A sweet, sensual summer
Call Me by Your Name unfurls a universal story
In the longest and most emotional close-up in Call Me by Your Name, director Luca Guadagnino asked for three variations from young actor Timothée Chalamet: dry, humid and wet.
The Italian summer of Call Me by Your Name, set in 1983, is unchanging: day-after-day of languid bliss. But for the 17-year-old Elio (Chalamet), who’s awakening to the beauty and heartbreak of love, the weather is churning.
To capture it all, Guadagnino elected for simplicity. A single 35mm lens for the whole production. Minimal cuts. And one devastating close-up.
“I shot this on film so if you listen closely, you will hear the sound of the camera whirling,” says Guadagnino.
“I love it. Maybe I’m a bit of a perverted cineaste of the 20th century, but the sound of film running through the wheels of the camera is erotic to me.”
An intoxicating eroticism — of love, of cinema — runs deep in Call Me by Your Name. Since its unveiling at the Sundance Film Festival, Guadagnino’s sensuous and insightful coming-of-age tale has been swooned over like few films this year. The film is considered an Academy Awards frontrunner.
Call Me by Your Name is based on the novel by André Aciman and scripted by James Ivory, the filmmaker whose collaborations with Ismail Merchant are renown.
It’s about a precocious young man living in a northern Italian villa with his academic parents (Michael Stuhlbarg, Amira Casar). When a 25-year-old graduate student, Oliver (Armie Hammer), comes to stay with them, Elio finds himself drawn intractably toward him.
The film may sound specific in its setting and sexuality, both of which are rendered lushly. But the spell of Call Me by Your Name comes from its grasp of universal sensations — of new, uncertain feelings; of the nervous thrill of opening up yourself to another; of feeling your world expand.
“Regardless of your identity, your orientation or who you’re sitting next to in the theatre, when you watch two human beings so vulnerably fall in love with each other in a sweet, tender way, it’s almost impossible for you not to remember the first time you were in a situation like that,” says Hammer. “That’s one of the great unifying things about this film. Humans are humans, and love is love.”
And if you’re going to make a movie about love, you might as well shoot it in the Italian summer. Guadagnino, the Italian filmmaker of I Am Love and A Bigger Splash, shifted the location slightly to his home turf, in Crema.
The project began with producers Peter Spears and Howard Rosenman, who obtained the book’s rights.
They reached out to Ivory to executive produce, and later came to him with the suggestion that he and Guadagnino co-direct. But that proved an unappealing prospect to investors and insurance providers.
“It was decided, probably because I’m so ancient, I guess, that Luca should direct it by himself,” Ivory says, chuckling.
The movie’s other binary relationship was between the experienced Hammer and the newcomer Chalamet, who credits Hammer with providing him a “road map” for his budding career.
“I will carry the experience for the rest of my life,” said Hammer.
“I’ve never been challenged or pushed as hard this movie required me. It is so much about vulnerability and so much about opening yourself up and giving that to someone else, and having them receive and give back. It happens in every scene where these two interact. It’s what the process of making the film felt like.”