Call Me By Your Name

 (24,290)
7.82 h 12 min2018X-RayR
In the summer of 1983 in the north of Italy Elio Perlman (Timothée Chalamet), a 17- year-old American, spends his days in his family's 17th century villa. When a graduate student arrives the two experience a summer that will alter their lives forever.
Directors
Luca Guadagnino
Starring
Armie HammerTimothée ChalametMichael Stuhlbarg
Genres
Young Adult AudienceLGBTQEroticDramaRomance
Subtitles
English [CC]
Audio languages
English
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Supporting actors
Amira Casar
Producers
James IvoryHoward RosenmanPeter SpearsLuca GuadagninoEmilie Georges
Studio
Sony Pictures Television
Rating
R (Restricted)
Content advisory
Alcohol usefoul languagenuditysexual contentsmoking
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Format
Prime Video (streaming online video)
Devices
Available to watch on supported devices

Reviews

4.6 out of 5 stars

24290 global ratings

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Top reviews from the United States

EricReviewed in the United States on September 1, 2022
5.0 out of 5 stars
I absolutely loved this movie, I would consider it, now, my favorite movie of all time.
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I absolutely loved this movie, I would consider it, now, my favorite movie of all time. I am not much of a movie person to begin with and I came really late to the party on this one but I connected with it deeply for what I hope are fairly obvious reasons. It's difficult for me to articulate my feelings and thoughts on things so please bear with my review.

Call Me By Your Name tells you so much of the story without saying any words, sub textually and it took me a couple rounds of watching plus seeing some fan made videos to understand it all. This really illustrated the power of the movie and the power of body language. I once heard that language is something like 90% unspoken (body language) and 10% spoken (the percentages may be wrong but you get the idea.) The atmosphere really draws you in and makes you feel like you're inside the world as opposed to watching it from outside.

I really connected with Elio's character as we have very similar personality types. The curiosity, shyness, aloofness, tenderness, intense feelings, confusion etc... I connected with Oliver's character as well in a slightly different way, I share a similar sense of humor and also his apprehension. All of these things made me feel their feelings and feel their frustration intensely as if they were my own and I think that was Luca Guadangnino's brilliance for this film. The subtlety of everything is perfectly used and tells more of the story if you pay attention to it. Use of that subtlety illustrates how people are in real life and makes the movie feel more like a documentary of sorts as opposed to a love story. I don't mean that in a facetious manner. I say that because it feels so real and you really feel that connection between the characters and their feelings, and of course the brilliant acting that brought those characters to life. There's no real antagonist in this movie aside from life and love and that subtlety brings the core of the movie to the forefront. There's no sub plot or other "weirdness" to get in the way of you understanding the movie, you're experiencing the movie through Elio's eyes and it provides this perfect vision of everything that happened, as it happened. It's absolutely brilliant.

In short the film is stunning, gripping, and invites you to feel. I would definitely recommend this movie, it's highly relatable regardless of your orientation and I think that was Luca Guadagnino's genius as well for this film. It takes you on a journey and immerses you in their world. You are told the story without being told the story in a way, if that makes sense. I almost feel as if I were there experiencing it with them as opposed to watching it unfold on a screen.
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Please don't read any further if you don't want me to spoil the movie. I usually wouldn't do this kind of thing (I don't write reviews either to be fully transparent.) but I wanted to share my individual feelings here and I'm sure many that watched the film can relate. I'm about to become really vulnerable here so bear with my poor articulation.

Ok, I hope you have watched the movie if you made it this far. Going back to my previous statement about connecting with Elio's character so much in this movie. At the train station I could feel exactly what Elio was feeling standing there in front of Oliver. I could tell he wanted to say "I love you" but simply couldn't. I suspect Oliver was feeling the same. (This is my interpretation here.) I teared up during this scene for sure but what really got me was the phone call with Oliver at the end (Nice job having Elio be able to immediately recognize Oliver's voice as opposed to his other calls with Marzia and his mom, more sub textual "juice" I love it.) when Elio calls Oliver by his name "Elio!" I lost it here, specifically the first "Elio!" and it's the cadence with which he says it, and the choked up voice, it's just perfect. It's like a final call out of "I love you, come back!" and I just felt that, I absolutely just...felt that and it hurts. The final scene is just perfect as well. I can feel all the emotion and all of the memories that Elio is passing through his mind in that moment. Of course I will never be able to listen to Visions of Gideon (by Sufjan Stevens) without vividly replaying this final scene in my mind, and to be able to do it without crying, forget about it.

