By their nature, all films are voyeuristic, but the really good ones pull us into the world as we feel a desire to know as much as possible and become a part of the story. “Call Me By Your Name” brings this voyeurism to life in Elio (Timothee Chalamet), as he initially judges & observes his family’s American guest Oliver (Armie Hammer). As the film moves along it delicately evolves this relationship while Elio realizes his true feelings, and the fact that he wants to be a part of Oliver’s story. At its core this is a pretty standard love story, and aside from the performances, it takes a while to elevate it beyond that. However, the final act really brings it all together not because of a wonderful plot turn, but as the characters take time to reflect. The film is set in northern Italy during the summer of 1983, as Elio’s family vacations at their home there. His father (Michael Stuhlbarg) is an academic/researcher who mentors a student each year during the break. This year that student is Oliver, and Elio is critical of him before the guy even arrives. As an incredibly intelligent 17 year old and talented musician, you can just imagine Elio’s expectations for this summer, like coming back to camp and showing off to all the women from last year (at the very least, it’s clear he plans to lose his virginity). In those circumstances, who wouldn’t be jealous of the American who comes in and immediately gets the attention of all those women, especially when that man is a rare intellectual equal. Elio’s initial reaction to Oliver can be read as simple jealousy, and it certainly seems that is how everyone (possibly including Elio himself) sees it. However, the more Oliver reveals himself - usually by defending himself against unfair assumptions, or simply asking interesting questions - the more obsessed Elio becomes. One of the best scenes of the movie has Elio playing piano at Oliver's request, but doing so in exaggerated interpretations of classic composers. Whenever the tune is altered, Oliver calls bullshit, which surprises, delights, and challenges Elio. The film is a slow burn as you’re unsure how either of them will grapple with the obvious chemistry, but luckily they can’t ignore it for long.
The film is anchored by that immediate spark between Chalamet & Hammer. Bringing to life the young, conflicted, hypersexual, and intellectual Elio, Chalamet reveals himself as a true star. He is able to be compellingly pompous and self-confident, then incredibly vulnerable when pulled in different directions by his emotions. He brings to life the surprising, uncontrollable nature of love in every aspect of his performance, as he is careful and prepared for (most) of his encounters with women, but then almost clumsy and falling over himself with Oliver. Hammer is similarly compelling, but in a much more subdued way, as the mature half of the couple who has had more time to get to know himself. This role could be thankless, as the character necessitates an extremely handsome actor, but even before you truly know Oliver, Hammer imbues him with intellectual curiosity. Elio attempts to be a detached observer, but Oliver is an integral observer. He’s always aware of his surroundings and eager to learn more, but unlike Elio, Oliver is self-confident enough to jump in before seeing the whole picture. This traditional love story is potently mined by the actors and director Luca Guadagnino, but the final act elevates it beyond observation and into analysis, which is perfectly appropriate for these characters (and me). When more of Oliver’s life is revealed, some early issues of seemingly inconsistent characterization are alleviated. Michael Stuhlbarg delivers an incredibly powerful monologue about the importance of experience, love, life, and pain, that hit a familiar personal chord with me, but is undoubtedly universal. "Call Me By Your Name" leaves you in a flurry of emotions anchored by the powerful fact that most of the time love is in control of us and it’s best to appreciate that instead of wasting time fighting it.
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