Dir. Luca Guadagnino
Starring: Armie Hammer, Timothée Chalamet, Michael Stuhlbarg, Amira Casar, Esther Garrel, Victoire Du Bois
Runtime: 2hr 12min
Spoiler level: Minor (some dialogue is revealed)
Each year, I make an effort to see every Best Picture nominee for the Academy Awards, and was lucky enough to have time to see Luca Guadagnino’s film Call Me By Your Name on the last day it was playing in my town, after a mere 6-day run at one of two local chains. I went into this film unsure of what to expect, and emerged from the theater, 2.5 hours later and teary-eyed, with a new personal favorite for Best Picture at the Oscars this year.
Adapted from André Aciman’s 2007 novel of the same name, Call Me By Your Name explores the relationship between seventeen-year-old Elio Perlman (Chalamet) and twenty-four-year-old Oliver (Hammer), an American scholar who is staying with the Perlman family as an assistant to Elio’s father (Stuhlbarg), as it evolves over a summer in 1980’s Italy.
Call Me By Your Name‘s strength is a combination of beautiful cinematography, strong performances from a brilliant cast, and the way it delivers its messages and themes to the viewers. While fellow Best Picture contender Phantom Thread (which I saw the day prior) is a film that makes you think, to wrack your brain trying to pick apart the character’s motivations and desires and connections to one another, Call Me By Your Name is a film that makes you feel. It draws on emotions from various different angles – from the awkwardness of adolescence, to the conflicting pain and elation of first love, to the lamentation of wasted days and the curiosity of sexuality, to the bond between parents and children and family of different generations, to the thrills of desire – and it never feels disingenuous. The emotions felt and expressed by the characters resonate off the screen and linger long after the credits have rolled and the lights come on, and it will be a film that sticks with me for a long time.
Overall, the film is paced in a way that allows the relationships between the characters – not only the leads, but the supporting cast as well – to develop in an organic manner, that does not feel rushed or forced. The film also does a marvelous job in exploring the beauty of small moments – small gestures, brief touches, the flicker of a gaze or a soft sigh – and it makes every scene, even the ones with no dialogue (only the excellent soundtrack) – explode with purpose and meaning. The scenery of a summer in Italy provides a gorgeous, lush backdrop for the character interactions, and is shown in a way that I could almost feel the heat or the gentle breeze or the coolness of the river.
Though it will be a challenge to dethrone current award-season Best Actor champion Gary Oldman (Darkest Hour), Chalamet’s performance as Elio is remarkable, and might just be my current favorite dark horse in the Oscar race. His nuanced portrayal of a seventeen-year-old experiencing the roller coaster of emotion that comes with a first love is rife with subtle mannerisms, evocative dialogue, and familiar elements that anyone who has felt a similar way, or who has ever been a somewhat awkward teenager growing up in a world they don’t fully understand yet, can likely relate to. His final scene in the film was enough to draw a tear or two, and the way his voice broke on the “Can you come get me?” line was enough to split even my cold heart in half.
Hammer delivers a powerful and moving performance as Oliver – I found myself often focusing on his facial expressions, and how he was able to masterfully portray a myriad of emotion in such small, subtle motions and gestures, especially as he grapples with his feelings for Elio and the worry of how his actions might be perceived. Though the age gap between the characters might draw the side-eye from some (and understandably so) their relationship unfolds in a way that does not come off as exploitative or manipulative, and does not rely on common LGBTQ tropes or themes. Their chemistry is palpable, their conversations feel raw and genuine, and their connection to each other is expressed more prominently in their growing emotional intimacy than the physical. It’s somewhat of a subversion of the genre, and a breath of fresh air – as is Michael Stuhlbarg’s performance as Elio’s father. His speech to Elio in the third act of the film is so real, and so wonderful – the line “But to feel nothing so as not to feel anything – what a waste!” (which originates in the novel) is the single greatest line I’ve heard in a film all year, and Stuhlbarg delivers it beautifully as he attempts to support and help his son navigate the tribulations that come with such an intense emotional journey.
Call Me By Your Name is a unique coming-of-age-film that expertly handles matters of the body, heart, and soul, and exposes the vulnerability of emotion, relationships, and first love in a beautiful, compelling, and heart-wrenching fashion. It might be a dark horse, but any gold statues it takes home on March 4th (and I hope it gets some) will be utterly deserved.
Overall rating: 9.5/10
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