Many thanks to the director (Luca Guadagnino) the cast and everyone involved for making this film. I've become so jaded and cold with regards to love and this movie has re ignited feelings that I thought were long gone. Very much like the way Elio's father says in his remarkable speech towards the end of the film. It renewed my faith in love, if you will. I really wish I could talk with Luca and Timothee about this movie right now, even if I could there aren't enough hours in the day to try and find the words to articulate what I feel and want to say.

Like I said earlier on I have a hard time articulating my feelings and thoughts so I hope my rambling review was understandable to most people and honestly, I hope you felt the same way. I really enjoyed this movie and I hope you did too. Thanks for reading.
3 people found this helpful
tom kellyReviewed in the United States on June 2, 2018
5.0 out of 5 stars
Brief Encounter, Revisited [SPOILER ALERT!!!]
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One of British Director David Lean’s earliest and greatest films is “Brief Encounter.” Made in 1945 from a play by Noel Coward, it is the story of a man and woman who meet by chance at a railway station, find they like each others’ company, and after a few friendly get-togethers realize they are falling in love. Their problem is that they are both married, but not to each other, so they sadly agree their love can’t be consummated and say good-bye where they met - which actually is a real station, not a movie set, and has become something of a destination of pilgrimage for devoted fans of this great classic to see where it was shot.

The beautiful 2017 film celebrating the brief (and definitely consummated) romance between two young men, “Call Me By Your Name,” was also shot in a real place, an actual 17th century villa and estate in Northern Italy. Some smart businessman should buy it now and start charging admission, because it is currently for sale and would quickly become a similar shrine for the many, many ardent fans of this amazing movie.

I was a little late to first see this masterpiece (and yes, it is a masterpiece), on a Monday night in March. But after watching it three times and reading Andre Aciman’s stunning 2007 novel of the same title - all in one week, thank you - my judgment that this movie is a masterpiece is neither unusual nor atypical. After reading about this film all over the Internet, it’s fair to say that if you like this movie, you’ll likely be besotted with it, and quite emotionally hung over from the experience.

While I unabashedly love both the novel and the movie, I am grateful I saw the movie first. They both tell the story of Elio Perlman, the precocious 17-year-old son of an American classics professor and Italian mother. Elio speaks 3 languages and is a classical musical prodigy, plays piano and guitar, who falls in love and slowly initiates an affair with his father’s hunky American academic assistant, Oliver, 24, during one of the long summers which Elio and his multilingual parents always spend at their family villa. The inevitable difference between the film and the book is that while the movie visualizes the characters’ actions and expressed words with ultimate cinematic skill and grace, the book is Elio’s rich inner narrative of being new to manhood, and struggling with the ecstatic frenzy of expressing his love to another man for the first time. Page after page of the novel compounds this much greater dimension to the story, while the film can only indirectly depict Elio’s titanic inner emotions.

If I had read the book first, the movie might have unjustly seemed to be a disappointing, watered down rendition of the great and deeply affecting work of art that in fact inhabits both. However, this takes nothing away from Italian Director Luca Guadagnino’s astonishing film because it is a significant artistic and technical achievement, beautifully scripted by the venerable James Ivory (who was awarded an Oscar for his adopted screenplay), thoughtfully filmed under the direction of Sayombhu Mukdeeprom, and gracefully acted by Timothée Chalamet as Elio, Armie Hammer as Oliver, and Michael Stuhlbarg as Elio’s devoted and caring father. But frankly, the movie is better seen before starting the book because the lyric setting and the actors’ moving performances are the perfect frame for the reader to later visualize the author’s story, as the novel hurtles you around the heaving landscape of Elio’s late adolescent senses, feelings, and passions.

