uncontrollable.” These aspirations play out in his home as well, with each atmospheric room telling a story, much as his sets amplify his characters. Grand and simple, perfect and imperfect, harmony emerges from contrast and unlikely pairings, like modern Danish chairs in a room with doors lavishly embellished in the Lombardian Baroque style. “Spare functional furniture, in my opinion, is the genius of 20th-century design,” Guadagnino says. He adds, only half joking: “My secret desire is to be an interior designer. I’d love to make houses for rich clients who can afford to do things right.”
His calling card could be his 3,200-square-foot apartment, on the second floor of a 17th-century palazzo that sits in the heart of Crema, a city 40 minutes from Milan. When Guadagnino bought the place a few years ago, it had been empty for 40 years — since the countess who lived there died. It had “broken windows, a lot of dead pigeons and rotten wallpaper,” he says.
The renovation took six months, and Guadagnino was onsite “every day, directing the workers,” he says. After all, “I am a director.” What he discovered beneath layers of decaying wallpaper and bright midcentury paint was every palazzo owner’s dream: authentic frescoes. Ripping up the 1950s cement tiles revealed the original terracotta bricks, now cleaned and buffed. When a false ceiling was torn out in the kitchen, a 17th-century painted wood bench, now in Guadagnino’s bedroom, was found in a crawl space. He worked with the painters to mix pigment for the precise hues in each room; it took four tries to get the dining room right, from kelly green to the final slate gray. For the living room’s boiserie, he chose a navy that, depending on the hour of the day, can seem black. “The bedroom was easy,” he says. “I was eating a date, a beautiful brown, and I said to the painter, Do this color. It’s like being in the center of a huge date.”
In an office that doubles as a guest bedroom, he writes his scripts at one of two side-by-side leather desks. (His partner of seven years, also an Italian filmmaker, sits at the other.) Guadagnino, who has acquired other apartments in the building, has effectively turned much of it into his moviemaking compound. His production team works in a ground-floor suite that opens onto the cobblestone courtyard-cum-parking lot; he edits his films in a studio just above them. The actors in his films, lodged in nearby B&Bs, zoom over on bicycles and watch movies on a screen mounted to a wall in the regal living room. Doors always seem open; friends and assistants freely wander in and out, careful to avoid disturbing the few families still living in the other wing. “A good creative place,” the director says.
Guadagnino’s appreciation for incongruity began when he was a child and continued through his education. A month after he was born in Palermo, in 1971, his family moved to Ethiopia, where his Sicilian father taught history and Italian, returning home when Luca was 6. While at the University of Palermo, where he studied literature, he met Patrizia Allegra, a fixture of Sicily’s cultural scene. She would bring the then-19-year-old cinephile (with a particular fondness for Ingmar Bergman) along to dinner parties. At one, Guadagnino recalls, Allegra introduced him to the filmmakers Jean-Marie Straub and Danièle Huillet. “Patrizia said: ‘Oh, Monsieur Straub, Luca wants to be a director. What is your advice? Should he go to film school?’ Straub looked at me and said, ‘If you want to be a director then you are a film director. You don’t need to go to school. Don’t.’ ”
So he didn’t. Instead, Guadagnino moved to Rome and finished his degree in literature and cinema history at Sapienza University. While there he met Laura Betti, the muse of Italian director Pier Paolo Pasolini. “I approached her in complete naïveté, and she said, ‘Come visit me,’ and we became friends — this big, nasty lady and this very skinny young man,” he says with a laugh. “I could cook very well, so she used me a lot — ‘You have to come now because I have guests!’ Everybody from Bernardo Bertolucci to Valerio Adami, the painter — these big personalities, together. That was my film school.”
Guadagnino eventually found his own muse in the film Caravaggio, directed by the British experimental filmmaker Derek Jarman. “I saw Tilda playing Lena,” he says. “I thought: Ahhh.” He eagerly sought out her films, and by the time Sally Potter’s Orlando came out in 1992, “I was obsessed.”
He wrote a script for a short film called The Penny Arcade Peepshow, inspired by William S. Burroughs’s writings, and sent a letter to Swinton, via her agent, asking if she’d star in it. He never heard back. A few months later he read that she was in Rome for an event. He went and “was staring at her like a stalker. Staring!” Guadagnino says, clearly amused by his youthful gaucherie. “After one hour, she said, ‘What can I do for you?’ ”
Somehow he convinced her to be in his film, and he pulled together money for her business-class ticket from London and kicked out his roommates so she could stay in his flat. “She was incredibly cool. The coolest,” he says. “After three days, she said, ‘We are going to be partners in crime and the crime is cinema.’ And we have become that.”
They never finished the film — he ran out of money. But she agreed to appear in his first feature, The Protagonists, which he now dismisses as a learning experience. Later she starred in I Am Love and A Bigger Splash. The former film established Guadagnino’s mature style, both as a filmmaker and a creator of environments of melancholic glamour. “Polished and refined are the last words I would use to describe his work, and I mean that as a high compliment,” Swinton says. “There is nothing smoothed away, hidden or suppressed. Rather, a proper rawness of sensibility and pulse, something pagan, profoundly wild.”
I Am Love is shot in the architect Piero Portaluppi’s masterpiece, the Villa Necchi Campiglio in Milan, and it is as much a star of the film as Swinton. Portaluppi, the Italian Modernist architect of choice to society in the 1920s and ’30s, was an obsessive perfectionist, much like Guadagnino. “We have no bedside tables because I can’t find any that I like yet,” he says. “My partner wants to kill me!”
The passionate cook had better luck in the kitchen, with a fishmonger’s stone sink from Genoa and a large cheese-maker’s table from a nearby village. The shelves are packed with international cookbooks. “I like to host — a lot,” he says.
Dinner parties are staged in the enclosed loggia that runs the length of the apartment, the mix of guests cast as carefully as his films. “You know when they say you need to put people who go well together?” Guadagnino asks. “I much prefer to put people who fight at the table. Then you have some sort of sparkle at the dinner!”
For one meal, friend and fellow director James Ivory filmed Guadagnino rolling and cutting fresh fettuccine on his pasta-maker. “Luca is no less commanding in the kitchen than on his set — tall, semi-bald, his hair flying up every which way,” Ivory says. Though Guadagnino usually cooks himself, on occasion he invites his friend Niko Romito, Abruzzo’s three-Michelin-star chef, to take charge. Then, the director says, everyone eats very well.
In the loggia, there is an accountant’s standing desk piled with garden books — evidence of yet another love, horticulture. Guadagnino tells me about a trip to Sweden last summer, to visit Dutch garden designer Piet Oudolf’s Dream Park. “I told my friends, ‘We have to be there at 8 o’clock in the morning when the light is nicest.’ We land there and everyone is grumpy and then we turn and we are in front of this wonder, and everyone exhales. We spent two hours wandering around. I must admit, I had this slight attack of Stendhal Syndrome.”
He pauses and looks out the window onto the old, twisted plum tree that grows in the courtyard.
“The next house will have a garden.”
-
Simply--WOW!! :o :o :o
CALLMEBYYOURNAMEFANART
http://vivie-draws.tumblr.com/
(https://abs.twimg.com/emoji/v2/72x72/1f351.png)
(https://78.media.tumblr.com/avatar_00fc90f8429a_128.pnj) by Vivie
21. Cancer sun, Scorpio moon
INFJ, Slytherin, I draw mostly
Death Note and Dragon Age
fanart; Thanks for stopping by
(http://78.media.tumblr.com/10debd8019542e395a9b7714ef33b6bb/tumblr_p3yigd54bN1smcc2ko1_1280.jpg)
http://vivie-draws.tumblr.com/post/170734971124/and-what-difference-does-it-make-when-this-love-is
https://missalexaparis.tumblr.com/post/170750670344/vivie-draws-and-what-difference-does-it-make
https://nothing2fic.tumblr.com/post/170741132179/vivie-draws-and-what-difference-does-it-make
http://www.gramunion.com/vivie-draws.tumblr.com/170734971124
https://missalexaparis.tumblr.com/image/170750670344
https://nothing2fic.tumblr.com/image/170741132179
http://www.gramunion.com/tagged/Elio
http://vivie-draws.tumblr.com/
And what difference does it make
When this love is over?
Shall I sleep within your bed
River of unhappiness
Hold your hands upon my head
Till I breathe my last breath
CALLMEBYYOURNAMEFANART by vivie
art blob
http://vivie-draws.tumblr.com/
Feb 10 2018 580 notes
#CMBYN #CallMeByYourName #laterpeaches #🍑
#elio #elio perlman #oliver #ulliva
#timothée chalamet #armie hammer #andré aciman #luca guadagnino #sufjan stevens
#book #novel #film #movie #music #song #sonyclassics #lgbt
#art #my art #artwork #artist #vivie #vivie-draws #art blob
#wow #so beautiful
#mystery of love
(https://abs.twimg.com/emoji/v2/72x72/1f351.png)
(https://78.media.tumblr.com/avatar_00fc90f8429a_128.pnj)
And Just Because--
(https://abs.twimg.com/emoji/v2/72x72/1f351.png)
(http://68.media.tumblr.com/b520454c503cc0ff9202bb075b575468/tumblr_nwljvkSAu01qar68yo1_1280.jpg)by electra sinclair
(https://68.media.tumblr.com/79dc3857736534324004bbd4b41cafbc/tumblr_ovsnlyX2F11qar68yo1_1280.jpg)
http://electrasinclair.tumblr.com/post/165001442371/call-me-by-your-name-facebook-instagram
https://sheril94.tumblr.com/post/164943413137/youll-kill-me-if-you-stop
https://sheril94.tumblr.com/image/165021324847
http://electrasinclair.tumblr.com/
http://electrasinclair.com/
-
Love these! :D :D :D
CALLMEBYYOURNAMEFANART
http://murdurg.tumblr.com/
(https://abs.twimg.com/emoji/v2/72x72/1f351.png)
(http://78.media.tumblr.com/77bbf8fdbc60b4fd25c25c7ebe73f754/tumblr_p3kuqdHZI31sr3iido7_540.jpg) by murdurg
art bug/china/19
these are my drawins
(https://78.media.tumblr.com/60866f30c05f858acbeae56cc9c16cd2/tumblr_p20ld9CTAW1sr3iido1_1280.jpg)
(https://78.media.tumblr.com/d6ce4c122047df50fee8c23e2f3c3901/tumblr_p20ld9CTAW1sr3iido2_1280.jpg)
(https://78.media.tumblr.com/dc9d2697d8ed043b313cd9c8a4445aba/tumblr_p20ld9CTAW1sr3iido3_1280.jpg)
http://murdurg.tumblr.com/post/169292803023/oh-to-see-without-my-eyes
http://www.gramunion.com/murdurg.tumblr.com/169292803023
http://www.gramunion.com/murdurg.tumblr.com
http://murdurg.tumblr.com/archive
https://cpals-art.tumblr.com/
http://murdurg.tumblr.com/
oh to see without my eyes
CALLMEBYYOURNAMEFANART by murdurg
art bug
http://murdurg.tumblr.com/
[email protected]Jan 3 2018 450 notes
#CMBYN #CallMeByYourName #laterpeaches #🍑
#elio #elio perlman #oliver #ulliva
#timothée chalamet #armie hammer #andré aciman #luca guadagnino #sufjan stevens
#book #novel #film #movie #music #song #sonyclassics #lgbt
#art #my art #artwork #artist #watercolor #illustration
#murdurg #art bug
(https://abs.twimg.com/emoji/v2/72x72/1f351.png)
(http://78.media.tumblr.com/77bbf8fdbc60b4fd25c25c7ebe73f754/tumblr_p3kuqdHZI31sr3iido7_540.jpg)
And FYI
CALLMEBYYOURNAMEFANART
(http://68.media.tumblr.com/avatar_95d291388c96_40.png)by Dozer Draws(http://78.media.tumblr.com/31b10f2e8df346b6adb54fa35e854465/tumblr_oxnx2mjfZ71vrfw77o1_1280.jpg)
https://drawsaurus.tumblr.com/post/166289435881/littledozerdraws-for-my-good-good-friend
http://www.gramunion.com/quietgirls.tumblr.com/166291044565
http://littledozerdraws.tumblr.com/image/166289407872
http://littledozerdraws.tumblr.com/archive
https://drawsaurus.tumblr.com/
Monet's Berm
(for my dear friend @drawsaurus 🍑 )
[(https://pbs.twimg.com/media/DGaDBZBVoAAXURr.jpg)
A few scenes from Call Me By Your Name taken at a premiere, source unknown.
https://twitter.com/badpostchalamet @badpostchalamet timothée updates
https://twitter.com/apeachpricot @apeachpricot
(https://pbs.twimg.com/media/DIZd7HmWAAMwOul.jpg)
https://twitter.com/cmbynmovie
Each leaning on one arm, we both stared out at the view.
"You're the luckiest kid in the world," he said.
"You don't know the half of it."
[....]
"Let's see then--"
And before I knew it, he sidled up to me. We were too close, I thought, I had never been so close to him before except in a dream or when he cupped his hand to light my cigarette. If he brought his ear any closer he'd hear my heart. I'd seen it written in novels but never believed it until now. He stared me right in the face, as though he liked my face and wished to study it and to linger on it---
Call Me By Your Name by André Aciman
Recited/Narrated by Armie Hammer
(https://abs.twimg.com/emoji/v2/72x72/1f351.png)
(https://orig00.deviantart.net/3ea2/f/2017/181/c/c/profile_picture_by_stang1996-dbeks3m.png) by stang1996
(https://img00.deviantart.net/5244/i/2017/252/f/1/call_me_by_your_name_by_stang1996-dbmu81m.png)
https://stang1996.deviantart.com/art/Call-Me-By-Your-Name-703489594
https://stang1996.deviantart.com/
Reading poetry (Paul Celan) on Monet's Berm
(can't wait to watch the film!)
CALLMEBYYOURNAMEFANART by stang1996
https://stang1996.deviantart.com/
(http://static.tumblr.com/7d1f6bee6e20c161b775566e9e5ae362/tniclml/LRpolsh77/tumblr_static_11tdw2xuiy6o8wwkgco48wow8.jpg) HEART OF HEARTS
http://monetsberm.tumblr.com/
Evie
"All that remains is dreammaking and strange remembrance."
semi-hiatus
(http://68.media.tumblr.com/177f595531092b90d7ba6796d1cf8c75/tumblr_oummzeZaAx1sn68q5o1_1280.jpg)
http://monetsberm.tumblr.com/post/164135695521/behind-the-scenes
http://monetsberm.tumblr.com/image/164135695521
http://monetsberm.tumblr.com/
https://www.tumblr.com/tagged/elio-and-oliver
https://fuckyeahtimotheechalamet.tumblr.com/
https://www.tumblr.com/tagged/cosmicponye
Behind the scenes.
#CMBYN #CallMeByYourName #Elio #Oliver
#andréaciman #armiehammer #timothéechalamet #lucaguadagnino
#laterpeaches #BEHIND THE SCENES
(https://abs.twimg.com/emoji/v2/72x72/1f351.png)
(http://static.tumblr.com/ec55ccf815aac6ea95376c55a42242fa/snqt5yb/Nnkopqc9p/tumblr_static_2iw3iou4elq88kg4wk44co4co.png) by cersell.art
🎠 Mick | 21 | Dutch (https://68.media.tumblr.com/225945aac99fdd2ff5c6e13241c65100/tumblr_ou4seyQT621uh8v19o1_1280.png)
https://drawsaurus.tumblr.com/post/163783736276/cersell-drawn-on-commission-by-drawsaurus-thank
http://cersell.tumblr.com/post/163769328367/drawn-on-commission-by-drawsaurus-thank-you
https://drawsaurus.tumblr.com/image/164091023156
https://www.instagram.com/cersell.art/
http://cersell.tumblr.com/
fucking precious moments angel baby
Drawn by cersell.art on commission for @drawsaurus Thank you!
04.08.17 241 notes
#my art #commission work #drawsaurus #call me by your name
(https://abs.twimg.com/emoji/v2/72x72/1f351.png)
(https://pbs.twimg.com/profile_images/919851966146101249/ffU0LD8X_400x400.jpg) by Nikko Tan
@chroniclikerrr
(https://scontent-iad3-1.cdninstagram.com/t51.2885-15/e35/21984670_151234002140552_3972133918827610112_n.jpg)
https://yotagram.com/p/1611937636757317796/
https://yotagram.com/cmbyn_art/
https://twitter.com/chroniclikerrr
Monet's Berm
(Sampled the colors from Monet's paintings in Bordighera)
CALLMEBYYOURNAMEFANART by Nikko Tan
@chroniclikerrr
-
Love these too! ;) ;) ;)
CALLMEBYYOURNAMEFANART
https://lykacanto.tumblr.com/
(https://abs.twimg.com/emoji/v2/72x72/1f351.png)
(https://78.media.tumblr.com/avatar_7de4531eb8bb_40.pnj) by lykacanto
The Secret Life of an Optimistic Nihilist
Lethargic
Feb 12th, 2018
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Lust
Jan 20th, 2018
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Young Bach
Feb 8th, 2018
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My irritability exceeds my inability to fathom the depths
of the human mind, the universe, and of existence itself.
CALLMEBYYOURNAMEFANART by lykacanto
https://lykacanto.tumblr.com/
January-February 2018
#CMBYN #CallMeByYourName #laterpeaches #🍑
#peach aesthetic #peaches #pianist #piano #talented #loml #cutie #babe #beautiful
#elio #elio perlman #oliver #elio x oliver #armie x timothee #talented actor #great actor #handsome #love this
#timothée chalamet #armie hammer #andré aciman #luca guadagnino #sufjan stevens #song
#young bach #johann sebastian bach #music #musician #mystery #mystery of love
#art #my art #artwork #artist #artsy #watercolor #illustration
#book #novel #film #movie #sonyclassics #lgbt
#my life #ma vie #french #france #italy #italia
#lethargic #lust
#lykacanto
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Although this film effects me in similar ways to BBM, they are very different. Both set at the same time in part.
BBM is thoroughly a story as Proulx puts it, of the effects of rural homophobia, where as CMBYN is a basic love story, dealing with same sex attraction but with fewer hurdles to cross. The latter seems to exist in a time and place almost conducive to it happening. What follows, and I sam still working this out in my mind, is the impact this has upon Elios life and relationships that follow.
I wonder too, given the timing of the story's publication, if BBM did not in some way pave the way for this story.
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BAFTAs announced today.
CMBYN has several nominations: Best Film, Best Director for Luca, Best Leading Actor for Timothée, Best Adapted Screenplay for James, and "Rising Star Award" for Timothée (this is voted by the public).
Awards are presented February 18 at the Royal Albert Hall.
Bless the BAFTAs! It was they who awarded our Jake!
Yes, indeed!
Stephen Fry has retired, however, and Joanna Lumley will host this year.
https://www.theguardian.com/film/filmblog/2018/feb/18/film-baftas-peter-bradshaw-predictions-2018-death-stalin-lady-macbeth
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Baftas 2018
Film blog
Peter Bradshaw's predictions for the 2018 film Baftas
Will Brit hopefuls Lady Macbeth and The Death of Stalin triumph?
And will Daniel Day-Lewis get a final gong before retiring?
Our chief critic places his bets
by Peter Bradshaw
@PeterBradshaw1
Sun 18 Feb 2018 02.00 EST
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Bowing out ... Daniel Day-Lewis with Vicky Krieps in Phantom Thread
The Baftas are almost here, exciting news for the truly excellent British films which could well be rewarded: Lady Macbeth, The Death of Stalin, God’s Own Country. There could well be a final Bafta for one of Britain’s great screen actors, Daniel Day-Lewis (although he has dual citizenship with the Republic of Ireland) who is bowing out with a sensational performance, in fact one of his very best, as the enigmatic 1950s fashion designer Reynolds Woodcock in Paul Thomas Anderson’s Phantom Thread. My guess is that Guillermo Del Toro’s swooning romance The Shape of Water will be the big winner, but that Greta Gerwig’s tremendous autobiographical coming-of-age comedy Lady Bird will have a real showing, largely because of a possible win for Saoirse Ronan in the lead. It is a real disappointment that Bafta voters could not find it in their collective hearts to include a female director on the nomination list. This could have gone, in my view to Gerwig, or to Dee Rees for Mudbound, or even to the brilliantly talented Anna Biller for her The Love Witch. Anyway, here are my predictions:
EXCERPTED:
Best film
Will win: The Shape of Water
Should win: Call Me By Your Name
Shoulda been a contender: Lady Bird
Outstanding British film
Will win: Darkest Hour
Should win: The Death of Stalin
Shoulda been a contender: I Am Not a Witch
Outstanding British debut
Will win: Lady Macbeth
Should win: Lady Macbeth
Shoulda been a contender: The Levelling
Best director
Will win: Christopher Nolan – Dunkirk
Should win: Luca Guadagnino – Call Me By Your Name
Shoulda been a contender: Greta Gerwig – Lady Bird
Best adapted screenplay
Will win: James Ivory – Call Me By Your Name
Should win: Armando Iannucci, Ian Martin and David Schneider – The Death of Stalin
Shoulda been a contender: Gaby Chiappe – Their Finest
Best actor
Will win: Daniel Day-Lewis – Phantom Thread
Should win: Daniel Day-Lewis – Phantom Thread
Shoulda been a contender: Makis Papadimitriou – Suntan
Best supporting actor
Will win: Hugh Grant – Paddington 2
Should win: Willem Dafoe – The Florida Project
Shoulda been a contender: Michael Stuhlbarg – Call Me By Your Name
Best music
Will win: Hans Zimmer – Dunkirk
Should win: Hans Zimmer – Dunkirk
Shoulda been a contender: Natalie Holt and Hildur Guðnadóttir – Journey’s End
Best cinematography
Will win: Roger Deakins – Blade Runner 2049
Should win: Roger Deakins – Blade Runner 2049
Shoulda been a contender: M David Mullen – The Love Witch
FYI:
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
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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
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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.
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Bless the BAFTAs! It was they who awarded our Jake!
Yes, indeed!
Stephen Fry has retired, however, and Joanna Lumley will host this year.
[youtube=950,550]http://www.youtube.com/watch?v=tFgoll_3njY[/youtube]
(http://awards.bafta.org/sites/all/themes/bafta_omega/images/logo_master.png)
2018
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https://www.buzzfeed.com/eleanorbate/timothee-chalamet-james-ivory-baftas?utm_term=.xqqJ09RqR#.fpvO78MWM
[youtube=950,550]http://www.youtube.com/watch?v=xO6voOihxi4[/youtube]
[youtube=950,550]http://www.youtube.com/watch?v=lUSFqi3bhzs[/youtube]
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Best adapted screenplay
James Ivory,
CALL ME BY YOUR NAME
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Bafta fellowship 2018
Sir Ridley Scott
http://www.bafta.org/film/features/ridley-scott-fellowship-2018
https://www.theguardian.com/film/2018/feb/18/the-full-list-of-winners-at-the-baftas-2018-film-awards-as-they-happen
(https://www.underconsideration.com/brandnew/archives/the_guardian_logo.png)
Baftas 2018
The full list of winners at the Baftas 2018 film awards
- as they happen
Will Shape of Water swan off with the most Baftas?
Or will Three Billboards put up a good show?
All the winners updated as they are announced
by Guardian film
Sun 18 Feb 2018 15.00 EST First published on Sun 18 Feb 2018 13.44 EST
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Photograph: Anthony Devlin/PA
Peter Bradshaw's predictions for the 2018 film Baftas
(winners added as they happened)
EXCERPTED:
EE Rising Star award (voted for by the public)
Florence Pugh
Josh O’Connor
Tessa Thompson
Timothée Chalamet http://ee.co.uk/why-ee/ee-baftas/rising-star-nominees/timothee-chalamet
WINNER: Daniel Kaluuya
Best film
Will win: The Shape of Water
Should win: Call Me By Your Name
Shoulda been a contender: Lady Bird
WINNER: Three Billboards Outside Ebbing, Missouri
Outstanding British film
Will win: Darkest Hour
Should win: The Death of Stalin
Shoulda been a contender: I Am Not a Witch
WINNER: Three Billboards Outside Ebbing, Missouri
Outstanding British debut
Will win: Lady Macbeth
Should win: Lady Macbeth
Shoulda been a contender: The Levelling
WINNER: I Am Not a Witch – Rungano Nyoni (writer/director), Emily Morgan (Producer)
Best director
Will win: Christopher Nolan – Dunkirk
Should win: Luca Guadagnino – Call Me By Your Name
Shoulda been a contender: Greta Gerwig – Lady Bird
WINNER: Guillermo Del Toro, The Shape of Water
Best adapted screenplay
Will win: James Ivory – Call Me By Your Name
Should win: Armando Iannucci, Ian Martin and David Schneider – The Death of Stalin
Shoulda been a contender: Gaby Chiappe – Their Finest
WINNER: James Ivory, Call Me by Your Name
Best actor
Will win: Daniel Day-Lewis – Phantom Thread
Should win: Daniel Day-Lewis – Phantom Thread
Shoulda been a contender: Makis Papadimitriou – Suntan
Nominated: Timothée Chalamet - Call Me by Your Name
WINNER: Gary Oldman, Darkest Hour
Best supporting actor
Will win: Hugh Grant – Paddington 2
Should win: Willem Dafoe – The Florida Project
Shoulda been a contender: Michael Stuhlbarg – Call Me By Your Name
WINNER: Sam Rockwell, Three Billboards Outside Ebbing, Missouri
Best music
Will win: Hans Zimmer – Dunkirk
Should win: Hans Zimmer – Dunkirk
Shoulda been a contender: Natalie Holt and Hildur Guðnadóttir – Journey’s End
WINNER: The Shape of Water
Best cinematography
Will win: Roger Deakins – Blade Runner 2049
Should win: Roger Deakins – Blade Runner 2049
Shoulda been a contender: M David Mullen – The Love Witch
WINNER: Blade Runner 2049
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(https://pbs.twimg.com/profile_images/1255015267/familyDSC_5411_2_400x400.jpg) Peter Spears
@pjspears
10:39 AM - 18 Feb 2018
103 Retweets 650 Likes
https://twitter.com/pjspears?lang=en&lang=en
https://twitter.com/pjspears/status/965294694598094849
At the BAFTAs.
(https://pbs.twimg.com/media/DWVqTo-VQAALMJ-.jpg:large)
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CALLMEBYYOURNAMEFANART
https://twitter.com/mellowbeat__
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https://twitter.com/mellowbeat__/status/964870788770816000
https://twitter.com/mellowbeat__
6:34 AM - 17 Feb 2018
27 Retweets 28 Likes
엘 x 올 Elio x Oliver
(https://pbs.twimg.com/media/DWRvaMxVMAAqoeR.jpg:large)
https://twitter.com/mellowbeat__/status/965018733654589441
https://twitter.com/mellowbeat__
4:22 PM - 17 Feb 2018
1 Retweets 2 Likes
엘 x 올 2 Elio x Oliver 2
CALLMEBYYOURNAMEFANART by @mellowbeat__
https://twitter.com/mellowbeat__
Feb 17, 2018
#CMBYN #CallMeByYourName #Elio #Oliver #laterpeaches #🍑
#elio perlman #oliver #ulliva
#andré aciman #armie hammer #timothée chalamet #luca guadagnino
#book #novel #film #movie #sonyclassics #lgbt
#art #artwork #artist #illustration
(https://abs.twimg.com/emoji/v2/72x72/1f351.png)
(https://pbs.twimg.com/profile_images/901012823798566912/fIUK4b24_400x400.jpg)
and please click:
https://twitter.com/twitter/statuses/949233609495343104
and this!
https://twitter.com/1AM_already2/status/935853614328958976
FYI:
CALLMEBYYOURNAMEFANART
https://twitter.com/mellowbeat__
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(https://pbs.twimg.com/profile_images/901012823798566912/fIUK4b24_400x400.jpg)by @mellowbeat__
(https://pbs.twimg.com/media/DIPIOR5UIAE3eJM.jpg)
https://twitter.com/i/moments/809183241286496256
https://twitter.com/mellowbeat__/status/901784510546587649
https://twitter.com/mellowbeat__
https://twitter.com/yorkeos
"I was waiting for you," I said.
"I thought you'd gone to sleep.
I even thought you didn't want to."
"No. Waiting. I just turned the lights off."
I looked up to our house. The window shutters were all closed.
I bent down and kissed him on his neck. It was the first time
I had kissed him with feeling, not just desire.
He put his arm around me.
