Call Me By Your Name (2017)

[baumer]

Discuss

[aabattery]

Really good. Very aesthetically pleasing movie and it has the performances to match.

 

[iceroll]

Such an amazing movie! The chemistry was so real and sexy. The train scene and the ending with Elio staring at the fireplace were devastating.

[La Binoche]

This didn't really work for me. So much of the book is spent in his mind, so you always know what he's thinking and feeling. In a movie you don't get that. So it's hard to know just how much this relationship affected him. Especially since they don't actually get together until the last third of the movie. 

 

Yes, the movie is beautiful and well acted, but I don't think it's a successful adaptation of the book. 

[filmlover]

This was something else. Calling it a "gay romance" would be really reductive. It's really a story about first love, and that first person who you feel truly special with. One doesn't have to be gay to identify themselves with these characters. This would actually make a great double feature with The Shape of Water: this movie is obviously much less fantastical, but they are both period love stories with strong dream-like qualities to them about unlikely romances (the two main characters, the Adonis-like Oliver and the comparatively shrimpy Elio, couldn't be further different). These are extremely well-written and realistic parts, and they are brought to life by a pair of men who are fully up to the task and share sensational chemistry with each other. Timothee Chalamet is every bit the revelation he's been made out to be and more; dare I say I don't think I've ever seen a better performance from an under 25 male actor. It's a true star-is-born moment that announces a talent beyond his years. Armie Hammer is similarly excellent, finally building on the promise he showed in The Social Network several years ago in showing that a strong actor lies beneath his Ken doll good looks. While the movie rests entirely on the backs of these two, there's also a great turn in the background from the always-reliable Michael Stuhlbarg, who plays the loving father that we all wish we had. Superb technical work as well. It's definitely a movie that will be staying with me for a very long time. A

[rockNrollaDIM]

What a pleasure this was. 

 

My my only gripe is this: leave it to Hollywood to have more female than male nudity in a gay love story. But oh well. 

[filmlover]

^ Hammer actually said in an interview that the original draft of the script had a lot more graphic sex between Elio and Oliver in it and that he almost didn't take the role because he didn't want to embarrass his kids.  I know there've been thinkpieces since this started to really catch awards buzz that it needed more gay sex in it, but I didn't think it was necessary. After all, it's really a story about longing for someone you can't have. And Chalamet and Hammer sold it perfectly. I could've watched the chemistry between these two for hours more.

 

This movie has been on my mind a lot over the last several days, especially Chalamet. That last shot, yowza. Wherever the future ends up taking his career, I'll always consider this a very special performance.

[Kvikk Lunsj]

I really loved it. Very powerful and thier relationship felt real thanks to amazing wrighting and acting. The chemistry amping the two leads is amazing. I 100% bought into thier relationships. The only thing I did not like how the they just jump to new scence. Example is when Elio follows Oliver into town and ask him if he wanted him to follow him. They are about to have a conversation and it jumps to Elio bring back home. 

B+

[MikeQ]

This movie is so, so, so good. 

 

Timothée Chalamet is terrific. The scene at the dinner table when Elio is making fun of Oliver for saying "later" all the time, followed by his obvious disappointment when he realizes Oliver won't make it to dinner. Trying to express himself and his attraction without using the words explicitly. The shuffling of the foot towards Oliver's, the impulsive movements when making out, and so on. In general trying to navigate their relationship, which is a kind of navigation that still persists today in its own way thanks to heteronormativity and assumptions of heterosexuality. The moment at the train station after Oliver has left when Elio calls his mom and breaks down asking his mom to come pick him up. The phone call from Oliver. The end scene in front of the fireplace. And a whole lot more. Chalamet has a real command over his body and his physical presence - throughout the film you can feel his energy, whether nervous, excited, jealous, disappointed, etc. He shows how he is feeling through his face and his body - in many ways, it is Timothée (and Armie) who make this movie work. I am so impressed by this performance. Elio's POV in the film is so real, and Luca keeps it with him, while also hinting at the oppression lingering around the corner. The film, I felt, drove home the constraints of the time in the early 80s ("I would kiss you right now if I could") while remaining focused on Elio's POV.

