“Call me by your name and I’ll call you by mine.”
- What is this movie about?
In Northern Italy in 1983, seventeen year-old Elio begins a relationship with visiting Oliver, his father’s research assistant, with whom he bonds over his emerging sexuality, their Jewish heritage, and the beguiling Italian landscape.
- Why should you watch it?
This is one of the finest latest films ever made, as in all of it is inside a bubble where everything is just beautiful and from where you won’t want to leave nor wake up.
We find ourselves in the typical summer set. When we are young and we have long periods of holidays, where our only main worry is not to get bored. The set here is sunny northern Italy in the 80s, which even adds more nostalgia to the story. We follow the summer of the son of a university teacher and his relationship with one of his father young assistants.
The story is beautiful, a love story between two men, something that we are not so used to (sadly). Both actors drive us into the movie; specially young Timothée Chalamet, who simply steals the show and succeeds in transmitting the ingenuity and the purity of the first time one falls in love and their inexperience. Opposite him we have Armie Hammer, who gives a magnificent performance and balances Timothée’s one and helps him to even shine more, playing the typical more experienced American. Both are simply fantastic and are the reason why this movie is like it is.
This is a different movie where one can appreciate that love might come in different forms, each one of us will receive it in one way or another, when you least expect it. It might be something completely different form what you were expecting and in the end happiness is what is important, but one must never forget about reality…
- Did you know?
– This film was based on André Aciman’s acclaimed debut novel “Call Me By Your Name,” published in 2007. Producer Peter Spears optioned Aciman’s novel before it was published, after seeing an early galley in 2007.
– Although the movie has a full opening credits sequence, the title of the film is not shown on screen until the end credits begin.
– The entire film (including the opening credits) was shot with a single 35mm lens.
– The film was largely filmed in chronological order, according to GQ Magazine.
– Armie Hammer did not only star in the adaptation of “Call Me By Your Name,” but he also lent his voice for the audiobook of André Aciman’s original novel.
– There was only one rehearsal before shooting. In multiple interviews, Timothée Chalamet and Armie Hammer said that director Luca Guadagnino asked them one day to come outside to do a rehearsal in the backyard of the villa. They walked to a patch of grass and flipped their scripts to a randomly selected scene to practice. When they opened the script, the page only read, “Elio and Oliver roll around in the grass making out.” Chalamet and Hammer looked at each other and said, “Alright, let’s go!” Just seconds into the making out scene, however, Guadagnino stepped in and directed them to act more “passionately.” So they started making out and continued to do so, and no one told them to stop. Eventually, the two actors stopped, looked around and realized Guadagnino had just walked away, leaving them rolling around in the grass. This was their only rehearsal.
– Despite various sexual scenes in the film, Armie Hammer stated in an interview that the most uncomfortable he ever felt during filming was when he was filming the dance scenes.
– Armie Hammer first met Timothée Chalamet while Chalamet was in a piano lesson. Chalamet then took Hammer on a bike tour around Crema, echoing the scene where Elio shows Oliver around.
– Both the source novel and the original screenplay included much more explicit sex scenes (both gay and straight encounters) and full-frontal nudity but Luca Guadagnino excised several moments from the finished film unless they organic to the plot and themes of the film as he did not want any to feel gratuitous.
– The sound of the fire crackling in the fireplace continues after the last image of Elio goes black and the final notes of Sufjan Stevens’s “Visions of Gideon” fade out.