Thoughts on ‘Call Me By Your Name’
First things first, you have to know that I am one of those people that likes to read the book first. This has always been my rule. When I heard that Sufjan Stevens, my favorite musician by far, was recording some new songs for the soundtrack of an upcoming movie that was a) based off a book and b) a queer love story, I knew I had to get my hands on the novel. It was truly the perfect storm of all my interests. I read the book. I didn’t love it, but I enjoyed most of it and respected author André Aciman’s vision. Then I just had to wait.
Flash forward to more than a year later, when Luca Guadagnino’s film Call Me By Your Name finally got its wide release, and I was eagerly sitting down to watch. I fully expected to be blown away. After the fact, I was… underwhelmed. But also satisfied, somehow. It’s complicated.
Don’t get me wrong — it’s still the best film I’ve seen in ages (probably since Barry Jenkins’ Moonlight), and even surpassed Greta Gerwig’s Lady Bird for me (which I genuinely loved despite its flaws). But seeing CMBYN definitely had me rethinking my book first, movie adaptation second strategy. Just knowing I could have enjoyed it more if I had gone in without expectations is a major bummer.
Unfortunately, knowing the ending of the book really stole the film version ending’s thunder. And not just that Elio and Oliver don’t stay together. I think it’s pretty safe to say that that isn’t a spoiler based on how the film has been marketed. It was knowing the particulars of why their relationship ends (beyond the obvious issue of the story taking place in the 1980s when the closet was more like a permanent fixture than a temporary state). I think this is why the final scene did not affect me as much emotionally as it seems to have basically every other viewer.
It probably didn’t help that I had also listened to the new Sufjan Stevens songs ahead of time, and was more focused on how “Visions of Gideon” was working in the final scene. On that note, I also do not recommend pre-listening to a movie soundtrack. You live, you learn. But I really do think his songs were perfect for the film, especially the remix of “Futile Devices,” my all-time favorite Sufjan track. Sufjan better win that Oscar!
Although the ending scene was therefore a letdown for me, it was also a vast improvement over the book’s ending. James Ivory’s screenplay did a great job of focusing on the strengths of Aciman’s novel and cut out a lot of parts that I disliked in the book (most of the trip section, for example, including a long and meandering book party scene). This was a smart decision, because it made the shortness of Elio and Oliver’s time together much more immediate and poignant. I also liked that the film cuts off before the scenes where Elio and Oliver are older, which were very unsatisfying to read.
Guadagnino is threatening to continue where he left off with sequels, and I really hope he doesn’t. But if they absolutely have to happen, they need to stay true to Aciman’s vision and feature Oliver very sparingly; the focus should be on Elio as he continues to grow up and into himself. Plus, and this is probably an unpopular opinion, I did not care for Armie Hammer as Oliver (the one exception being the dance scene…talk about commitment!), and am much more excited to see future work from Timothée Chalamet.
Since I effectively spoiled myself with regards to the narrative and soundtrack, I was most appreciative of the cinematography and superb acting from Chalamet and Michael Stuhlbarg. Stuhlbarg’s bittersweet monologue was a definite high point in the film. One thing I loved about the cinematography was the contrasting use of light in scenes of Elio’s introspection versus his interactions with Oliver. The dark moodiness of a lot of Elio’s solo scenes was a perfect complement to his character.
I read an interesting quote from André Aciman about his reaction to the film. “I couldn’t write silence.” But silence has its limits, and anyone who has read the prose version of Elio’s story would be hard-pressed to prefer the silence of the film. I had misgivings about how the book was translate to film going into it, knowing that so much of the book’s power was in Elio’s inner thoughts. His introspection was a huge part of his personality. We can see glimpes of it in the film through his meaningful looks and tendency to withdraw for self-reflection, but we don’t experience it firsthand and are held at a distance. But I have to say, thank god that Guadagnino didn’t choose to use voice-over narration. That would have completely ruined the film’s aesthetic. Even though I love the way film adaptations can bring a book to life visually, I still think I will always prefer the freedom of the written word over the constraints of film.
And finally, the most important question: how well does CMBYN fare as a queer love story? I have no qualms here. I loved that, like the book, it doesn’t get caught up in labels and melodrama. I don’t want to say that it’s been homogenized to read like a straight love story (though some critics have, and I can respect that viewpoint), because I just thought it was refreshing. Every queer film doesn’t have to be about issues and strife. The film is realistic about the obstacles Elio and Oliver face, but still allows them a “normal” love story the same as any other two star-crossed lovers. And my personal mark of quality storytelling— no bi-erasure! If the film adaptation had changed the characters’ sexuality I would have been quite upset. Overall, this was the queer love story I needed in my life. I like a dramatic coming out narrative as much as anyone, but sometimes you just want to watch two happy people in love, even if it’s for a short time. Watching them fall in love in beautiful Italy doesn’t hurt, either.
As I finished writing this, I went back to look at my Goodreads review of CMBYN to get a better perspective on which medium I preferred. And honestly, I have to give the edge to the film. The first 100 pages of Aciman’s novel are some of the best literature I’ve ever read, but the book really loses its way after that. Guadagnino’s film is just sustained excellence, and a solid ending. Endings count a lot in my book. If you haven’t seen this film yet, please do yourself a favor and do so as soon as possible. I already want to see it again!
As a postscript, I enjoyed this review that also recommends watching the film before you read the book. Oh, to have experienced that pure expectation-less viewing…