"Is it better to speak or to die?", ponders Elio for the duration of Call Me By Your Name, Luca Guadagnino's coming-of-age romance-drama based on Andre Aciman's 2007 novel. Already an early award-season darling, Guadagnino's powerful, soaring and sun-drenched rumination on first love, sexual awakening, identity and secret desire has won the hearts and adoration of many, poised to become a timeless masterpiece, as the similarly-themed Brokeback Mountain has.
It's 1983 and "somewhere in Northern Italy" 17-year old Elio (Timothée Chalamet) is holidaying with his parents. Every year, his father invites an academic to stay at their villa to support a research project he is conducting; the confident Oliver (Armie Hammer) arrives, initially causing a stir and earning the wariness of Elio. As they spend more time together, however, a passionate relationship blossoms between them, leading to a feverish, sensual summer affair neither will forget.
Call Me By Your Name is as poignant as they come. Just moments into the film, you realise you are watching something truly special, a future classic. Comparisons between Brokeback Mountain, Carol and Moonlight are to be expected, as is typical with LGBT cinema - but Call Me By Your Name easily stand-ups on its own accord, delivering a heartfelt, soulful and lavish romance that, despite its period setting, is completely of its times.
Guadagnino, James Ivory and Walter Fasano transposition Aciman's debut novel perfectly, into a sumptuous screenplay with stunningly poetic language and a sophisticated sensuality, both tender and blistering. Elegant yet seductive (two words that could sum up the entire film) the screenplay is a masterclass in graciously crafting characters and building believable relationships and dynamics. It is a compassionate character study that refuses to prescribe labels or box its characters into corners, illustrating a deft understanding and delicacy of Elio and Oliver's relationship. It possesses a worldliness and confidence that ensures it circumvents the common issues of similar coming-of-age tales and LGBT stories, transcending conventions.
Call Me By Your Name blends genres together seamlessly and with ease, alleviating the perceived heaviness of an extensive 130 minute book-to-film adaptation. From the steamy to the heart-wrenching, the funny to the sweet, Guadagnino's sun-baked feature-length interlaces and juggles multiple tones: it is one of many reasons why this film feels as layered and textured as it does. A surprising helping of humour is integral to emphasising the cultural differences between Elio and Oliver and later, its playfulness, to capture the dynamic of their friendship and togetherness. This tonal concoction is carefully measured and executed masterfully; emotionally-shattering, the layers of this film are intensely, expertly realised.
Guadagnino's direction is intimate yet grand, expansive yet totally of and in the moment. Shot entirely on one 35mm camera and wonderfully enhanced by Sayombhu Mukdeeprom's distinguished cinematography, the film carries a timeless ambience that verifies it as a classic-to-be. Guadagnino steers the varying emotions experienced by the characters (and audience) with confidence and stead, deciding upon the required filming techniques, framing devices and, particularly, tightness to magnify the intended emotion in a natural, authentic way. You find yourself unable to take your eyes off of the vividly-imagined, aesthetically-giddying and dreamy vision conjured by Guadagnino, in one of the year's most visually-accomplished and beautiful film.
Guadagnino transmits the awkwardness of Elio's first sexual escapade, his fragility and euphoria in the arms of Oliver and heartache in the film's final moments, often through the minutest of flourishes. He utilises the natural beauty and warmth of Northern Italy almost as a character in and of itself, as the illuminating moonlight and idyllic scenery facilitate this whirlwind, smouldering romance at the film's very heart. Such achievements in film are very and far between, occurring only a handful of times per year; for 2017, it joins Damien Chazelle's La La Land, David Lowery's A Ghost Story, Christopher Nolan's Dunkirk, Pablo Larrain's Jackie and Barry Jenkins' Moonlight. As you can tell, that's mightily impressive company to keep. Happy to say that after Call Me By Your Name, Guadagnino is what I consider a masterful director.
