Most of the songs that blast from speakers at the bars and dance parties Elio and Oliver frequent are cultural hybrids. Lawrence, a strange Nagisa Ôshima film where the composer stars as a Japanese soldier in World War II who develops a homoerotic fixation on a prisoner played by David Bowie.Įighties pop singles are scattered amid the classical pieces on a tracklist that looks haphazard but actually represents a thoughtful convergence of sensibilities-one that coheres even without the accompanying images. One of Sakamoto’s two contributions, the dreamy and then halting “Germination,” comes from Merry Christmas Mr. “Wachet auf, ruft uns die Stimme” steals phrases from the Bible’s sensual Song of Songs. There are secret messages in the music, too. (The soundtrack features Italian pianist Alessio Bax’s delicate recording of the movement.)īecause their relationship is supposed to be a secret, the couple’s dialogue is often coded. In one scene, Elio plays the gentle “Zion hört die Wächter singen,” from Bach’s chorale cantata “Wachet auf, ruft uns die Stimme,” three times in a row for a mesmerized Oliver, tweaking each performance to simulate how a different famous composer might put his stamp on it. The Canadian pianist André Laplante, as well as the British and Hungarian duo of Valéria Szervánszky and Ronald Cavaye, perform pieces by Ravel. Canonical compositions segue into tracks by contemporary innovators like Ryuichi Sakamoto and John Adams. Like Elio-an American Jew living in Italy, who also speaks French with his sometime girlfriend (Esther Garrel)-this soundtrack has an international sensibility and an old soul. In fact, Guadagnino’s journey into his hero’s psyche is accompanied by works that span continents and centuries. Watching the film for the first time, a viewer lost in cinematographer Sayombhu Mukdeeprom’s overripe visuals might mistake the piano-driven instrumentals for a score crafted by a single composer. The soundtrack unites Elio’s internal life, with its piano compositions and sheet music, and the ’80s pop hits that represent the external reality he accesses through Oliver. Its soundtrack translates that electricity, of worlds colliding, into music.
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The movie gets its title from a scene where Elio and Oliver literally exchange names, as though to annihilate any boundary between them. Identity is at its least stable in these years, when the books and bands you love become your mirror and it only takes a kiss to collapse your unformed self into someone else.
What’s implicit in his story may be the only genuinely universal truth about adolescence-that it’s a time of blurred borders, when the innocence of childhood starts to chafe like shoes you’ve outgrown, but adult obligations still sound deadening. For an introspective teenager who’s never truly been in love, and whose hobbies include playing and transcribing classical music, falling for this Adonis in a button-down shirt is like discovering a new language to communicate with the outside world.
A handsome doctoral student who radiates confidence, Oliver comes to live and work with Elio’s archeologist father (Michael Stuhlbarg) for the summer.
Set in Italy during the hottest months of 1983 and adapted from a novel of the same name by André Aciman, Call Me By Your Name tracks Elio’s affair with his first male lover, Oliver (Armie Hammer), from infatuation to consummation to their inevitable parting. The movie spends so much time lingering on sensory details, from the taste of freshly picked fruit to the touch of a lover’s hand to the urgency of its dreamy, eclectic soundtrack, that it practically transport us into his skin. Although it is deliriously romantic, the Italian director Luca Guadagnino’s new film Call Me By Your Name is too deeply immersed in the subjective experience of a singular 17-year-old, Elio Perlman (Timothée Chalamet), to rehash conventional wisdom about youth.
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