The first time I saw the movie, along with simply being enthralled, I thought how atmospheric and European it is compared to “Ordinary People,” the Best Picture of 1979, which is a very American movie as it is driven by dialogue and plot and less by mood and place. However, both films are similar because the characters are burdened by intense and conflicting emotions. “Ordinary People” also ends with a very moving father’s dialogue with his son, much like what Elio’s father has with his. This very tender scene is one of two great dramatic crescendos at the end of “Call Me By Your Name,” and is all the more profound because few have ever heard their own fathers’ nurture and guide them like this.

Regarding Elio and Oliver in the film, I still have trouble seeing what attraction the latter has to the former! This is somewhat easier to understand in the book, but I think Elio is drawn to Oliver largely because this preternaturally handsome man is right in front of him for week after week, both are Jewish intellectuals, and his 17 year old heart has settled and fixed on him, period, as the idealized being Elio aspires to hold and become. Elio’s adoration of Oliver is also understood by the novel’s eventual account of their intensely emotional sex life.

Yet, despite Elio’s passionate love for him, which the formerly aloof Oliver comes to fully return, he is a flawed character and just does not add up in the end. This, I suspect, was reflected in casting Armie Hammer for the role, because he plays the most unlikely of Jews, far more of a WASP prince in a Ralph Lauren ad, and as emotionally inhibited as any of my fellow members of this particular tribe. In the end, his abandonment of Elio for heterosexual marriage is no surprise.

Along with Elio narrating his own joyful yet tormented inner life, the other big difference between the novel and the movie is the ending. The book’s exuberant night out in Rome, straight out of a Fellini film, sets us all up for Elio’s impending emotional devastation, which ascends from the lovers’ parting to Oliver’s subsequent termination of their relationship, overshadows the rest of the book and haunts the reader long after the last page is closed.

The film’s ending is much sharper - telescoped by the demands of the medium. But as both are equally and eloquently very sad, it is more than fair to credit the film’s ending as authentic and completely true to the book. This is unsurprising given the quality of this film yet wonderful nevertheless, because throughout both the movie and the novel, we are always feeling with and for Elio – his joy, his anxiety and fear, his lust, his ardor and devotion, and in the end his heartbreak.

I have seldom – if ever – been as deeply touched by a romantic movie, or for that matter by any other novel. Admittedly, I am the perfect customer for any kind of Merchant-Ivory gay romance. What’s not to like about handsome men, the Italian countryside, and cultivated people, all inhabiting architecture I have dreamed of for years? And how nice it is to see movie characters reading for pleasure and listening to classical music!

However, my deep appreciation for this story is not just because I may fit the demographics and marketers expect me to like it. “Call Me By Your Name” on page and screen is an achingly beautiful meditation on joy and loss, of having all your heart could want and then watching it vanish right before your eyes, in an instant.

We know this because as always in this story, we are with Elio, never more so than in the film’s final scene, just after his last transatlantic phone call from Oliver has ended. It's Hanukkah and snowing outside, Oliver is back in the United States and has told Elio that he “might be getting married next spring” to a woman he has known “on and off for two years.”

Dazed, disappointed, dejected, Elio wanders into the dining room, crouches before the fireplace, and stares into the crackling flames. The scene then cuts to a head on shot of Elio’s face filling the center right of the frame and then dramatically holds it for three and one half minutes, while to the left the title card appears for the very first time in this movie, and then the credits roll. Dumbstruck by empathy, we watch this young man silently review everything that happened, everything he felt, and everything he had with Oliver, that now is all gone.

An extended wordless close up of one emotive face is a big risk for any director to take. But Luca Guadagnino deserves the highest praise for making it perfect, confident that Timothée Chalamet had the acting chops to rivet our attention for that long, and in us to open up to Elio’s pain. And at the end of this elegiac scene, a fleeting gesture establishes that this connection between character and audience has been made, when for a very brief moment, Chalamet looks straight into the camera lens and then turns away as the screen fades to black.