Harmless, if anyone saw.Call Me By Your Name by André Aciman
Recited/Narrated by Armie Hammer
CALLMEBYYOURNAMEFANART by @mellowbeat__
https://twitter.com/mellowbeat__August 27, 2017
#CMBYN #CallMeByYourName #Elio #Oliver #laterpeaches #🍑
#elio perlman #oliver #ulliva
#andré aciman #armie hammer #timothée chalamet #luca guadagnino
#book #novel #film #movie #sonyclassics #lgbt
#art #artwork #artist #illustration
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(https://www.gannett-cdn.com/-mm-/ea98d799270edcb8cb8ed1ed50e743a91da5cf7c/c=90-0-1778-2250&r=537&c=0-0-534-712/local/-/media/USATODAY/test/2013/12/17//1387308945000-Oscar.jpg) The Academy
@TheAcademy
5:06 AM - 23 Feb 2018
2,281 Retweets 6,877 Likes
https://twitter.com/TheAcademy
https://twitter.com/TheAcademy/status/967022942142980096
#Oscars News: Meet this year's performers!
http://www.oscars.org/news/90th-oscarsr-performers-announced
(https://pbs.twimg.com/media/DWuLNT8VoAIcHl8.jpg)
Posted:
Thursday, February 22, 2018 - 18:00
GAEL GARCÍA BERNAL, MARY J. BLIGE, COMMON, ANDRA DAY, NATALIA LAFOURCADE, MIGUEL, KEALA SETTLE AND SUFJAN STEVENS
Gael García Bernal, Mary J. Blige, Andra Day, Natalia LaFourcade, Miguel, Keala Settle, Sufjan Stevens and Oscar® winner Common will perform this year's nominated songs at the 90th Oscars® ceremony, show producers Michael De Luca and Jennifer Todd announced today. Hosted by Jimmy Kimmel, the Oscars will air live on Sunday, March 4, on the ABC Television Network.
“We’re excited to have these talented artists showcase the powerful contribution music makes to filmmaking,” said De Luca and Todd. “It’s a privilege to welcome them to the 90th Oscars stage.”
Bernal, LaFourcade and Miguel will perform the Oscar-nominated song “Remember Me” from “Coco”; Music and Lyric by Kristen Anderson-Lopez and Robert Lopez.
In addition to lending his voice to “Coco,” Bernal’s credits include the Oscar-winning films “Babel” (2006) and “The Motorcycle Diaries” (2004), as well as the Oscar-nominated films “No” (2012), “El Crimen del Padre Amaro” (2002), “Y Tu Mamá También (2002) and “Amores Perros” (2000). LaFourcade is a Mexican pop-rock singer. She’s been nominated for four Grammy Awards®, and won in 2016 for “Best Latin Rock, Urban or Alternative Album.” Miguel won a Grammy Award in 2013 for his song “Adorn,” and has been nominated an additional 10 times. He and LaFourcade teamed to record the end-credit version of “Remember Me,” with Miguel and Steve Mostyn producing.
Blige will perform “Mighty River,” from “Mudbound,” the Oscar-nominated song she co-wrote with Raphael Saadiq and Taura Stinson. Blige is also Oscar-nominated this year for Actress in a Supporting Role for “Mudbound.” She is the first person to be nominated for both a performance and Original Song in the same year. Additionally, she has won nine Grammy Awards, having been nominated 31 times.
Common and Andra Day will perform his Oscar-nominated song “Stand Up For Something” from “Marshall”; Music by Diane Warren; Lyric by Lonnie R. Lynn (Common) and Diane Warren. Common won an Oscar with John Stephens (John Legend), for Original Song for “Glory” from the film “Selma” (2014). He has received 20 Grammy Award nominations and has won three times. His recent acting credits include “John Wick: Chapter 2” (2017) and “Selma.” Day is a three-time Grammy Award nominee. Her acting credits include “Marshall” and “Cars 3” (2017).
Settle will perform the Oscar-nominated song “This is Me” from “The Greatest Showman”; Music and Lyric by Benj Pasek and Justin Paul. Settle is a Tony Award®-nominated singer and actress. Her film credits include “The Greatest Showman” (2017) and “Ricki and the Flash” (2015).
Stevens will perform his Oscar-nominated song “Mystery of Love,” written for “Call Me by Your Name.” Stevens is a singer, songwriter and instrumentalist. A prolific artist whose career spans nearly 20 years and 11 albums, his work has been featured on the soundtracks for “Whiskey Tango Foxtrot” (2016), “Demolition” (2015) and the Oscar-winning film “Little Miss Sunshine” (2006), among others.
The 90th Oscars will be held on Sunday, March 4, 2018, at the Dolby Theatre® at Hollywood & Highland Center® in Hollywood, and will be broadcast live on the ABC Television Network at 8 p.m. ET/5 p.m. PT. The Oscars, produced by De Luca and Todd and hosted by Jimmy Kimmel, also will be televised in more than 225 countries and territories worldwide. Additionally, “The Oscars: All Access” live stream from the red carpet and backstage will begin at 6:30 p.m. ET/3:30 p.m. PT on Oscar.com.
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(https://pbs.twimg.com/media/DWe-XeAXUAk-Xdn.jpg:large)
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 & etc.)*
Australia 26 December 2017
Netherlands 11 January 2018
Taiwan 12 January 2018
USA 12 January 2018 (Detroit and Indianapolis)*
Brazil 18 January 2018
Portugal 18 January 2018
Estonia 19 January 2018
USA 19 January 2018 (NATIONWIDE)*
Italy 25 January 2018
Finland 26 January 2018
Norway 26 January 2018
Poland 26 January 2018
Spain 26 January 2018
Philippines 31 January 2018 (Ayala Malls Cinemas - select)
Denmark 1 February 2018
Greece 8 February 2018
Hungary 8 February 2018
Romania 9 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
S. Korea 22 March 2018
Japan 27 April 2018
http://www.imdb.com/title/tt5726616/releaseinfo?linkId=43379176
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CALLMEBYYOURNAMEFANART
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10:38 PM - 13 Feb 2018
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https://twitter.com/nohitall/status/963663688556318720
10:38 PM - 13 Feb 2018
194 Retweets 144 Likes
(https://78.media.tumblr.com/a373d24b97208fd13a9900a0de4e5d9d/tumblr_p43li0e68N1uj0wjzo3_1280.jpg)
http://www.gramunion.com/tagged/illustration%20@thanksforbeingu
http://www.gramunion.com/9m43s.tumblr.com/170838221798
https://twitter.com/nohitall/status/963663688556318720
10:38 PM - 13 Feb 2018
194 Retweets 144 Likes
(https://78.media.tumblr.com/27c49b0b5203dad73b8af4343ac9bfb7/tumblr_p43li0e68N1uj0wjzo4_1280.jpg)
http://www.gramunion.com/tagged/illustration%20@thanksforbeingu
http://www.gramunion.com/9m43s.tumblr.com/170838221798
https://twitter.com/nohitall/status/963663688556318720
10:38 PM - 13 Feb 2018
194 Retweets 144 Likes
call me by your name special poster illustration
@thanksforbeingu 9m43s.tumblr.com
CALLMEBYYOURNAMEFANART by @thanksforbeingu
http://www.gramunion.com/9m43s.tumblr.com/
10:38 PM - 13 Feb 2018
#CMBYN #CallMeByYourName #Elio #Oliver #laterpeaches #🍑
#elio perlman #oliver #ulliva
#andré aciman #armie hammer #timothée chalamet #luca guadagnino
#book #novel #film #movie #sonyclassics #lgbt
#art #artwork #artist #illustration @thanksforbeingu
(https://abs.twimg.com/emoji/v2/72x72/1f351.png)
(https://api.tumblr.com/v2/blog/9m43s.tumblr.com/avatar/128)
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A UBF member posted this in the CMBYN thread there. It's so damn *(@*@*(, I'm sharing it here. You are warned, it may body slam you. V.
-> &feature=youtu.be
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A UBF member posted this in the CMBYN thread there. It's so damn *(@*@*(, I'm sharing it here. You are warned, it may body slam you. V.
->
https://www.youtube.com/watch?v=Y2qOGMPeJYg&feature=youtu.be
If they don't win, they fought the good fight! :) :D
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I'm excited for Timothee and the movie at the Oscars tonight! Rooting for them!
Timothee probably won't win. I'm steeling myself for that. But, at his age, he'll have many more chances!
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https://twitter.com/TrevellAnderson/status/970436916104413184/photo/1
(https://pbs.twimg.com/media/DXevOiOUMAAQe-1.jpg)
http://time.com/5184845/james-ivory-timothee-chalamet-shirt-oscars-2018/
(https://timedotcom.files.wordpress.com/2018/03/james-ivory-timotee-chalamet-oscars-tshirt-shirt1.jpg)
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Poor Baby! :( :( :(
[youtube=925,550]http://www.youtube.com/watch?v=AGSiA4rGsMA[/youtube]
https://www.youtube.com/watch?v=AGSiA4rGsMA
https://www.oscars.org/news/tag/2018-oscars
(https://www.oscars.org/sites/oscars/files/styles/news_image_default/public/90th_oscars_logo.jpg?itok=5OZShA6O)
90TH OSCARS NOMINATIONS ANNOUNCEMENT
(https://www.goldenglobes.com/sites/default/files/styles/portrait_medium/public/film_tv-1/Call-Me-By-Your-Name.jpg?itok=Ut1_-XeY)
NOMINEE
Best Motion Picture:
CALL ME BY YOUR NAME
(https://www.goldenglobes.com/sites/default/files/styles/portrait_medium/public/actress_actors-5/Timothe%CC%81e-Chalamet-090817-Call-Me-By-Your-Name-C2.jpg?itok=4qOzGEQy&c=f23a63dc960c0657d00358e974a41cbf)
NOMINEE
Best Actor in a Leading Role:
Timothée Chalamet,
CALL ME BY YOUR NAME
(https://cdn.pastemagazine.com/www/articles/Sufjan%20Stevens%20by%20Theo%20Wargo%20Getty%20Square.jpg)
NOMINEE
Best Music (Original Song)
“The Mystery of Love” by
Sufjan Stevens,
CALL ME BY YOUR NAME
(http://waytofamous.com/images/james-ivory-05.jpg)
NOMINEE
Best Writing (Adapted Screenplay)
James Ivory,
CALL ME BY YOUR NAME
(https://pbs.twimg.com/media/DNJOyX4WsAAxqqJ.jpg)
(https://pbs.twimg.com/media/DUPOaCeUMAEfhdT.jpg:large)
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I am so amazed by Armie Hammer's ability to ride a bike without hand on the handle bars.
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I am so amazed by Armie Hammer's ability to ride a bike without hand on the handle bars.
So did the New Yorker--!
https://www.newyorker.com/magazine/2017/12/04/call-me-by-your-name-an-erotic-triumph
(https://www.filepicker.io/api/file/XTPkt5hMRAyvVpAFmWdt)
The Current Cinema
Call Me by Your Name, An Erotic Triumph
Luca Guadagnino’s latest film is emotionally acute and overwhelmingly sensual.
(https://media.newyorker.com/photos/59097b78019dfc3494ea36dd/1:1/w_48,c_limit/lane-anthony.png)By Anthony Lane December 4, 2017 Issue
(https://media.newyorker.com/photos/5a146fea3ecaf719d7e9d0b4/master/w_1023,c_limit/171204_r31056.jpg)
Luca Guadagnino’s sensuous film evokes the transformations of young love. Illustration by Bianca Bagnarelli
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A UBF member posted this in the CMBYN thread there. It's so damn *(@*@*(, I'm sharing it here. You are warned, it may body slam you. V.
-> &feature=youtu.be
I’ve been body slammed, but good.
Thanks, Vincent.
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Poor Baby! :( :( :([youtube=925,550]http://www.youtube.com/watch?v=AGSiA4rGsMA[/youtube]
https://www.youtube.com/watch?v=AGSiA4rGsMA
Poor Sufjan. Nervous, I’m sure. The backup singers didn’t help much. Plus, the song was WAY truncated.
But, is that Chris Thile in mandolin?? Far right.
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Just a couple observations after a pre-Oscar viewing.
When they go to swim at Sirmione (after the bronze is brought up), at the end of the scene, we clearly hear, “Elio....Oliver”, each calling the other’s name...
Also, as they move to the bedroom for the midnight tryst, we hear the opening chords of “Visions of Gideon”. Nice touch.
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One more observation.
At the end of Elio’s amazingly changing expressions in front of the fire, he seems to go from sad, to steel himself, to smiling, and as his name is called, he looks straight into the camera before turning his head to fade out.
Will wonders ever cease?
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There are SO many nuisances, subtle glances and gestures in this film... it takes several viewing to catch them all. The ones you just pointed out I'd missed. I heard the "Elio and Oliver" when they were splashing around with his dad...but did not realize they were calling each other's name. Nice. V.
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Just wondering. . . .Oliver seemed to be bisexual. Was Elio too? Or were they gay, but settling (fitting in)?
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Just a couple observations after a pre-Oscar viewing.
When they go to swim at Sirmione (after the bronze is brought up), at the end of the scene, we clearly hear, “Elio....Oliver”, each calling the other’s name...
I thought about this above more and it's out of sequence... they had just made the "truce" remember the handshake? I'm not sure we are really hearing each calling the other's name...not just quite yet. I'd have to really listen to the dialog in headphones to be sure.. V.
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Just wondering. . . .Oliver seemed to be bisexual. Was Elio too? Or were they gay, but settling (fitting in)?
Oliver returns to the USA and marries, so we are left to wonder.
With Elio, his sexuality also remains unclear as Elio's having sex with the young lady in the film too.
What we do know, especially from the ending is Oliver and Elio have that very rare chemistry that two people only maybe find once in their lives... if they are lucky.
V.
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This is wonderful!!
(2:11:51 of wonderful...)
[youtube=960,540]http://www.youtube.com/watch?v=njg7Ee_jiyM[/youtube]
https://www.youtube.com/watch?v=njg7Ee_jiyM
Commentary Track 🍑 CALL ME BY YOUR NAME
Timothée Chalamet and Michael Stuhlbarg
“thanks for letting me stand on your feet brother, let's go do this scene”
(23:20)
this is a bonus feature if you buy the film on itunes !!
if you wanna listen to this during the movie, syncing it up is very easy
later!
(((((( tumblr: https://1983inchesproud.tumblr.com )))))
Haisan Vu
Published on Mar 14, 2018
(https://yt3.ggpht.com/-VIfkcvKSSlg/AAAAAAAAAAI/AAAAAAAAAAA/-m8zSGwZJ58/s88-c-k-no-mo-rj-c0xffffff/photo.jpg)
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I watched the dvd with Timmy and Michael’s commentary last night. No Armie, no Luca. But their chemistry is like butter.
They don’t talk over each other. They heap praise on their fellow actors.
Timmy clearly knows the film and the story inside out and upside down. And shares when scenes are ad libbed vs scripted.
Lots of allusions to deleted scenes and alternate takes, that, sadly, are not on the dvd.
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Haven’t been around for months/years! But saw a link (on google I think) to a post here, and I am totally enamoured of this film and book.
Yesterday I got my iPad and Amazon video sync'd to listen to the commentary and watch with subtitles and no sound. By the end I felt stunned. As you say, Paul, a perfect and courteous commentary, so enlightening on the characters and filming.
And now, do I dare to start overdosing on this thread? :D I’ve already done my bit and more in the UBF!
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I think it would take me the rest of my life to catch up with it all, but it's nice to dip into.
I'm currently listening to the Audible version, and have managed to get used to Oliver's voice speaking Elio's words, and he does it very well. While I'm listening it somehow makes me feel that Oliver must have a special insight into Elio's mind...
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Here's something that I hope will amuse fans of the movie.
It's well known that I'm always behind in reading my issues of The New Yorker, but here's something I found in the March 19 issue. It's from a small article about a "white sale" at a high-end shop at Park Avenue and Fifty-eighth Street in Manhattan.
"A set of vintage Doubles Coeurs sheets makes an appearance in one of the love scenes in 'Call Me By Your Name.'"
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Here's something that I hope will amuse fans of the movie.
It's well known that I'm always behind in reading my issues of The New Yorker, but here's something I found in the March 19 issue. It's from a small article about a "white sale" at a high-end shop at Park Avenue and Fifty-eighth Street in Manhattan.
"A set of (D. Porthault) vintage Doubles Coeurs sheets (in yellow) makes an appearance in one of the love scenes in 'Call Me By Your Name.'"
Wow! Thanks so much, Jeff, for The New Yorker reference! I certainly never noticed the sheets when I saw the movie (four times ::) :laugh: ) but now, looking up the vintage pattern by D. Porthault, the double heart motif (or, rather a series of a heart within a heart floating in a sea of empty hearts), it looks like it's yet another textural grace note that Luca (and his amazing design staff) wove into the visual fabric of the story, like Elio/Timmy's black and white "heads" shirt at the end of the movie.
(Unquestionably, Luca is a genius, of course.)
https://www.pinterest.jp/pin/290341507212513138/
(https://i.pinimg.com/564x/54/a5/ca/54a5cabcd0eb8ef52b99bbe5dd6374db.jpg)
(https://i.ytimg.com/vi/Ij0H5LxPN4Y/maxresdefault.jpg)
referencing:
https://www.newyorker.com/magazine/2018/03/19/the-duchess-of-windsors-favorite-sheets-on-sale
Starch Dept.
March 19, 2018 Issue
The Duchess of Windsor’s Favorite Sheets, On Sale
At the D. Porthault sale, women in furs and their housekeepers fought it out for sixteen-hundred-dollar sheet sets.
Still, anticipation among the shoppers ran high. (A set of vintage yellow Doubles Coeurs sheets makes an appearance in one of the love scenes in “Call Me by Your Name.”) “I knew about the sheets from design blogs and wanted them for years,” Karen, a classical musician, said. She was hoping to buy a second set of sheets. “I have a very tolerant husband.”
CALLMEBYYOURNAMEFANART
SOURCE FRAGMENTS
(https://pp.userapi.com/c837721/v837721567/53857/teb_pkHp660.jpg)
https://feedy.online/article/589329-elio
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Wow! Thanks so much, Jeff, for The New Yorker reference! I certainly never noticed the sheets when I saw the movie (four times ::) :laugh: ).
I hope to see the film some day (more'n likely on DVD when it becomes available). Meanwhile, I'm finding the novel utterly amazing.
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I hope to see the film some day (more'n likely on DVD when it becomes available). Meanwhile, I'm finding the novel utterly amazing.
Oh my YES. On that we wholeheartedly agree! :D
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Haven’t been around for months/years! But saw a link (on google I think) to a post here, and I am totally enamoured of this film and book.
Yesterday I got my iPad and Amazon video sync'd to listen to the commentary and watch with subtitles and no sound. By the end I felt stunned. As you say, Paul, a perfect and courteous commentary, so enlightening on the characters and filming.
And now, do I dare to start overdosing on this thread? :D I’ve already done my bit and more in the UBF!
I think it would take me the rest of my life to catch up with it all, but it's nice to dip into.
I'm currently listening to the Audible version, and have managed to get used to Oliver's voice speaking Elio's words, and he does it very well. While I'm listening it somehow makes me feel that Oliver must have a special insight into Elio's mind...
Well, SaraB, enjoy! :)
I'm not sure I could handle the cognitive dissonance of hearing Armie reading the story, which is from Elio's point of view.
You know, I'm not only totally ok with it, I love it, because I believe Oliver is speaking the words back to Elio, the words Elio has just first spoken. I mean, how Call Me by Your Name is that??
Excellent point! (But still...)
Think of it this way; as gifted, as talented our boy Timmy Chalamet is, his (post--??) millennial speech (gabble?) is not exactly the greatest instrument to voice Aciman's (Elio's) precise (not to say pretentious) torrent of fevered, logorrheic eloquence. [Boy, especially after hearing the recent Timothée Chalamet and Michael Stuhlbarg Commentary Track, how wrong was I there! Idiot! ::) ] But Oliver (I mean Armey!)--I mean, GOD, that measured, honeyed blond baritone is perfect!!
And--I wasn't at all wrong in saying Armey is a 21st century doppelganger of George Peppard-- LOOK! but especially LISTEN! to the video immediately below. Talk about honeyed blond baritone!
The strong, lovely, logical, totally-understandable-but-never-overly-enunciated accent is again, perfect, and it sounds exactly like Armey (although, in the clip, Peppard IS slightly overly enunciating by mocking, in a playful way, Tiffany's, John McGiver's lovely salesclerk, the jokey situation). By the way, can you guess that I have become a rabid Armey fan? Ok, it's true, I cop to it. ::) :laugh: :laugh:
(Apropos of nothing in particular, re ONE of the three distinct accents in this great scene at Tiffany's in Breakfast at Tiffany's: the accent of wonderful character actor, John McGiver (a born and raised New Yorker who went to Regis High School on 84th Street)--people now disparage 'Mid-Atlantic' accents from the 30's, 40's, 50's (and yes, 60's and 70's) as being artificial or stagey or contrived, but when I was a child (born in 1954) there were a lot of New Yorkers who really spoke like that--little old ladies, rich people, salesclerks like John McGiver, school teachers, EDUCATED people, but they are all dead now, NOBODY talks like that anymore, more's the pity.)
[youtube=425,350]http://www.youtube.com/watch?v=rVFi-yeTe5g[/youtube]
Breakfast at Tiffany's (1961)
George Peppard, Audrey Hepburn
& John McGiver
Published on Oct 08, 2011
Oh my LORD, it just struck me--
You know who Armie looks like?
(Looks like? And sounds like--
that voice!!)
George Peppard! :o(http://media.gettyimages.com/photos/american-actor-george-peppard-circa-1960-picture-id180349120)(http://images.nymag.com/movies/features/armie111114_560.jpg)
(https://pmcdeadline2.files.wordpress.com/2015/08/armie-hammer.jpg?w=605)(https://s-media-cache-ak0.pinimg.com/originals/e9/7f/3b/e97f3b6ec0c2b45b20660182d06bc013.jpg)
SEPT 21, 2017
Elio and Oliver's first night together, as read by Armie Hammer
[on Soundcloud NOW]
(Call Me By Your Name audiobook drops Oct 3.)
(http://fontslogo.com/wp-content/uploads/2013/03/soundcloud-Logo-Font.jpg)
CLICK HERE TO HEAR:
https://soundcloud.com/macaudio-2/call-me-by-your-name-by-andre-aciman-read-by-armie-hammer
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Here's something that I hope will amuse fans of the movie.
It's well known that I'm always behind in reading my issues of The New Yorker, but here's something I found in the March 19 issue. It's from a small article about a "white sale" at a high-end shop at Park Avenue and Fifty-eighth Street in Manhattan.
"A set of vintage Doubles Coeurs sheets makes an appearance in one of the love scenes in 'Call Me By Your Name.'"
*sigh* So how many love scenes do I have to plough through AGAIN in order to see the Double Coeur 💕sheets? What I do for art...
But it will have to be later.😀
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Wow, Aloysius, when you respond you REALLY respond - wonderful!
I hadn’t thought of George Peppard, but now I do see what you mean.
And "measured honeyed blond baritone"... perfect.
How anyone can describe Armie's acting in the film as wooden I just don’t know. There’s so much subtlety in his glances, and the tiny movements of his mouth. And there’s something about his eyes, a calm steadiness, that raises his looks above conventional handsomeness. I think too it’s the way he speaks in RL - there’s a maturity and kindness there that seems very genuine.
I could start on a eulogy about Timothée too, but had better get on with my own RL.
-
Here's something that I hope will amuse fans of the movie.
It's well known that I'm always behind in reading my issues of The New Yorker, but here's something I found in the March 19 issue. It's from a small article about a "white sale" at a high-end shop at Park Avenue and Fifty-eighth Street in Manhattan.
"A set of vintage Doubles Coeurs sheets makes an appearance in one of the love scenes in 'Call Me By Your Name.'"
After some laborious ;) research on the love scenes:
(https://i.imgur.com/NABTQh5_d.jpg?maxwidth=640&shape=thumb&fidelity=medium)
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(OT. Call me snobbish but I'm sorry people don't speak like John McGiver anymore. I've always thought he and others who spoke like him sounded educated and cultured. Perhaps it's related to the fact that I was born and raised in a place and time where many people, including many of my relatives, spoke with a very heavy Pennsylvania German accent. Then there is the "Philadelphia accent" [please God, don't let me ever adopt that]. Natives of South Philadelphia sound like their cousins from Brooklyn. Sorry, but :P )
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https://www.pinterest.jp/pin/290341507212513138/
(https://i.pinimg.com/564x/54/a5/ca/54a5cabcd0eb8ef52b99bbe5dd6374db.jpg)
referencing:
https://www.newyorker.com/magazine/2018/03/19/the-duchess-of-windsors-favorite-sheets-on-sale
Starch Dept.
March 19, 2018 Issue
The Duchess of Windsor’s Favorite Sheets, On Sale
At the D. Porthault sale, women in furs and their housekeepers fought it out for sixteen-hundred-dollar sheet sets.
Still, anticipation among the shoppers ran high. (A set of vintage yellow [and blue? color way] Doubles Coeurs sheets makes an appearance in one of the love scenes in “Call Me by Your Name.”) “I knew about the sheets from design blogs and wanted them for years,” Karen, a classical musician, said. She was hoping to buy a second set of sheets. “I have a very tolerant husband.”
*sigh* So how many love scenes do I have to plough through AGAIN in order to see the Double Coeur 💕sheets? What I do for art...
But it will have to be later.😀
After some laborious ;) research on the love scenes:
(https://i.imgur.com/NABTQh5_d.jpg?maxwidth=640&shape=thumb&fidelity=medium)
Thank you so much!! And am very impressed!!
I was looking at sheets (and blue oxford shirts! ::) :laugh: ), but not at the pillow cases!
(https://78.media.tumblr.com/80f60f2630e4deb4f8b626d297f7dbec/tumblr_oy1b1dcD1U1sonqjko6_r1_400.gif)
http://www.gramunion.com/arandomexperience.tumblr.com/166549033899
(https://cdn.psychologytoday.com/sites/default/files/styles/article-inline-half/public/field_blog_entry_images/herlock-girl_onecolor_0.png?itok=l5AU8oBq)
And once again--
CMBYN fan artists
are the BEST!
CALLMEBYYOURNAMEFANART
SOURCE FRAGMENTS
(https://pp.userapi.com/c837721/v837721567/53857/teb_pkHp660.jpg)
https://feedy.online/article/589329-elio
CALLMEBYYOURNAMEFANART
http://www.imgrum.co/user/_cumberlily_/5482419582
(https://scontent.cdninstagram.com/t51.2885-19/s150x150/21879133_1533274710044944_356633403992309760_n.jpg) by @_cumberlily_
(https://scontent-sea1-1.cdninstagram.com/t51.2885-15/s750x750/sh0.08/e35/21690268_1673367209363190_5373591003166932992_n.jpg?ig_cache_key=MTYwMjk0ODAxNzQ0MTM5NjA3Mg%3D%3D.2)
http://www.imgrum.co/tag/elio/J0HWbq5WgAAAF0HWbb4ggAAAFqwBAA%253D%253D
http://www.imgrum.co/media/1602948017441396072_5482419582
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http://www.imgrum.co/tag/elio
Dreamy❤😢
9 Likes
#call me by your name #cmbyn #andré aciman #luca guadagnino #lgbt
#timothée chalamet #elio #elio perlman #armie hammer #oliver #ulliva
#portrait #sketch #drawing #art #artist #fanart #imgrum
#movies #film #lgbtmovie #oscar
#later!
CALLMEBYYOURNAMEFANART by @_cumberlily_
http://www.imgrum.co/user/_cumberlily_/5482419582
(https://scontent.cdninstagram.com/t51.2885-19/s150x150/21879133_1533274710044944_356633403992309760_n.jpg)
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Wow, Aloysius, when you respond you REALLY respond - wonderful!
I hadn’t thought of George Peppard, but now I do see what you mean.
And "measured honeyed blond baritone"... perfect.
How anyone can describe Armie's acting in the film as wooden I just don’t know. There’s so much subtlety in his glances, and the tiny movements of his mouth. And there’s something about his eyes, a calm steadiness, that raises his looks above conventional handsomeness. I think too it’s the way he speaks in RL - there’s a maturity and kindness there that seems very genuine.
I could start on a eulogy about Timothée too, but had better get on with my own RL.
From one rabid Armie fan to another, YES, thanks! (and I'm John, by the way.)
(https://78.media.tumblr.com/ae2b4381689fb5927c71a6094a67262c/tumblr_oy1b1dcD1U1sonqjko9_r1_400.gif)
(https://78.media.tumblr.com/ef7a343360a4ea8f2ab393a0bbb7e503/tumblr_oy1b1dcD1U1sonqjko1_400.gif)
(https://78.media.tumblr.com/7ea6c6cd6d3e0bd6d4119525d16abc2a/tumblr_oy1b1dcD1U1sonqjko3_r1_400.gif)
(https://78.media.tumblr.com/83a9ea1a287b3af0611981ec58a359ca/tumblr_oy1b1dcD1U1sonqjko2_r2_400.gif)
(https://78.media.tumblr.com/5c1d4d69c90ec5926079af10b8400b0b/tumblr_oy1b1dcD1U1sonqjko8_r1_400.gif)
http://www.gramunion.com/arandomexperience.tumblr.com/166549033899
http://www.gramunion.com/arandomexperience.tumblr.com?page=2
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(OT. Call me snobbish but I'm sorry people don't speak like John McGiver anymore. I've always thought he and others who spoke like him sounded educated and cultured. Perhaps it's related to the fact that I was born and raised in a place and time where many people, including many of my relatives, spoke with a very heavy Pennsylvania German accent. Then there is the "Philadelphia accent" [please God, don't let me ever adopt that]. Natives of South Philadelphia sound like their cousins from Brooklyn. Sorry, but :P )
Not Off Topic at all. I totally agree!
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I could start on a eulogy about Timothée too, but had better get on with my own RL.
Whenever you have the chance--please do!
