Call Me By
Your Name, the new cinematic gay love story
by director Luca Guadagnino, belongs to a genre that might be called “European
vacation porn.” This is a genre where some character is lucky enough to have a
summer home or hideaway in some exotic European location (in this case northern
Italy) and it includes Guadagnino’s previous film, A Bigger Splash, as well as the underrated Brad Pitt/Angelina Jolie
travelogue By the Sea (which now
reads like a documentary about their divorce), both of which were filmed in
locations so exotic, I don’t even know where they are. (See also: Nancy
Meyers/real estate porn.)
It may also be
the beginning of another genre: a gay love story where neither character is
murdered at the end (Brokeback Mountain)
or commits suicide (virtually every gay film before Brokeback
Mountain). There is a plot twist at the end, which I won’t reveal here,
but it’s not fatal.
There was some
controversy before this movie came out about the difference in age between the
two characters (17 and 24 in the book upon which the movie is based and played
by Timothée Chalamet and Armie Hammer—who is closer to 30—in the movie), but to
me the bigger source of controversy is the idea that a Greek god like Hammer would
be attracted to what could most charitably described as the “gay nerd” played
by Chalamet. Maybe it’s because, to crib a line from Little Britain, they’re the only gays in the village. (I could
write a separate essay on Hammer’s beauty—the square chin, the Robert
Redford-thick blond hair, but I digress).
It’s a testament
to Chalamet’s and Hammer’s acting ability that they make this work. It also
helps that Chalamet’s character is so young and horny, he’s apparently
attracted to women, as well (and women are also drawn to both characters—no
need to explain in Hammer’s case).
The high point of
this movie for me was when Hammer and Chalamet wander into an outdoor party and
the DJ plays The Psychedelic Furs’ “Love My Way.” I’ve always loved this song,
far and away the Furs’ best (any one of whose parts—xylophone, keyboard, drums,
vocal—are among the best examples of those parts ever recorded), but when this
song came over the movie theater’s speakers, my head damn near exploded! When I
came home, I not only played this song about a hundred times in a row, it sent
me into an ’80s music K-hole!
Guadagnino pulled
off a similar feat in Splash, when Ray
Fiennes played the Rolling Stones’ “Emotional Rescue.” It wasn’t just the
music, it was the characters’ sheer joy (Fiennes in Splash, Hammer and Chalamet in Name) in dancing to it. Clearly, Guadagnino is a director
who understands the power of a song to lift a movie into the stratosphere.
With Name and Splash, Guadagnino catapults into the front ranks of movie directors (and,
parenthetically, the Psychedelic Furs leap into the pantheon of great rock
bands).
Nevertheless, the
movie winds up being somehow less than the sum of its parts. My expectations
were impossibly high after Splash and,
given the level of talent involved—in addition to Guadagnino, there's screenwriter
James Ivory (Maurice)—I don’t
know what I was expecting.
But the great
thing about this movie—what makes it better than porn—is that by not being graphic, it forces your imagination to do the
extra work and, therefore, remains in your mind much longer.
Unfortunately, no
matter how many times I played “Love My Way,” I still couldn’t get Armie Hammer
to magically appear in my apartment.