This is an actor of amazing talent, the real star of a noble film which portrays with such compassion and intelligence the love two men can have for each other, simply because we are people, just people.

I could go on and on about the technical aspects of the production that make this movie a masterpiece, but not now. Ultimately, this novel and movie recall great and wonderful feelings often forgotten with age. But simultaneously, both also point out experiences that are rare and even absent for many. Romantic love is not overrated, but because not everyone finds or keeps it, it is wildly oversold. Life’s arbitrary circumstances can place the exuberant emotions of elation and joy just out of reach, and instead of nourishing the soul, their tantalizing inaccessibility only mocks desire.

We too look into the fireplace, in company with Elio.
7 people found this helpful
Bugson08Reviewed in the United States on April 16, 2018
5.0 out of 5 stars
Blessed Be the Mystery of Love
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Love is difficult. It can lead to pain, suffering, misery, and many other feelings of abomination, leaving you in a state that makes you feel worthless. However, love can also be wonderful. It can cause great joy and make you feel like the luckiest person on the planet, all while giving you hope for the future. Because of these conflicting feelings, love is complicated – it’s cliché to say so, but that does not make it any less true. Many films have tried to portray this complicated emotion, some with more success than others, but when it comes down to it, there are not that many films that I’ve seen that truly make me not just care about the individual characters in a relationship, but about their relationship itself and where it goes, too. On the top of my head, one of the only films that comes to my mind when thinking about this is Ang Lee’s Brokeback Mountain (2005), starring the late Heath Ledger and Jake Gyllenhaal. But aside from that movie, I cannot think of any other that has truly gotten to my core and made me care for a relationship as if it was my own. That is, until this work of art came along.

Luca Guadagnino’s Call Me by Your Name (2017), based on the 2007 novel by André Aciman, is nothing short of a breath-taking masterpiece that lets the audience not only see the blossoming of a beautiful relationship, but also lets them become immersed in it as well. The plot is simple enough; Elio is a 17-year-old boy whose father, a professor, invites an American graduate student (Oliver, 24-years-old) to research with him over the summer in Italy. As the plot unfolds, we see the relationship between Elio and Oliver grow, but even though we kind of now where it is headed (they’re seen cuddling and kissing in trailers), the movie presents it in a very subtle way. There are no big events or extravaganzas going on in the film, no underlying subplot that makes for a huge plot twist later on – the movie just presents a simple summer of 1983 that happens to involve these two guys. And it is because of the simplicity of this set-up that we, the audience, feel so connected to these characters. Sure, I don’t own a private mansion in the Italian countryside, nor do I have a prestigious academic father, but I do have a semblance of how Elio and Oliver feel throughout the movie. They are two very intelligent people (Elio is, in addition to be a bookworm, gifted in music) who just want to be happy, but realize that life is never that simple. I realize that I didn’t explain too much of the plot, but I don’t want to – there aren’t any huge spoilers to worry about, but nonetheless I feel that this movie is very much about the experience of being engaged with this relationship without the foresight of any events. Needless to say, the writing and overall plot of this move has me sold.