(https://abs.twimg.com/emoji/v2/72x72/1f351.png)
(http://78.media.tumblr.com/avatar_520d2bdaf4ca_64.png) by blue night
(http://78.media.tumblr.com/f8bc96f8621cae35efb383066a9671e8/tumblr_oxzh4crTIL1qic28wo1_1280.png)
http://monetsberm.tumblr.com/post/166514374626/camikoz-call-me-by-your-name
http://camikoz.tumblr.com/post/166510403456/call-me-by-your-name
http://camikoz.tumblr.com/image/166510403456
http://monetsberm.tumblr.com/
ZWISCHEN IMMER UND NIE
BETWEEN ALWAYS AND NEVER
L A T E R
CALLMEBYYOURNAMEFANART by blue night
http://camikoz.tumblr.com/
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Thanks for the beautiful gifs, John.
I think I know you from some of the get-together photos on DCF/UBF (although so many of them have now sadly disappeared).
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Just minutes ago I finished the book. I've marked so many pages that it might have been simpler to mark the pages I don't want to revisit.
Perhaps I shouldn't write this, but not too far from the end, I came across a perfectly dreadful typo. Aciman's publisher should be ashamed.
[The postcard of Monet's berm] "One of our previous American summer residents had fished it out in a flee market in Paris. ..."
Ah, um, that should be "flea market." ::)
What is it about shirts and postcards. ...
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Finishing the novel last night has left me in a really peculiar mood this morning--even for a Monday.
I think part of the trouble is that reading the novel has disinterred things from my own past that I would have preferred stayed buried.
I should probably be discussing this on my own blog rather than here.
I should find out if the film is still playing in Philadelphia, except that I will be away this weekend, so I'm not sure there's a point to that, unless I can determine if it's still playing Easter Monday. I could possibly see it then.
As it happens, I'm acquainted with someone whose family background is Italian Jewish. He was born and raised in Israel; I don't know when his family moved there from Italy. He has his Green Card. He married a U.S. citizen (I am well acquainted with the marriage because I was his husband's Best Man!).
But anyway, not yet having seen the movie, it's his voice I "hear" as I read the text, and his face I "see" rather than the voice and face of Timothee Chalamet. (I do "hear" and "see" Armie Hammer, probably because I've already seen him elsewhere.)
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Finishing the novel last night has left me in a really peculiar mood this morning--even for a Monday.
I think part of the trouble is that reading the novel has disinterred things from my own past that I would have preferred stayed buried.
I should probably be discussing this on my own blog rather than here.
I should find out if the film is still playing in Philadelphia, except that I will be away this weekend, so I'm not sure there's a point to that, unless I can determine if it's still playing Easter Monday. I could possibly see it then.
As it happens, I'm acquainted with someone whose family background is Italian Jewish. He was born and raised in Israel; I don't know when his family moved there from Italy. He has his Green Card. He married a U.S. citizen (I am well acquainted with the marriage because I was his husband's Best Man!).
But anyway, not yet having seen the movie, it's his voice I "hear" as I read the text, and his face I "see" rather than the voice and face of Timothee Chalamet. (I do "hear" and "see" Armie Hammer, probably because I've already seen him elsewhere.)
That’s interesting, Jeff, that you see your friend's face. I wonder if he will be obliterated by Timothée when you do see it!
As for being in a peculiar mood, it certainly keeps happening to me, and with the book perhaps even more than the film. They are so intertwined for me now, but I think it’s the Ghost Spots section that affects me so much, even though I don’t think it’s digging up anything buried for me... The more I read it, the more I find little details of how that summer reverberates with both of them, and it’s heartbreaking.
I do know that I’m missing my husband (who died nearly 5 years ago) very much at the moment, and am a little emotional about everything, in a good way I think. It’s a little bit similar to my reaction to Brokeback, though not nearly so extreme. Michael was alive then, and was amazed by the whole thing - as was I - though he was very tolerant about it!
I hope in the end CMBYN is a good experience for you. I think it will stay as one of my best ever films.
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Did you see the funny video in The Onion about the peach scene, or scenes? :laugh:
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I found it, but it wouldn’t play. :(
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Did you see the funny video in The Onion about the peach scene, or scenes? :laugh:
https://www.theonion.com/the-producers-of-call-me-by-your-name-discuss-their-f-1823427294
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That worked! Very clever - pitch perfect!😂 Thanks, Paul.
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That’s interesting, Jeff, that you see your friend's face. I wonder if he will be obliterated by Timothée when you do see it!
That will be interesting to see.
As for being in a peculiar mood, it certainly keeps happening to me, and with the book perhaps even more than the film. They are so intertwined for me now.
I used to get in trouble over that sort of intertwining with regards to BBM. ::)
but I think it’s the Ghost Spots section that affects me so much, even though I don’t think it’s digging up anything buried for me.
I don't know how Aciman did it, but I think his portrayal of a young man in the throes of his first real passion, the one you can bury but can never really get over, is so dead-on accurate that I find it almost spooky, and it seems to be forcing me to remember something in my own past that I would rather not remember.
I do know that I’m missing my husband (who died nearly 5 years ago) very much at the moment, and am a little emotional about everything, in a good way I think. It’s a little bit similar to my reaction to Brokeback, though not nearly so extreme. Michael was alive then, and was amazed by the whole thing - as was I - though he was very tolerant about it!
Sara, I'm so sorry for your loss of your husband, but I'm sure he's still with you and always will be. The loved ones I've lost are certainly still with me, and in a very good way.
I hope in the end CMBYN is a good experience for you. I think it will stay as one of my best ever films.
The novel certainly is. Sometimes even things that cause pain can ultimately be a good experience.
So I understand Aciman is an expert on Proust. I've never read Proust, but I wonder if Proust has influenced Aciman's writing.
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That’s interesting, Jeff, that you see your friend's face. I wonder if he will be obliterated by Timothée when you do see it!
As for being in a peculiar mood, it certainly keeps happening to me, and with the book perhaps even more than the film. They are so intertwined for me now, but I think it’s the Ghost Spots section that affects me so much, even though I don’t think it’s digging up anything buried for me... The more I read it, the more I find little details of how that summer reverberates with both of them, and it’s heartbreaking.
I do know that I’m missing my husband (who died nearly 5 years ago) very much at the moment, and am a little emotional about everything, in a good way I think. It’s a little bit similar to my reaction to Brokeback, though not nearly so extreme. Michael was alive then, and was amazed by the whole thing - as was I - though he was very tolerant about it!
I hope in the end CMBYN is a good experience for you. I think it will stay as one of my best ever films.
(((((Sara)))))
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(Hang on a minute. I'll get to CMBYN.)
On my own blog, I've written of my obsession with the gay subplot in the second series of Victoria.
Well, something that Elio's father says to him (in the book, anyway) when they have their conversation reminded me of the characters from Victoria:
"You had a beautiful friendship. Maybe more than a friendship."
So here's a sentence from one setting that strikes me as applicable in another setting.
At least in CMBYN neither of the protagonists dies. I mean physically, anyway.
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Thanks, Jeff and Sonja xx. I'm ok, but CMBYN certainly brings emotions to the surface.
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I still haven't seen CMBYN since it ran for a very short time here and I wasn't able to go then.
But you'll be happy to know, Sara, that Peter and I have arranged to see it togehter in a couple of weeks! :)
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My DVD was waiting for me when I returned home this evening from a holiday visit to my father. I'm not sure yet when I'll make the time to watch it. Maybe tomorrow.
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My DVD was waiting for me when I returned home this evening from a holiday visit to my father. I'm not sure yet when I'll make the time to watch it. Maybe tomorrow.
I am very curious what you will think, Jeff! :)
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I still haven't seen CMBYN since it ran for a very short time here and I wasn't able to go then.
But you'll be happy to know, Sara, that Peter and I have arranged to see it togehter in a couple of weeks! :)
I really wish I could come with you! I wonder what you’ll think?
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And Jeff too! Hope we’ll get some more discussion, both here and in the Other Place.
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I really wish I could come with you! I wonder what you’ll think?
I'll let you know!
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I am very curious what you will think, Jeff! :)
And Jeff too! Hope we’ll get some more discussion, both here and in the Other Place.
Yes, I watched the film on DVD last night.
I hope to have something to say soon.
My problem is that I can't remember what things I said here compared to what I said in the Other Place. :(
The Search features have not proved helpful.
I may just commit the unpardonable sin of posting the same comments both places! ::)
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Wouldn’t bother me!
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Wouldn’t bother me!
Thanks you, Sara.
I'm at work now. The most upright thing for me to do would be to write my thoughts and comments off line at home this evening and then copy and paste them into posts, possibly breaking them down to avoid excessively long posts.
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The capsule version is that I liked the film very much. I think it's a highly successful transition from novel to film, and I would expect no less from James Ivory.
Later. ;D
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I may just commit the unpardonable sin of posting the same comments both places! ::)
Please do!! :) ;)
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Well, here we go.
Warning: My thoughts are mixed.
I think this a beautiful film, a very successful transition from the novel to the screen—and I’d expect nothing less from James Ivory. I like this movie. I like it so much that the 136-minute running time passed like no time at all. I will watch it again, probably soon, but will I obsess about it as I did BBM? No. It just doesn’t affect me that way. I’m more likely to return again and again to the novel.
Timothee Chalamet is perfect, absolutely perfect, as Elio. The writing and his acting combine to give what in my opinion is a dead-on perfect portrait of a 17-year-old obsessively in love. And he looks the part. I think he’s perfectly cast.
However, I said somewhere that as I read the novel, the “voice” that I heard as Elio was that of a friend who was born and raised in Israel but comes from an Italian-Jewish family. I was asked if I thought that would still be the case after I saw the film, and my answer to the question is, Yes. I find nothing distinctive about Timothee Chalamet’s voice; moreover, I think when Elio speaks English, he sounds awfully, mundanely American.
I like Armie Hammer as Oliver. I think his “Later” comes off better in the film than it does in the novel. But I also agree with the friend who found him too mature in appearance to be believable as a 24-year-old post-doc or graduate student. I guess he was 30 or 31 when the movie was filmed, and in my opinion he looks it. I know it’s common for actors to play younger, it’s just that I don’t think he looks like someone who has not yet passed 25. Very handsome? Yes. Age 24? No. But also I’m not troubled by a relationship between someone who looks 30 and someone who really does look 17. I can’t explain way; it just doesn’t bother me. I don’t see any exploitation here.
About the sex. In the film Oliver’s behavior suggests to me that he has experience with male-male sex, maybe just not with someone so much younger, and certainly not with the son of his hosts. In my first viewing I don’t get a sense that Elio has experience, but in the novel Oliver is not Elio’s “first.” Here’s a reason for me to go back to the novel: I don’t remember getting a sense of Oliver’s experience.
I understand a sequel is already in the works. I should reserve judgment, but I wonder about that. I’m not convinced now that there is enough material in the novel after Oliver’s return to the U.S. to support a full-length motion picture, especially since we already know that Oliver is going to get married.
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^^^^
Well, I was all set to go to another viewing in the cinema this morning, at 10.30am of all times, as this was the one and only showing in my local cinema and possibly my last chance of seeing it again on the big screen. But alas, when I worked out how long it was I realised that I wouldn’t be able to get to lunch with my sister and family on time. And although I generally get on very well with my sister, homosexuality is the subject on which we don’t see eye to eye. So, I’ll have to stick with the Blu-ray on my fairly large tv...
And in response to yours, Jeff, which I enjoyed reading, I agree with most of it, though I don’t know your friend's voice of course! I suppose Timmy's voice is a little ordinary compared with his unusual looks and acting abilities, though it doesn’t bother me at all. And as you say, he is otherwise just ideal as Elio
And Armie, apart from his maturity which I soon cease to think about, seems perfect in bringing to life the Oliver of the novel, even to the sun gradually bringing out his former blondness.
I think you're not quite right about Elio's previous experience with men: in the book he says, “I had wanted other men my age before and had slept with women." And this perhaps explains his complex initial reaction to the first night with Oliver, veering between bliss and self-disgust.
I personally don’t want any sequels. I love the last two sections of the novel, and read more and more into them each time. And as I’ve said elsewhere, I have managed to create a hopeful coda just for myself, without violating anything that has gone before, and that helps me to cope with the tragic overtones of both the film and the novel. I do also love that it’s tragic, and that the tragedy reverberates over so many years, but I in no way regret my 3 or 4 extra pages - I’m not very robust about sad endings!
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I think you're not quite right about Elio's previous experience with men: in the book he says, “I had wanted other men my age before and had slept with women." And this perhaps explains his complex initial reaction to the first night with Oliver, veering between bliss and self-disgust.
Yes. I went back and reread the part about the boy on the bicycle. Elio did NOT go with him.
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OK, well, now I can't stop giggling. My coworkers will probably think I've lost it.
This morning I was thinking of CMBYN, and all of a sudden there popped into my head a line from T.S. Eliot's poem "The Love Song of J. Alfred Prufrock."
"Do I dare to eat a peach?"
:laugh:
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Oh yes! 😀 And you can understand AJP's dilemma: they can be very messy things to eat. But I have managed to survive my first post-CMBYN peach. Only problem is, out of season peaches tend not to be very nice.
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Oh yes! 😀 And you can understand AJP's dilemma: they can be very messy things to eat. But I have managed to survive my first post-CMBYN peach. Only problem is, out of season peaches tend not to be very nice.
I agree.
I can remember from when I was a little boy that at the height of peach season here in Pennsylvania, my grandmother and my mother would buy peaches by the bushel to can for the coming winter. Those home-canned peaches tasted very good!
Now I shudder to think how much sugar my mother and grandmother put in the syrup! ;D
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Hello, I discover your forum and thank you, it is very complete.
I read on the internet that Call me by your name the sequel, is canceled. True or not true? Sorry for my english, I'am french girl !!
Later !! Anne
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Saw the film and read the story by Aciman.
I just loved CMBYN! I have similar feelings about this story that I had back in the winter of 2006 when I first watched BBM.
CMBYN is a wonderful story of the joys, confusion, sadness and regret that seem to accompany first love. this film touches me deeply at many different levels. I love the memories of that time period, I would be the age of Oliver in 1983, and the film brings back so many memories of the time watching : Lacoste shirts, walkmans, cigarette smoking! ;D
especially memories of first love and the difficulties both Oliver and Elio passed thru.
:)
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I especially loved the use of Ravel's Miroirs, the 3rd section, in the soundtrack. that piece has become Elio's and Olivers music in my mind now! :)
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.
[youtube=425,350]http://www.youtube.com/watch?v=Y2qOGMPeJYg&t=0s&list=FLVbIz1hMp8_ij1Rbw5rB_ow&index=2[/youtube]
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I love this one - very cleverly done.
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I love this one - very cleverly done.
I do too. The combination of clips from the film, with Armie reading the book, with the piano version of Visions of Gideon: heaven!
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So professionally done - the sections of the readings are joined completely seamlessly, and the whole thing is, as you say, heaven!
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So professionally done - the sections of the readings are joined completely seamlessly, and the whole thing is, as you say, heaven!
^^^^^^^ That is my favorite cover from the film. Just perfect. V.
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[youtube=1150,700]http://www.youtube.com/watch?v=BFEqwSdfw7w[/youtube]
https://www.scripttoscreen.film/scriptlibrary/call-me-by-your-name-2017
https://www.instagram.com/p/Bl5vMHjAMcT/?taken-by=script.to.screen
Call Me by Your Name (2017)Script to Screen
Published on Aug 1, 2018(https://instagram.fewr1-1.fna.fbcdn.net/vp/d18fbfd47945bc698b7487f7a305c206/5C08AB63/t51.2885-19/s150x150/35575911_1064663180325613_8551377541007409152_n.jpg)
https://www.facebook.com/Script.to.Screeen/
https://twitter.com/ScripttoScreeen?lang=en
https://www.instagram.com/script.to.screen/
Call Me by Your Name Script:
https://static1.squarespace.com/static/5a1c2452268b96d901cd3471/t/5b612e59758d4614bdb33c5e/1533095514242/call-me-by-your-name-2017+%281%29.pdf
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Hya, John. I wanted to ask you about your signature line:
"Tu doives entendre je t'aime."
(and you know who I am...)
it's been a long time since I studied French, but I think the first line means something like:
You must hear that I love you.
so, the 2nd line is not a translation, right?
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Hya, John. I wanted to ask you about your signature line:
"Tu doives entendre je t'aime."
(and you know who I am...)
it's been a long time since I studied French, but I think the first line means something like:
You must hear that I love you.
so, the 2nd line is not a translation, right?
Hi, Lee! Your translation is spot on.
The second line is just me being me. The first line is actually a quote from a lyric in the last song of Christophe Honoré's musical film Les chansons d'amour.
It's a bit over the top--literally, it's a balcony scene! :laugh: :laugh:
Ismaël (Louis Garrel) sings to the young Breton Erwann (Grégoire Leprince-Ringuet), in essence, ok, we had sex when I was sad and drunk (well, not really, but it's a good excuse)--
J'ai cru entendre "Je t'aime--"
J'ai pensé c'est son problème
I thought I heard 'I love you'
I thought it's his problem
and Erwann sings right back to Ismaël:
Être un corps je suis d'accord
T'offrir mes bras pourquoi pas
Mon lit, ok, encore
Pour rire en salir les draps
Mais je crains que pour tout ça
Tu doives entendre "Je t'aime--"
Tu doives entendre "Je t'aime!"
To be a body I agree
Give you my arms why not
My bed, ok, again
To laugh while dirtying the sheets
But I'm afraid for all that
You must hear "I love you--"
You must hear "I love you!"
It's an over-the-top balcony scene--and I've always loved it! :) ;) :laugh:
From
Les chansons d'amour
J'ai cru entendre
by Alex Beaupain and Doc Matéo
http://musique.ados.fr/Les-Chansons-D-Amour/J-Ai-Cru-Entendre-t163025.html
(http://img5.allocine.fr/acmedia/rsz/434/x/x/x/medias/nmedia/18/64/22/69/18767694.jpg)
Ismaël
(Louis Garrel):
Mon petit depuis ce matin
J'ai traîné comme un crétin
Au niveau du caniveau
De Montparnasse à Château d'Eau
J'ai bu des verres, des verres, et puis des verres
Zubrowska, Riesling, Piper
À court de tout à bout de moi
Je suis revenu chez toi
Moi je voulais juste un corps
Je cherchais seulement des bras
Un lit de réconfort
Des délices sous les draps
Mais hélas au lieu de ça
J'ai cru entendre "Je t'aime--"
J'ai pensé c'est son problème
J'ai cru entendre je t'aime
J'ai pensé c'est son problème
Peu importe que tu y croies
Peu importe que je sois
À bout de moi, à court de tout
Mais pas de ça entre nous
(http://bp2.blogger.com/_GWL3LyNaQGw/R6GYtwaMeKI/AAAAAAAABno/owMVq5o5a4o/s400/PDVD_051.BMP)
Erwann
(Grégoire Leprince-Ringuet):
Être un corps je suis d'accord
T'offrir mes bras pourquoi pas
Mon lit, ok, encore
Pour rire en salir les draps
Mais je crains que pour tout ça
Tu doives entendre "Je t'aime--"
Tu doives entendre "Je t'aime!"
Ismaël:
je suis vieux, veuf et sectaire
Un pauvre imbécile secrétaire
Erwann:
Je suis beau, jeune et breton
Je sens la pluie, l'océan et les crêpes au citron
Ismaël:
Tais-toi un peu petit trésor
Erwann:
Tu as tout faux une fois encore
J'suis très précieux, épargne moi
Ismaël:
D'accord, mais--entre nous pas de ça
Erwann:
Être un corps je suis d'accord
Ismaël:
Je cherchais seulement des bras
Erwann:
Mon lit, ok, encore
Ismaël:
Des délices sous les draps
Erwann:
Mais je crains que pour tout ça
Tu doives entendre...
Ismaël:
(Je t'aime!)
(http://img5.allocine.fr/acmedia/medias/nmedia/18/64/22/69/18767695.jpg)
"You need to hear 'I love you!'"
;)
See below, at 1:56 to 2:04, Erwann sings:
Tu doives entendre "Je t'aime--"
Tu doives entendre "Je t'aime!"
You must hear "I love you--"
You must hear "I love you!"
[youtube=1150,700]http://www.youtube.com/watch?v=SEijm4lN4F0[/youtube]
https://www.youtube.com/watch?v=SEijm4lN4F0
Les chansons d'amour (2007)
Ismaël and Erwann
Louis Garrel and Grégoire Leprince-Ringuet
in Les chansons d'amour, a film by Christophe Honoré.
tubinho79
Published on Oct 10, 2013
(https://yt3.ggpht.com/-C3kzl_I7NU0/AAAAAAAAAAI/AAAAAAAAAAA/wTQ2DZIntjI/s288-mo-c-c0xffffffff-rj-k-no/photo.jpg)
(https://www.lamanchelibre.fr/photos/galeries/43949/min-940.jpg)
https://en.wikipedia.org/wiki/Love_Songs_(2007_film)
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2007? Has it been that long already? :(
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2007? Has it been that long already? :(
Funny thing, Jeff--on Tuesday I had said the same thing in Les chansons d'amour thread. Oh well! ::)
Is it really more than ten years?? :( :(
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https://www.nme.com/blogs/call-me-by-your-name-sequel-release-date-trailer-cast-news-2255772
(https://ksassets.timeincuk.net/wp/uploads/sites/55/2018/06/REV.NME_.WEB_.80px-1.png)
The Call Me By Your Name sequel:
everything we know so far
By Ella Braidwood
Mar 6, 2018 2:13 pm
(https://ksassets.timeincuk.net/wp/uploads/sites/55/2017/10/Call-Me-By-YOur-Name_stills_00086417_137088381_232511721-920x584.jpg)
Timothée Chalamet and Armie Hammer in Call Me By Your Name, which has received four Oscar nominations
Credit: Press
It will be set five or six years after the first film
With the critically-acclaimed Call Me By Your Name winning an Oscar for Best Adapted Screenplay at this year’s ceremony – and director Luca Guadagnino revealing more details of the sequel on the red carpet – fans are gushing about over the prospect of a future encounter between Elio and Oliver. The film, based on André Aciman’s 2007 novel of the same name, won praise for its realistic depiction of a summer romance between 17-year old Elio and 24-year old, post-grad Oliver in the sun-drenched north Italy countryside – but what could happen in the sequel? When and where will it be set? Here’s a round-up of what we know so far.
When will the second film be set?
Speaking to USA Today at the Oscars red carpet on Sunday (March 4), director Luca Guadagnino said that the second film will take place five or six years after the original – and that he was developing the storyline with André Aciman, the author of the novel upon which the film is based. “I’m already conceiving the story with André Aciman, and it’s gonna happen five or six years afterwards,” Guadagnino told USA Today. “It’s gonna be a new movie, a different tone.”
Who will be in it?
Guadagnino has confirmed that Armie Hammer and Timothée Chalamet will return respectively in their roles as Oliver and Elio. He has also said in a November 2017 interview with Vulture that the film could see the return of characters Mr. Perlman (Michael Stuhlbarg), Marzia (Esther Garrel), and Mafalda the maid (Vanda Capriolo). And he indicated in an interview with Screen Daily that – in addition to the original actors returning to their respective roles as Oliver, Elio, Mr. Perlman and Marzia – Amira Casar would return in her role as Annella Perlman.
When will it be released?
Guadagnino told Screen Daily in October 2017 that his ideal release date for the second film would be 2020 – this is because Chamalet would be 25, the same age as his character Elio. “If I paired the age of Elio in the film with the age of Timothée, in three years’ time Timothée will be 25, as would Elio by the time the second story was set,” the director said.
Meanwhile Hammer’s character Oliver would be 31 in the second film, with Hammer himself turning 34 in 2020. Guadagnino has pointed out that the role of Oliver will be “closer to the age that Hammer will be at the time”, if it is released in 2020.
The sequel will address the AIDS crisis
Although the novel Call Me by Your Name is set during the height of the AIDS crisis in 1987, the film moves that date to 1983 – the year scientists discovered the virus that causes AIDS. Guadagnino has said that, unlike the first film, the second film will address the AIDS epidemic head-on. “I think it’s going to be a very relevant part of the story,” he told The Hollywood Reporter in January.
The director even revealed that the opening scene could feature Elio watching Paul Vecchiali’s 1998 film Once More, which is about a man who leaves his wife for another man, and is the first French movie to address AIDS. “I think Elio [Timothee Chalamet] will be a cinephile, and I’d like him to be in a movie theatre watching Paul Vecchiali’s Once More,” said Guadagnino. “That could be the first scene [in the sequel].”
He continued: “The novel has 40 pages at the end that goes through the next 20 years of the lives of Elio and Oliver, so there is some sort of indication through the intention of author André Aciman that the story can continue.
“In my opinion, Call Me can be the first chapter of the chronicles of the life of these people that we met in this movie, and if the first one is a story of coming-of-age and becoming a young man, maybe the next chapter will be: ‘What is the position of the young man in the world, what does he want — and what is left a few years later of such an emotional punch that made him who he is?'”
What else could happen?
Speaking at the Oscars red carpet, Guadagnino told USA Today that the second film will involve Elio and Oliver globetrotting. “They’re gonna go around the world,” he said.
Guadagnino has previously also revealed in an interview with Screen Daily that Elio may not be gay, and could rekindle his relationship with Marzia. “I don’t think Elio is necessarily going to become a gay man. He hasn’t found his place yet. I can tell you that I believe that he would start an intense relationship with Marzia [Esther Garrel’s character] again,” he told the publication.
The storyline could also follow the 40-age epilogue in Aciman’s novel Call Me By Your Name, which depicts Elio visiting Oliver in the USA fifteen years later, where the latter has a wife and children, and Oliver visiting Elio in Italy 20 years after they first met.
In a separate interview with Screen Daily, Guadagnino has suggested the film could also deal with the Iraq War and would be set within the political context around 1990. But, this doesn’t corroborate with the director’s more recent statements about the film taking place five or six years after the original, which was set in 1983, and so remains to be seen. He told Screen Daily in October: “It is the time of the fall of communism and the start of the new world order and the so-called ’The End of History’ that Francis Fukuyama established then. It would be the beginning of the Berlusconi era in Italy and it would mean dealing with the war of Iraq.”
Has filming started?
No. According to USA Today the script still needs to be finished before filming can begin.
Will James Ivory be involved?
Ivory, whose screenplay for the film has won an Oscar and a BAFTA, has previously cast doubt over a sequel going ahead, saying he has not been contacted about making one.
He told Gay Times last month: “I heard about it. I don’t know how you could make such sequels if they’re far in the future.”
Ivory also seemed to be unaware of Guadagnino’s intention to set the film five or six years after the original, unlike the larger 15-year gap at the end of Aciman’s novel. He said: “It’s not possible to make Timothée [Chalamet] look likes he’s 40. All the make-up in the world and the rest of it and changing voice is not going to do it. I don’t know how. No one has contacted me. You have to think, ‘What does André Aciman think about that?’ It’s his creation. No one seems to know how he feels about it.”
How many Call Me By Your Name films could there be?
Guadagnino has said there could be up to five CMBYN films, explicitly telling Vulture in November last year: “I want to make five movies”. Guadagnino said he first envisioned a sequel for Call Me By Your Name, when the film premiered at the Sundance Film Festival in January 2017. Speaking to Vulture he said: “I didn’t completely realise until then [Sundance] that they were characters who could go beyond the boundaries of the film.” He added that the desire to make a sequel “sprung out of my love for these characters and my desire to visit them again, and in doing so, to be with the same people I did this movie with”.
:o :D :o :D :o :D :o :D :o :D :o :D :o
https://www.theyoungfolks.com/film/112710/live-from-the-afi-film-festivalcall-me-by-your-name-red-carpet/(https://www.theyoungfolks.com/wp-content/uploads/2017/02/2017-logo-21.png)
(http://www.davidkiger.com/wp-content/uploads/2017/07/50th_Stacked_4C-1.png)
AMERICAN FILM INSTITUTEAFI FEST 2017 RED CARPET(EXCERPT)Luca Guadanigno on the possibleCall Me by Your NameSEQUEL!By KRISTEN LOPEZ, NOVEMBER 14, 2017(https://78.media.tumblr.com/6451f183557b14547d4d7c81f8ab1bd3/tumblr_ozf3f9VRpF1qe8tjno3_1280.jpg)
LUCA: "I really hope I don’t disappoint you--"(https://78.media.tumblr.com/e107d9319cd9d269a5dacd33e5091854/tumblr_ozf3f9VRpF1qe8tjno1_1280.png)
:o :D :o :D :o :D :o :D :o :D :o :D :o
https://www.theyoungfolks.com/film/112710/live-from-the-afi-film-festivalcall-me-by-your-name-red-carpet/
https://laterpeaches.tumblr.com/post/167490647668/bowie28-luca-at-afi-fest-2017
http://bowie28.tumblr.com/post/167489240585
(https://www.irishtimes.com/polopoly_fs/1.3259513.1508253848!/image/image.jpg)
It’s been interesting, too, to see how people have reacted to the notion of a sequel.
Sequels. I want to make five movies.
Do you already have in mind what you would do?
The second, I have very much in mind. I think I want to see them grow up. How great would it be to see those actors grow older, embodying those characters?