 

It feels like everyone, namely Luca, Timothée, and Armie (and Michael Stuhlbarg!), completely get it with this film. (What a year Stuhlbarg is having, and he destroys me in this movie. Though unlikely, I'd love to see him surprise and get a supporting nod at the Oscars.) They nailed the essence of this story.

 

I lost it at the train station, and during Elio's dad's speech. Filmlover puts it well in saying he is the dad we all wish we had. And the end scene in front of the fireplace had me watching and emotional until the end of the credits.

 

There's a lot more I can say about the direction, the film technically, and about Armie's performance (which I think is excellent in it's own way, playing a man who is trying his best to play the "role" of the good, charming man, and whose own vulnerability comes through in the way he lovingly and respectfully treats Elio and worries about whether their relationship is too much for him), but I don't have the time right now. I may come back and share more thoughts. 

 

A week later and I can't stop thinking about the film. Very few movies sit with me like this. Beautiful work.

 

Peace,

Mike

Edited January 5, 2018 by MikeQ

[Goffe]

I hate to be that person, but I couldn't have been more bored throughout its 2 hours; I kept looking at my watch and reacting surprised it had passed only 10 minutes. I mostly blame the pedestrian camera work, which wastes beautiful locations and performances, for not making this experience an engaging one.

 

Also, I laughed when I shouldn't have a couple of times, which, of course, can never be a good thing. 

 

Definitely not a fan.

 

I did love that one moment at the end with Stuhlbarg's character and his son. It struck a chord with me unlike any other moment in the movie.

 

5/10

Edited January 7, 2018 by Goffe

[somebody85]

I would never watch this movie again. It would not be getting this praise if it was about any other relationship because there's nothing there. It's so shallow that it has the plot of a soft core porn at times.

I had to see it to see what was so emotional about the ending and really regret it. I wish I could have that 2+ hours back. I really liked the first half of Moonlight but this made me uncomfortable from that first shoulder grab.

With all that's going on in Hollywood, it doesn't help that Timothy looks a lot younger than 17 in this. And I know the age of consent is younger in Italy but that doesn't mean this type of relationship should be glorified on film. Sorry, I don't get what critics saw in this.

The scenery was beautiful and the score was nice. The acting was authentic before it went full in....that's about it. Never again. This just wouldn't end.
 

I thought the emotional ending was going to be one one of them falling off the cliff during that trip. Shows how badly I wanted the credits to roll.

C-

[filmlover]

1 hour ago, somebody85 said:

I would never watch this movie again. It would not be getting this praise if it was about any other relationship because there's nothing there. It's so shallow that it has the plot of a soft core porn at times.

I had to see it to see what was so emotional about the ending and really regret it. I wish I could have that 2+ hours back. I really liked the first half of Moonlight but this made me uncomfortable from that first shoulder grab.

With all that's going on in Hollywood, it doesn't help that Timothy looks a lot younger than 17 in this. And I know the age of consent is younger in Italy but that doesn't mean this type of relationship should be glorified on film. Sorry, I don't get what critics saw in this.

The scenery was beautiful and the score was nice. The acting was authentic before it went full in....that's about it. Never again. This just wouldn't end.
 

I thought the emotional ending was going to be one one of them falling off the cliff during that trip. Shows how badly I wanted the credits to roll.

C-

This is a bad take.

[somebody85]

On 1/17/2018 at 7:26 PM, filmlover said:

This is a bad take.

Sorry, didn't like it at all. Reminded me of everything that's going on right now in real life. One of Joel Kramers victims was also 16 which was a legal age for consent in NC. Doesn't make it any less creepy.