In addition to the exceptional storyline, I also want to mention that the acting in this movie is amazing. Timothée Chalamet nails the performance of young and confused boy who doesn’t know how to process everything that is going on around him and within himself. There’s a specific scene towards the end of the movie where the camera just stares at his face for maybe five minutes (although I didn’t count) and not for a single-second does Chalamet break character or provide the slightest hint that he is an actor playing this character – he is the Elio. Armie Hammer, whom I recognize from David Fincher’s The Social Network (2010), where he played the Winklevoss twins, is just as stunning in his portrayal of the older and more experienced Oliver. Despite being a big guy with a deep, booming voice, Hammer manages to also do an excellent job at portraying Oliver’s softer, gentler side. His large physique, coupled with his kind nature and energetic attitude, make him completely believable as Oliver and aside from appearance and voice, a completely different person than his characters in The Social Network. Even though our two leads are superb, the entire cast of supporting characters have their time to shine, but I want to give special reverence for Michael Stuhlbarg, who plays Elio’s father. Stuhlbarg steals every scene that he is in because of his ability to play a sincere man who genuinely cares for his son and has his best interests in mind. But what really sold me on his performance is the monologue he gives to Elio towards the end of the film – I refuse to spoil it, but it left me in awe with how real Stuhlbarg made it sound. I didn’t feel like I was watching a movie at that point, or even a work of art; I felt like he was talking to me, personally, simply because he had the perfect tone of sincerity and love when saying it. Everyone was fantastic in this movie, but I just had to give the nod to Stuhlbarg because there was no need for him to do as well as he did, but he did it anyway.

So, the writing is great and the acting is great, but I think that the third most important aspect of this movie is the music. Guadagnino, the director, selected the music himself from what I understand and throughout the entire film, there is a calm, peaceful feeling associated with it. The light plucks on the guitar coupled with the warm summer atmosphere make for a relaxing viewing experience (especially since I’m writing this on the verge of summer). However, in addition to the background score, the original songs for this movie (composed by Sufjan Stevens) are great. I first heard the song “Mystery of Love” during the Academy Awards and fell in love with it right away and have been listening to it almost non-stop since then. The song is not just a beautiful lyrical and musical representation of the events in the movie, but also a plain good song! The end credits song, “Visions of Gideon,” is equally good and it was Steven’s songs that made me want to see this movie in the first place and if that doesn’t give an indication of how much I enjoyed them, I don’t know what does. (Side Note: “Mystery of Love” totally should have won the Academy Award for Best Original Song – “Remember Me” from Coco is fantastic, but Steven’s song is on another level).

Do I recommend the movie? No, not at all. Why would I recommend a movie with a heartwarming (and heart-crushing) plot, phenomenal acting, and some of my favorite film music in recent memory? Of course, I recommend it! This is one of those rare films where in a short span of a couple hours, you feel all the emotions associated with love, and there are none of those silly clichés commonly associated with romantic movies (no stupid misunderstandings or cheating scandals here). No, this movie knows exactly what it is and presents it in the best way possible, with a slow and natural progression of the narrative that lets the viewer take everything in stride, the film lets you care for and appreciate these characters. During that monologue I mentioned earlier, Stuhlbarg’s character mentions that finding true love is rare and special, and I would like to attribute that to this movie as well. This movie is rare and special because of its ability to make you feel everything that these characters feel, whether you want to or not, and in its own unique way, it makes you learn a little bit about yourself in the process – such is the mystery of love.
8 people found this helpful
Lorraine J HirshfeldReviewed in the United States on June 30, 2022
5.0 out of 5 stars
Call Me Beyond Impressed
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The absolute care with which this movie was made is wholly inspiring. The writers covered every aspect of the evolution of this boy's sexual awakening and growth under the unconditional love and protection of his parents (something many LGBT people have tragically lacked because of society's myopic, twisted and fearful views of human sexuality).

Hammer's well played character of Oliver, who comes off as a careless, self serving narcissist that is way too comfortable in his "It's all about what I want" world. It seeps into his relationship with Chalamet's, Elio, but soon melts into something deeper. Chalamet brilliantly covers every complexity of teenage angst and the inner conflict of a social introvert who is struggling with the shame he feels about his sexuality, but nonetheless seduces an initially reluctant Oliver, who is equally concerned about the social backlash of being discovered and having his reputation burned to the ground. The writers are also careful in clarifying through both characters' communications that Oliver is not taking advantage of a young boy's conflict.