But this entire vision would be nothing without carefully-selected actors to satisfy every ounce of emotion the screenplay, writing, director and tone wishes to impart. Through Chalamet and Hammer, Call Me By Your Name is elevated even further than the already high-bar for success sits. Well-paired and utterly convincing as star-crossed lovers of sorts, Chalamet and Hammer deliver two of the finest performances of the year. Chalamet is utterly captivating, so expressive with his every emotion: he showcases Elio's vulnerability, his happiness, his solace and nerve with aplomb, providing an utterly flawless performance. Roles of this complexity are once-in-a-blue moon, particularly for younger actors as they are usually gifted to performers with an abundance of experience - but Chalamet is affecting, transfixing and committed, baring his soul in an unbelievably skilful, extraordinary and mature way. Call Me By Your Name's end credits are infinitely captivating and exquisite, an emotional outpouring and catharsis - almost all of it through the power of Chalamet's unspoken performance. Please, I'll hand him the Oscar myself. This is a career-exhilarating performance.
Armie Hammer is equally impressive as the cocksure Oliver. Resolute in his affability and a clear anchor for Elio's insecurity, he simmers in his intensity with subtle gestures to convince Elio of his interest. Doing for Chalamet what Gosling did for Stone in La La Land, Hammer's more of a supporting cog in the machine, surrounding the spotlight to Chalamet to cultivate Elio's journey and self-discovery; nevertheless, he still packs the emotional gut-punch of a lead performer into the film, consistently excellent and gracious. Again, it's a career-defining performance and will hopefully lead to more substantial roles for the talented actor. Their chemistry is unmistakable and they breathe life into these already well-crafted characters; they ARE the characters through and through. What a pair of performances.
Threatening to steal the entire film though is Michael Stuhbarg. In what may be the greatest monologue the cinematic landscape has seen in quite some time, he expresses the importance of feeling - be it positively or negatively - the danger of wasted youth and the necessity for acceptance, comfort and sufferance. Note-perfect delivery and a heartfelt execution make it one of the strongest, most memorable film moments of the year, a scene very few could ever forget - particularly those who can resonate and find consolation in the artistic words. You could literally hear a pin drop as Stuhbarg delivers the rousing, eye-watering speech. Th tone in his voice and the infinite wisdom his character possesses gives the impression that he is talking directly to you; few could manage that intimacy with even a fraction of the success that Call Me By Your Name achieves it with. It is echoed and sustained through the end credits too - an unflinching triumph in emotion and tenderness. Words really do fail to give insight to the final ten minutes of this film so please don't just take my word for it: go and see this film.
When you think the emotion cannot become more prevalent, palpable or powerful, the specially-chosen soundtrack heightens it considerably. Apt for the time period and a reflection of the family and 'canon they would be a part of', Sufjan Stevens' collection (complete with three new songs) solidifies the film's vision tremendously. Aching, uplifting and gentle, Stevens soundtrack transports you to Northern Italy and into the mindset of these characters expertly. It's a very, very accomplished piece. It's not only music scoring the film though, as the Italian ambience and environment seep into the film, strengthening the realism and your immersion in the film immaculately.
Call Me By Your name truly took my breath away, achieving - if not exceeding - the hype that preceded it. My minor quibbles (strange pacing and a slight emotional disconnect in the first act) can be so easily be overlooked. This is a film I will race back to see time and time again, in the hope of experiencing this level of beauty and power again. It is a sensually indulgent, heart-pounding and sun-kissed future classic, exquisitely exploring the plethora of gorgeous themes through a fantastic screenplay, delivered by a handful of faultless performances and helmed by a masterful, confident director. Call Me By Your Name is a triumph, plain and simple. In response to the earlier question, 'is it better to speak or to die?', when a film like Call Me By Your Name comes along, I choose to speak loud and proud about it.