Find it funny how Hollywood can glorify this film and say that, that story is disturbing. The other victims didn't get as much attention as Eliza but articles were printed.

https://www.huffingtonpost.com/entry/eliza-dushku-joel-kramer-new-accusers_us_5a5e0ddae4b04f3c55a61412

"While the three were in the pool together, Albert said, Kramer “pulled his dick out and said, ’You cannot handle this,′ and then began to swim towards them.” Albert’s sister promptly left, Albert said, but her friend remained. “Joel had sex with the 16-year-old girl,” Albert told Deadline. “She was 16. He was 39.”
 

Albert said that after learning about the incident, she called the Wilmington police and they informed her that the age of consent in North Carolina is 16.

"Kramer told Deadline that the 16-year-old came to his room of her own accord later that evening, and that the two “fooled around” but did not have intercourse. He said he did not know her age and that once he found out, he was “devastated.”

http://www.eonline.com/news/906447/joel-kramer-faces-two-more-sexual-misconduct-allegations-admits-he-fooled-around-with-a-teenage-girl

"The next day I went to work and confronted Joel Kramer. It was just he and I in his stunt trailer and I point blank said to him: ‘I'm going to ask you one question, and if you lie to me, I am going to let the parents come in and go to the producers and let all of hell rain down on you. Did you have sex with her?' And he said ‘Yes,'" she told Deadline."
 

So yeah....

It would be one thing if this movie amounted to anything like Professor Marston And The Wonder Woman but it didn't and there was no real conflict for either of the two leads. Everyone in the film accepted them, he hurt that girl like she knew he would but she was fine with it, Armie got engaged and he sits in front of the fire crying at the end over the lost relationship. It wasn't compelling and it wouldn't end.

And that scene where Armie gives Timothy oral to check if he's still hard...yeah that really came off bad considering how young Timothy looks and how old Armie looks.

Sorry, I hated it.

Edited January 19, 2018 by somebody85

[filmlover]

@somebody85

 

 

That is an insanely, almost offensively bad misreading of the entire movie. Genuinely bizarre. That's like saying Knocked Up was about Seth Rogen getting Katherine Heigl really drunk and taking advantage of her.

 

The movie is about the quiet Elio's burgeoning desire for the more free-spirited Oliver, not the other way around (maybe in the Kevin Spacey cut). He goes from having initial disdain for this summer intern for having to give up his room for the summer so that he can sleep there (and being forced to share the same bathroom) to finding himself increasingly drawn to him (thinking about him while masturbating, burying his face in a pair of his swim trunks, etc.). It's not until his mother reads him the story about the knight and the princess that he finally gets the courage to speak up (except his princess is a prince). Oliver seems hesitant throughout the rest of the film about pursuing a relationship with him (telling Elio they haven't done anything wrong and should leave it at that following their first kiss, telling him that he doesn't want him to have any regrets the day after they first make love), for a variety of possible reasons (Elio being no longer a boy, but not yet a man; this being 1983, where homosexuality was frowned upon - our knowledge being limited to Elio's POV so we don't know if he's had previous encounters with other men; the fact he's only staying there a limited time before returning to the US). His parents only "approve" of their relationship behind their backs because they see their son light up in a way he hasn't before whenever Oliver is around. This was a really cut and dry film to follow.

 

Are you sure you weren't really super tired and could barely stay awake when you watched it?

Edited January 19, 2018 by filmlover

[somebody85]

20 hours ago, filmlover said:

@somebody85

 

 

That is an insanely, almost offensively bad misreading of the entire movie. Genuinely bizarre. That's like saying Knocked Up was about Seth Rogen getting Katherine Heigl really drunk and taking advantage of her.