This is a dance of courtship and passion, not just depicting a boy's first love, but also the awakening of it for a an outwardly self absorbed man concerned with his image. It is a beautifully "woven" story with its slow, easy, Italian countryside backdrop with the added luxury of the earthy stability of an academically intellectual but completely emotionally available family who are there to catch Elio when Oliver goes back to his heterosexual life. The conversation the father has with Elio was so compassionately profound and so bright in its truth, if it didn't open your heart up, you'd be the equivalent of an empty beer can. While the last phone call between Elio and Oliver is heartfelt, it solidifies Oliver's inability to "man up" under the social pressures of his world, as the sacrifice is too great, so Elio becomes the sacrifice. However, the point the writers were making was that both characters learned how to "feel" in this experience, beyond what they could have imagined in themselves, and it would carry both throughout their lives.

This is a must see movie for anyone who identifies as a human being.
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Christina ReynoldsReviewed in the United States on June 25, 2021
5.0 out of 5 stars
Perfect companion to the source novel
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𝑯𝒐𝒘 𝒚𝒐𝒖 𝒍𝒊𝒗𝒆 𝒚𝒐𝒖𝒓 𝒍𝒊𝒇𝒆 𝒊𝒔 𝒚𝒐𝒖𝒓 𝒃𝒖𝒔𝒊𝒏𝒆𝒔𝒔, 𝒋𝒖𝒔𝒕 𝒓𝒆𝒎𝒆𝒎𝒃𝒆𝒓, 𝒐𝒖𝒓 𝒉𝒆𝒂𝒓𝒕𝒔 𝒂𝒏𝒅 𝒐𝒖𝒓 𝒃𝒐𝒅𝒊𝒆𝒔 𝒂𝒓𝒆 𝒈𝒊𝒗𝒆𝒏 𝒕𝒐 𝒖𝒔 𝒐𝒏𝒍𝒚 𝒐𝒏𝒄𝒆. 𝑨𝒏𝒅 𝒃𝒆𝒇𝒐𝒓𝒆 𝒚𝒐𝒖 𝒌𝒏𝒐𝒘 𝒊𝒕, 𝒚𝒐𝒖𝒓 𝒉𝒆𝒂𝒓𝒕 𝒊𝒔 𝒘𝒐𝒓𝒏 𝒐𝒖𝒕, 𝒂𝒏𝒅, 𝒂𝒔 𝒇𝒐𝒓 𝒚𝒐𝒖𝒓 𝒃𝒐𝒅𝒚, 𝒕𝒉𝒆𝒓𝒆 𝒄𝒐𝒎𝒆𝒔 𝒂 𝒑𝒐𝒊𝒏𝒕 𝒘𝒉𝒆𝒏 𝒏𝒐 𝒐𝒏𝒆 𝒍𝒐𝒐𝒌𝒔 𝒂𝒕 𝒊𝒕, 𝒎𝒖𝒄𝒉 𝒍𝒆𝒔𝒔 𝒘𝒂𝒏𝒕𝒔 𝒕𝒐 𝒄𝒐𝒎𝒆 𝒏𝒆𝒂𝒓 𝒊𝒕. 𝑹𝒊𝒈𝒉𝒕 𝒏𝒐𝒘, 𝒕𝒉𝒆𝒓𝒆'𝒔 𝒔𝒐𝒓𝒓𝒐𝒘, 𝒑𝒂𝒊𝒏. 𝑫𝒐𝒏'𝒕 𝒌𝒊𝒍𝒍 𝒊𝒕 𝒂𝒏𝒅 𝒘𝒊𝒕𝒉 𝒊𝒕 𝒕𝒉𝒆 𝒋𝒐𝒚 𝒚𝒐𝒖'𝒗𝒆 𝒇𝒆𝒍𝒕.

Call Me by Your Name is a 2017 coming-of-age romantic drama film directed by Luca Guadagnino. Its screenplay, by James Ivory, who also co-produced, is based on the 2007 novel of the same name by André Aciman; it chronicles the romantic relationship between a 17-year-old, Elio Perlman (Timothée Chalamet), and Oliver (Armie Hammer), a 24-year-old graduate-student assistant to Elio's father (Michael Stuhlbarg), an archaeology professor.