Summary: A ravishing, poetic and soulful cinematic tour de force, Call Me By Your Name transcends genre conventions with a tender rumination on first love and discovery. Luca Guadagnino, Armie Hammer and a flawless Timothée Chalamet deliver one of the most accomplished, sensitive, impressive and affecting films of the year.
It's 1983 and "somewhere in Northern Italy" 17-year old Elio (Timothée Chalamet) is holidaying with his parents. Every year, his father invites an academic to stay at their villa to support a research project he is conducting; the confident Oliver (Armie Hammer) arrives, initially causing a stir and earning the wariness of Elio. As they spend more time together, however, a passionate relationship blossoms between them, leading to a feverish, sensual summer affair neither will forget.
Call Me By Your Name is as poignant as they come. Just moments into the film, you realise you are watching something truly special, a future classic. Comparisons between Brokeback Mountain, Carol and Moonlight are to be expected, as is typical with LGBT cinema - but Call Me By Your Name easily stand-ups on its own accord, delivering a heartfelt, soulful and lavish romance that, despite its period setting, is completely of its times.
Guadagnino, James Ivory and Walter Fasano transposition Aciman's debut novel perfectly, into a sumptuous screenplay with stunningly poetic language and a sophisticated sensuality, both tender and blistering. Elegant yet seductive (two words that could sum up the entire film) the screenplay is a masterclass in graciously crafting characters and building believable relationships and dynamics. It is a compassionate character study that refuses to prescribe labels or box its characters into corners, illustrating a deft understanding and delicacy of Elio and Oliver's relationship. It possesses a worldliness and confidence that ensures it circumvents the common issues of similar coming-of-age tales and LGBT stories, transcending conventions.
Call Me By Your Name blends genres together seamlessly and with ease, alleviating the perceived heaviness of an extensive 130 minute book-to-film adaptation. From the steamy to the heart-wrenching, the funny to the sweet, Guadagnino's sun-baked feature-length interlaces and juggles multiple tones: it is one of many reasons why this film feels as layered and textured as it does. A surprising helping of humour is integral to emphasising the cultural differences between Elio and Oliver and later, its playfulness, to capture the dynamic of their friendship and togetherness. This tonal concoction is carefully measured and executed masterfully; emotionally-shattering, the layers of this film are intensely, expertly realised.
Guadagnino's direction is intimate yet grand, expansive yet totally of and in the moment. Shot entirely on one 35mm camera and wonderfully enhanced by Sayombhu Mukdeeprom's distinguished cinematography, the film carries a timeless ambience that verifies it as a classic-to-be. Guadagnino steers the varying emotions experienced by the characters (and audience) with confidence and stead, deciding upon the required filming techniques, framing devices and, particularly, tightness to magnify the intended emotion in a natural, authentic way. You find yourself unable to take your eyes off of the vividly-imagined, aesthetically-giddying and dreamy vision conjured by Guadagnino, in one of the year's most visually-accomplished and beautiful film.
Guadagnino transmits the awkwardness of Elio's first sexual escapade, his fragility and euphoria in the arms of Oliver and heartache in the film's final moments, often through the minutest of flourishes. He utilises the natural beauty and warmth of Northern Italy almost as a character in and of itself, as the illuminating moonlight and idyllic scenery facilitate this whirlwind, smouldering romance at the film's very heart. Such achievements in film are very and far between, occurring only a handful of times per year; for 2017, it joins Damien Chazelle's La La Land, David Lowery's A Ghost Story, Christopher Nolan's Dunkirk, Pablo Larrain's Jackie and Barry Jenkins' Moonlight. As you can tell, that's mightily impressive company to keep. Happy to say that after Call Me By Your Name, Guadagnino is what I consider a masterful director.