Is the whole notion of a sequel something that sprung up from the years-later epilogue of the book?
It sprung out of my love for these characters and my desire to visit them again, and in doing so, to be with the same people I did this movie with.
At what point did you start mulling over this idea?
Sundance. Because I didn’t completely realize until then that they were characters who could go beyond the boundaries of the film.
I think some people would prefer that the characters not go beyond the boundary of the film, because the ending with Elio is so powerful.
It would not remove the power of the final shot of this film, because that is about him being 18. What we would see in the sequel is him being 25.
The film is also about the intensity of first love. By necessity, the second film would be and feel different.
Maybe in the sequel, Elio and Oliver only meet after two hours of the movie. I want to follow them, Mr. Perlman, Marzia, all these people. Maybe the movie opens with how Mafalda the maid is living in the house, all alone! I definitely would buy myself the freedom of a movie that is not bound to a textbook of rules. Once, I dreamt of making a sequel to I Am Love, which was basically about Emma, Tilda’s character, living with no money on the periphery of Rome. It would be about her daily routine, like Chantal Akerman’s Jeanne Dielman. Five hours of watching Emma go to the supermarket where she’s a cashier, going home to cook a meal, eating her meal, and then one day she bumps into the daughter, who’s a big artist. I thought about doing that. The only problem for me is that for a director, time is very limited in general. You can do a certain amount of films and no more than that.
You know, I am 46. To make a movie is long. I have to learn how to discipline my ambitions.
This interview has been edited and condensed.
(https://www.irishtimes.com/polopoly_fs/1.3259513.1508253848!/image/image.jpg)
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I GOT THAT SUMMERTIME SADNESS
[youtube=1100,620]http://www.youtube.com/watch?v=ey8ugiHmGaw[/youtube]
https://www.youtube.com/watch?v=ey8ugiHmGaw
Kiss Me Hard Before You Go | Summertime Sadness | I Just Wanted You To Know
That Baby You're The Best
Timothée Chalamet - as Elio
Armie Hammer - as Oliver
Call Me by Your Name
'Summertime Sadness' (2012)
(Lana Del Rey)
“Later is better than never.”
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.
Laurel Chen
Published on Dec 26, 2017
(https://yt3.ggpht.com/-VphgO8ymYQU/AAAAAAAAAAI/AAAAAAAAAAA/R5t8eFQ2_Yw/s88-c-k-no-mo-rj-c0xffffff/photo.jpg)
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"Where are you now?"
[youtube=1100,620]http://www.youtube.com/watch?v=Y-14zFlaXXE[/youtube]
https://www.youtube.com/watch?v=Y-14zFlaXXE
"Where are you now?"
Timothée Chalamet - as Elio
Armie Hammer - as Oliver
Call Me by Your Name
'Faded' (2015)
(Alan Walker and Iselin Solheim)
ISHTAR
Published on Dec 21, 2017
(https://yt3.ggpht.com/-uJPqqjJlPpk/AAAAAAAAAAI/AAAAAAAAAAA/by43-RPVmN0/s88-c-k-no-mo-rj-c0xffffff/photo.jpg)
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"Where are you?"
[youtube=1100,620]http://www.youtube.com/watch?v=A6OVjopWjcI[/youtube]
https://www.youtube.com/watch?v=A6OVjopWjcI
"Where are you?"
Timothée Chalamet - as Elio
Armie Hammer - as Oliver
Call Me by Your Name
'I Love You' (2013)
Quintet Version
Woodkid - Yoann Lemoine
(and Ambroise Willaume)
Music: WOODKID - I Love You (Quintet Version)
Peaches Art: Cara Brown - Life in Full Color
Edit: alexiabertha
All copyrighted material belongs their respective owners
ʙᴇʀᴛʜᴀ
(alexiabertha)
Published on Jan 2, 2018
(https://yt3.ggpht.com/-xEbNKvngV5c/AAAAAAAAAAI/AAAAAAAAAAA/kTZ-QBjC-NI/s88-c-k-no-mo-rj-c0xffffff/photo.jpg)
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The Summertime Sadness.. . yes, I can relate to that.
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The Summertime Sadness.. . yes, I can relate to that.
Ain't it the truth, Lee. :-\
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https://hamptons-magazine.com/andre-aciman-on-call-me-by-your-name-and-its-sequel
(https://hamptons-magazine.com/images/logo.jpg)
ANDRE ACIMAN ON
THE CALL ME BY YOUR NAME SEQUEL
& WHY HE LOVES
THE MOVIE ADAPTATION OF HIS BOOK
Call Me By Your Name author André Aciman on the impact of his novel, its movie, and how he hopes its sequel ends.
By Gary Duff
April 2, 2018
(https://hamptons-magazine.com/get/files/image/galleries/aciman2.jpg)
Illustration by Kit Mills.
There are so many people who read this book, watched the movie, had an experience with your work—I think, because you give them serious consideration in literature in ways other authors don’t—are there other books that tell this story?
There were some books that did tell the story but I think for most people—and it’s hard for me to say what it is that they reacted to precisely because they don’t know and they never tell me when I ask—what the book does is open up a space. The sentences are long, the scenes are quite extended, and I think what they learn to see in it is a degree of intimacy that they have had in life in very scattered ways. And they’re also chronologically tabulated for you so that you can reread the same passage time and time again. In other words, it’s such an extended moment of absolute introspect and intimacy with other people, and of course, a whole analysis of desire without being academic or clinical. It allows people to say, “Yes, I’ve known this all my life. Why was it that I never was able to formulate it before?”
And how much of a say did you have in the initial movie?
Oh, I could’ve had a lot of say had I wanted to. I just didn’t think it wasn't going to help anything if the author keeps intruding on what is in the hands of people who know everything about production. I had a screenwriter who was based in the business and a director who was also the inheritor of the tradition of Luchino Visconti. What was I going to tell them, how to film? So I decided to shut up and just let them do what they wanted.
But I assume that you’re happy with the end result?
Yes, very, very, very happy. I love the movie. I’ve seen it too many times, and now whenever I walk in to do a post-screening talk, I usually arrive at the moment when the father’s having the conversation with the son, and then that long extended moment when Timothée [Chalamet] is staring into the camera, and I think it’s just fabulous. It’s fabulous.
Had you envisioned a sequel before the director, Luca Guadagnino, said, “I’d like to do a sequel”?
Well, I mean, I can understand why he wants to do a sequel because the book itself has their meeting fifteen, twenty years later, so the story doesn’t end where the film ends, so it keeps going, and evolving, and so on. Had I imagined a sequel? No, I didn’t, but I think it’s a sexy idea and it’s interesting. I like the idea. I don’t think it will take shape for another few years because he is busy doing other things and I’m busy doing something else but it’s a nice way to avoid closure and I hate closure to begin with.
I don’t know how much Luca has shared with you about what he wants to deal with in the sequel, but are there particular things, story-wise, you could share with us?
Not really. I would stay to the script that I had given but he wants to meander slightly to the left and to the right. I mean, obviously we’re interested in the fact that there’s an AIDS crisis going on as these two kids are maturing, and of course, one gets sort of shoved to the side, as I did in the book, so he wants to discuss that. But then again, he is like me. We’re truly abstract and so he wants to touch on it but he doesn’t want to make it an AIDS film otherwise because that will take the whole thing away from where it was and where it was headed. I mean, I created it and I think he followed through with a story that is simply in a kind of erotic utopia and that has to work.
So does that mean that there’s no happy ending at the end of that?
Oh, there might be a happy ending. I like a happy ending. I mean, there is a happy ending at the end of the book itself except nobody sees it; everybody thinks that they’re preparing to say goodbye forever for themselves. It’s absolutely not that. Oliver comes back and he may have arranged to stay forever. We don’t know.
But I imagine, in your head, there is a world that they’re together and maybe there’s a world that they’re not together, no?
Both are totally plausible, yes.
The truth for you though, lies where?
Oh, the truth for me lies, not in their being together or not together, but in considering the possibilities of both things because that’s where my mind goes. I always end my books in the conditional mood so it’s always sort of like a psychological ambivalence on my part. I don’t want to resolve it. Let the reader decide where they are going. Let circumstances dictate. I don’t want to be the one to tell you what is going to happen to them for the rest of their lives. It’s an outward journey, as far as I’m concerned. My books end with sort of a valediction to the reader. You take it where you want.
I can’t tell you how many people begged me to ask you for a happy ending with the sequel…
You know what? It would make me very happy to make them happy. If this is where Luca wants to go, I think it makes sense. I do think, I mean, when you consider the love of Elio and Oliver, I think it’s fair to say it’s never going to go away, and I think the indication that it’s there to stay is in a scene at the very, very end of the book when they meet again at the college and Oliver says, “Why don’t you come and have dinner at my house? You’ll meet my wife, you’ll meet my kids,” and Elio says, “No, I can’t,” and in his inability to say yes, what he’s really saying is, “I’m still connected. I’m still hooked up to the thing that we had and this is going to interfere with that. This is going to ruin the picture.” And maybe Oliver was looking for a friendship, but at the very end, Oliver is the one who comes and visits him, and it’s not out of friendship.
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(Very loosely translated from the Italian by Google.)
https://www.corriere.it/spettacoli/18_giugno_15/luca-guadagnino-suspiria-mio-elogio-paura-47ab328c-7003-11e8-b9b6-434f28412ff9.shtml
(https://cdn.shopify.com/s/files/1/0309/8921/files/Tom_Cridland_Corriere_della_Sera.png?v=1513865130)
THE INTERVIEW
The guest director in Castiglioncello:
Luca Guadagnino on Suspiria: My eulogy of fear
"With the remake of the film by Dario Argento I pay tribute to a subjective feeling.
The sequel to Call Me By Your Name ? It is already written."
By Stefania Ulivi
14 June 2018
(updated 15 June 2018 | 20:14)
(https://www.corriere.it/methode_image/2018/06/15/Spettacoli/Foto%20Spettacoli%20-%20Trattate/h_24.3343610_ori_crop_MASTER__0x0.jpg?v=20180615201712)
Elio and Oliver, the protagonists of Call Me By Your Name, now live their own life. Luca Guadagnino, who brought André Aciman's novel to the screen, follows them with amusement. "The second chapter of their love? I can say with certainty what will be done, in the book it is already written." The long wave of Oscar's success of the film brings him today to the XIV edition of Talking about Cinema in Castiglioncello for a meeting with Paolo Mereghetti. The director is also amazed at the way in which the public has adopted that story.
"[Elio and Oliver's] admirers are different, from teenagers to senior citizens all over the world. A transversal phenomenon".”
You started as a film critic, what explanation did you give?
[André Aciman's protagonists in Call Me By Your Name ] have unlocked the need to communicate. As if, set in the eighties in which our constant digital connections did not exist, it was a small dip, an involuntary exhortation to resume a certain way of communicating among people, to talk to each other.
Tonight in Castiglioncello, you will bring two cut scenes from Call Me By Your Name to show. Which?
One in which Elio invites Oliver to tour the village, attempting a very subtle form of seduction. And another in which Elio and Oliver are kissing under the moonlight in the garden under a lime tree and upstairs, with the windows open, the two parents hear the whispers of the two young lovers and are pushed to regain their own passion.
Why did you cut them?
The scenes were removed because, for whatever reason, though well-acted, they did not work, either because the film was too long, or because the cut scenes did not serve the story.
Not self-censorship?
In the list of my favorite films there are The empire of the senses, Querelle de Brest and Last tango in Paris. Extreme cinema is fundamental to my training. Even in my first short, a sexual relationship was presented explicitly. And A bigger splash opens with the flirtation of Matthias Schoenaerts and Tilda Swinton. But sexuality and intimacy are very different and this is a film that tells about intimacy. As an old movie lover, I know that in the gay thematic films, you put on the cockade of strong scenes as if to say "we are not afraid of anything", but so they risk becoming a genre. And I hate being pigeonholed.
With Suspiria, a remake of Dario Argento's horror film, it goes to the antipodes.
It's a tribute to a great movie, first seen when I was a boy, that deals with something very subjective, fear. I am happy with the result, it is the symphony of the combined effort of great personalities. We are like lucky children in a playground, which turn the vividly cultivated imagination into reality.
You say it's your most personal film. Is it not a contradiction?
I do not believe that originality lies in generating an idea but rather in the point of view. [Italian opera director Damiano] Michieletto with the lyric makes unique works famous.
Speaking of fear, what scares you?
What scares me? The human being. I say that as optimistic and open as I am. In Suspiria there is a character inspired by the German philologist who in his diary The language of the third Reich recorded how words were emptied and filled with a terrible sense. Today I'm frightened by phrases like "that ship goes where it wants but not in Italy" or "la pacchia è finita."
Next project?
Me as producer for a Hitchcockian thriller Born to be a murderer, directed by [my life partner] Ferdinando Cito Filomarino.
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We’ve been denied a scene of them kissing in the moonlight?? That’s cruel!
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I very much like this statement: "But sexuality and intimacy are very different and this is a film that tells about intimacy."
I agree with that, and I don't just mean about the movie.
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Tonight in Castiglioncello, you will bring two cut scenes from Call Me By Your Name to show. Which?
One in which Elio invites Oliver to tour the village, attempting a very subtle form of seduction. And another in which Elio and Oliver are kissing under the moonlight in the garden under a lime tree and upstairs, with the windows open, the two parents hear the whispers of the two young lovers and are pushed to regain their own passion.
Deleted scenes!!!!! Not included on the DVD!!!
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I very much like this statement: "But sexuality and intimacy are very different and this is a film that tells about intimacy."
I agree with that, and I don't just mean about the movie.
Lovely, Jeff! ;)
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I have another thought about who knows what.
When the boys head off to Bergamo, Annella invites both Marzia and Chiara to dinner. I imagine they all talked about the boys' relationship then.
When Elio returns, sitting in Annella's car, Marzia approaches him. She says something like, I'm sorry you're so sad. Then she says she is not mad at him, and can they be friends. "Pour la vie".
Thoughts?
Apropos a sequel. I'm not crazy about Luca's idea that Elio gets heavily involved with Marzia again. To me, the above scene precludes this. I'm convinced Marzia knows the nature of the boys' affair. She's already been hurt by Elio and has forgiven him. Move on, Luca!
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Apropos a sequel. I'm not crazy about Luca's idea that Elio gets heavily involved with Marzia again. To me, the above scene precludes this. I'm convinced Marzia knows the nature of the boys' affair. She's already been hurt by Elio and has forgiven him. Move on, Luca!
I know, I know--the gay director wants to validate the characters' bisexualities because--
Not self-censorship?
In the list of my favorite films there are The empire of the senses, Querelle de Brest and Last tango in Paris. Extreme cinema is fundamental to my training. Even in my first short, a sexual relationship was presented explicitly. And A bigger splash opens with the flirtation of Matthias Schoenaerts and Tilda Swinton. But sexuality and intimacy are very different and this is a film that tells about intimacy. As an old movie lover, I know that in the gay thematic films, you put on the cockade of strong scenes as if to say "we are not afraid of anything", but so they risk becoming a genre. And I hate being pigeonholed.
::) ::) ::)
:laugh: :laugh: :laugh:
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In any case--! Continuing!
Tonight in Castiglioncello, you will bring two cut scenes from Call Me By Your Name to show. Which?
One in which Elio invites Oliver to tour the village, attempting a very subtle form of seduction. And another in which Elio and Oliver are kissing under the moonlight in the garden under a lime tree and upstairs, with the windows open, the two parents hear the whispers of the two young lovers and are pushed to regain their own passion.
Deleted scenes!!!!! Not included on the DVD!!!
We’ve been denied a scene of them kissing in the moonlight?? That’s cruel!
I know! And there are definitely more than the two of the cut scenes mentioned in the Corriere Della Sera article--
Like this one:
Woah. :o
Yes, we are told this is
a still from the film.(https://pbs.twimg.com/media/DJNuMgEVoAAb8LN.jpg:large)
http://pedropascals.tumblr.com/post/165136161970/call-me-by-your-name-2017-dir-luca-guadagnino
http://www.gramunion.com/v-ltersen.tumblr.com/165115315434
https://twitter.com/badpostchalamet
https://twitter.com/lllooouuuiiis
http://tweetiz.com/pjspears/
#I WANT THIS MOVIE #AND I WANT IT NOW #timothée chalamet #armie hammer #cmbyn
I loved that image! When and where, exactly, was it supposed to be in the sequence? Definitely outdoors! A second outing to Monet's Berm?
And this one, which is quite intriguing when you think about it--
(https://pbs.twimg.com/profile_images/945314544011960320/XXFRhKFn_400x400.jpg) CALL ME BY YOUR NAME FAN SUPPORT GROUP
@CMBYNFanSupport
12:40 PM - 28 Jan 2018
129 Retweets 167 Likes
https://twitter.com/CMBYNFanSupport
https://twitter.com/CMBYNFanSupport/status/957714953682804737
The deleted scenes we want to see. (https://abs.twimg.com/emoji/v2/72x72/1f498.png)
#CallMeByYourName #CMBYN #TimotheeChalamet #ArmieHammer
(https://pbs.twimg.com/media/DUp8qJXVQAADL7I.jpg)
--because when you see another version of that still (see immediately below) you discover the reveal--the microphone boom over the little pool!--which means it wasn't supposed to be merely a promo still but (because of the boom) an actual scene. In fact (see immediately above) someone online had mentioned that in the cut scene the two boys hadn't realized the senior Perlmans knew they were playing footsie in the pool and the Perlmans were murmuring/commenting to one other about it--
Hmmmm--Deleted Scene Photo Set? We Want More Dep't!
(http://i15.photobucket.com/albums/a362/jadams77/apartment%20mirror%20ban%202_zpswlc2edy3.png)(http://i15.photobucket.com/albums/a362/jadams77/bj4_zpsgyhtyeq8.png) (http://2.bp.blogspot.com/-g0Pd7dsoFto/UiXpNRBZ8KI/AAAAAAACDLE/jnTcDaU62Ts/s1600/tsb.png)
http://www.mynewplaidpants.com/2018/01/pics-of-sun-day.html
http://www.mynewplaidpants.com/
SUNDAY, JANUARY 28, 2018
Pics of the Sun Day
(https://1.bp.blogspot.com/-v1hebMijrgo/Wm5cxiFQwjI/AAAAAAADfkk/clygp0eSY44wjIn7Lq9Xe1cJUJrRs_RpwCEwYBhgL/s1600/CALL%2BME%2BBY%2BYOUR%2BNAME%2BARMIE%2BSHIRTLESS%2BBTS.jpg)
(https://3.bp.blogspot.com/-kZut9Wyi-9c/Wm5cyFCVvYI/AAAAAAADfkg/-kJj-GBLCPsGu4pUWb2gOZgxl1bKtuVtwCLcBGAs/s1600/ARMIE%2BSHIRTLESS%2BTIMMY%2BPOOL%2BBTS.png)
(https://2.bp.blogspot.com/-Cz1n9LmgU-4/Wd0vbmVCu3I/AAAAAAADbAY/KohfETsoAv4CzuQ4D0_1POqxvwycIFIJACLcBGAs/s1600/timothee%2Bchalamet%2Barmie%2Bhammer%2Bcall%2Bme%2Bby%2Byour%2Bname%2Blegs.png)
I first saw this image nearly a year ago--and I was waiting/hoping to see that scene. Still waiting!
(https://pbs.twimg.com/media/DIVuDQQW0AAP1cx.jpg)
https://twitter.com/cmbynmovie
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Remember THIS?? ;) ;)
(http://cdn.collider.com/wp-content/themes/collider-v3/images/Collider_Logo_Dark.png)
(http://cdn.collider.com/wp-content/uploads/2017/09/call-me-by-your-name-luca-guadagnino-interview.jpg)
http://collider.com/call-me-by-your-name-luca-guadagnino-interview-extended-cut/
Director Luca Guadagnino
Reveals His First Cut of
‘Call Me by Your Name’
Was 4 Hours Long
BY STEVE 'FROSTY' WEINTRAUB
SEPTEMBER 18, 2017
The whole interview is worth watching again, but definitely see it starting at 5:13--
[youtube=1100,620]http://www.youtube.com/watch?v=ybvPdWLQs6I[/youtube]
https://www.youtube.com/watch?v=ybvPdWLQs6I
CALL ME BY YOUR NAME
TIFF 2017 - COLLIDER Interview
Luca Guadagnino
Armie Hammer & Timothée Chalamet
with interviewer Steve 'Frosty' Weintraub of COLLIDER
Published on Sep 19, 2017
I want to watch that 4 hour cut! :laugh: :laugh:
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http://www.indiewire.com/2017/12/call-me-by-your-name-luca-guadagnino-editing-oscars-1201903009/
(https://pmccorp.files.wordpress.com/2016/05/indiewire_5001.png?w=284)
Call Me by Your Name
Editing Was Crucial to the Year’s Best Love Story
Editor Walter Fasano discusses how he cut the Oscar-contending
coming-of-age drama, including the infamous peach scene.
by Bill Desowitz
@BillDesowitz
Dec 1, 2017 5:18 pm
(....)
For Walter Fasano (Guadagnino’s go-to editor for 21 years), this dance of desire between 17-year-old Elio (Chalamet) and 24-year-old Oliver (Hammer) provided both an inner and outer poetry. “Our main intention was to let characters and the landscape breathe and not overwhelm with the editing,” he said. “At the same time, we wanted to have a control of the style and music editing for the ins and outs of shots because we did not want our personal taste to look self-indulgent.”
Keeping the Glass of Water Scene
The editor’s favorite scene almost didn’t made the cut when one of the producers insisted that it was inconsequential. “They’re on their bikes and they go inside a courtyard where there is an image of Mussolini and a woman is cleaning some vegetables,” Fasano said. “And they ask for some water. And then they go back on their bikes, but that long shot when you can see them disappear into the distance, you start feeling that sun on the skin experience.”
“And so at the end of this hike, before they get to the place where they first kiss, Ravel’s music [“Une Barque sur L’Ocean”] is played, and they’re suddenly interrupted. It’s an abrupt cut that ends a moment of quiet, but at the same time it reminds you of the way you remember things where your recollection could stop immediately.”
(https://2.bp.blogspot.com/-F3_0FPazSVk/V1WIeDT9bXI/AAAAAAADFWY/-uitC4xI-GcxoQsgsubldfMmDuTgI6gWACLcB/s1600/ARMIE%2BHAMMER%2BSHORT%2BSHORTS%2B2.png)
http://www.mynewplaidpants.com/2016/06/armie-is-still-taking-italy.html
(https://pbs.twimg.com/media/DIVuDQMXkAENQrj.jpg)
https://twitter.com/cmbynmovie
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Could an opera be far behind?? ::) :laugh:
http://cnnphilippines.com/life/entertainment/film/2018/07/19/call-me-by-your-name-in-concert-manila.html
(http://cnnphilippines.com/incoming/ttbl9f-main-logo.png/BINARY/main-logo.png)
Watch
Call Me by Your Name
with a live orchestra
By CNN Philippines Life Staff
Updated 15:50 PM PHT Thu, July 19, 2018
(https://assets.rappler.com/0403B4CD450E4E13A73D57DB813C1091/img/DA9512E6122F490499413266CC1E415A/Landscape_general.jpg)
Experience the critically acclaimed film with live music accompaniment by The Manila Symphony Orchestra.
Image courtesy of CC CONCEPTS/SONY PICTURES CLASSICS
Manila (CNN Philippines Life) — Fans of the critically acclaimed film Call Me by Your Name will have another chance to watch it again — or for the first time, if you missed its brief commercial run — on the big screen with the world premiere of Call Me by Your Name in Concert in Manila.
Few films are as graceful and sublime in tackling coming of age as Call Me by Your Name from its languid meditation on young love to its infectious fascination with arts and literature. Luca Guadagnino’s film has captured audiences around the world and has even won several awards including the Academy Award for Best Adapted Screenplay for James Ivory (based on André Aciman’s novel), not to mention a Best Actor nomination for (relative) newcomer Timothée Chalamet.
Watch Elio and Oliver’s relationship unfold accompanied by music from Bach, Ryuichi Sakamoto, Erik Satie, John Adams, and Sufjan Stevens played by the Manila Symphony Orchestra starting Oct. 28, 8 p.m. at the Samsung Hall, SM Aura. Limited early bird tickets are now available on SM Tickets.
Films in concert present a rare opportunity for a heightened movie experience — kind of like an IMAX 3D experience but for music and with a full orchestra.
Other iconic films that have enjoyed a similar treatment are Star Wars: A New Hope at The Royal Albert Hall in London (imagine the Star Wars theme played live), the Harry Potter film tour, Fantasia in The Royal Albert Hall, and The Godfather at the Tilles Center for the Performing Arts in New York.
***
Call Me by Your Name in Concert is presented by CC: Concepts. Early bird tickets are ₱1,950 on SM Tickets (exclusive of ticket charges) and regular tickets are ₱2,700 on TicketWorld (exclusive of ticket charges).
For more information, email [email protected] (http://[email protected])
Also see: https://www.rappler.com/entertainment/movies/207696-call-me-by-your-name-film-concert-manila-october-2018
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Oh my!
[youtube=1150,600]http://www.youtube.com/watch?v=BY6QKRl56Ok[/youtube]
https://www.youtube.com/watch?v=BY6QKRl56Ok
SUSPiRiA (2018)
Dakota Johnson, Tilda Swinton,
Mia Goth, Lutz Ebersdorf
and Chloe Grace Moretz
in SUSPiRiA, a film by Luca Guadagnino.
Amazon Studios
Published on Aug 23, 2018
(https://www.indiesunlimited.com/wp-content/uploads/2013/08/Amazon-Studios-Logo.jpg)
A darkness swirls at the center of a world-renowned dance company, one that will engulf the artistic director, an ambitious young dancer, and a grieving psychotherapist. Some will succumb to the nightmare. Others will finally wake up. Suspiria is in New York and Los Angeles theaters October 26, expanding nationwide November 2. From Amazon Studios and director Luca Guadagnino.
Coming to Theaters October 26, 2018
(https://steemitimages.com/0x0/https://cdn.steemitimages.com/DQmXexJ1XGHe2F4EFSkihgF1JJPSpGeu3rhV5usLBGtmS8e/vF1twpLJapYBqaxqNgCPSj581yg.jpg)
(https://imaginecinemas.com/wp-content/uploads/2018/06/suspiria_ver2.jpg)
(http://clubedaspipocas.com.br/wp-content/uploads//2018/04/suspirria.jpg)
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Clip:
[youtube=1150,600]http://www.youtube.com/watch?v=1IruXDYtg7I[/youtube]
https://www.youtube.com/watch?v=1IruXDYtg7I
SUSPiRiA (2018)
Dakota Johnson, Tilda Swinton,
Mia Goth, Lutz Ebersdorf
and Chloe Grace Moretz
in SUSPiRiA, a film by Luca Guadagnino.
Amazon Studios
Published on Aug 28, 2018
(https://www.indiesunlimited.com/wp-content/uploads/2013/08/Amazon-Studios-Logo.jpg)
Madame Blanc (Tilda Swinton) outlines plans for a new dance in which Susie Bannion (Dakota Johnson) can improvise freely. Suspiria, from director Luca Guadagnino, opens Oct. 26 in NY and LA, expanding nationwide Nov. 2.
About Suspiria
A darkness swirls at the center of a world-renowned dance company, one that will engulf the artistic director, an ambitious young dancer, and a grieving psychotherapist. Some will succumb to the nightmare. Others will finally wake up. Suspiria is in New York and Los Angeles theaters October 26, expanding nationwide November 2. From Amazon Studios and director Luca Guadagnino.
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Ok, that's it, I've decided--
I will NOT be seeing Luca's latest.
(Sorry, Luca!)
:o :o :o :o
[youtube=1250,700]http://www.youtube.com/watch?v=z_I9rbiJWU8[/youtube]
https://www.youtube.com/watch?v=z_I9rbiJWU8
SUSPiRiA (2018)
Film Review (Venice Film Festival) [No Spoilers]
Luke Hearfield
Published on Sep 2, 2018
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Holy Christ! The latest film from Luca Guadignino (Call Me By Your Name) will scar you for life. The loving remake of the 1977 classic by Dario Argento's SUSPiRiA is set at a prestigious dance school in Berlin where the teachers practice more than dance... they also dabble in witchcraft. Premiering at The Venice Film Festival to both cheers and boos - SUSPiRiA will likely be the most divisive film of 2018. Move over Darren Aronofsky's mother! - theres a new disturbing film that people will either love or hate.
But Which side am I on? hmmmm? That is the mystery. Guess you'll have to watch my review to find out.
FYI: If you half-remember having heard of Luke Hearfield before, more than ten months ago, this is why:
FYI, watch this young gay Brit's review of Call Me By Your Name --he saw it one of the screenings at the London Film Festival--he's funny AND he loved the movie, VERY articulate (as many Brits are).
[youtube=710,400]http://www.youtube.com/watch?v=7ZWHlLNVeXs[/youtube]
https://www.youtube.com/watch?v=7ZWHlLNVeXs
Call Me By Your Name - Film Review (London Film Festival)
Luke Hearfield
Published on Oct 11, 2017
(https://yt3.ggpht.com/-e9vUg10fFMs/AAAAAAAAAAI/AAAAAAAAAAA/pBVhHeI7v-Y/s88-c-k-no-mo-rj-c0xffffff/photo.jpg)
Luca Guadagnino's sun-drenched love story is a spell-binding piece of art. It's gonna be an awards-contender but it's also a genuinely touching film that will resonate with anyone whose ever been in love. Go and see it! Check out my full thoughts here.