 

The movie is about the quiet Elio's burgeoning desire for the more free-spirited Oliver, not the other way around (maybe in the Kevin Spacey cut). He goes from having initial disdain for this summer intern for having to give up his room for the summer so that he can sleep there (and being forced to share the same bathroom) to finding himself increasingly drawn to him (thinking about him while masturbating, burying his face in a pair of his swim trunks, etc.). It's not until his mother reads him the story about the knight and the princess that he finally gets the courage to speak up (except his princess is a prince). Oliver seems hesitant throughout the rest of the film about pursuing a relationship with him (telling Elio they haven't done anything wrong and should leave it at that following their first kiss, telling him that he doesn't want him to have any regrets the day after they first make love), for a variety of possible reasons (Elio being no longer a boy, but not yet a man; this being 1983, where homosexuality was frowned upon - our knowledge being limited to Elio's POV so we don't know if he's had previous encounters with other men; the fact he's only staying there a limited time before returning to the US). His parents only "approve" of their relationship behind their backs because they see their son light up in a way he hasn't before whenever Oliver is around. This was a really cut and dry film to follow.

 

Are you sure you weren't really super tired and could barely stay awake when you watched it?

No, I was wide awake and did not like it. I could not wait for it to be over once the relationship got sexual. Sorry. Again it felt wrong with all the news coming out recently.

And I got all of that while watching it. It wasn't that compelling to me. I still don't think this sort of relationship should be glorified on film. Would have thought the same if it was a 17 year old and an older woman.

I don't care about why he was hesitant and never really got that vibe from him so felt that, that dialogue was out of character. He even tells him that he tried to give him hints from the first shoulder grab. 

[filmlover]

This movie hardly "glorifies" the relationship between a 17 year-old and a 24 year-old (or aims to make any sort of statement on the matter - thankfully, IMO, I really liked that it was mostly unconcerned about how the people around them would react to their pairing) but whatever. Sounds like you checked out early on.

[somebody85]

12 minutes ago, filmlover said:

This movie hardly "glorifies" the relationship between a 17 year-old and a 24 year-old (or aims to make any sort of statement on the matter - thankfully, IMO, I really liked that it was mostly unconcerned about how the people around them would react to their pairing) but whatever. Sounds like you checked out early on.

By glorifying, I mean putting it on screen especially with an actor that looks as young as Timothy does. And yes it does make it look like a positive thing. You said it yourself - "His parents only "approve" of their relationship behind their backs because they see their son light up in a way he hasn't before whenever Oliver is around" - It's supposed to be beautiful but sorry I didn't feel that way about it. 

It gave me off vibes right at that shoulder grab but I didn't really start to check out until it got overly sexual. Timothy looks like he's around 15-16 in this and Oliver looks like he's in his 30's. When Timothy started jumping on his back or started licking his face, it looked off. I'm sorry that you're offended that I found that to look a bit suspect with all the news going around lately.
 

Clearly not everyone feels this way so maybe this type of film just isn't for me. That doesn't mean my take on it was bad. I just didn't like it.

 

Edited January 20, 2018 by somebody85

[filmlover]

It's fine if you didn't care for this but if you think Oliver rubbing Elio's shoulder near the beginning (which was his way of trying to loosen up the uptight young man who he took his room from for the summer) was predatory (or that the film was in any way celebrating predatory behavior) then yeah, I can't help you.

[Joel M]

Armie Hammer definately doesn't look a day under 30 but I never felt that the relationship was wrong or predatory.

 

I don't think it's a masterpiece and I found it a little bit slight under all the great performances and gorgeous Italian scenery. But the gay romance being so casual and devoid of overwhelming tragedy was the best thing about this movie. I feel like 90% of the gay themed dramas I have seen end up in AIDS, Suicide, hate crime or a combination of them, and I sort of expected some kind of TRAGEDY to hit any minute but it never did. It was a story of first love and was kept bittersweet and mellow through the end.

 

The 2 leads were terrific.