Plainly as possible ‘Call Me By Your Name’ begins, describing its setting with a composed ambiguity by using opening title cards that read: “Summer 1983” and “somewhere in Northern Italy”. What follows so elegantly imitates this casual introduction in ways that are both surface-level and comprehensive; Shot with a single lens (the Cooke S4 35mm), Guadagnino and cinematographer Sayombhu Mukdeeprom’s form takes viewers through a generously immersive tour of the silent (but stark) glory that is to be found on location in Lombardy. Lest the context be forgotten, Lombardy's beauty is intermittently obscured by a shadow that is socially prominent homophobia - a point of realism implied, internalized, and made explicitly present between sighs of optimism or glimmers of hope

Both Acima’s source novel and Ivory’s original screenplay included much more explicit sex scenes than evidently produced or used. Guadagnino reported that he had no interest in including scenes featuring a sexual encounter unless integral to the plot because of the intended atmosphere and tone. Explicit scenes included (in addition to one involving a peach that may make some uncomfortable) normalize Elio’s experience as someone coming to terms with his sexuality as a whole (and by virtue of this, viewers that may see themselves in him) while emphasizing the authentic way in which his relationship with Oliver matures above first impressions and shallow enamoration.

As if by fate - neither Chalamet or Hammer had to actually audition for their respective roles. Surprisingly, however, Guadagnino started filming without administering a chemistry test (of sorts) between them, and went even further by only having one scene rehearsed before formally filming that was chosen at random.
Again - almost by fate - the scene chosen described Elio and Oliver as “rolling around in the grass making out”, and this rehearsal was stopped only by Guadagnino giving them one specific instruction:
Act. More. Passionately.
More than obliged they did: The collage of interactions between Oliver and Elio are infused with a palpability that epitomizes the constrained enthusiasm and overbearing curiosity that creates tension and provides opportunities for relief. Their differences and similarities - in confidence, in audaciousness, and in integral life experiences - is represented through dialogue that mirrors Acima’s writing to a tee in addition to camera angles accenting variances in proximity as it relates to the ongoing relationship and metaphorical rift between them.

Where Guadagnino’s adaptation differs is the tense in which it is told. Elio’s point of view is exclusively maintained, but Acima’s novel is a recollection of events told by a much older protagonist years after the point in which the film concludes. Regardless, this alteration changes nothing about the 𝒖𝒏𝒄𝒆𝒓𝒕𝒂𝒊𝒏𝒕𝒚 that defines the end, and the last few moments ache with the pain of reflection that comes with growth and the immeasurable consequence of defeat; the potential to indulge fantasy for the sake of a happy ending is squandered as are remnants of triumph so easily manufactured by blissful naivety. In the last moments (acted flawlessly by Chalamet) it is made quite clear that time - and the lack thereof - is a villain not so easily conquered or simply ignored.

An adaptation that relishes while rising above clichés: ‘Call Me By Your Name’ explores the capricious nature of intimacy when bound by the frills of fragility, immaturity, and potential of condemnation. The ultimate companion to a story addressing the residual and intangible effects of love - with its fleeting permanence - Guadagnino and Acimas’ work combines as a testimony to the wounds risked by self-discovery and the scars that can be subsequently imposed.
3 people found this helpful
Scott CopleyReviewed in the United States on September 6, 2022
5.0 out of 5 stars
Captivating
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I felt like I was on summer in the Italian countryside...the pace was relaxed, and the film spent time taking the viewer along as the two leads fell in love. I was moved by how gentle and loving their relationship became, and I'm not sure which one I fell in love with more, whether it was Elio or Oliver - or maybe the villa where they lived. While Oliver may have gotten married to a woman later, I think it was Elio that he fell into a deep love with...and asked with a subtle, quiet, "do you mind?" when he told Elio he was engaged. I think I am also a little in mourning for a love lost, but so glad I watched it.
AnaReviewed in the United States on August 26, 2022
5.0 out of 5 stars
I didn't initially like it but now I rewatch every now and then.
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The first time I watched it, I took the perspective of a spectator. With that POV, all I saw was a problematic relationship and criticized every interaction. But the second time I watched, I moved closer and placed myself in to Elio's shoes. This movie really gives you that discomfort of being a teenager drowning in this overwhelming sense of want. The glances, the sighs--its like you relive your teenage love, which as you might remember, despite sometimes defying logic and reasonableness, was a very powerful all encompassing force. Its a beautiful film.
"gartenarbeit"Reviewed in the United States on March 30, 2018
5.0 out of 5 stars
A treasure
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This story has caught me two weeks ago and left me in a deep, bittersweet sorrow that just wouldn't go away. In writing my thoughts down I hope I will soon be able to think of anything else.