(http://cdn.entertainment-focus.com/wp-content/uploads/2017/08/Webp.net-resizeimage-3-5-770x433.jpg)
Anyway--Eeek!
(https://i1.wp.com/cinexpresspr.com/site/wp-content/uploads/2018/08/img_7452.jpg?resize=580%2C895)
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http://www.vulture.com/2018/09/timothe-chalamet-has-gone-all-medieval-on-his-hair.html
(http://images.nymag.com/news/articles/reasonstoloveny/2015/img/ny-logo.svg)
(http://images.amcnetworks.com/ifc.com/wp-content/uploads/2016/05/Vulture-Logo-Main.jpg)
Good night,
sweet haircut
Timothée Chalamet
Has Gone All Medieval on His Hair in
The King
By Jackson McHenry
@McHenryJD
September 07, 2018 9:00 pm
(https://pixel.nymag.com/imgs/daily/vulture/2018/09/07/07-chalamet-henry-v.w700.h467.jpg)
Timothée Chalamet; posthumous portrait of Henry V
Photograph by Getty Images, National Portrait Gallery, London
Timothée Chalamet, a Renaissance portrait of a feckless dauphin reborn into the 21st century, has apparently decided to fully commit to the look. Chalamet cropped up at the Toronto International Film Festival this weekend with a new cropped look. If you are looking for someone to blame — or thank, if you have a thing for the 15th century — Chalamet appears to have cut his hair for his role in Netflix’s
Henry V movie The King, which was filming this summer. Long gone are the locks that charmed Armie Hammer and Lady Bird; now Timmy must prepare for the Hundred Years’ War and learn how to use a longbow or swing a sword or shout about Saint Crispin’s Day.
Point is, once The King comes out, every wispy half-deep college freshman is probably going to copy him and look like a monk and it’ll be hilarious.
(https://pixel.nymag.com/imgs/daily/vulture/2018/09/07/07-timothee-chalamet-hari-old.w700.h467.jpg)
Good night, sweet haircut. Photo: Frazer Harrison/Getty Images
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8) 8) 8)
(https://yt3.ggpht.com/-H1m38Y1pMrM/AAAAAAAAAAI/AAAAAAAAAAA/aAyNHR2XuTI/s88-c-k-no-mo-rj-c0xffffff/photo.jpg)(https://yt3.ggpht.com/-H1m38Y1pMrM/AAAAAAAAAAI/AAAAAAAAAAA/aAyNHR2XuTI/s88-c-k-no-mo-rj-c0xffffff/photo.jpg)(https://yt3.ggpht.com/-H1m38Y1pMrM/AAAAAAAAAAI/AAAAAAAAAAA/aAyNHR2XuTI/s88-c-k-no-mo-rj-c0xffffff/photo.jpg)(https://yt3.ggpht.com/-H1m38Y1pMrM/AAAAAAAAAAI/AAAAAAAAAAA/aAyNHR2XuTI/s88-c-k-no-mo-rj-c0xffffff/photo.jpg)
(https://upload.wikimedia.org/wikipedia/en/3/3e/2018_Toronto_International_Film_Festival_poster.jpg)
[youtube=1150,600]http://www.youtube.com/watch?v=H7y9Vydf09U[/youtube]
https://www.youtube.com/watch?v=H7y9Vydf09U
Armie Hammer:
Call Me By Your Name (The Sequel!)
“Will Happen” - Variety
Crema Heart
Published on Sep 8, 2018
(https://yt3.ggpht.com/a-/AN66SAyB18slNeq5DdzPkBtHwaQdNojB8ftDpnHkMw=s48-mo-c-c0xffffffff-rj-k-no)
and also:
Variety Studio
Published on Sep 8, 2018
(https://yt3.ggpht.com/-H1m38Y1pMrM/AAAAAAAAAAI/AAAAAAAAAAA/aAyNHR2XuTI/s88-c-k-no-mo-rj-c0xffffff/photo.jpg)
https://variety.com/2018/film/news/armie-hammer-call-me-by-your-name-sequel-will-happen-1202933533/
(https://s2.wp.com/wp-content/themes/vip/pmc-variety-2017/assets/build/images/premier/mktg-logo.jpg)
Armie Hammer: Call Me by Your Name Sequel "Will Happen’’
By MARC MALKIN
SEPTEMBER 8, 2018 1:02PM PT
The sequel to Call My By Your Name is coming along quite nicely.
Armie Hammer says, “It will happen because there are already people working on it and trying to make it happen.”
The actor, however, is tightlipped about revealing too much. “How much do I know and how much could I tell you are two very different things,” he said at the Variety Studio presented by AT&T at the Toronto International Film Festival while promoting his new real-life drama “Hotel Mumbai.” “I know a lot, but I can’t tell you anything.”
Director Luca Guadagnino has never been shy about his desire to make a sequel with Hammer and Timothée Chalamet. He has said the follow-up would take place in the early 1990s, about five years after the original time, and will touch upon the early years of the AIDS epidemic.
“More than anything I trust the artistic direction to Luca and novelist André Aciman and to those guys who did such a good job handling it the first time around,” Hammer said. “The only thing I want to see is I want to see it happen. I want to do it again.”
“I miss the whole crew,” he added. “It was such a special time. It was such a collaborative, unique, and totally immersive filming experience that I never really had, nor since. If we get to do another one, I’ll feel really lucky.”
Hammer continues to receive peached-theme gifts, including peach-flavored Haribo candy. A fan gave him a 10-pound bag for his birthday after one of his performances on Broadway in “Straight White Men.”
We had to ask if anyone from the peach industry has approached him about becoming a spokesman. “I’m pretty sure the peach industry saw what we did to the peaches and was like, ‘We can’t go there,’” Hammer said before adding with a laugh, “Peaches — they’ve got a variety of uses.”
http://www.vulture.com/2018/01/cmbyn-sequel-will-address-aids-luca-guadagnino-says.html
(http://images.nymag.com/news/articles/reasonstoloveny/2015/img/ny-logo.svg)
(http://images.amcnetworks.com/ifc.com/wp-content/uploads/2016/05/Vulture-Logo-Main.jpg)
Luca Guadagnino
Plans to Address the AIDS Epidemic in the
Call Me by Your Name
Sequel
By Jackson McHenry
@McHenryJD
January 25, 2018 4:14 pm
(http://www.indiewire.com/wp-content/uploads/2017/01/luca-guadanigno.jpg)
Photograph by Daniel Bergeron (Photo stolen from IndieWire 10-17-17 and used here by JG just because solemnity, gravitas!)
While Call Me by Your Name skirted many of the typical tropes of gay love story, its sequel may tackle one of them directly: the specter of HIV and AIDS. Speaking with The Hollywood Reporter *, Luca Guadagnino said the sequel, which will likely be set in the late 1980s around the time of the fall of the Berlin Wall, will certainly address the epidemic. “I think it’s going to be a very relevant part of the story,” he said. “I think Elio (Timothée Chalamet) will be a cinephile, and I’d like him to be in a movie theater watching Paul Vecchiali’s Once More … That could be the first scene [in the sequel].” Once More (also known as Encore) was released in 1988 and was the first French feature film to address the disease.
If that were the opening scene, then the sequel would a far different tone than the sunnier original (and André Aciman’s original novel), that, it seems, is Guadagnino’s intention. “In my opinion, Call Me can be the first chapter of the chronicles of the life of these people that we met in this movie,” he said. “If the first one is a story of coming of age and becoming a young man, maybe the next chapter will be, what is the position of the young man in the world, what does he want — and what is left a few years later of such an emotional punch that made him who he is?” Not to give Luca any notes, but if we open with Elio watching Once More and wearing Billowy, the hand-me-down shirt he got from Oliver, that might be too much to bear.
*https://www.hollywoodreporter.com/rambling-reporter/call-me-by-your-name-director-reveals-details-planned-sequel-1077963
More video updates,
André and Luca, keep 'em coming
re the sequels!!
[youtube=960,540]http://www.youtube.com/watch?v=XN7WeM5rcSY[/youtube]
https://www.youtube.com/watch?v=XN7WeM5rcSY
André Aciman and
The Sequel(s) of CALL ME BY YOUR NAME | TIFF 2018
TIFF Originals
Published on Feb 2, 2018
(https://yt3.ggpht.com/-KtdkKviD1k0/AAAAAAAAAAI/AAAAAAAAAAA/msGYWLL7Dpg/s88-c-k-no-mo-rj-c0xffffff/photo.jpg)
André Aciman, the writer of Call Me By Your Name, discusses potential sequels.
The latest from director Luca Guadagnino (I Am Love, A Bigger Splash) explores the tentative relationship that blooms between Elio (Timothée Chalamet), a 17-year-old boy on the cusp of adulthood, and his professor father's older research assistant Oliver (Armie Hammer), who joins the family at their vacation villa over the course of an Italian summer. With a script by James Ivory, Guadagnino has fashioned André Aciman's 2007 novel of sexual awakening into a note-perfect tale of forbidden love.
André Aciman is an American essayist and novelist originally from Alexandria, Egypt. He teaches Comparative Literature at the Graduate Center of City University of New York. He is the author of Out of Egypt: A Memoir, False Papers, Alibis, and four novels: Enigma Variations, Call Me by Your Name, Eight White Nights, Harvard Square. He is the co author and editor of Letters of Transit and of The Proust Project. Aciman is the recipient of a Whiting Writers' Award, a Guggenheim Fellowship as well as a fellowship from The New York Public Library's Cullman Center for Scholars and Writers. He has written for The New York Times, The New Yorker, The New Republic, The New York Review of Books, and he has also appeared in several volumes of Best American Essays.
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http://birthmoviesdeath.com/2017/10/14/call-me-by-your-name-sequel-possible
(http://birthmoviesdeath.com/assets/img/ui/bmd-logo-tall.png)
We May Be Getting A Sequel To
Call Me by Your Name
Director Luca Guadagnino drops some juicy hints.
by SIDDHANT ADLAKHA
Saturiday Oct 14 2017
(http://68.media.tumblr.com/7841d878235909ec8496d15a2ef72452/tumblr_ovys8ihUcu1re6edgo2_1280.jpg)
Armie Hammer and Timothée Chalamet in Luca Guadagnino's Call Me by Your Name
Call Me By Your Name hasn't been released in theatres yet, but as one of the best reviewed films out of both Sundance and the New York Film Festival, it's rightly receiving a lot of buzz. Some of that buzz now includes plans for a sequel, which would be in line with the film as it relates to André Aciman's original novel from 2007. You should probably steer clear of the rest of this article if you're looking to avoid spoilers, but that'd also be like trying to "spoil" the premise of [Director Richard Linklater's] Before Sunset or Before Midnight, comparisons I don't make lightly given just how good Luca Guadagnino's latest is.
While speaking to ScreenDaily, Guadagnino shared a few details about a potential follow-up. Aciman's novel has Oliver and Elio meet up in America fifteen years after the events in Italy, though the potential sequel film doesn't seem like it's going to follow this to the letter since it'll take place only seven years later: ( https://www.screendaily.com/news/luca-guadagnino-plots-call-me-by-your-name-sequel-exclusive/5123280.article )
“I want to do a sequel because Timothée Chalamet, Armie Hammer, Michael Stuhlbarg, Amira Casar, Esther Garrel – they are all gems,” said Guadagnino during a sit-down at the BFI London Film Festival, where Call Me By Your Name played as a gala. “The texture we built together is very consistent. We created a place in which you believe in the world before them. They are young but they are growing up.”
“I don’t think Elio is necessarily going to become a gay man. He hasn’t found his place yet. I can tell you that I believe that he would start an intense relationship with Marzia [Esther Garrel’s character] again,” he said.
That second bit might raise some eyebrows from people who haven't seen the film given how much acclaim it's receiving for its intimate portrait of a same-sex releationship, though it should be noted that Guadagnino (a gay man himself) is not speaking out of turn, as his depiction of Elio and Oliver's sexualities is both complex and difficult to pin down at this stage in their lives. Guadagnino also envisions Elio as the kind of character who could recur throughout his filmography (much like Truffaut's Antoine Doinel), though if I'm being honest, what I really want is Armie Hammer dancing to songs from various decades.
The sequel, should it happen, won't be released until 2020, but it's already a damn exciting prospect. We'll keep you posted as soon as we hear more.
Luca Guadagnino for Fantastic Man Magazine No. 26
(https://pbs.twimg.com/media/DKmxtprXcAA4eya.jpg)
"I think I'll make another film in the future about the characters in Call Me by Your Name. I'd love to make a cycle of films based on them. How they grow up. Will they meet again? What happens when they meet again?"
Director Luca Guadagnino delivers an interview vérité in the new issue of @ManFantastic ahead of the worldwide release of his spectacularly romantic new movie Call Me by Your Name.
#LucaGuadagnino #CallMeByYourName
#FantasticMan #Cinema #Art #Culture #KarlaOtto
http://www.buro247.ua/instagram/karlaotto/570496
"I think I'll make another film in the future about the characters in Call Me by Your Name. I'd love to make a cycle of films based on them. How they grow up. Will they meet again? What happens when they meet again?"
Do you know?? I've been thinking this! The very last five pages of the book (at the end of Part 4, "Ghost Spots") have a very open-ended quality, no?? Obviously Luca, André and producer Peter Spears have talked about it. Shades of director Richard Linklater's Before Sunrise (1995), Before Sunset (2004) and Before Midnight (2013), which I have always loved!
FYI: Richard Linklater: No one’s ruling out a Before quadrilogy, FEBRUARY 27, 2017,
http://ew.com/movies/2017/02/27/richard-linklater-before-sunset-trilogy/
Celine (Julie Delpy): "Baby. You are going to miss that plane." (talk-singing along with Nina Simone to Jesse)
Jesse (Ethan Hawke): "I know." (laughs)
[youtube=425,350]http://www.youtube.com/watch?v=ip9PgKmil0s[/youtube]
Before Sunset (2004)
Julie Delpy & Ethan Hawke
(by director Richard Linklater)
Published on Apr 9, 2015
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WHELP!
I thought about that
exactly a year ago!
:D ;) 8)
[youtube=1150,650]http://www.youtube.com/watch?v=-PSdyzfokf8[/youtube]
https://www.youtube.com/watch?v=-PSdyzfokf8
Anatomy of the Dreamlike Romance:
Call Me By Your Name vs. Before Sunrise
Like Stories of Old
Published on Mar 31, 2018
(https://yt3.ggpht.com/a-/AN66SAzJ17noMdO9EkEuZD6zMMglWsla3Fhsgv3FIg=s48-mo-c-c0xffffffff-rj-k-no)
Comparing Call Me By Your Name and Before Sunrise to uncover the anatomy of the Dreamlike Romance.
"I think I'll make another film in the future about the characters in Call Me by Your Name. I'd love to make a cycle of films based on them. How they grow up. Will they meet again? What happens when they meet again?"
Do you know?? I've been thinking this! The very last five pages of the book (at the end of Part 4, "Ghost Spots") have a very open-ended quality, no?? Obviously Luca, André and producer Peter Spears have talked about it. Shades of director Richard Linklater's Before Sunrise (1995), Before Sunset (2004) and Before Midnight (2013), which I have always loved!
FYI: Richard Linklater: No one’s ruling out a Before quadrilogy, FEBRUARY 27, 2017,
http://ew.com/movies/2017/02/27/richard-linklater-before-sunset-trilogy/
Celine (Julie Delpy): "Baby. You are going to miss that plane." (talk-singing along with Nina Simone to Jesse)
Jesse (Ethan Hawke): "I know." (laughs)
[youtube=425,350]http://www.youtube.com/watch?v=ip9PgKmil0s[/youtube]
Before Sunset (2004)
Julie Delpy & Ethan Hawke
(by director Richard Linklater)
Published on Apr 9, 2015
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Omg.
WOW!
:o :o :o
[youtube=1150,650]http://www.youtube.com/watch?v=i47zrx24dpY[/youtube]
https://www.youtube.com/watch?v=i47zrx24dpY
The Movies That Influenced
Call Me By Your Name
Nerdwriter1
Published on Mar 22, 2018
(https://yt3.ggpht.com/a-/AN66SAxAPTV2sAKKB6SFHcWxF6xXvnb55bzmFLGSnA=s48-mo-c-c0xffffffff-rj-k-no)
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(https://static1.squarespace.com/static/5480e16fe4b001b264ecbeb3/t/5992438bebbd1a31e0cb0ec5/1502757771988/vanity-fair-vf-logo-2.jpg?format=1500w)(https://static1.squarespace.com/static/5480e16fe4b001b264ecbeb3/t/5992438bebbd1a31e0cb0ec5/1502757771988/vanity-fair-vf-logo-2.jpg?format=1500w)(https://static1.squarespace.com/static/5480e16fe4b001b264ecbeb3/t/5992438bebbd1a31e0cb0ec5/1502757771988/vanity-fair-vf-logo-2.jpg?format=1500w)(https://static1.squarespace.com/static/5480e16fe4b001b264ecbeb3/t/5992438bebbd1a31e0cb0ec5/1502757771988/vanity-fair-vf-logo-2.jpg?format=1500w)
(https://upload.wikimedia.org/wikipedia/en/3/3e/2018_Toronto_International_Film_Festival_poster.jpg)
[youtube=1150,600]http://www.youtube.com/watch?v=f0h6ltqZvVk[/youtube]
https://www.youtube.com/watch?v=f0h6ltqZvVk
In Conversation:
Timothée Chalamet
Star of Beautiful Boy
TIFF 2018
sandra innit
Published on September 8, 2018
(https://yt3.ggpht.com/a-/AN66SAzTcipaFSngbeteQfd4EHZHJX-YgsV9aUJN6g=s48-mo-c-c0xffffffff-rj-k-no)
and also:
Vanity Fair
Published on September 7, 2018
(https://static1.squarespace.com/static/5480e16fe4b001b264ecbeb3/t/5992438bebbd1a31e0cb0ec5/1502757771988/vanity-fair-vf-logo-2.jpg?format=1500w)
https://video.vanityfair.com/watch/toronto-international-film-festival-in-conversation-timothee-chalamet-star-of-beautiful-boy
(https://upload.wikimedia.org/wikipedia/commons/thumb/4/41/Vanity_Fair_Logo.svg/2000px-Vanity_Fair_Logo.svg.png)
In Conversation: Timothée Chalamet, Star of Beautiful Boy
Almost a year after his first Oscar nomination, the 22-year-old actor feels a "genuine gratitude"—not to mention lingering superfandom for his "Beautiful Boy" co-stars Steve Carell and Amy Ryan.
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Great news about the sequel!!
I've heard that Beautiful Boy is a sad movie.
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Great news about the sequel!!
Of course I'm greedy, Lee, I don't want a sequel, I want a SERIES or CYCLE of films with all the same characters/actors! :laugh: :laugh: :laugh:
I've heard that Beautiful Boy is a sad movie.
Yes. :-\ :-\ :-\
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(https://pbs.twimg.com/profile_images/961358239672672256/4M9xuxPV_bigger.jpg) T Magazine
@tmagazine
7:47 AM - 19 Sep 2018
112 Retweets 368 Likes
https://twitter.com/tmagazine/
https://twitter.com/tmagazine/status/1042424877632966657
Italian filmmaker Luca Guadagnino's décor debut is on the cover of T's Design issue.
https://nyti.ms/2Da8MIA (https://nyti.ms/2Da8MIA)
On the Cover: La Filanda, designed by Luca Guadagnino, is featured in T’s Sept. 23 Design & Luxury issue.
Here, a guest bedroom. Credit Henry Bourne
(https://static01.nyt.com/images/2018/09/19/t-magazine/19tmag-luca-slide-BAFB/19tmag-luca-slide-BAFB-superJumbo.jpg?quality=90&auto=webp)
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https://www.nytimes.com/2018/09/19/t-magazine/luca-guadagnino-interior-design-lake-como-house.html
(https://g1.nyt.com/assets/collection/20180828-141010/images/foundation/logos/t-magazine-logo-824x100.png)
Luca Guadagnino is known for creating sumptuously layered environments that tell stories themselves.
Now he’s applied that same eye to his first interior design commission at La Filanda,
Federico Marchetti and Kerry Olsen’s weekend retreat.
https://www.nytimes.com/slideshow/2018/09/19/t-magazine/luca-guadagninos-decor-debut.html
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A view of Lake Como from the house. Photo by Henry Bourne.
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A spiral staircase designed by Luca Guadagnino covered in an ombré carpet by La Manufacture Cogolin. Photo by Henry Bourne.
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In the entry of the house, a pair of Adnet floor lamps, pendants by Michael Anastassiades, a rug by Cogolin and walls covered in
brass-detailed oak paneling designed by Guadagnino. Photo by Henry Bourne.
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Another view of the entry. At right, a Lalanne console and mirror. Photo by Henry Bourne.
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In the living room, Guadagnino designed the molding detail and bold yellow wall panels covered in Kvadrat fabric.
A Candida Höfer photograph hangs over an Italian rosewood sideboard. The 1930s caned mahogany chairs are by Kaare Klint,
the sofa is by Frits Henningsen, the side tables are by Hermès and the low table is by George Nakashima. Photo by Henry Bourne.
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The yellow palette continues into the kitchen. Photo by Henry Bourne.
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Matte lacquered cabinets in shades of green in the laundry room. Photo by Henry Bourne.
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In a nautical-inspired powder room leading to the indoor pool, the emerald stone and brass hardware are by Studio Luca Guadagnino.
Photo by Henry Bourne.
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A corridor on the second floor runs the length of the former factory. Photo by Henry Bourne.
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In the master bedroom, the custom fireplace of emperador marble was inspired by a radiator cover in a Milanese palazzo,
the chairs were designed by Pierre Jeanneret for Knoll in 1952, the fabrics are by Kvadrat, the rug is by Cogolin
and the lamps are from the Netherlands’ Morentz gallery. Photo by Henry Bourne.
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On the Cover: La Filanda, designed by Luca Guadagnino, is featured in T’s Sept. 23 Design & Luxury issue.
Here, a guest bedroom. Photo by Henry Bourne.
https://www.nytimes.com/2018/09/19/t-magazine/luca-guadagnino-interior-design-lake-como-house.html
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From the Director of
Call Me by Your Name,
a New Project: A House
Luca Guadagnino has long dreamed of being an interior designer.
Inside a former silk mill on Lake Como, he got his shot.
By Guy Trebay
Sept. 19, 2018
FIRST, CUT SHARPLY off a two-lane road leading around Italy’s Lake Como and dodge the local stray cats until you hit a cobbled lane lined with scruffy mulberry trees. Follow this to its end. Then, on your left, you’ll see the stucco facade of an apparently anonymous edifice — an ocher two-story rectangle overlooking a simple walled garden and lawn, the lake just beyond them. This is La Filanda (the Mill), the name a nod to the 9,600-square-foot building’s original 19th-century function as a silk-weaving factory. Only a small nameplate — that says simply “housekeeper”— hints at the place’s current residential use. “We felt it was more interesting having something beautiful inside that nobody knows,” says Federico Marchetti, 49, the Milan-based entrepreneur behind the Yoox Net-a-Porter online retail empire. For the past four years, he and his partner, the British journalist Kerry Olsen, 41, have devoted themselves to constructing this privately opulent weekend refuge on a stretch of lakeshore best known for the palaces of American movie stars and Russian oligarchs.
In this they had an unusual collaborator: Luca Guadagnino, the Italian filmmaker, who had always wanted to be an interior designer. Marchetti knew of that dream from an interview that Guadagnino, 47, once gave; while Marchetti was visiting him on the set of Call Me by Your Name in 2016, he proposed that they collaborate on the house with the architect Giulio Ghirardi. Despite being in preproduction for his next project — a reimagining of the director Dario Argento’s 1970s Italian cult horror classic Suspiria, to be released in November — Guadagnino immediately agreed. “I’m a little bit irrational,” he admits.
Marchetti and Olsen had long been friends with the director, whose densely atmospheric film sets are memorable for their layered, subtle details: a barely seen armoire full of linen in 2009’s “I Am Love;” an actual notarized land deed used instead of a facsimile for 2017’s Call Me by Your Name. Guadagnino often films his movies in aristocratic villas or Art Deco-era wonders little known outside of Italy — environments are as critical to his vision as actors or scripts. “Space is the most important thing that comes to my mind when I analyze things,” Guadagnino says. “In cinema, you are an impostor, in a way, because you can always edit afterward and change the story. You cannot do that with a house.”
A house, after all, is not a fiction. And far from being theatrical types, Marchetti and Olsen envisioned their life at La Filanda as one oriented toward family and domestic pleasures. Marchetti, who was born and raised on the Adriatic coast, in Ravenna, is attracted to water and loves to swim. Olsen, from the north of England, enjoys gardening: Guided by Guadagnino’s colleague, Gaia Chaillet Giusti, she planted modest parterres in a chevron pattern, had two mature palms helicoptered onto the property from nearby Tremezzina and installed a dollhouse-like structure for the family’s pet tortoise, Frittata.
Inside, the couple sought a harmonious retreat. Guadagnino started with a psychologically detailed questionnaire: What colors do they like? What time of the day do they prefer? How do they see themselves in a room? Answers in hand — bright jewel tones, mornings, playing board games with their 7-year-old daughter, Margherita — the director began composing a storyboard in the form of a workbook, a thick volume that encompassed a minutely detailed inventory of the exemplary collection of 20th-century furniture that Marchetti had been amassing for years. “I’m a storyteller,” Guadagnino says. “That’s my first job.”
THOUGH SKILLED AT creating sumptuous movie sets, the director is neither a trained architect nor an interior designer. Along with a general contractor, the 150 Italian craftspeople Guadagnino assembled like a crew executed his design for the brass-trimmed, ribbed oak paneling used on the lower part of some walls (inspired by, Guadagnino says, “a very precious wood box, the kind you can find in Japan”); upholstered those same walls above the dado with Kvadrat wool fabrics in geometric panels in reference to both the structure’s origins as a textile factory and its mid-20th century Modernist design; and applied in stucco at the cornices a motif of double-ended ogives, a vaguely maritime style that alludes to the lake visible beyond the brass window frames. Still, La Filanda isn’t baldly literal in its references. While it is tempting to think of the place as engineered with the taut economy of a yacht interior, the house more accurately evokes a puzzle, one whose interlocking pieces seamlessly, and seemingly inevitably, fit together.
Before Guadagnino began, the couple had already gutted the building, which was constructed more than a century ago during a boom in an industry first begun at Como in the 1400s, when Ludovico Sforza (then the Duke of Milan) commanded that the lakeside be planted with mulberry trees for the delectation of silkworms. (Until as recently as the 1970s — when the industry migrated to China — silk remained the area’s most important commercial export.) In the decades after the shuttlecocks stopped clacking through looms at La Filanda, the mill was used as a tennis racket factory, then as an auto repair shop and, finally, as a depot for boat motors before sinking at last into pigeon-haunted desuetude. It was the building’s shoe-box shape that inspired Marchetti and Olsen to acquire it five years ago, after having spotted it on strolls from their nearby rental.
If executing their vision would prove complex, the impetus for the home’s purchase was simple: “My dream was always to have a pool,” Marchetti says. Originally intended for the ground floor, it was relocated to the basement after workers discovered that the soil beneath the building was contaminated with lead and would need to be removed. After the subterranean bathing pavilion was completed, the house’s transformation picked up pace, Guadagnino filling the home with treasures accumulated by the couple as well as pieces he found for them.
Guests enter La Filanda at the structure’s midpoint, a sunlit foyer dominated by an immense Claude Lalanne Bagatelle mirror framed in looping bronze tendrils and hung above a matching Lalanne console. For Marchetti, the pair of bronze mice he specified to scurry up the table’s struts are as much a source of pleasure as the Giorgio Morandi still life from the 1950s that he impulsively purchased from an online auction and that now hangs in the ground-floor powder room.
To the left of the entry, there’s a pantry whose lacquered pistachio cabinetry is branded Studio Luca Guadagnino, the filmmaker’s new design firm, and is rendered, like so much else in the house, in the confectionary hues of Jordan almonds. ( https://www.candywarehouse.com/resources/the-wedding-story-of-jordan-almonds/ ) Beyond this is a kitchen with custom-paneled shelves in varying tones of yellow (also created by Guadagnino’s firm) alongside an enormous suspended lighting fixture created in 1933 by Gio Ponti — merely one example of Marchetti’s irresistible attraction to every imaginable form of artificial illumination.
Extending toward the lake, the main 62-by-20-foot living area, which spans nearly half the length of the structure, is divided into three discrete zones of seating. What is most notable in each is how Guadagnino has arranged — as though a group of actors were conversing in a scene — decorative elements as disparate as a rugged 1960s George Nakashima slab table, a 1950s sycamore and rosewood Italian bar cabinet, caned chairs copied in Mumbai from early 20th-century designs by the French architect Maxime Old and a colossal 2009 photograph by the German artist Candida Höfer of the national library in Naples. A helipad-size marble table, custom built by Hermès, anchors the room. (With bespoke waxed-leather legs, it’s a marriage of Guadagnino’s passion for the handmade and the retailing mogul’s acquisitive appetites.)
