Countries Italy /
André Aciman, James Ivory /
Luca Guadagnino /
Romance, Drama /
Summary The Perlmans own a villa outside of Moscazzano in Northern Italy, where they spend their summers and Hannukah. They invite a graduate student to spend six weeks with them over the summer to help Professor Perlman with his work. This summer - 1983 - the student in question is an American named Oliver. While there, Oliver largely associates with the Perlmans' seventeen year old son Elio and Elio's friends, the females among the group whose hearts are aflutter by Oliver's preppy good looks. Oliver, in fact, takes up casually with one of them, Chiara. Elio is an intellectual, but has no experience with girls as he is only now experimenting with his initial stage of manhood and masculinity. If not for Oliver, Elio probably would have chosen Chiara himself, and as such takes up with Marzia instead. Despite their social association and sleeping in adjoining rooms in the villa, Elio doesn't much like Oliver in thinking him too cocky and arrogant partly in that brash American sensibility. In turn, Oliver believes Elio is patronizing in his outward dislike of him. These outward behaviors mask the fact that there is a deep attraction between Elio and Oliver based largely on their admiration of the other's intellect. When they eventually admit that attraction late into Oliver's stay, Oliver is more reticent to act on those feelings in not wanting to ruin his own or Elio's life in still being in the closet, while Elio wants to experience all that sex and love are as he is in the flush of first real love. With Oliver and Elio's clandestine relationship, Elio has to figure out what to do about Marzia, he who may be aware or unaware of her own very deep feelings for him in also experiencing that flush of first love. The other question then becomes if Elio will be able to recover as there will definitely be an end at least to this phase of Oliver and Elio's romance when Oliver leaves to go home at the end of the summer

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The obstacles are themselves and their insecurities. It's an interior conflict of course, but it's a conflict.

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I adore Timmy and Armie. Luca Guadagnino is one of our most sensual filmmakers. CALL ME BY YOUR NAME, like his previous A BIGGER SPLASH and I AM LOVE are filled with scenes touching upon all the senses. Guadagnino gorgeously captures images of beautiful objects, locations, books and, of course, the pleasures of the flesh. His soundtracks are filled with the sounds of nature as well as overflowing with music (usually classical, but, with more modern nods to the Rolling Stones and the Psychedelic Furs. His characters luxuriate with the smells of food and they caress the world around them.
It is within that world that screenwriter James Ivory (adapting André Aciman's novel) places our main characters seventeen year old Elio (Timothy Chalamet) and twenty-something Oliver (Armie Hammer. Every year, Elio's parents Professor Perlman (Michael Stuhlbarg) and Anella (Amira Casar) invite a research assistant to their idyllic villa in Northern Italy. In 1983, that person is Oliver, an American who sweeps into town with his good looks and cool persona. Oliver simultaneously attracts the attention of the ladies in town - as well as Elio. Complicating matters is that Elio is also having a summer romance with a young Parisian Marzia (Esther Garrel.
While on the surface, this may seem like a simple potboiler, Ivory, Guadagnino and the cast gracefully ease the audience into the tale. The film takes full advantage of the 132 minute run-time. Nothing is hurried. No shortcuts taken. The emotions are given time to build organically. It's like a lovely concerto that plays out to its own meter. The pacing may be too languid for those who demand a more forceful drama, but, CALL ME is a film to soak in. To luxuriate within. The subtext and the atmosphere not only inform the main story, they become part of it. By the time Elio and Oliver's infatuation is consummated, you have fully invested in them.
CALL ME is deliberately set in the early 80s - just as AIDS was becoming a concern, and, of course, long before coming out was accepted. And, some may find the idyllic setting a bit too perfect. Hammer's performance is a bit too flat at the beginning, but, pays off as it progresses. Chalamat (also strong in the current LADY BIRD) brings off the extremely difficult task of externalizing what is largely and internalized character - simmering until it boils. Stuhlbarg is largely a background figure for much of the story-line, but, is sterling in one of the film's key scenes. Guardagnino's choices of music is impeccable (including pieces by Bach, Revel and Satie) and Sayombhu Mukdeeprom's 35mm film lensing captures every moment exquisitely.
On the surface, a collaboration between a sensualist like Guadagnino and the reserved James Ivory (as in Merchant-Ivory) may seem a bit of a mismatch, but, it works beautifully. Together (with the cast & crew) they have created one of the year's most indelible films.

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