I almost wouldn't have watched this film. I had heard of it during the Oscars (nomination for Timothée Chalamet: didn't know him, guessed that maybe they just needed a new face for the category – stupid me). The story seemed interesting but also full of gay cliches: the young boy who likes classical music and plays the piano, the older and perfectly handsome guy, even antique statues – too much for me.

Oh, how wrong I was.

Until two friends of mine (both male and straight) told me that they had watched it together (funny situation, isn't it?) and said it was good. I watched the trailer and became interested, so I ordered the DVD. In the meantime I began reading the book. Until now, I have watched the film twice and begun reading the book for the second time.

Long story short: It's been ages that a movie has moved me so much. The story may seem small and simple, and yet it is full of emotions conveyed by an entirely dazzling cast. Above them all, Timothée Chalamets performance is overwhelming and mesmerizing. Interestingly, it's scenes in which he has nothing to speak that touched me the most: The moment at Le Danzing where Elio watches Oliver and Chiara – you can see a ton of thoughts and emotions in his eyes, beginning from the cool-playing guy to the envy that he tries in vain to hide, to the deep sadness because he may never get what he desires here. Then there is the stirring scene when his mother drives him back after Oliver has left and he finally gives vent to his feelings. And of course there is the ending of the movie which I won't describe in detail because I don't want to spoil. Let me just say this: I am deeply grateful that Sufjan Stevens wrote two songs for the film and I love Mystery of love. But Visions of Gideon and Timothées performance made me cry my eyes out. That was truely worth an Oscar. And I haven't even mentioned the countless funny moments that Timothée gave Elio, which prevented the film from becoming cheesy or gaudy. But in the end, it's the whole cast that worked wonderfully together and made the film the gem that it is.

It may be a story of two men falling in love but that shouldn't keep straight people from watching it – as the example of my friends proves. If you're gay you may relate a bit more to some details of the relationship (ps. if you are interested in details and want to unterstand the characters and the meaning of the title better, read the book). But it reawakens memories that almost everyone has gathered in his life: the first love, with all its uncertainty, wildness and desire, its beauty – and, sadly, also its sorrow. The film is pervaded by a strong, bittersweet beauty – everyone and everything is beautiful, it's a sunny holiday in the wonderful area of Northern Italy and there is no real danger, no „real problems“ – and yet the whole life as Elio has known it falls apart.

„Call me by your name“ made me feel things I had forgotten for a long time and I am still deeply touched. The movie itself is like a wonderful holiday – and afterwards you are thrown into reality again and have to deal with your feelings alone. I like this bittersweet sadness I carry with myself. As Elio's dad said – you should let it happen. I have no idea which movie I could watch next, there is nothing that can keep up with that. I'm afraid that everything else will destroy this feeling.

I have mixed feelings about the announcement of the sequel. Of course, I am glad that the whole team got along so well together and when I am honest to myself I have to admit that I need, need, need more of Elio and Oliver. More than strange fan-fiction on Instagram. But when you have read the book (which I higly recommend) you know that more sadness is ahead and, even after years, some wounds may never heal. On the other hand, Luca Guadagnino has mentioned that the sequel may not necessarily adhere to the book. But then again I am not sure what that will mean. Either way, the mood will most likely be completely different from this film.

Well, that should not worry us right now. Let's implement the message of the film and enjoy the moment and what we have got, which is: this wonderful film.

I haven't watched you for the last time.
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