Together, the designer and homeowners also plundered the archives of venerable European manufacturers. At the Nymphenburg Porcelain Manufactory in Munich, Guadagnino and Olsen unearthed a disused French rose glaze to color a portion of their 303 pieces of china, some of which feature a pattern designed two centuries ago. At Manescalchi, a linen purveyor favored by the Milanese haute bourgeoisie, Guadagnino found from dead stock a collection of pristine place mats and napkins with elaborately handworked fagoting details. At J. & L. Lobmeyr glassworks in Vienna, he commissioned gossamer glassware etched with outlines of Lake Como.
AS WITH HIS FILMS, a second take was sometimes required. At the core of the house is an oak stairway resembling the interior of a chambered nautilus that links all three floors. Built once in its entirety, it was torn out and recreated after the original curve was judged to be clumsy. In keeping with the house’s palette, the treads are covered in a bespoke rainbow ombré carpet from France’s Gobelins Manufactory, the colors of which increase or diminish in intensity — yellow to orange to red to blue to green — as you ascend to the bedroom floor or descend to the screening and changing rooms at the pool level. “Even though the house is contemporary, it’s also meant to be a sensual place,” Guadagnino says.
This is most evident on the private upper level, where he designed cocooning spaces for each occupant, appointing the master suite with furnishings either quirky (reproductions of a pair of wavy 1940s Paolo Buffa night stands), austere (an Hermès re-edition of a 1924 Jean-Michel Frank parchment dressing table) or, as with the textured Cogolin rug, seductively tactile. Connected by a hallway that runs the length of the house, there are three bedrooms — one each for parents, daughter and guests — along with a study, a library and Olsen’s boudoir. (“Finally,” she says, “I have more closet space than Federico.”) It is in these rooms that Guadagnino seems to pay frank homage to one of his greatest influences: Villa Necchi Campiglio, the magnificent Milanese manor designed in the 1930s by Piero Portaluppi for two heirs to a sewing machine fortune, in which I Am Love was filmed. As with that house, the hand of a decorative mastermind appears in every detail at La Filanda. Throughout, cultivated restraint takes the place of ostentation. “Of all the great houses you could find on the lake, Federico and Kerry decided to go for this old factory,” Guadagnino says. “Here, everything important is inside.”
And, of course, just two years ago:
https://www.nytimes.com/2016/08/01/t-magazine/luca-guadagnino-home-italy-interior-design.html
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The director Luca Guadagnino’s exquisitely art-directed movies have become something of an obsession among interior designers.
But his ultimate set is his own apartment in a 17th-century palazzo outside of Milan. The property had been empty for 40 years before
Guadagnino spent six months renovating it. With the help of painters, he created custom paint colors for each room.
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Guadagnino says his next house will have a garden. Photo: Mikael Olsson
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Light floods the loggia, on the second floor of the palazzo. Gio Ponti Superleggera chairs by Cassina flank the dining table,
with vintage Danish chairs in the foreground. The ornately painted door is original to the building. Credit Mikael Olsson
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Guadagnino in front of a distressed mirrored panel of his design [in the Dining Room]. Photo: Mikael Olsson
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In the living room of the director Luca Guadagnino’s apartment in a 17th-century palazzo, furniture by Piero Castellini
and 18th-century Japanese painted panels. Photo: Mikael Olsson[/color]
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In the living room, the original frescoed ceiling and terracotta tiles uncovered during renovation,
sofa and chairs by Piero Castellini covered in C&C Milano fabrics and a La Manufacture Cogolin rug.
Guadagnino worked with the painters to hand-mix the color of the walls.
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In the dining room, chairs by Enzo Mari for Hermès, 19th-century church candlesticks mounted as lamps and a La Manufacture Cogolin rug.
On the sideboard, a 1920s porcelain dog by Gio Ponti for Richard Ginori and Hermès glasses.
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A Tibetan tapestry hangs over a Hästens bed in the master bedroom, with Castellini chairs covered in Dedar fabric and
curtains of Hermès fabric. Photo: Mikael Olsson
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A fishtail palm with a backdrop of Farrow & Ball wallpaper in the black bathroom.
Photo: Mikael Olsson
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One Italian Filmmaker’s
Ultimate Set — His Own Home
Luca Guadagnino conjures a world of dark beauty in his films,
and in his apartment in a 17th-century palazzo outside of Milan.
By DANA THOMAS
AUG. 1, 2016
“I hate the concept of beauty for the sake of it. It is overrated,” says the Italian filmmaker Luca Guadagnino. This might sound odd coming from the creator of such movies as 2009’s I Am Love and this year’s A Bigger Splash, each filled with ravishing, fashionable people moving through exquisitely appointed, haute bourgeois settings — a style that could be described as high aesthete with latent passions lurking beneath. “Environment is essential. I like anything that has to do with form and space,” says Guadagnino. “But I am also a humanist [with] a very strong love and attraction for character. That’s the mixture.”
What he strives for, says his friend and frequent collaborator, the actress Tilda Swinton, is something “vital, passionate and uncontrollable.” These aspirations play out in his home as well, with each atmospheric room telling a story, much as his sets amplify his characters. Grand and simple, perfect and imperfect, harmony emerges from contrast and unlikely pairings, like modern Danish chairs in a room with doors lavishly embellished in the Lombardian Baroque style. “Spare functional furniture, in my opinion, is the genius of 20th-century design,” Guadagnino says. He adds, only half joking: “My secret desire is to be an interior designer. I’d love to make houses for rich clients who can afford to do things right.”
His calling card could be his 3,200-square-foot apartment, on the second floor of a 17th-century palazzo that sits in the heart of Crema, a city 40 minutes from Milan. When Guadagnino bought the place a few years ago, it had been empty for 40 years — since the countess who lived there died. It had “broken windows, a lot of dead pigeons and rotten wallpaper,” he says.
The renovation took six months, and Guadagnino was onsite “every day, directing the workers,” he says. After all, “I am a director.” What he discovered beneath layers of decaying wallpaper and bright midcentury paint was every palazzo owner’s dream: authentic frescoes. Ripping up the 1950s cement tiles revealed the original terracotta bricks, now cleaned and buffed. When a false ceiling was torn out in the kitchen, a 17th-century painted wood bench, now in Guadagnino’s bedroom, was found in a crawl space. He worked with the painters to mix pigment for the precise hues in each room; it took four tries to get the dining room right, from kelly green to the final slate gray. For the living room’s boiserie, he chose a navy that, depending on the hour of the day, can seem black. “The bedroom was easy,” he says. “I was eating a date, a beautiful brown, and I said to the painter, Do this color. It’s like being in the center of a huge date.”
In an office that doubles as a guest bedroom, he writes his scripts at one of two side-by-side leather desks. (His partner of seven years, also an Italian filmmaker, sits at the other.) Guadagnino, who has acquired other apartments in the building, has effectively turned much of it into his moviemaking compound. His production team works in a ground-floor suite that opens onto the cobblestone courtyard-cum-parking lot; he edits his films in a studio just above them. The actors in his films, lodged in nearby B&Bs, zoom over on bicycles and watch movies on a screen mounted to a wall in the regal living room. Doors always seem open; friends and assistants freely wander in and out, careful to avoid disturbing the few families still living in the other wing. “A good creative place,” the director says.
Guadagnino’s appreciation for incongruity began when he was a child and continued through his education. A month after he was born in Palermo, in 1971, his family moved to Ethiopia, where his Sicilian father taught history and Italian, returning home when Luca was 6. While at the University of Palermo, where he studied literature, he met Patrizia Allegra, a fixture of Sicily’s cultural scene. She would bring the then-19-year-old cinephile (with a particular fondness for Ingmar Bergman) along to dinner parties. At one, Guadagnino recalls, Allegra introduced him to the filmmakers Jean-Marie Straub and Danièle Huillet. “Patrizia said: ‘Oh, Monsieur Straub, Luca wants to be a director. What is your advice? Should he go to film school?’ Straub looked at me and said, ‘If you want to be a director then you are a film director. You don’t need to go to school. Don’t.’ ”
So he didn’t. Instead, Guadagnino moved to Rome and finished his degree in literature and cinema history at Sapienza University. While there he met Laura Betti, the muse of Italian director Pier Paolo Pasolini. “I approached her in complete naïveté, and she said, ‘Come visit me,’ and we became friends — this big, nasty lady and this very skinny young man,” he says with a laugh. “I could cook very well, so she used me a lot — ‘You have to come now because I have guests!’ Everybody from Bernardo Bertolucci to Valerio Adami, the painter — these big personalities, together. That was my film school.”
Guadagnino eventually found his own muse in the film Caravaggio, directed by the British experimental filmmaker Derek Jarman. “I saw Tilda playing Lena,” he says. “I thought: Ahhh.” He eagerly sought out her films, and by the time Sally Potter’s Orlando came out in 1992, “I was obsessed.”
He wrote a script for a short film called The Penny Arcade Peepshow, inspired by William S. Burroughs’s writings, and sent a letter to Swinton, via her agent, asking if she’d star in it. He never heard back. A few months later he read that she was in Rome for an event. He went and “was staring at her like a stalker. Staring!” Guadagnino says, clearly amused by his youthful gaucherie. “After one hour, she said, ‘What can I do for you?’ ”
Somehow he convinced her to be in his film, and he pulled together money for her business-class ticket from London and kicked out his roommates so she could stay in his flat. “She was incredibly cool. The coolest,” he says. “After three days, she said, ‘We are going to be partners in crime and the crime is cinema.’ And we have become that.”
They never finished the film — he ran out of money. But she agreed to appear in his first feature, The Protagonists, which he now dismisses as a learning experience. Later she starred in I Am Love and A Bigger Splash. The former film established Guadagnino’s mature style, both as a filmmaker and a creator of environments of melancholic glamour. “Polished and refined are the last words I would use to describe his work, and I mean that as a high compliment,” Swinton says. “There is nothing smoothed away, hidden or suppressed. Rather, a proper rawness of sensibility and pulse, something pagan, profoundly wild.”
I Am Love is shot in the architect Piero Portaluppi’s masterpiece, the Villa Necchi Campiglio in Milan, and it is as much a star of the film as Swinton. Portaluppi, the Italian Modernist architect of choice to society in the 1920s and ’30s, was an obsessive perfectionist, much like Guadagnino. “We have no bedside tables because I can’t find any that I like yet,” he says. “My partner wants to kill me!”
The passionate cook had better luck in the kitchen, with a fishmonger’s stone sink from Genoa and a large cheese-maker’s table from a nearby village. The shelves are packed with international cookbooks. “I like to host — a lot,” he says.
Dinner parties are staged in the enclosed loggia that runs the length of the apartment, the mix of guests cast as carefully as his films. “You know when they say you need to put people who go well together?” Guadagnino asks. “I much prefer to put people who fight at the table. Then you have some sort of sparkle at the dinner!”
For one meal, friend and fellow director James Ivory filmed Guadagnino rolling and cutting fresh fettuccine on his pasta-maker. “Luca is no less commanding in the kitchen than on his set — tall, semi-bald, his hair flying up every which way,” Ivory says. Though Guadagnino usually cooks himself, on occasion he invites his friend Niko Romito, Abruzzo’s three-Michelin-star chef, to take charge. Then, the director says, everyone eats very well.
In the loggia, there is an accountant’s standing desk piled with garden books — evidence of yet another love, horticulture. Guadagnino tells me about a trip to Sweden last summer, to visit Dutch garden designer Piet Oudolf’s Dream Park. “I told my friends, ‘We have to be there at 8 o’clock in the morning when the light is nicest.’ We land there and everyone is grumpy and then we turn and we are in front of this wonder, and everyone exhales. We spent two hours wandering around. I must admit, I had this slight attack of Stendhal Syndrome.”
He pauses and looks out the window onto the old, twisted plum tree that grows in the courtyard.
“The next house will have a garden.”
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How ANDRE ACIMAN
Lost His Head Over a Pocket Square
Sometimes a silk square is much more than a piece of fabric.
By ANDRE ACIMAN
SEPT 24, 2018
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GETTY IMAGES BEN GABBE
This time it isn’t a person, it isn’t a rare book, nor is it a house in Italy that I’m in desperate pursuit of. This time it’s just a pocket square, a pochette.
When I first see it, in a shop on Madison Avenue, it flits in and out of sight, an object whose presence I am not fully registering and have no interest in observing. I am focusing on other things: a tie, a sweater, a pair of gloves. But on my way out, there it is again. Within seconds my indifference morphs first into a whim to look at it once more; then it intensifies into a form of curiosity, an urge to keep staring without knowing why; and finally, as I decide to give it a third glance, into an indefinable need, a fixation I can’t explain.
The 19th-century French writer Stendhal, struggling to fathom what it was about a face or a work of art that set him off on a passionate quest to possess it, wrote that beauty held a promesse de bonheur—a promise of happiness. The little pocket square I spotted a mere 10 minutes ago, I now need to touch it, to own it, to make it mine and no one else’s, because it promises to make me like myself a bit more and bring me something I’ve been yearning for all my life, something that might even help me become who I’ve always wanted to be but had almost lost track of and am about to recover now thanks to a flimsy little piece of fabric.
We frequently fall in love with people and with things not for who they are but for who they let us think we are.
For the moment the pochette and I are just exchanging glances, barely flirting. We haven’t connected yet—just smiles, like strangers on a dance floor. Eventually I muster my courage and ask the salesman to let me see it—by which I mean “with my hands.” He opens up the case ever so softly, slides open the drawer filled with similar squares, gently picks one up, and lets me hold it. But I’m not sure I’m ready to buy it, or don’t want to decide just yet, so I pretend I’m not convinced, and shake my head. He has seen this frown many times. It means I’m buying.
A day or so later I step hastily inside the store again, hoping (a) that the pochette has disappeared, so I won’t have to think of it again, or (b) that I’ve started caring for it less. But no. It’s still there, folded neatly in the same glass case, waiting. It knows me. It speaks my language, bears my name almost. I want to know its secret, its make, the reason it caught my eye and hasn’t let go.
I’m running late for a meeting but decide to ask another salesman to let me see it. All the silk pochettes in the case are made by the same house in Milan, Bigi, all knitted, not woven, in dark colors with contrasting borders. This salesman not only lets me hold it, he unfolds it for me. I want it even more now. What is it that haunts me? Is it its unusual pattern, its colors, its feel, its craftsmanship? Or the seemingly casual way it’s been unfolded, as if to make me think I already own it? I eye the price. Again the frown, again the salesman’s gaze that says, “I’ve seen this done before. You’ll be back.”
I have never been given to impulse buying. I experience buyer’s remorse even before purchasing anything. And I have never been the sort of man who would easily strike up a conversation with strangers and then invite them for coffee. I hesitate, I distrust my own instincts, and I invariably opt to do nothing. So, unable to make up my mind about the pocket square, I walk out of the store resolved either to end this sudden romance or at least to put it on hold, to reconsider—always to reconsider. I am a creature of prevarication and ritual.
There are the before rituals and the after rituals. I am well acquainted with both.
Before rituals: This is when I reevaluate whether I want or need the pocket square—the way I reevaluate everything, whether it’s a job offer, a writing assignment, a dinner invitation, or someone’s friendship that promises to open new vistas. Invariably I come up with all manner of reasons to defer and ask questions instead. Am I buying it to impress colleagues, contacts, or someone special? Will a piece of designer cloth or a house at the beach or another trip abroad really make me happy, win me friends, and influence people? Am I buying it for me or, more precisely, for the new me who will finally burst forth into the limelight like an outfitted jack-in-the-box besotted by his new apparel?
The reasons not to buy are so persuasive. Still, I return to the same store a few days later, ask to examine it yet again, have it unfolded once more. But again I leave empty-handed. A week later, same thing. More niggling questions: What is it made of? Is it the customary size for a pocket square or is it smaller? Might I have a look at another of the same make? The new salesperson doesn’t know that this is my fifth visit.
There is a side of me that is tired of my shilly-shallying. But there is another that enjoys it and thinks that if I vacillate so much it might be because I’m not so sure I even like this item. Isn’t there something a touch gaudy, maybe even loutish, in the pochette ’s not-so-muted swank? Could it be that it actually repels me and that I’ve mistaken its faux glam for elegance?
But in the end, it is pointless to resist. I step into the store again one evening and, in a gesture that lasts no more than a minute, buy the pocket square. I’ve done this so many times in the past: the Marinella ties that took at least two weeks to buy; the Borsalino panama I finally purchased on my very last day in Italy, when I no longer needed it to block the sun; the Montegrappa fountain pen I still can’t bring myself to use for fear of dropping it; the Drumohr cashmere vest I spent a fortune on, did wear, and ruined by tossing into the dryer.
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Finally the honeymoon begins. At a business lunch my eyes unavoidably drift to my breast pocket. “Pocket square, I love you.”
Once I’m home, the after rituals begin. I won’t even touch the new pocket square, much less wear it. I keep it in its original box on a table in my study—as if it’s on probation and might be taken back to the store if I feel so much as a ripple of doubt. Which is why I also keep the receipt handy. Besides, I don’t want what is new to feel entirely naturalized, mixed in with the residents of my closet. I eventually find a space for it next to, but not with, my other pochettes, promising to take it out of its box when it is ready to join their clan and acquire their drawer habits, possibly even their scent, the way we’ll gladly accept someone into our home night after night but feel a touch squeamish about handing them our keys.
Truth is, I don’t know what I feel yet and need to quarantine my new pochette in this purgatory of new possessions. Or maybe it’s just that I want to enjoy its newness, and the only way to do so is to avoid thinking I own it. This could just be my most cunning way of extending its appeal—pretending it’s still a stranger and might decide to walk out on me. I’m like someone who refuses to memorize the telephone number of a person he knows he’s falling in love with. By keeping the number intentionally unfamiliar, he nurses the illusion that the relationship is newer than it is and that he is therefore far less vulnerable than he fears.
Meanwhile, in the neglected harem of pocket squares, resentment and rebellion are brewing. It says somewhere that favoring the brand new too overtly, like favoring the youngest born, is a form of arrogance and brings bad luck. A new item alters our relationship with fate and can bode ill if not properly inducted. The Greeks were all too aware of this. They knew that before the new could be elevated, something old needed to be given up as an offering. In my case, I need to propitiate the god of pocket squares. But it cannot be with something I already consider dispensable. You have to love whatever you are giving up; otherwise it is no sacrifice. So I’ll get rid of a well-worn tie.
Finally the honeymoon begins. At a business lunch my eyes unavoidably drift to my breast pocket. “Pocket square, I love you.” I catch my reflection on the street—same thing. It is, dare I say, mutual. But I don’t want to overdo things. A few days later I turn back to the older pocket squares, just to be fair, and decide to wear one, except that on my way out I have a change of heart, turn back, and opt for the new one once again.
Thus begins a wonderful affair. It may last a lifetime, or it may not. I don’t want to know, and I don’t care. Right now we’re on fire.
But I do know. Nothing lasts. One evening I pass by the store, and there it is: my pochette. I left it home today, sitting quietly with its siblings, who have grown to like it. But in the store it now looks slightly demoted, on sale at 40 percent off. This is when I begin to eye the new, more colorful pocket squares, and by extension the new me I know is still standing in the wings somewhere, waiting for the limelight.
The romance is fading, but I’m not quite done with my pochette yet. I fight rising misgivings. I blame a thread that has come undone, I blame folds that won’t go away, I even feel a twinge of guilt each time I riffle through my pocket squares and overlook the one I thought I’d always love. I blame fickle fashion, I blame friends who have seen me wear it too many times, and finally I blame myself, with that tired but reliable bromide I’ve used in other circumstances: It’s not you, it’s me. Not your fault, my dear, dear Kenzo scarf, or Charvet tie, or Simonnot Godard belt, not your fault, any of you, but mine—mine for being so frail, so vain, mine for mistaking you, the mask, for the face I wish were mine, mine for not remembering, once again, that joy is never in the object, never even in love, but in the hunt and the ever elusive promise of happiness.
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2018 Writers Guild Awards:
Author Andre Aciman and his wife, Susan.
Getty Images Gary Gershoff
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I've heard that Beautiful Boy is a sad movie.
Yes. :-\ :-\ :-\
[youtube=910,470]http://www.youtube.com/watch?v=D_ThijP22t0[/youtube]
https://www.youtube.com/watch?v=D_ThijP22t0
Beautiful Boy - Film Review (London Film Festival 2018)
Luke Hearfield
Published on Oct 13, 2018
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Steve Carell and Timothee Chalamet deliver knockout performances as real-life father and son David and Nic Sheff in Beautiful Boy. Felix Van Groenengen directs Carell and Chalet to potentially Oscar-winning performances. Watch as 18 year old Nic struggles with an addiction to crystal meth as well as other narcotics. This a powerful and humble film of addiction, shame and family. One of the best films of the year and reduced me to a weepy mess. You would be foolish to miss this film in cinemas guys. Also star Maura Tierney and Amy Ryan. Check out my review for my full thoughts.
If you half-remember having heard of Luke Hearfield before, almost exactly a year ago, this is why:
FYI, watch this young gay Brit's review of Call Me By Your Name --he saw it one of the screenings at the London Film Festival--he's funny AND he loved the movie, VERY articulate (as many Brits are).
[youtube=710,400]http://www.youtube.com/watch?v=7ZWHlLNVeXs[/youtube]
https://www.youtube.com/watch?v=7ZWHlLNVeXs
Call Me By Your Name - Film Review (London Film Festival)
Luke Hearfield
Published on Oct 11, 2017
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Luca Guadagnino's sun-drenched love story is a spell-binding piece of art. It's gonna be an awards-contender but it's also a genuinely touching film that will resonate with anyone whose ever been in love. Go and see it! Check out my full thoughts here.
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and, of course, there was this:
Ok, that's it, I've decided--
I will NOT be seeing Luca's latest.
(Sorry, Luca!)
:o :o :o :o
[youtube=1250,700]http://www.youtube.com/watch?v=z_I9rbiJWU8[/youtube]
https://www.youtube.com/watch?v=z_I9rbiJWU8
SUSPiRiA (2018)
Film Review (Venice Film Festival) [No Spoilers]
Luke Hearfield
Published on Sep 2, 2018
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Holy Christ! The latest film from Luca Guadignino (Call Me By Your Name) will scar you for life. The loving remake of the 1977 classic by Dario Argento's SUSPiRiA is set at a prestigious dance school in Berlin where the teachers practice more than dance... they also dabble in witchcraft. Premiering at The Venice Film Festival to both cheers and boos - SUSPiRiA will likely be the most divisive film of 2018. Move over Darren Aronofsky's mother! - theres a new disturbing film that people will either love or hate.
But Which side am I on? hmmmm? That is the mystery. Guess you'll have to watch my review to find out.
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“At some point, he’s got to make a more commercial choice,” says Unger. “But he’s very smart at choosing good roles, connecting with the audience and projecting a tonality that we haven’t seen before. The comparison for me: He has everything we loved about River Phoenix and Heath Ledger. Those guys in their day were revelations as young actors.”
http://www.vulture.com/2018/10/timothe-chalamet-is-the-perfect-movie-star-for-2018.html
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Timothée Chalamet
Is the Perfect Movie Star for 2018
By Chris Lee
October 15, 2018 2:53 P.M.
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Timothée Chalamet and his little mustache
Photo: Juan Naharro Gimenez/WireImage
On its surface, the prestige drama Beautiful Boy (which arrived in theaters to stronger-than-expected box-office returns this weekend) seems like a boilerplate “two hander.” That’s Hollywood parlance for a star vehicle spotlighting the dramatic machinations of a duo of actors — in this case, Timothée Chalamet and Steve Carell, respectively portraying a methamphetamine-addicted teenager suffering through the wash-rinse-repeat cycle of withdrawal, recovery, and relapse, and his long-suffering journalist father. The film, directed by Belgium’s Felix Van Groeningen, is based on memoirs by real-life father and son David and Nic Sheff.
But according to critical consensus — especially out of the Toronto International Film Festival where Beautiful Boy had its world premiere last month — the film hinges on Chalamet’s devastating performance, which will most likely place him squarely on the short list of best supporting actor nominees down the Oscars stretch. “Timothée Chalamet might be the male actor of his generation,” Los Angeles Times critic Kenneth Turan wrote in his review of the film. “With moments reminiscent of James Dean, the ne plus ultra of these roles, Chalamet both echoes the best of what’s come before and makes the part his own, allowing us to feel we’ve never seen a character like this. If you want to witness what honesty, authenticity and a remarkable gift can accomplish, this is the place to go.”
He added: “Chalamet is so good it’s worth seeing Beautiful Boy for his work alone.”
Last year, the 22-year-old actor appeared in two best picture Academy Awards-nominated movies, turning in a supporting performance as a high-school cool-guy in Greta Gerwig’s directorial debut Lady Bird and starring as co-lead in the coming-of-age romance Call Me By Your Name, racking up a raft of critics awards and a best actor Oscar nomination for the latter film to become the youngest actor nominated in the category since 1939. In the process, Chalamet turned almost overnight into moviedom’s foremost 20-something heartthrob, with throngs of young women turning up to bum-rush him at Academy screenings of Call Me By Your Name (in which he plays a 17-year-old American vacationing in Italy who falls in love with a graduate student played by Armie Hammer), compelling the film’s distributor Sony Pictures Classics to hire additional security guards to tamp down the Beatlemania-like fervor surrounding Chalamet at those events.
Thanks to Chalamet’s sensitive-dude gravitas — and the fact that he’s blessed with a kind of androgynous man-child beauty and great, swoopy hair — the actor’s career to date can conjure fair comparisons to that of early Leonardo DiCaprio. Pre-dating his breakthrough in James Cameron’s 1997 Titanic, Leo delivered stirring performances in a string of exquisite dramas including What’s Eating Gilbert Grape (for which he landed his first Oscar nomination) and The Basketball Diaries (in which he plays a teenage drug addict) and also portrayed a gay character — the poet Arthur Rimbaud — in director Agnieszka Holland’s Total Eclipse.
But to hear it from an assortment of Hollywood hands — producers, agents, studio executives, and awards campaign veterans — canvassed by Vulture, Chalamet occupies a different realm from Leo: he’s an actor who has come to be viewed as emblematic of a cultural shift that calls into question the very essence of modern male masculinity. “In our ever-rapidly changing culture, the notion of what a leading man is evolving,” says David Unger, CEO of the talent management and content production company Artist International Group. “He may not look like a brooding tough-guy, anymore. Today’s leading man is a more sensitive, thoughtful person. Timothée Chalamet exhibits a version of that. He’s symbolic of the emotional young man.”
Born and raised in Manhattan, a graduate of the Upper West Side’s Fiorello H. LaGuardia High School of Music & Art and Performing Arts, Chalamet cultivated his dramatic chops on off-Broadway plays, landing a recurring role in the Showtime spy-thriller Homeland in 2012 (as the vice president’s cocky son) and made his film debut two years later in Jason Reitman’s critically lambasted dramedy Men, Women & Children. According to people who have worked with the actor on the promotional circuit, he is unfailingly polite, remembering names, maintaining direct eye contact, and making a point to shake hands with fans — especially the borderline hysterical teenage females who have become Chalamet’s primary constituency.
“He’s not some kid who decided to be an actor because he had some shit to get out of him. That’s what makes him different,” says an Oscar strategist acquainted with Chalamet. “And he’s the kind of kid who you rip his picture out of 16 magazine and hang it on your wall — there haven’t been a lot of those on-screen in film lately. They’re mostly on TV.”
Whether Chalamet can hope to claim an Oscar at this nascent stage in his career, however, is an unresolved question. While historically, the Academy has lavished awards on twenty-something actresses — Jennifer Lawrence and Brie Larson being two recent examples — the best actor and supporting actor categories have been the almost exclusive province of middle-aged or older men. Last year, Darkest Hour star Gary Oldman beat out Chalamet for the statuette and you’d have to go all the way back to 1994 to find another best supporting actor nominee younger than 28 (and that would be none other than DiCaprio, then 19, in Gilbert Grape).
But thanks to a recent initiative by the Academy of Motion Pictures Arts and Sciences to fill its ranks with younger voters and more people of color, that calculus may be changing. “You have a different Academy with all the new people in it. It used to be 50-50 with old farts,” the strategist notes. “It’s now a lot younger, a little more savvy. There’s a different actor’s branch. The Academy membership has changed.”
To be sure, for some of the industry’s old farts, Chalamet can be an acquired taste. “He’s pretty fey,” says one veteran studio hand and Academy voter in his 60s. “He might be the next Anthony Perkins, rather than the next Leo.”
According to a hit-making movie producer who arranged a “general meeting” (a kind of meet-and-greet job interview without any specific job being offered) with Chalamet last year, the actor’s absence of macho swagger, his innate sensitivity, and his apparent emotional availability are his primary selling points.
“The way I define and break down my male actors is very specific,” the producer says. “I determine whether they’re alpha or beta — I need to know which side of the ledger they come up on. Leonardo DiCaprio is alpha. He’s alpha in the way he runs his life, in the performances he gives; he’s alpha in the choices he makes. When Timothée walked out of the room, he was beta for me. Maybe in this era, the male movie star that is a little more compassionate, that has that softness, will be rewarded. We’re seeing a complete course-shift around the alpha males in Hollywood. We’re redefining what it means to be a man.”