[Webslinger]

It has taken me a few days to fully digest Call Me by Your Name, a beautifully poignant coming-of-age film whose presentations of raw human emotion defy easy explanation and require deeper reflection on the viewer’s end. More than anything else, it feels real; even most above-average cinematic love stories feel at least somewhat artificial, but the relationship between Elio and Oliver elates and bruises so effectively because every little detail – from the longing glances to the long-gestating verbal professions of love – rings of carefully-observed truth in one way or another. Timothee Chalamet heads an impressive cast with a breakthrough worthy of the multitude of plaudits it has received. He plays young Elio’s naivete perfectly and captures a range of emotions in such a raw fashion that it hardly looks like acting; that last shot is particularly indicative of how well he captures Elio’s emotions and gives himself completely to the character. The underrated Armie Hammer is also quite good as Oliver, projecting an image of confident masculinity occasionally belied by subtle but powerful vulnerability. The unforced chemistry between Chalamet and Hammer is the strongest among any screen couple since Emma Stone and Ryan Gosling in last year’s La La Land. And for reasons that will be apparent to anyone who has seen the film, I’d be remiss if I didn’t laud Michael Stuhlbarg for the profoundly moving monologue he delivers late in the film; like his equally searing monologue toward the end of Steve Jobs, it neatly completes the film’s emotional through-line and resonates as one of the strongest and most memorable scenes. The deliberate pacing and subtlety won’t be for everyone, but for viewers who seek a moving experience devoid of artifice, this one is not to be missed.

 

A

 

Stray Thoughts:

- On the LGBT front, I wish the film and the coverage it has received had made more of the leads' probable bisexuality. They never say that they're bi explicitly, but the fact that they both have and enjoy sex with women as well as each other suggests that they are. On the other hand, it's nice that the film doesn't dismiss the possibility that they're bi out of hand, and the reaction that Elio's parents have to his relationships with Oliver and Marzia suggests that they're aware of his fluidity and accept it.

 

- Also on the LGBT front: the film does a nice job of showing Oliver's fears about the social ramifications of his relationship with Elio without getting sidetracked into "social issue film" territory. The contrast between Elio's naive optimism about his sexual identity and Oliver's internalized shame about his own makes for one of the more complex areas in which the two act as foils for one another.

 

- That last shot: GAAAAHHHHHH!!!!!!!!!!! Not one of the six of us in the theater got up until the fade to black. Personally, the last ten minutes of the movie brought me back to a relationship in college where I fell for one of my best friends, only to find out that she'd been in a serious relationship she'd been hiding the entire time I'd known her (and she ended up marrying the guy later, but I had been over it for some time by that point). I just sat while most of the credits ran alongside Chalamet's heartbroken face (seriously, it's impressive that he held it for that long!) and thought "Yep, I remember that feeling."

 

- I'd heard that Stuhlbarg had a killer monologue near the end, but even so, I didn't expect it to hit as hard as it did. I'm kinda rooting for him to sneak into the Supporting Actor category just based on that monologue.

 

- In response to the debate in this thread: I didn't think the relationship was predatory, nor did it glorify an "improper" relationship. It's pretty abundantly clear from the get-go that Elio is crushing hard on Oliver. It's also worth mentioning that the entire film takes place in Europe, where the degree of sexual permissiveness is much, much, much higher than it is in America - hence the father's open encouragement for Elio to seal the deal with Marzia, and hence also why Oliver would misread Elio's cues and make a move with the shoulder rub. Besides the shoulder rub - which Oliver then misreads yet again as a sign to keep his distance when Elio really wants him to come closer - everything in their relationship is consensual and the age difference doesn't bother either of them. Elio seems to see Oliver as both a man he loves and a man he wants to be, while Oliver seems to see a sense of innocence and naivete in Elio that he has lost in himself; the title action drives home each man's desire to be more like the other, and that desire drives their relationship. Yes, Oliver does ultimately take advantage of Elio by hiding an on-again, off-again relationship with a woman back in the States, but he's taking advantage of him based on circumstance, not age. Furthermore, the visual difference between the actors didn't bother me all that much. I was about as svelte as Chalamet in college and I'm still noticeably smaller than a lot of 17-and-18-year-olds I've worked with, let alone men in their mid-20s. Hammer doesn't pass for 24, no, but there wasn't any point in the film where I looked at the two actors and thought that the difference in age or appearance was egregious.

Edited January 22, 2018 by Webslinger