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Call Me by Your Name [Blu-ray]
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Additional Blu-ray options | Edition | Discs | Price | New from | Used from |
Blu-ray
July 5, 2018 "Please retry" | — | 1 |
—
| $21.65 | $21.55 |
Blu-ray
March 5, 2018 "Please retry" | — | 1 |
—
| — | $5.99 |
Watch Instantly with | Rent | Buy |
Purchase options and add-ons
Genre | Drama, Romance |
Format | Blu-ray |
Contributor | Armie Hammer, James Ivory, Peter Spears, Amira Casar, Luca Guadagnino, La Cinéfacture, Esther Garrel, Timothée Chalamet, Emilie Georges, Howard Rosenman, Michael Stuhlbarg See more |
Language | English |
Runtime | 2 hours and 12 minutes |
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Product Description
It’s the summer of 1983 in Italy, and Elio (Chalamet), a precocious 17-year-old, spends his days in his family’s villa transcribing and playing classical music, reading and flirting with his friend Marzia. One day, Oliver (Hammer), a charming American scholar arrives as the annual summer intern tasked with helping Elio’s father, an eminent professor. Elio and Oliver discover the heady beauty of awakening desire over the course of a summer that will alter their lives forever.
Product details
- Digital Copy Expiration Date : December 31, 2020
- Aspect Ratio : 1.85:1
- Is Discontinued By Manufacturer : No
- MPAA rating : R (Restricted)
- Product Dimensions : 0.7 x 7.5 x 5.4 inches; 1.6 ounces
- Audio Description: : English
- Item model number : 52381 BLU-RAY
- Director : Luca Guadagnino
- Media Format : Blu-ray
- Run time : 2 hours and 12 minutes
- Release date : March 13, 2018
- Actors : Armie Hammer, Timothée Chalamet, Michael Stuhlbarg, Amira Casar, Esther Garrel
- Dubbed: : Portuguese, French, Spanish
- Subtitles: : Thai, Mandarin Chinese, Korean, English, Portuguese, French, Spanish, Cantonese
- Producers : Luca Guadagnino, Emilie Georges, James Ivory, Peter Spears, Howard Rosenman
- Studio : Sony Pictures Home Entertainment
- ASIN : B078FHJK18
- Number of discs : 1
- Best Sellers Rank: #8,906 in Movies & TV (See Top 100 in Movies & TV)
- #140 in Romance (Movies & TV)
- #1,033 in Drama Blu-ray Discs
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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.
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.
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映画としては正解。ラストシーンで延々と主人公の表情を
無言で写すのですが、退屈せず、こういう終わり方しかないだろう
と思われました。