“Girls love him now because I don’t think they’re scared of him,” the producer adds. “They’re falling in love with the idea of a good guy. And audiences support that. That’s why Tom Hanks is so great. He’s always the good guy. You’re selling the new male. What does the new male movie star look like in a post #MeToo world, where you can’t get away with all the things the alpha guys used to crush it at?”
Chalamet has also made excellent choices so far in terms of choosing scripts and the filmmakers with whom he has worked — one notable asterisk on that resume being Woody Allen, who directed Chalamet in the Amazon Studios’ romantic-comedy A Rainy Day in New York. In light of continuing allegations of sexual abuse by Allen’s adopted daughter, Amazon has indefinitely shelved the film and Chalamet publicly disavowed the director, donating his salary from Rainy Day to several charities in January.
Up next, the Oscar nominee is set to portray King Henry V in The King, an epic historical drama directed by David Michôd that wrapped production in England and Hungary in August; and Chalamet will reunite with Gerwig, delivering another supporting performance in her adaptation of the Louisa May Alcott novel Little Women (scheduled for an awards season bow circa Christmas, 2019).
“At some point, he’s got to make a more commercial choice,” says Unger. “But he’s very smart at choosing good roles, connecting with the audience and projecting a tonality that we haven’t seen before. The comparison for me: He has everything we loved about River Phoenix and Heath Ledger. Those guys in their day were revelations as young actors.”
Our Oscar strategist adds of Chalamet’s representatives at United Talent Agency: “He’s got really good people behind him, good agents. They really are molding him and picking right.”
In addition to having reportedly signed on to reprise his role as Elio in director Luca Guadagnino’s planned sequel to Call Me By Your Name, Chalamet is on deck to appear in what is shaping up to be his most commercial (and least awards-y) movie project to date: Dune, a big budget reboot of the visionary science-fiction novel directed by Blade Runner: 2049 filmmaker Denis Villeneuve. Set on a desert planet in deep space in the distant future, the film — currently in pre-production — will reportedly feature Chalamet portraying the brooding scion of a noble family leading a rebellion to restore their reign.
And if the calculus of Chalamet appearing in a popcorn movie directed by an acclaimed auteur, aiming for four-quadrant appeal, carries more than a whiff of What Would Leo Do? — that’s no coincidence. “It has always been my dream to do a big movie,” he said during an interview with the Philippine Daily Inquirer. “And looking at the careers of Leonardo DiCaprio or Joaquin Phoenix, those guys exclusively work with great directors. So I said to myself, if you do a big movie, make sure it’s with a great director.”
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"A 17-year-old American vacationing in Italy?" Well, no. ...
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As always, Luca is thoughtful, insightful, wonderful.
His comments on CMBYN start at 3:49.
[youtube=1067,600]http://www.youtube.com/watch?v=FLYE7Y3xGJg[/youtube]
https://www.youtube.com/watch?v=FLYE7Y3xGJg
The Success of
Call Me By Your Name
Luca Guadagnino On Filmmaking
BAFTAGuru
Published on Nov 16, 2018
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Luca Guadagnino talks about his love of film and the making of Call Me By Your Name.
Twitter:
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More riches! :D
[youtube=1067,600]http://www.youtube.com/watch?v=tJ2UgMJbLZc&t=21s[/youtube]
https://www.youtube.com/watch?v=tJ2UgMJbLZc&t=21s
Call Me By Your Name
How Luca Guadagnino Met
Author André Aciman
BAFTAGuru Live
BAFTAGuru
Published on Oct 10, 2018
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Luca Guadagnino describes how he met André Aciman, author of Call Me By Your Name.
Twitter:
@BAFTAGuru: https://twitter.com/BAFTAGuru
@BAFTA: https://twitter.com/BAFTA
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visit our websites to find out more:
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Just--WOW.
(After the generic BAFTA promo, the
masterclass program starts at 2:49.)
[youtube=1067,600]http://www.youtube.com/watch?v=kZNUS1BPouY[/youtube]
https://www.youtube.com/watch?v=kZNUS1BPouY
MASTERCLASS
Luca Guadagnino
BAFTAGuru Live
BAFTAGuru
Streamed live on Sep 16, 2018
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Unless you snagged a ticket, this is the only place to see our sold out masterclass with Luca Guadagnino, the brilliant mind behind beloved films like Call Me By Your Name, I Am Love and A Bigger Splash (which he reluctantly calls the "Rich People by the Pool Trilogy). Watch a natural-born storyteller share his creative background in this remarkable masterclass brought to you by EE.
Twitter:
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Very nice! ;)
[youtube=1067,600]http://www.youtube.com/watch?v=VTUrmW3BNyU[/youtube]
https://www.youtube.com/watch?v=VTUrmW3BNyU
Luca Guadagnino:
The Filmmaker of the Senses
Impactful Pictures
Mike Handschin
Published on Jan 20, 2018
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Impactful Pictures is a docu-series celebrating powerful, important movies; their influences and what made them so "impactful".
Episode 3: Luca Guadagnino: The Filmmaker of the Senses
Luca Guadagnino was born in 1971 in Palermo, Sicily, Italy. He is a director and producer, known for Call Me by Your Name (2017), I Am Love (2009) and A Bigger Splash (2015).
As an avid moviegoer, I was really excited to see a filmmaker that offered something differently, slightly more artistic and personal. Luca's films are absolutely beautiful to watch, just by the way they were shot and edited. The cinematography in his films are always spot on.
If you haven't seen Call Me by Your Name in theaters, you should definitely go check it out. Armie Hammer, Timothee Chalamet and my man, Michael Stuhlbarg give amazing performances. I'm pretty sure we'll see the Luca Guadagnino and his cast at the Oscars this year.
Point is, if you haven't heard of this director, you definitely will. You can bet that we'll see more of his work in the upcoming years!
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https://www.theguardian.com/books/2018/dec/04/andre-aciman-announces-sequel-to-call-me-by-your-name
Call Me By Your Name
BOOKS
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André Aciman
announces sequel to
Call Me by Your Name
Author of the novel behind Oscar-winning romance says
he will return to story of Elio and Oliver, after the director
revealed his own plans for a follow-up film
by Alison Flood
Tue 4 Dec 2018 08.30 EST
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Timothée Chalamet and Armie Hammer in the 2017 film of Call Me by Your Name.
Photograph: Allstar/Sony Pictures Classics
André Aciman has revealed that he is writing a sequel to his bestselling novel Call Me By Your Name, which was adapted into an Oscar-winning film starring Timothée Chalamet and Armie Hammer.
A coming-of-age story detailing the poignant summer romance between teenager Elio and the slightly older Oliver, a graduate student who visits Elio’s family home in Italy, Aciman’s 2007 novel was adapted into a film last year. While the film ends with the pair still young, the novel gives a glimpse into Elio and Oliver’s future, showing a meeting between the lovers 20 years after their short affair.
Aciman revealed on Tuesday that readers would soon be given further insight into how the characters’ lives develop. “I would actually love a sequel to Call Me By Your Name. In fact I am writing one,” he tweeted.
The film’s director Luca Guadagnino has already been clear about his plans to follow the story with a series of sequels. “The novel has 40 pages at the end that goes through the next 20 years of the lives of Elio and Oliver, so there is some sort of indication through the intention of [the author] that the story can continue,” he told the Hollywood Reporter earlier this year. “In my opinion, Call Me By Your Name can be the first chapter of the chronicles of the life of these people that we met in this movie, and if the first one is a story of coming of age and becoming a young man, maybe the next chapter will be, what is the position of the young man in the world, what does he want – and what is left a few years later of such an emotional punch that made him who he is?”
James Ivory, who won an Oscar for best adapted screenplay for his adaptation of Call Me By Your Name, was unconvinced, however. He told the Film Stage last week that he wouldn’t want to be involved. “André Aciman just laughed at the idea to me. He said it was not a good idea. They can’t do a sequel, I think, without him being on board. It’s his characters and his story. But that seems to have died down a bit. I haven’t heard much about it lately.”
Aciman’s rethink, greeted with rapture by thousands of fans, is likely to change that.
8) 8) 8)
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[youtube=1150,600]http://www.youtube.com/watch?v=H7y9Vydf09U[/youtube]
https://www.youtube.com/watch?v=H7y9Vydf09U
Armie Hammer:
Call Me By Your Name (The Sequel!)
“Will Happen” - Variety
Crema Heart
Published on Sep 8, 2018
(https://yt3.ggpht.com/a-/AN66SAyB18slNeq5DdzPkBtHwaQdNojB8ftDpnHkMw=s48-mo-c-c0xffffffff-rj-k-no)
and also:
Variety Studio
Published on Sep 8, 2018
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https://variety.com/2018/film/news/armie-hammer-call-me-by-your-name-sequel-will-happen-1202933533/
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Armie Hammer: Call Me by Your Name Sequel "Will Happen’’
By MARC MALKIN
SEPTEMBER 8, 2018 1:02PM PT
The sequel to Call My By Your Name is coming along quite nicely.
Armie Hammer says, “It will happen because there are already people working on it and trying to make it happen.”
The actor, however, is tightlipped about revealing too much. “How much do I know and how much could I tell you are two very different things,” he said at the Variety Studio presented by AT&T at the Toronto International Film Festival while promoting his new real-life drama “Hotel Mumbai.” “I know a lot, but I can’t tell you anything.”
Director Luca Guadagnino has never been shy about his desire to make a sequel with Hammer and Timothée Chalamet. He has said the follow-up would take place in the early 1990s, about five years after the original time, and will touch upon the early years of the AIDS epidemic.
“More than anything I trust the artistic direction to Luca and novelist André Aciman and to those guys who did such a good job handling it the first time around,” Hammer said. “The only thing I want to see is I want to see it happen. I want to do it again.”
“I miss the whole crew,” he added. “It was such a special time. It was such a collaborative, unique, and totally immersive filming experience that I never really had, nor since. If we get to do another one, I’ll feel really lucky.”
Hammer continues to receive peached-theme gifts, including peach-flavored Haribo candy. A fan gave him a 10-pound bag for his birthday after one of his performances on Broadway in “Straight White Men.”
We had to ask if anyone from the peach industry has approached him about becoming a spokesman. “I’m pretty sure the peach industry saw what we did to the peaches and was like, ‘We can’t go there,’” Hammer said before adding with a laugh, “Peaches — they’ve got a variety of uses.”
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:D :D :D :D :D
(https://pbs.twimg.com/profile_images/726550105378050049/MkIT5mTF_400x400.jpg) André Aciman
@aaciman
4:07 PM - 3 Dec 2018
12,271 Retweets 53,722 Likes
https://twitter.com/aaciman
https://twitter.com/aaciman/status/1069745030473109504
I would actually love a sequel to Call Me by Your Name.
In fact I am writing one.
:laugh: :laugh: :laugh: :laugh: :laugh:
(https://pbs.twimg.com/profile_images/779856784668319745/9pTj7ejH_400x400.jpg) Armie Hammer
@armiehammer
4:19 AM - 4 Dec 2018
1,283 Retweets 9,596 Likes
https://twitter.com/armiehammer
https://twitter.com/armiehammer/status/1069929240622231552
Replying to @aaciman
BOOOM!
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:D :D :D :D :D
(https://pbs.twimg.com/profile_images/726550105378050049/MkIT5mTF_400x400.jpg) André Aciman
@aaciman
9:12 AM - 9 Dec 2018
98 Retweets 98 748 Likes
https://twitter.com/aaciman
https://twitter.com/aaciman/status/1071814968604016643
My son just gave me
the loveliest Christmas present ever!
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https://forward.com/series/forward-50/2018/andre-aciman/
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André Aciman
Exemplary Dad & Author of
Call Me by Your Name
by Alexander Aciman
December 9 2018
(https://s3.amazonaws.com/assets.forward.com/images/cropped/aciman-andre-1543436714.jpg?)
It is late 1993. My dad and I are eating peanuts on the back of the M11 bus. Remember this moment for the rest of your life, he tells me. Some moments are worth remembering even if you can’t understand why, and some things you cannot enjoy without saying how much you are enjoying them.
It is autumn 1994. In the rain my father carries me past Lincoln Center to Dante Park, where a statue of the brooding Florentine looks down on 66th Street, beads of water trickling down his chin. This, my dad says, was the great poet who lived in exile, and we too are in exile.
It is winter 1997. We are watching Dr. Zhivago on the small tube TV in my grandparents’ living room — the foggy fluish warmth of an old radiator, the whole house glowing with the yellow light of dying incandescent bulbs. We’re just going to watch for a few minutes, he says, knowing that we’ll probably stay to the end. For weeks afterward I ask him to whistle the theme for me. I hear it in my head at night.
In the spring of 1998 we travel to France alone together, just the two of us. For a few weeks we get to be French. These are the best days of my life and we will talk about them for the next 20 years.
One rainy night in the winter of 2000 I watch my dad read aloud from the first chapter of an unfinished novel beneath the dim light and faux Victorian paneling at KGB Bar. I think of Riverside Drive in the snow, and how one day I might walk into a party and meet a girl.
Rome 2003. We sneak off during a family vacation and visit his old apartment on the other side of town, where he spent some of the unhappiest years of his life, where still we must take a nostalgic pilgrimage. In the late afternoon sun he points to the pink-ochre building and shows me the window of his bedroom. It is different than I imagined it from his stories.
In February 2007, during a blizzard, we find our seats at Film Forum to see Last Year at Marienbad, a film that I will hate. He insists that years from now I’ll revisit it and change my mind. He is right.
In spring 2008 I listen as my father reads Chateaubriand and Racine aloud to my grandfather, who won’t make it past May.
In June 2012 he suggests skipping my college graduation and going to the beach instead. Sometimes, as he says in Arabic, lazem beach, we need the beach.
It is spring 2013. I’ve just been dumped 12 hours ago. At lunchtime my father waits outside my office at the Time/Life building to take a walk with me. We split a Starbucks sandwich, and he hands me a handkerchief, which stays in my jacket pocket for the next five years. He could never possibly know how much this walk means to me.
Summer 2017. In his living room, over scotch and pistachios, I read aloud to him the first two chapters of a novel I’m working on. His are the thoughts that matter most.
It is October 2017. I am sitting next to my dad in Alice Tully Hall, waiting for Call Me By Your Name to start. I am so proud of him. By the end of the night everyone in the room will see what I have always seen, and have felt what I have always felt.
Alexander Aciman has written for The New York Times, the New Republic and The Paris Review. He is the son of Andre Aciman.
http://www.nytimes.com/2011/01/06/garden/06Domestic.html?mcubz=3
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Domestic Lives
The Day He Knew Would Come
By ANDRÉ ACIMAN
JAN. 5, 2011
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Sometimes the writer and his sons would invent errands to avoid reaching home too soon. A favorite was a visit to the
Christmas tree vendors on 110th Street. Credit Richard Perry/The New York Times
THE doors to their bedrooms are always shut, their bathroom always empty. On weekends, when you wake up in the morning, the kitchen is as clean as you left it last night. No one touched anything; no one stumbled in after partying till the wee hours to heat up leftovers, or cook a frozen pizza, or leave a mess on the counter while improvising a sandwich. The boys are away now.
Two decades ago there were two of us in our Upper West Side home. Then we were many. Now, we’re back to two again.
I knew it would happen this way. I kept joking about it. Everyone joked. Joking was my way of rehearsing their absence, of immunizing myself like King Mithridates, who feared being poisoned and learned to take a tiny dose of poison on the sly each day.
Even in my happiest moments I knew I was rehearsing. Waiting for my eldest son’s school bus, standing on the corner of 110th Street and Broadway at 6:20 p.m. while leaning against the same mailbox with a warm cup of coffee each time — all this was rehearsal. Even straining to spot the yellow bus as far up as 116th Street and thinking it was there when in fact I hadn’t seen it at all was part of rehearsing. Everything was being logged, nothing forgotten.
When the bus would finally appear, the driver, an impatient Vietnam veteran, would dash down Broadway, either squeaking to a halt if the light was red before 110th or hurtling across to 109th to let some of the students out. The bus, from Horace Mann, trailed the one from the Riverdale Country School by a few seconds every evening. I’d remember that, just as I’d remember the reedy voice of the beggar squatting outside Starbucks, or my son’s guarded squirm when I’d hug him in view of the schoolmates who watched from the school bus window.
By late November it was already dark at 6 p.m. As always, coffee, mailbox, traffic. Our ritual never changed, even in the cold. Together, we’d walk down 110th Street and talk. Sometimes we needed to buy something along the way, which made our time together last longer. Sometimes we made up errands to avoid reaching home too soon, especially after Thanksgiving when all three sons and I would walk over to the Canadian Christmas tree vendors and chat them up about prices. And sometimes I’d tell my eldest that it helped to talk about the day when we wouldn’t be able to take these walks together. Of course, he’d pooh-pooh me each time, as I would pooh-pooh his own anxieties about college. He liked rituals. I liked rehearsing. Rituals are when we wish to repeat what has already happened, rehearsals when we repeat what we fear might yet occur. Maybe the two are one and the same, our way to parley and haggle with time.
Sometimes, in winter, when it’s dark, and the feel, the lights and the sound of the city can so easily remind me of the bus stop at 6:20 p.m., I’ll still head out to 110th Street and stand there awhile and just think, hoping it might even hurt.
But it never hurts. Partly because I’ve rehearsed everything so thoroughly that scarcely an unchecked memory can slip through or catch me off guard, and partly because I’ve always suspected there was more sentiment than feeling in my errands to 110th Street.
Besides, e-mail and cellphones kept my eldest son, in college, present at all times. And there were his twin brothers who still lived at home and would continue to do so for two more years, shielding me from his absence. Together the twins and I still walked by the tree vendors on 110th Street and still put off buying anything until it was almost Christmas Eve. Things hardly changed. We removed one leaf from the dining table, my eldest’s dirty running shoes disappeared from our hallway, and his bedroom door remained shut, for days sometimes. Life had become quiet. Everyone had space. In the morning, on his way to class in Chicago, he always managed to call. A new ritual had sprung.
Then this past September, the twins left as well. Suddenly a half gallon of milk lasts eight days, not just one. We don’t buy sausages or peanut butter or stock all manner of cereals that have more sugar than wheat. There is no one to rush home and cook for, or edit college applications for, or worry about when they’re not back past 3 a.m. No sorting though dirty socks, no mediating the endless bickering about who owns which shirt, no setting my alarm clock to ungodly hours because someone can’t hear his alarm clock in the morning, no making sure they have 12 No. 2 pencils, and not just two.
All things slow down to what their pace had been two decades earlier. My wife and I are rediscovering things we didn’t even know we missed. We can stay out as long as we wish, go away on weekends, travel abroad, have people over on Sunday night, even go to the movies when we feel like it, and never again worry about doing laundry after midnight because the boys refuse to wear the same jeans two days in a row. The gates are thrown open, the war is over, we’re liberated.
Months after they’d left, I finally realized that the one relationship I had neglected for so many years was none other than my relationship with myself. I missed myself. I and me had stopped talking, stopped meeting, lost touch, drifted apart. Now, 20 years later, we were picking up where we’d left off and resumed unfinished conversations. I owned myself.
One evening, while preparing dinner with my wife, I went a step further and realized I had committed the unmentionable: I had stopped thinking of the three persons who are still dearer than life itself. I did not miss them and, stranger yet, hadn’t thought of them all day. Is the human heart this callous? Can out of sight, out of mind apply to one’s children as well? Really?
I was almost ready to pass the cruelest verdict on myself when I suddenly came across something I could never have foreseen, much less rehearsed. A young couple with twins in a stroller was crossing the street in a rush, precisely where the school bus used to stop. As I watched them chat with one of the Canadians at the Christmas tree stall, I suddenly wished I was in the young father’s place with my own twins, 10 years, five years ago, even last year. We’d buy something warm to drink across the street then rush to say hi to the tree vendors. Now it seemed I’d lost the right to walk up to them.
I envied the couple with the twins. And, as though to prod the knife deeper into the wound, for a moment I allowed myself to think that this is 20 years ago, I’ve just gotten married, my children are not born yet, and our new, three-bedroom apartment feels far too vacant for just the two of us. I stare at the couple and am thinking ahead for them, or ahead for myself, it’s not clear which, picturing the good things that have yet to come, even telling myself that the time for the 6:20 bus lies so very, very far away that it’s almost impudent to conjure it up just now.
And then I finally saw things for what they were. Just as the boys came and went this Christmas, this is how it always is and has been: things come and then they go, and however we bicker with time and put all manner of bulwarks to stop it from doing the one thing it knows, the best thing is learning how to give thanks for what we have. And at Christmas I was thankful; their bedroom doors were open again. But I knew, even as I welcomed the flurry of bags and boxes and hugs and yelps, that a small, sly corner of my mind was already dreading and rehearsing that morning in January when they’d all head back to the airport.
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André Aciman, a professor of comparative literature at the City University of New York Graduate Center, is the author, most recently, of “Eight White Nights,” a novel.
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So--both at the beginning and at the end,
this conversation between
Armie Hammer and Dakota Johnson
is almost entirely about Luca Guadagnino--
is this a tease, are we are looking at The Sequel,
Mr and Mrs Armie Oliver meets 'Teemmy' Elio?
:laugh: :laugh: :laugh: :laugh: :laugh:
(https://yt3.ggpht.com/-H1m38Y1pMrM/AAAAAAAAAAI/AAAAAAAAAAA/aAyNHR2XuTI/s88-c-k-no-mo-rj-c0xffffff/photo.jpg)(https://yt3.ggpht.com/-H1m38Y1pMrM/AAAAAAAAAAI/AAAAAAAAAAA/aAyNHR2XuTI/s88-c-k-no-mo-rj-c0xffffff/photo.jpg)(https://yt3.ggpht.com/-H1m38Y1pMrM/AAAAAAAAAAI/AAAAAAAAAAA/aAyNHR2XuTI/s88-c-k-no-mo-rj-c0xffffff/photo.jpg)(https://yt3.ggpht.com/-H1m38Y1pMrM/AAAAAAAAAAI/AAAAAAAAAAA/aAyNHR2XuTI/s88-c-k-no-mo-rj-c0xffffff/photo.jpg)
(https://s2.wp.com/wp-content/themes/vip/pmc-variety-2017/assets/build/images/premier/mktg-logo.jpg)
STUDIO
[youtube=1067,600]http://www.youtube.com/watch?v=CnDtfDRsFto[/youtube]
https://www.youtube.com/watch?v=CnDtfDRsFto
https://www.youtube.com/watch?v=-AkWb0e5xvo
VARIETY STUDIO: Variety's Actors on Actors presented by Amazon Studios
Armie Hammer and Dakota Johnson
Actors on Actors - Full Conversation
(and The Sequel??)
sandra innit
Published on Dec 5, 2018
(https://yt3.ggpht.com/a-/AAuE7mCVh2TY1GwgBQhyHwiadbdEUu4Jx6GI4F03Pg=s48-mo-c-c0xffffffff-rj-k-no)
and also:
Variety Studio
Published on Dec 23, 2018
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Great news about the sequel if it's not a tease!
That article by Alexander Aciman was very moving!
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Nobody noticed? Today is Timothee Chalamet's 23rd birthday.
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Dialogue is stilted and awkward, as if it’s been put through Google Translate a few times while characters, if you can even call them that, act in strange, unlikely ways (much of the audience exhaustion was aimed at dim-witted 80s horror movie behaviour). The performers are left with very little to work with and while Armie Hammer does find away of making the most of his haunted alcoholic, Dakota Johnson and Zazie Beetz, two wonderful actors, are stranded with hopelessly one-dimensional roles. Arguably the biggest mystery of the film is exactly why they would have signed on to such a thankless project in the first place.
Again--
is this a tease, are we are looking at The Sequel,
Mr and Mrs Armie Oliver meets--???
:laugh: :laugh: :laugh: :laugh: :laugh:
https://www.theguardian.com/film/2019/jan/31/wounds-review-armie-hammer-dakota-johnson-sundance
(https://upload.wikimedia.org/wikipedia/commons/thumb/7/75/The_Guardian_2018.svg/2000px-The_Guardian_2018.svg.png)
First look review
Sundance 2019
Wounds
Armie Hammer v cockroaches
(with Dakota Johnson)
in goofy cursed phone horror
An attractive cast and a handful of arresting visuals can’t save
this glossy, underwritten tale of a barman losing his mind
★★★★★
by Benjamin Lee
@benfraserlee
Thu 31 Jan 2019 17.09 EST Last modified on Thu 31 Jan 2019 17.11 EST
(https://media.guim.co.uk/a43238f90ac647f0405583a88c3f13d8e5dae6e0/0_200_6000_3600/1000.jpg)
Dakota Johnson and Armie Hammer in Wounds
During my particular screening of Wounds at this year’s Sundance film festival, there was an added in-cinema soundtrack. Certain reactions are to be expected when watching a button-pushing horror, from gasps to screams to nervous laughter following a deviously employed jump scare, but others are less desirable, unintentional mockery or incredulity the sign of a major misstep.
The audience was as audibly unsure and exhausted with what was on-screen as I was, a confused, haphazard jumble of ideas, gore and tone, a misfiring curio set to befuddle and disappoint when it finally gets released. It’s an attempt at something artful and opaque yet wrapped in a slick, glossy package, a film that thinks it has something on its mind but is actually terminally vacant. It’s a strange career swerve for British-Iranian writer-director Babak Anvari, who impressed so many with his first feature, the effectively restrained ghost story Under the Shadow, a film constructed with a careful finesse that’s sadly absent here. Based on a novella by Nathan Ballingrud, the film focuses on Will (Armie Hammer), a bartender who enjoys his job just a little too much, preferring to drink with his regulars rather than spend time with girlfriend Carrie (Dakota Johnson).
One night, after a particularly violent brawl, Will finds a cellphone left on the floor. He takes it home and starts to interact with a string of unsettling messages. Strange things then start to happen, many of them involving cockroaches....
Opening quite pretentiously with a Joseph Conrad quote, Anvari hints at the study of a sociopath, but it’s one of the film’s many half-thought ideas and bar one atrociously written domestic row late in the film, it doesn’t take hold in quite the way that it should. Because there’s a lot going on in Wounds yet somehow also very little. There’s a Stephen King-lite protagonist gradually losing his mind and fighting against his worst urges. There’s a Ring-esque techno-curse, complete with supposedly haunting imagery. There’s a psychodrama about alcoholism. There’s a body horror. There’s a lot. Yet in a brief 92 minutes not one of these competing elements is able to develop, the ramshackle script feeling more like a stream of consciousness than anything complete.
Dialogue is stilted and awkward, as if it’s been put through Google Translate a few times while characters, if you can even call them that, act in strange, unlikely ways (much of the audience exhaustion was aimed at dim-witted 80s horror movie behaviour). The performers are left with very little to work with and while Hammer does find away of making the most of his haunted alcoholic, Johnson and Zazie Beetz, two wonderful actors, are stranded with hopelessly one-dimensional roles. Arguably the biggest mystery of the film is exactly why they would have signed on to such a thankless project in the first place.
Relying quite heavily on thunderously scored jump scares, inevitably some of them do work and aside from the more manipulative moments, Anvari does also manage a handful of arresting visuals, especially during the final, nutso scene. But the unintended outcome of these glimpses is a desire for a more effective framework for them to live within. Wounds creeps and crawls and pokes and bleeds but it never really works.
Wounds is showing at the Sundance film festival
https://en.wikipedia.org/wiki/Wounds_(film)
https://www.imdb.com/title/tt5913798/
So--both at the beginning and at the end,
this conversation between
Armie Hammer and Dakota Johnson
is almost entirely about Luca Guadagnino--
is this a tease, are we are looking at The Sequel,
Mr and Mrs Armie Oliver meets 'Teemmy' Elio?
:laugh: :laugh: :laugh: :laugh: :laugh:
(https://yt3.ggpht.com/-H1m38Y1pMrM/AAAAAAAAAAI/AAAAAAAAAAA/aAyNHR2XuTI/s88-c-k-no-mo-rj-c0xffffff/photo.jpg)(https://yt3.ggpht.com/-H1m38Y1pMrM/AAAAAAAAAAI/AAAAAAAAAAA/aAyNHR2XuTI/s88-c-k-no-mo-rj-c0xffffff/photo.jpg)(https://yt3.ggpht.com/-H1m38Y1pMrM/AAAAAAAAAAI/AAAAAAAAAAA/aAyNHR2XuTI/s88-c-k-no-mo-rj-c0xffffff/photo.jpg)(https://yt3.ggpht.com/-H1m38Y1pMrM/AAAAAAAAAAI/AAAAAAAAAAA/aAyNHR2XuTI/s88-c-k-no-mo-rj-c0xffffff/photo.jpg)
(https://s2.wp.com/wp-content/themes/vip/pmc-variety-2017/assets/build/images/premier/mktg-logo.jpg)
STUDIO
[youtube=1067,600]http://www.youtube.com/watch?v=CnDtfDRsFto[/youtube]
https://www.youtube.com/watch?v=CnDtfDRsFto
https://www.youtube.com/watch?v=-AkWb0e5xvo
VARIETY STUDIO: Variety's Actors on Actors presented by Amazon Studios
Armie Hammer and Dakota Johnson
Actors on Actors - Full Conversation
(and The Sequel??)
sandra innit
Published on Dec 5, 2018
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and also:
Variety Studio
Published on Dec 23, 2018
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Armie Hammer’s talent seems fairly widely known at this point, but he’s so good in Wounds it feels well worth repeating; he really is an extraordinary lead. It’s truly shocking how quickly he loses himself in this role an then continues to pour every ounce of himself into it as Will experiences his vulnerable, downward spiral. Wounds calls for the viewer to play along and attempt to put the pieces together right along with Will, and Hammer’s highly engaging performance is key to making that happen, while evoking an added frustration that comes with the fact that Will is clearly helpless.
http://collider.com/wounds-review-armie-hammer/#sundance-2019
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Sundance 2019
Wounds
Sundance 2019 Review
An Armie Hammer Showcase
with a Swing and Miss Ending
by PERRI NEMIROFF
JANUARY 31, 2019
(https://media.guim.co.uk/a43238f90ac647f0405583a88c3f13d8e5dae6e0/0_200_6000_3600/1000.jpg)
Dakota Johnson and Armie Hammer in Wounds
Just because a movie doesn’t end the way you hope, doesn’t mean the entire thing is an utter failure, but sometimes that big finish is such an outrageous swing and egregious miss, that it completely changes the way you look at the entire experience. So is the case with Babak Anvari‘s head-scratcher Wounds.
