Rating 187942 vote; Creators James Ivory, André Aciman; Romance; 8,2 of 10; country France; The Perlmans own a villa outside of Moscazzano in Northern Italy, where they spend their summers and Hannukah. They invite a graduate student to spend six weeks with them over the summer to help Professor Perlman with his work. This summer - 1983 - the student in question is an American named Oliver. While there, Oliver largely associates with the Perlmans' seventeen year old son Elio and Elio's friends, the females among the group whose hearts are aflutter by Oliver's preppy good looks. Oliver, in fact, takes up casually with one of them, Chiara. Elio is an intellectual, but has no experience with girls as he is only now experimenting with his initial stage of manhood and masculinity. If not for Oliver, Elio probably would have chosen Chiara himself, and as such takes up with Marzia instead. Despite their social association and sleeping in adjoining rooms in the villa, Elio doesn't much like Oliver in thinking him too cocky and arrogant partly in that brash American sensibility. In turn, Oliver believes Elio is patronizing in his outward dislike of him. These outward behaviors mask the fact that there is a deep attraction between Elio and Oliver based largely on their admiration of the other's intellect. When they eventually admit that attraction late into Oliver's stay, Oliver is more reticent to act on those feelings in not wanting to ruin his own or Elio's life in still being in the closet, while Elio wants to experience all that sex and love are as he is in the flush of first real love. With Oliver and Elio's clandestine relationship, Elio has to figure out what to do about Marzia, he who may be aware or unaware of her own very deep feelings for him in also experiencing that flush of first love. The other question then becomes if Elio will be able to recover as there will definitely be an end at least to this phase of Oliver and Elio's romance when Oliver leaves to go home at the end of the summer
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Director Luca Guadagnino and James Ivory as scenarist have fashioned a luxurious, sultry and intoxicatingly romantic film from Andre Aciman's novel, Call Me By Your Name. And in the process of adapting this bittersweet story of gay love the filmmakers have improved on an often beautifully written novel that tends to ramble with its first person narrative, punctuated by vivid descriptions of the Italian land and seascapes it wallows in, often to the sensual delight of the reader. As he did with the equally colorful, Italy -based romantic drama of "I Am Love" 2009) Guadagnino paints with robust, sometimes subtle cinematic brushstrokes to bring forth an evocative atmosphere of heat, sun, flora and fruit as vivid background to the main story at hand.
What is it about the best Italian film directors whose penchant for telling stories is so entwined with production values that dazzle the eye, be it in black and white our color? Luchino Visconti, Frederico Fellini, Michelangelo Antonioni, Bernardo Bertolucci and Franco Zeffirelli all had this gift, and it is readily apparent that the torch has been passed on to Luca Guadagnino. Abetted by the brilliant acting of Timothee Chalamet, Michael Stuhlberg and the impossibly handsome and able Armie Hammer, Call Me By Your Name emerges as an unforgettable, erotic and deeply moving saga of love found, lost and remembered.
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