Call Me by Your Name
2/5
Directed by: Luca Guadagnino
Written by: James Ivory
Rated: R
What defines a person? Where should people find their identity? Do we find our identity through our relationships? These are questions Elio and Oliver ponder as their friendship flourishes into deeper feelings. Within time they believe it is their relationship that defines who they are. They are someone, because someone else loves them. Their love, though, is forbidden. Their time is limited. Their hearts are not strong enough. They're not ready, yet here they are. What does it mean for them, now, to see each other by a new identity. What can happen, when one night one of them says, "Call Me by Your Name."
Based on the novel by Andre Aciman, Call Me by Your Name is a provocative film featuring a stimulating screenplay from writer James Ivory. His words invade the screen, and fill up his characters. The lead character is played by Timothee Chalamet, who offers an emotionally apprehensive and ponderous performance as Elio. Though it is clear there are words Elio fears to say, these inner desires cannot help but seep out from Chalamet's eyes, neck, brow, left ear, right ear, hair and every pore on his body. Aside from Chalamet, there is no other noteworthy performance amongst these characters. Armie Hammer plays Elio's deep seated partner, Oliver, but Hammer's lack of development and seemingly dazed attitude do not make his character endearing or enduring. This same stigma effects the other characters, making them easily forgotten or ignored, and there are only three other main characters.
This film delights most in is its design. Call Me by Your Name's depiction of 1983 Northern Italy is eye catching. The film's light colored locations are memorable. This relaxing blend of natural ponds, green forests, refreshing lakes, ancient villas, pristine beaches and clear skies provide this film's topography. It is enough to propel some audience members back to a time when they lied down on warm summer grass and thought of nothing and everything. This atmosphere is brought to life, through Luca Guadagnino's well done direction. Guadagnino uses the film's settings to the story's advantage, and frames characters in ways that visually signify their passions. It allows this film's locations the ability to evoke memories of previous moments in these characters' lives. It is not just a town square, but the first place where they biked together. It is not just a pond, but the first time they skinny dipped. It is not just a field, but the first time where the distant became close.
Although the film is aesthetically serene, what keeps Call Me by Your Name from crossing the threshold of being an intriguing film to a compelling experience is its lackadaisical pacing. Though the story is fascinating, this film keeps its themes internal, and in place its external is silent. Though it gives audiences time to admire the scenery, it can at some points be unbearable. For some viewers this leisurely pacing will make them want to turn off the film, and even regret the time they think they wasted on it. Others will find this indefinite quiet to be a nice time for their own self reflection and contemplation on this film's sexual tension and unspoken ideas. Whether someone sees these moments as boring or insightful, few people will feel these moments are engaging. Though the film features good moments of directing, Call Me by Your Name offers an experience that is too pleasant and peachy for less fervent viewers to sink their teeth into. It's sweet, but it's not satisfying.
Verdict: Call Me by Your Name is appealing on a surface level and may be seen as thought provoking by certain audiences, but it can make less fervent viewers shrug and say, "Eh, it wasn't for me."
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