Armie Hammer leads as Will, a New Orleans bartender. It’s a typical night at Rosie’s with Will serving some regulars but then a group of underage college kids walk in. Will cuts them a break, serves them some beers and lets them stay. When a fight breaks out and the cops are called, the kids make a swift exit but amidst the chaos, one leaves her cell phone behind. Will takes the phone home with plans to bring it back to the bar the next day, but after receiving a string of bizarre and disturbing text messages, Will and his girlfriend Carrie (Dakota Johnson) become completely consumed by the mystery at hand.
Wounds starts off strong. The movie opens with a lengthy scene at Rosie’s where we get to settle in by seeing Will in his element. Minus the decision to serve minors, he seems like a decent, charming guy but it quickly becomes clear that he isn’t a “save the day” hero. From there Wounds starts to reveal the layers of its mystery, and they’re downright riveting. The progression of text messages and images become increasingly sinister, and the situation becomes more and more intoxicating as the movie grows darker. Anvari and his team use quick cuts to violent, highly unsettling visuals and also bold stingers in the sound mix to great effect, keeping you firmly on edge, nervously awaiting the next threat to Will and Carrie.
Armie Hammer’s talent seems fairly widely known at this point, but he’s so good in Wounds it feels well worth repeating; he really is an extraordinary lead. It’s truly shocking how quickly he loses himself in this role an then continues to pour every ounce of himself into it as Will experiences his vulnerable, downward spiral. Wounds calls for the viewer to play along and attempt to put the pieces together right along with Will, and Hammer’s highly engaging performance is key to making that happen, while evoking an added frustration that comes with the fact that Will is clearly helpless.
He also has a ton of chemistry with Zazie Beetz. She plays Alicia, his ex and close friend, and Will is caught between still having feelings for her but also filling the role of supportive best friend. It’s an appealing relationship that feels like it’s got a significant amount of history behind it, and Beetz also has this wildly captivity, natural on-screen presence that breathes so much life and energy into her character. Johnson, on the other hand, is in a bit of a tight spot with this role. She’s so soft-spoken and blasé that Carrie comes across as quite dull. Given Will’s feelings for Alicia, it makes sense that he doesn’t appear to be as madly in love with Carrie, but Johnson is so cold in her scenes it’s tough to imagine why Will and Carrie got together to begin with.
That disconnect does suck some of the energy out of Wounds as the film frequently cuts back to Carrie at their home doing her own detective work, but the more devastating problem with Wounds is its ending. I’m going to steer clear of specifics and major spoilers but if you’d rather know nothing at all about the way Wounds wraps up, you might want to stop reading here. But it does feel necessary to address the conclusion given the fact that I suspect it’s something that will heavily influence overall feelings on the film.
Mysterious endings can be highly effective, especially when they send you out the door considering and reconsidering what just happened. Wounds does just that, but the ending is so out of left field and unsupported that the whole story unravels the more you think about it. It’s a shocking conclusion that will be tough to shake, but what’s the point in something like that if the rest of the experience caves under the weight of an ending that seems so out of touch with the rest of the movie? The entertainment value is there and Wounds most certainly had my attention most of the way through, but the swing and miss ending makes it tough to recommend.
Rating: C+
Wounds does not currently have a release date.
FYI, from two years ago:
It must be said that Call Me by Your Name is a triumph in every regard. Michael Stuhlbarg’s role as Elio’s father isn’t necessarily a large role in terms of screentime, but he delivers a monologue towards the end of the film that felt like it made time stop. Luca Guadagnino and James Ivory’s script is measured and tight; thoughtful and delicate. Every inch of this movie is expertly crafted, right down to the stunning final shot. It’s at once a universal story of young love and a relatable, emotional story of a homosexual awakening. In that regard it’s a tremendous love story period, but also a winning entry in the legion of queer cinema.
http://collider.com/call-me-by-your-name-review/
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Sundance 2017
Call Me by Your Name
Sundance 2017 Review
Armie Hammer and Timothée Chalamet
Astound in Sensual Triumph
by ADAM CHITWOOD
Monday 23 January 2017
(http://cdn.collider.com/wp-content/uploads/2017/01/call-me-by-your-name-armie-hammer-600x400.jpg)
Days filled with swimming, reading, and eating fresh fruit ... Timothée Chalamet, Michael Stuhlbarg and Armie Hammer in Call Me by Your Name
In my four years attending the Sundance Film Festival, I’m not sure I’ve seen anything as purely rapturous as Call Me by Your Name. The new feature film from I Am Love and A Bigger Splash filmmaker Luca Guadagnino chronicles a summer romance that blossoms between a young boy and a visitor in northern Italy, and by the film’s end it solidifies its place as one of the queer cinema greats alongside Carol, Brokeback Mountain, and Moonlight. The film is a tremendously sensual, hypnotic coming of age/coming out tale of first love. Anchored by a phenomenal breakout performance from Timothée Chalamet, Armie Hammer’s best work yet, and masterful craftsmanship, Call Me by Your Name is an instant addition to the best romances of the 21st century.
Based on the book of the same name by André Aciman, the film takes place in 1983 in Northern Italy, where a 17-year-old boy named Elio is spending the summer in his family’s 17th century villa. His father (Michael Stuhlbarg), a professor of Greco-Roman culture, enlists a research assistant named Oliver (Hammer) to come and spend the summer with his family. Elio is transfixed by Oliver at first sight, but approaches the handsome American warily, keeping him at arm’s length. As the summer continues and Elio and Oliver play a game of chicken, daring one another to make the first romantic overture, the two finally give into their feelings and spark a romance that is passionate, playful, and pure.
Chalamet is nothing short of a revelation as Elio. The actor is probably best known for his work on Homeland or for a brief role in Interstellar, but this is one of the biggest breakthrough performances in recent memory. He imbues Elio with complicated layers—a confident exterior; a precocious charm; a fearful undercurrent. All of these shine through and more and he’s so good in the role that at first you even doubt whether he actually likes Oliver. Of course he’s simply preparing himself for rejection by throwing out the first jabs, but this results in a relationship that is at first delightfully contentious, then playfully so before turning into full on flirtation.
But as a closeted 17-year-old, Elio is still working out his feelings by losing his virginity to a local Italian girl who has the hots for him. Their relationship never comes off as phony, more as an exploration, and there’s a ticking clock plot point towards the end of the film that raises the stakes in hilariously sexy fashion.
As the relationship between Elio and Oliver becomes physical, the film really digs into this as a first love story and a coming out story. Love is universal, so the feelings between Elio and Oliver are the same feelings felt by all, but it’s nice that Guadagnino doesn’t ignore the elephant in the room: that Elio and Oliver’s sexuality is a thing to be hidden at that point in time. There’s a reason their relationship began so contentiously, and Oliver makes reference early in the film that he’s “been good” so far and doesn’t want to do anything to mess that up. It’s heartbreaking, really, to see Elio so miserable at the start of the film, surrounded by such beauty.
But this is no misery porn. The teasing that goes on between the two characters is magnificently handled by Guadagnino, who keeps a playful hand on the proceedings so as not to drown the film in self-serious romance. Summer flings are fun! So are first loves. And while this does blossom into something deeply felt, the summer season and Italian setting add a touch of lightheartedness to the scenes. Moreover, Guadagnino’s focus on sensuality over sexuality imbues the film with a romp vibe with an undeniable allure. One imagines that a more explicit or erotic version of the film would have downplayed how deeply felt the emotions are between Oliver and Elio.
Gorgeously shot by Sayombhu Mukdeeprom (Arabian Nights ), this is a film that you just want to soak up. The Italian scenery is milked for all its worth, and the days filled with swimming, reading, and eating fresh fruit are divine. But the secret weapon to immersing audiences into the world of Call Me by Your Name is some incredible sound design. The footsteps on the gravel roads, the creaking floors in the ancient villa—you not only see this world, you feel it. That only allows the audience to fall deeper into the film’s trance, becoming infatuated with the romance between Elio and Oliver.
It must be said that Call Me by Your Name is a triumph in every regard. Stuhlbarg’s role as Elio’s father isn’t necessarily a large role in terms of screentime, but he delivers a monologue towards the end of the film that felt like it made time stop. Guadagnino and James Ivory’s script is measured and tight; thoughtful and delicate. Every inch of this movie is expertly crafted, right down to the stunning final shot. It’s at once a universal story of young love and a relatable, emotional story of a homosexual awakening. In that regard it’s a tremendous love story period, but also a winning entry in the legion of queer cinema.
Rating: A
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I had the hardest time stopping where the spoilers began, but I did it, because I want to see the movie!
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I had the hardest time stopping where the spoilers began, but I did it, because I want to see the movie!
I'll remember that in the future, Lee! ;) :-*
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Over time, Will’s growing fragility (Armie Hammer) becomes the most intriguing aspect of Wounds. At first, Hammer seems like he’s out of place in a horror movie — he’s too jocular, too sturdy, too tall — but Babak Anvari manages to subvert his star’s persona. There’s a growing sense that Will’s good looks and general privilege have allowed him to take things for granted.
He didn’t feel compelled to finish college because he assumed that someone would always be willing to pay for the pleasure of having him around. He takes Carrie (Dakota Johnson) for granted because he’s safe in the knowledge that some other girl would always want him. He traipses over Alicia’s boundaries (Zazie Beetz) because he’s confident that she likes it. This is the first time that the world has been an uncertain place for him, and the anxiety exposes how shallow he is under the surface. Someone calls him a “mock person” at one point, which feels as much of a diss to the character as it does a self-own of Anvari’s two-dimensional screenplay.
https://www.indiewire.com/2019/01/wounds-review-sundance-armie-hammer-dakota-johnson-babik-anvari-1202038869/
(http://www.indiewire.com/wp-content/uploads/2016/05/iw.jpg?w=397)
Sundance 2019
Wounds
Sundance 2019 Review
Armie Hammer
and Dakota Johnson
Fight an Evil Cell Phone
Babak Anvari's disappointing follow-up to Under the Shadow is a
well-calibrated but woefully underwritten jump-scare machine.
by David Ehrlich
@davidehrlich
Jan 27, 2019 6:35 pm
(https://media.guim.co.uk/a43238f90ac647f0405583a88c3f13d8e5dae6e0/0_200_6000_3600/1000.jpg)
Dakota Johnson and Armie Hammer in Wounds
Babak Anvari’s Wounds opens with a Heart of Darkness quote about the evil wilderness that whispered to Colonel Kurtz, and how it “echoed loudly within him because he was hollow at the core.” And, uh, that’s a pretty bold choice for a movie about a demonically possessed cell phone that’s trying to contact the emptiness inside of Armie Hammer.
Alas, the trouble with this silly horror exercise — Anvari’s follow-up to his unnerving 2016 debut, Under the Shadow — isn’t that it’s pretentious, but rather that it doesn’t take itself seriously enough. The film’s threadbare story runs parallel to some compelling ideas about masculine insecurity, internalized pain, and the price of genetic privilege, but Anvari’s well-calibrated jump-scare machine is too preoccupied with gross effects, unmotivated jolts, and that strange rash that’s growing in Hammer’s left armpit to engage with any of them. The film may have been conceived as a love letter to the likes of David Lynch and Nicolas Roeg, but — amusingly disgusting finale notwithstanding — it has far more in common with the jittery, skin-deep horror fare that’s filled the massive void those giants have behind after departing for television or the great beyond.
Based on a novella by Nathan Ballingrud, the action begins in a sleepy New Orleans dive bar just before closing time. Will (Hammer), an effortlessly handsome bartender with a shit-eating grin that hides a complete lack of ambition, is the only person on duty, but the crowd is under control. The obese, completely nude woman playing billiards in the back? She’s a regular, and naked girls drink for free. The boisterous drunken tank of a man with questionable politics and a rowdy bunch of meathead friends? That’s Eric (“Orange Is the New Black” actor Brad William), and he’s always like this. Will barely flinches when Eric gets stabbed in the face with a broken bottle. The beautiful twentysomething who flirts with Will before making out with her boyfriend? That’s Alicia (Zazie Beetz), and she’s there every night, which is weird because there are definitely a few other bars in the French Quarter.
Of all these sordid boozehounds and night owls, the only ones who make Will a little nervous are the group of (probably underage) college kids who walk in like they own the place and start filming Eric’s fight instead of doing anything to stop it. Millennials: always helpful when you need to blame someone for all the world’s madness. Will is not amused, and he only gets more annoyed when he sees that one of the teens left their cell phone behind at the bar.
Why does he bring the phone home instead of leaving it at the bar? Will doesn’t know, but his girlfriend Carrie (Dakota Johnson) is suspicious enough that we have to assume there’s some kind of history there. It’s hard to believe that he’s cheated on her before — again, Carrie is played by Dakota Johnson, and her character doesn’t seem to own any pants — but there clearly isn’t much trust between them. Have he and Alicia slept together in the past, or do they just get off on the danger of being near each other? Apologies for all of the rhetorical questions, but Wounds is as short on answers as it is long on ambiguity, which makes for such a maddeningly vague experience that it soon feels more sketched than scripted.
That extends to the nameless supernatural terror that begins to plague Will after he unlocks the abandoned phone and responds to a few eerie text messages.
This might be the point you might want to stop reading, Lee!! :laugh: :laugh:
The person — or thing ! — on the other end of the line sends photos of a man’s decapitated head, and we’re off to the races. Anyone who’s seen a horror movie in the last 20 years can guess where things go from here: Will starts seeing things (giant cockroaches, mostly) and stops sleeping well. He receives a bunch of ominous phone calls, and notices that he’s being followed by a blonde girl in a black Charger (it’s possible to tease out the meaning behind this, but there’s little incentive to try). Literally every single thing in his world turns into a potential jump-scare, as he can’t so much as drink a beer or look out the blinds without the sound editor suddenly cranking things up to 11. It’s no way to live.
Over time, Will’s growing fragility becomes the most intriguing aspect of Wounds. At first, Hammer seems like he’s out of place in a horror movie — he’s too jocular, too sturdy, too tall — but Anvari manages to subvert his star’s persona. There’s a growing sense that Will’s good looks and general privilege have allowed him to take things for granted.
He didn’t feel compelled to finish college because he assumed that someone would always be willing to pay for the pleasure of having him around. He takes Carrie for granted because he’s safe in the knowledge that some other girl would always want him. He traipses over Alicia’s boundaries because he’s confident that she likes it. This is the first time that the world has been an uncertain place for him, and the anxiety exposes how shallow he is under the surface. Someone calls him a “mock person” at one point, which feels as much of a diss to the character as it does a self-own of Anvari’s two-dimensional screenplay.
But it gets harder to be so gracious as the scares intensify. While Anvari has a killer instinct for framing a room for maximum dread, pulling our eyes into shadowy corners only to sock us from another direction completely, his visual imagination remains underdeveloped. Many of the sudden frights come from quick flashes of unrelated imagery (a bloody eyeball here, a severed head there), and that trick is old before he even trots it out. Will and Carrie’s house eventually hosts a portal to…something bad…but the threat of something in the darkness is always scarier than what Anvari eventually shows us — at least until the go-for-broke final scene, which is disconnected from the drama of Will’s story but nevertheless hints at the movie a more disciplined Wounds might have been.
The harder that Wounds cleaves to the idea that its mysterious evil force is just a metaphor for its characters’ inner ugliness, the clearer it becomes that none of these people are real enough to carry that kind of weight. It’s telling that the most interesting scene is the one in which Hammer just sits at his laptop and Googles some generic occult nonsense — there’s a chance he might stumble across the plot of a better film. He doesn’t. Some wounds never heal.
Grade: C-
Wounds premiered at the 2019 Sundance Film Festival. Annapurna will release it on March 29.
FYI, from two years ago:
It’s 1983, “somewhere in Northern Italy.” The height of summer, and all of the neighborhood teenagers are in heat. Elio Perlman (Timothée Chalamet, keeping the promise he showed in “Miss Stevens” last September) is still a virgin. A 17-year-old American whose father, a local celebrity, is an eminent professor specializing in Greco-Roman culture (Michael Stuhlbarg), Elio has sprouted from the soil like the apricot trees that surround his family’s villa, and he’s impatiently waiting to bloom. Scrawny enough to be mistaken for a child but sophisticated enough to be mistaken for a man, Elio is a multilingual music prodigy who’s more comfortable with Bach and Berlioz than he is in his own body. He knows everything and nothing. But he’s about to get one hell of an education. (....)
Guadagnino lives for the climactic portion of this story, when feelings are finally transmuted into action and Oliver’s true nature breaks through the marble bust of his body (Armie Hammer’s warmth in these scenes is extraordinary). The details are best experienced for yourself, but it’s safe to say that movie lives up to the book’s steamy reputation, and Chalamet and Hammer throw themselves at each other with the clumsy abandon of first love. Growingly increasingly divorced from its source material as it goes along, the final beats of Guadagnino’s adaptation galvanize two hours of simmering uncertainty into a gut-wrenchingly wistful portrait of two people trying to find themselves before it’s too late.
http://www.indiewire.com/2017/01/call-me-by-your-name-review-armie-hammer-luca-guadagnino-sundance-2017-1201772350/
(http://www.indiewire.com/wp-content/uploads/2016/05/iw.jpg?w=397)
Sundance 2017
Call Me by Your Name
Sundance 2017 Review
Luca Guadagnino Delivers A Queer Masterpiece
Hot on the heels of A Bigger Splash the filmmaker returns with a film that's worthy of comparisons to Carol and Moonlight
by David Ehrlich
@davidehrlich
Monday 23 January 2017 3:15 pm
(https://media.timeout.com/images/103710041/image.jpg)
‘He’s about to get one hell of an education’ ... Michael Stuhlbarg, Timothée Chalamet and Armie Hammer in Call Me by Your Name
“Is it better to speak or to die?” That’s the core question of “Call Me By Your Name,” which surfaces in a scene where a character reads the words of Marguerite of Navarre in “The Heptaméron,” but it’s an idea at the heart of all queer narratives. It’s been especially present in queer cinema, where muteness and survival are often the most bittersweet bedfellows. But “Call Me By Your Name” not only quotes Marguerite’s words, it suffuses them into every fiber of its being. It’s a great film because of how lucidly it poses her question, and an essential one because of how courageously it answers it.
Directed by Luca Guadagnino with all of his usual cool (“I Am Love”) and adapted from André Aciman’s beloved 2007 novel of the same name, the rapturous “Call Me By Your Name” nearly rates alongside recent LGBT phenomenons “Carol” and “Moonlight,” matching the artistry and empathy with which those new masterworks untangled the repressive desire of same-sex attraction.
It’s 1983, “somewhere in Northern Italy.” The height of summer, and all of the neighborhood teenagers are in heat. Elio Perlman (Timothée Chalamet, keeping the promise he showed in “Miss Stevens” last September) is still a virgin. A 17-year-old American whose father, a local celebrity, is an eminent professor specializing in Greco-Roman culture (Michael Stuhlbarg), Elio has sprouted from the soil like the apricot trees that surround his family’s villa, and he’s impatiently waiting to bloom. Scrawny enough to be mistaken for a child but sophisticated enough to be mistaken for a man, Elio is a multilingual music prodigy who’s more comfortable with Bach and Berlioz than he is in his own body. He knows everything and nothing. But he’s about to get one hell of an education.
Every summer, Elio’s father flies out a graduate student to stay at the villa and help him with his research — this year’s intern is Oliver (Armie Hammer, as sensational here as he was in “The Social Network,” but similarly a touch too old for the part). Oliver is 24 and his body is an epic unto itself, as big as any one of the ancient statues that have been dredged up from the local seas. Arrogant, eager, and almost suspiciously handsome for an aspiring historian, the mysterious new visitor often seems as though he got lost on his way to a Patricia Highsmith novel. While much of the film feels stretched between the feverish eros of Bertolucci, the budding warmth of Mia Hansen–Løve, and the affected stoicism of James Ivory (who, at 88, has a co-writing credit on this screenplay), a thin shadow of suspense creeps along the outer edges of each frame, priming viewers for a very different kind of pivot than the one Guadagnino deployed during the third act of “A Bigger Splash.”
Elio and Oliver grow closer as the summer sinks toward its dog days — at first they share only a bathroom, the skinny adolescent looking at his unpredictable new friend as though he can’t understand how they could be the same species, let alone be interested in the same thing. But commonalities and semi-secrets soon emerge: For one thing, they’re both Jews in a land of goys. Oliver, no doubt aware that he looks like the winner of Hitler’s master race, wears a Star of David necklace underneath his shirt, a barely visible emblem of his otherness. The Perlmans, on the other hand, are what Elio’s father describes as “Jews of discretion” (one of the funnier lines in a movie that’s laced with a sharp sense of humor), but the strangeness of celebrating Hanukkah within spitting distance of Vatican City eventually makes its mark.
As the film progresses, Elio and Oliver begin to share more tangible things: Bike rides, errant touches, an unknown desire to have sex with one another (that last one is a biggie). Crucially, however, Elio is as conflicted about his own passions as he is those of the boy next door. His tastes are molten and volatile — he performs the same piano piece in a wildly different style every time he plays it, much to Oliver’s amused frustration. When he’s not busy gawking at his brawny infatuation, he’s enthusiastically trying to deflower the French girl down the street (Esther Garrell, of the New Wave Garrells), who wears her wardrobe of summer dresses like she’s trying to shame away the other seasons.
Telling this story with the same characteristically intoxicating capriciousness that has come to define his work, Guadagnino doesn’t dwell on looks of questionably requited longing. He’s not Todd Haynes and — with the possible exception of a long take mid-movie that follows the two leads around a fountain and endows the space between them with a palpably physical sense of attraction and denial — he doesn’t try to be. Instead, he stays attuned to the raw energy of trying to feel someone out without touching them, of what it’s like to live through that one magical summer where the weather is the only part of your world that doesn’t change every day.
Rippling with nervously excited piano compositions and shot with immeasurable sensuality by Thai cinematographer Sayombhu Mukdeeprom (“Uncle Boonmee Who Can Recall His Past Lives” and “Arabian Nights”), “Call Me By Your Name” is a full-bodied film that submits all of its beauties to the service of one simple truth: The more we change, the more we become who we are. Like the Latin prefixes that Oliver and Mr. Perlman trace back to their roots or the antiquated artworks that resonate because of how much the world has changed since their creation, Elio learns that growth — however wild or worrisome it might seem at the time — is the greatest gift that he can give himself.
Watching him slowly come to that realization is an unforgettable and enormously moving experience because of how the film comes to realize it, too. Guadagnino lives for the climactic portion of this story, when feelings are finally transmuted into action and Oliver’s true nature breaks through the marble bust of his body (Hammer’s warmth in these scenes is extraordinary). The details are best experienced for yourself, but it’s safe to say that movie lives up to the book’s steamy reputation, and Chalamet and Hammer throw themselves at each other with the clumsy abandon of first love. Growingly increasingly divorced from its source material as it goes along, the final beats of Guadagnino’s adaptation galvanize two hours of simmering uncertainty into a gut-wrenchingly wistful portrait of two people trying to find themselves before it’s too late. As Elio’s father puts it in a heart-stopping monologue that every parent might want to memorize for future use: “Don’t make yourself feel nothing so as not to feel anything. What a waste.”
Leaving us with one of the gorgeous new songs that Sufjan Stevens wrote for the film, this achingly powerful story — a brilliant contribution to the queer cinema canon — breathes vibrant new life into the answer that Marguerite of Navarre gave to her own question. “I would counsel all such as are my friends to speak and not die,” she said, “for ’tis a bad speech that cannot be mended, but a life lost cannot be recalled.”
Grade: A
“Call Me By Your Name” premiered in the Premieres section of the 2017 Sundance Film Festival. Sony Pictures Classics will release it later this year.
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https://www.nytimes.com/2019/02/07/style/timothee-chalamet-flight-economy.html
(http://salsa.wiredforchange.com/o/1607/images/Stock%20Photos/Media/new_york_times_logo.jpg)
NOTED
When Celebrities Fly Coach:
Timothée Chalamet
is the latest in a line of public figures who have drawn
outsize attention for sitting with the rest of us.
by Valeriya Safronova
@vsaffron
Feb. 7, 2019
(https://static01.nyt.com/images/2019/02/07/style/07TIMMY/07TIMMY-superJumbo.jpg?quality=90&auto=webp)
Alankrutha Giridhar and a fan. Alankrutha Giridhar
When Alankrutha Giridhar boarded her flight on Monday, she was understandably more concerned with finding overhead luggage space than meeting her seatmate.
Then she got a closer look at his face.
“When I sat next to him, I was like, ‘I’m 100 percent sure it’s him,’” Ms. Giridhar said, “but I didn’t want to prod or be weird or creepy.”
The man sitting next to her — in economy class and the middle seat, no less — was Timothée Hal Chalamet: the 23-year-old Oscar nominee (for Call Me by Your Name), Frank Ocean fanboy and early adopter of the luxury fashion harness. Er, bib.
(https://s1.r29static.com//bin/entry/742/x,80/2107025/image.jpg)
https://www.refinery29.com/en-us/2019/01/221513/timothee-chalamet-sequined-harness-explained
For the first hour and a half of the journey, Ms. Giridhar tried to conceal her excitement about sharing limited legroom with Mr. Chalamet. But when he asked her when the flight would land, Ms. Giridhar couldn’t help addressing his fame. She told him she knew who he was and asked him why he was in economy.
“He was just like, ‘What do you mean?’” Ms. Giridhar said. “He didn’t actually answer. I said, ‘People must recognize you.’ And he said, ‘You’re the only one. Nobody else has.’”
In flying coach, Mr. Chalamet joined a long list of public figures who have been noticed in the cheap seats. Prince William flew coach from Memphis to Dallas in 2014 after a wedding. His brother, Harry, and Meghan, the Duchess of Sussex, reportedly took up three rows with their security team when they traveled to Nice aboard British Airways last year. In 2012, Jessica Alba sat in economy on a trip from Los Angeles to New York while her two kids and their nanny were in first class, according to Radar Online. Angelina Jolie, Brad Pitt and their six children took an Air France flight from Paris to Nice in 2015, according to The Daily Mail.
Traveling in economy “is relatively common for people of all pay scales,” said Liana Corwin, the consumer travel expert at Hopper, a flight-booking app. “I think the key thing is convenience.”
Ms. Corwin added that celebrities and professional athletes regularly book flights through Hopper, and the app only offers seats in coach. “They’re people just like us and they have schedules they need to maintain, and sometimes economy will get them there faster and easier,” she said.
Claire Danes said as much about her choice to fly coach after she won the Screen Actors Guild award for best actress in a TV movie or mini-series in 2011. “It’s the only seat available, and I have to go back to work tomorrow morning,” Ms. Danes told Extra. “I get to shower in the hotel and then I go to set — and act some more.”
But it isn’t always about convenience. In 2014, Amy Adams, a six-time Oscar nominee, traded her first-class seat from Detroit to Los Angeles with a soldier who was in coach. She told Inside Edition that the point was to bring attention to people serving in the military.
Politicians are often spotted on airplanes, too. An observer once captured a shot of Mitt Romney snoozing with his mouth open in an aisle seat. Bernie Sanders has appeared in coach enough times to spark a hashtag: #SandersOnaPlane. Though convenience might certainly be a factor in both cases, it doesn’t hurt that flying “with the people” gives a politician a relatable gleam.
Ms. Giridhar certainly experienced that with Mr. Chalamet. “He was asking me so many questions about my life,” she said. “I was like, ‘This is so weird. Why are you asking questions about me?’”
Later they took a selfie, which Ms. Giridhar tweeted as part of a witty, charming Twitter thread about her experience.
Their conversation continued for the remainder of the journey.
“When the flight landed, we were talking about his upcoming films,” Ms. Giridhar said. “He wished me luck with my career,” which is in information technology. Her response? “I hope you win multiple Oscars one day.”
Valeriya Safronova is a reporter for the Style section. She is based in New York.
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Seen at the recent Climate Strike:
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Seen at the recent Climate Strike:
He certainly has his rabid admirers. :)