I watched Call Me By Your Name tonight (a few months after most other people!). It looks very pretty, and certainly works as a very nice advertisement for Northern Italy, but I found it surprisingly disappointing and I didn’t manage to get emotionally involved in the story or empathising with the characters. This wasn’t helped by what seemed like a considerable amount of padding, and I wonder if it might have been better had it been twenty minutes shorter (it runs at two and a quarter hours).
The story about a seventeen year old (ish) teenager who begins a relationship with a research assistant who has come to live with his family for the summer to work with his father in Northern Italy is very slight and seems to go to all the various plot points that you might expect. I should also add that I know a number of research assistants and none of them are facing the prospect of eight weeks of sunning themselves in Italy! Perhaps they should complain.
Arnie Hammer and Timothee Chalamet do very well in their roles, with the latter no doubt destined for great things – and the fact that he makes you start to like a character who transcribes Schoenberg for fun gives an indication of his screen presence. But it is only in the last section of the film that he becomes that likeable, as it is that point he becomes vulnerable. Apparently, there will be a sequel, and may be even a long-running series about these characters, but I’m not going to get too excited.
The film gained some considerable attention, mostly because the two romantic leads were both male. It’s a big step forward for Hollywood in that they produced a whopping two major films with male gay lead characters this year (how did they cope?!), but a film that is a milestone for Hollywood is not anything special for anyone who watches independent or foreign-language films on a regular basis. In truth, France, Germany, Spain and Scandinavia in particular have been making films with gay lead characters literally for decades, better than this, and without trumpeting their “daring” every time such a film is released. It’s just par for the course. I re-watched Les Roseau Sauvages (Andre Techine, 1994) earlier this week and it has considerably more depth and emotional involvement than Call Me By Your Name.
Love Simon, the other Hollywood film of male-male love release this year is another thing altogether and truly is a first in its use of the high school movie format that we have all seen over the last few decades for a gay romance – and it is a more entertaining, and thoroughly likeable, film by far. Hopefully, Love Simon will lead to such things being “normal” in major films. It is, apparently, the 14th highest grossing teen romance since 1980, which demonstrates that teenage audiences have no problem with the subject matter – not that anyone is likely to be shocked by that other than film executives, it seems. But out of Call Me By Your Name and Love Simon, it will be the latter that I will return to. It’s funny, charming and thoroughly engaging whether you’re the intended teen audience or not, and I found little of that in the more self-important watched tonight.
On a final note, the two films contain scenes that are very reminiscent of each other towards the end of their running times. The scene where Simon’s mother talks to him about his sexuality after he has come out has been rightfully applauded, but we get a similar scene between Elio and his father in Call Me By Your Name which is just as well done, if not better. In fact, it is probably the most touching moment within the whole film, and one of the few where I really thought I was getting to know what was going on inside the mind of the characters – but at that point, the film has ten minutes left to run and it all seems just a little too late. Fran Tirado, deputy editor of Out Magazine said of the film, “[it] seemed to be a very long, very beautifully art-directed gay porn, but with not as much sex, or plot.” It’s a quote that seems to sum the film up well.