Call me with your name
The strenuous supporters of "Call me with your name" -curiously ladies and ladies trendy in the head- keep us obsessively declaring that this is not a "gay film". Suspicion of hands set aside, it seems to us that this real mantra damages its crucial aspect and that is the ability to describe the homoerotic tension. Aspect, moreover, that according to us is his only merit. Guadagnino is a former critic who knows how to structure his works with great professional skills, but here lies his greatest weakness: so devoted to the inspiring masters as it is attracted by the remakes ("A Bigger Splash" was "The pool" and is already ready that of "Suspiria"), has, in fact, the adaptation of the ninety-year-old specialist Ivory of the eponymous novel by André Aciman (Guanda publisher) on the beloved models. It would seem to argue that according to logic it would be preferable to address the originals, but there's more: the giveaways and re-readings ("Journey to Italy", "The Garden of the Finzi Contini", "Novecento", "Death in Venice", " I dance alone "" Theorem "and so on and so forth) they put us a little to hijack in aesthetics, mannerism, sliced and cloying. It's what we think happens to "Call me with your name" that from the literary matrix extracts the vitreous and lifeless staging of the first erotic disturbances of a seventeen year old undecided between the duty to be like peers and the pleasure of discovering differently inclined:
The very rich, cultured and Jewish "discreetly" inhabitants of the seventeenth-century villa near Crema, accommodated in a sort of aristo-dem bubble (free cigarettes and spinels), speak of Prassitele and Eraclito, retrieve statues in Lake Garda, read " Le Monde "as well as books translating the impression from the German and have old servants called Anchises, but since we are in 1983 the Italians in question are caricatures screaming on the Pentapartito and sproloquianti on Craxi. The 24-year-old PhD student hosted for the summer is the American with Apollonian features Oliver (Hammer) who with his collection of mischievous shorts and his Converse shoes gives a trail to the ugly and shameless girls who besiege the Efebian Elio (Chalamet), until it sparkles the spark for a marriage that really is worth the pathos: one not only knows whether to put into the poetic account also the cult scene of fishing penetrated between the dripping of the juice from the protagonist to improve the apprenticeship. As a final pistolotto there is the superliberal dad who, confessing that he was also on the verge of choosing true love, suggests to his son to allow himself with the departing Oliver a nice vacation before the summer ends. The sequence of enveloping sequences, the backlighting in the woods by the Thai photographer, the epilogue with Elio grown up and now dressed in the latest gay fashion who knows if they manage to turn off a very malicious thought: if it were a girl who seduces a stem Thirty-year-old (the actor's age at the time of filming) would have given rise to a ruckus.