But this entire vision would be nothing without carefully-selected actors to satisfy every ounce of emotion the screenplay, writing, director and tone wishes to impart. Through Chalamet and Hammer, Call Me By Your Name is elevated even further than the already high-bar for success sits. Well-paired and utterly convincing as star-crossed lovers of sorts, Chalamet and Hammer deliver two of the finest performances of the year. Chalamet is utterly captivating, so expressive with his every emotion: he showcases Elio's vulnerability, his happiness, his solace and nerve with aplomb, providing an utterly flawless performance. Roles of this complexity are once-in-a-blue moon, particularly for younger actors as they are usually gifted to performers with an abundance of experience - but Chalamet is affecting, transfixing and committed, baring his soul in an unbelievably skilful, extraordinary and mature way. Call Me By Your Name's end credits are infinitely captivating and exquisite, an emotional outpouring and catharsis - almost all of it through the power of Chalamet's unspoken performance. Please, I'll hand him the Oscar myself. This is a career-exhilarating performance.
Armie Hammer is equally impressive as the cocksure Oliver. Resolute in his affability and a clear anchor for Elio's insecurity, he simmers in his intensity with subtle gestures to convince Elio of his interest. Doing for Chalamet what Gosling did for Stone in La La Land, Hammer's more of a supporting cog in the machine, surrounding the spotlight to Chalamet to cultivate Elio's journey and self-discovery; nevertheless, he still packs the emotional gut-punch of a lead performer into the film, consistently excellent and gracious. Again, it's a career-defining performance and will hopefully lead to more substantial roles for the talented actor. Their chemistry is unmistakable and they breathe life into these already well-crafted characters; they ARE the characters through and through. What a pair of performances.
Threatening to steal the entire film though is Michael Stuhbarg. In what may be the greatest monologue the cinematic landscape has seen in quite some time, he expresses the importance of feeling - be it positively or negatively - the danger of wasted youth and the necessity for acceptance, comfort and sufferance. Note-perfect delivery and a heartfelt execution make it one of the strongest, most memorable film moments of the year, a scene very few could ever forget - particularly those who can resonate and find consolation in the artistic words. You could literally hear a pin drop as Stuhbarg delivers the rousing, eye-watering speech. Th tone in his voice and the infinite wisdom his character possesses gives the impression that he is talking directly to you; few could manage that intimacy with even a fraction of the success that Call Me By Your Name achieves it with. It is echoed and sustained through the end credits too - an unflinching triumph in emotion and tenderness. Words really do fail to give insight to the final ten minutes of this film so please don't just take my word for it: go and see this film.
When you think the emotion cannot become more prevalent, palpable or powerful, the specially-chosen soundtrack heightens it considerably. Apt for the time period and a reflection of the family and 'canon they would be a part of', Sufjan Stevens' collection (complete with three new songs) solidifies the film's vision tremendously. Aching, uplifting and gentle, Stevens soundtrack transports you to Northern Italy and into the mindset of these characters expertly. It's a very, very accomplished piece. It's not only music scoring the film though, as the Italian ambience and environment seep into the film, strengthening the realism and your immersion in the film immaculately.
Call Me By Your name truly took my breath away, achieving - if not exceeding - the hype that preceded it. My minor quibbles (strange pacing and a slight emotional disconnect in the first act) can be so easily be overlooked. This is a film I will race back to see time and time again, in the hope of experiencing this level of beauty and power again. It is a sensually indulgent, heart-pounding and sun-kissed future classic, exquisitely exploring the plethora of gorgeous themes through a fantastic screenplay, delivered by a handful of faultless performances and helmed by a masterful, confident director. Call Me By Your Name is a triumph, plain and simple. In response to the earlier question, 'is it better to speak or to die?', when a film like Call Me By Your Name comes along, I choose to speak loud and proud about it.
★★★★★★★★★★
(10/10)
Summary: A ravishing, poetic and soulful cinematic tour de force, Call Me By Your Name transcends genre conventions with a tender rumination on first love and discovery. Luca Guadagnino, Armie Hammer and a flawless Timothée Chalamet deliver one of the most accomplished, sensitive, impressive and affecting films of the year.