Call Me By Your Name and the Year in Love

My fascination with Call Me By Your Name began, as it did for so many of us, with that clip of Armie Hammer dancing.

Armie Hammer is one of those celebrities I mostly know because of social media, and not because I follow him anywhere, but because the people I do follow have an affection for him and post lots of GIFs of him looking handsome and saying funny, self-deprecating things. (I’m confounded by the sudden and mysterious ascendance of all these extremely handsome dudes, including Chrises Hemsworth and Pine, who are somehow also genuinely, extremely funny.) But then that dance went viral and lots of other people started getting obsessed with him in that singularly social media-informed way that’s beyond just Andy Warhol’s proverbial 15 minutes of fame, that instead casts everyone who reaches a certain level of fame as the star of their own fanfic, where they can be dressed up and outfitted with each individual viewer’s very specific and often very quirky desires. That’s the point I knew the movie was probably going to be A Thing when it finally came out.

So I downloaded the ebook of the novel onto the Kindle app on my iPhone and spent a few weeks reading it during this past rainy October.

It’s a lovely, erotic little bit of writing that made me wonder how the film was ever going to manage to convey the painstaking, multilayered interiority of Elio’s sexual awakening without resorting to voice over. It also made me preemptively appreciate Hammer’s casting all the more; there is no one else I could imagine playing the role of Oliver.


One of the things that bugs me most about current practices in film distribution is the way that everything revolves around hype. Not that it hasn’t always, of course, but it feels particularly intensified now. Everything’s a summer tentpole; everything’s year-end awards season bait. I see and feel how easily I’m played through targeted promotion and the relentless unavoidability of advertising, at least for the chosen handful of films that can afford such tactics.

It always reminds me of the summer that I drove from Chicago to Chelan, Washington, with three friends. None of us had ever been to Wall Drug in South Dakota before, even though we’d all seen the bumper stickers and knew the main gist of its legend. But, as we were first setting out and planning when and where we’d take our rest stops, none of us felt any particular need to actually go there. Until, of course, we’d been driving for hours with very little scenery to capture our attention other than Wall Drug advertisements along the side of the road, and suddenly its allure became that much more understandable, and irresistible.

Even after all those times we joked about its omnipresent, single-minded advertising juggernaut, still, after all that build up, we somehow started to feel like, gosh, we kind of have to go now, don’t we? And so of course we did. My actual memories of the place are pretty vague, mostly informed in retrospect by the few snapshots I managed to take with what was probably the last film-based camera I’ll ever own. But, by god, the photos prove I was there!

And that’s pretty much what it feels like to go to the movies now.

I don’t get as excited about an actual film as much as I get excited about my idea of the film. And my idea of the film is carefully implanted in my imagination by a canny and cunning campaign that’s solely meant to get me through the theater door, preferably sometime during opening weekend. At which point my idea of the film ends up not mattering at all after I’ve shelled out my cash at the box office.

And even if a tiny film ends up blowing up beyond its initial projections, it’s ultimately still hype that gets me to see it, when I read people talking about this small great film that’s so winning, so charming. And so many times I leave wondering what the big deal about it was in the first place, wondering why that random film, among so many others, was the one that found its statistically unlikely success.

The big deal, of course, is innocence. It’s the simplicity of a piece of art’s is-ness, before it’s burdened by its audience’s opinions of it.

As I wrote about in my 2016 film write-up last year, I have no head for plot and thus I rarely have ever cared about spoilers. If I’m watching a movie for its mood, for the vibrancy of its symbolism and for its ability to make me feel something, I’ve always thought its plot actually hinders me from contemplating those elements with the depth that I want to. Like, I’d seen Kubrick’s The Shining I don’t know how many times, but it wasn’t until I made my boyfriend, a lifelong Stephen King fan, explain the mechanics of the story to me that I could finally watch it as a piece of art without being breathlessly frightened by every cut to a new scene. I’ve always kind of felt like, if a movie can be ruined by being spoiled, well then, maybe it deserves to be spoiled. If there’s not enough there there for me to appreciate beyond a simple progression from “A then B then C to—whoa!—D,” then it’s probably not worth my time in the first place.

But now that GIFs on Tumblr and micro-analyses on Twitter have become the de facto water cooler chatter where I often inadvertently pick up information about any given movie before I’ve actually had a chance to see it, there’s this new level of, like, emotional spoiler that I have become much more wary of. When some actor’s sidelong glance at a character in a scene in a film can be not just captured, but repeated ad infinitum via an animated GIF, its power, which was maybe so vital, so trenchant in context, becomes siphoned off and turned into this weird commodity, just another way for us to perform our own identities online. Now that there’s this new technologically based ability to extract the very thing that I go to the movies for in the first place, I find that my investment in the anticipation of these moments completely robs me of my ability to feel the profundity of the thing.

Like, when I finally got myself to the movie theater to see Call Me By Your Name after nearly two full weeks in bed with a terrible flu, I was so primed for the moment when Oliver says “I remember everything” on the phone to Elio near the very end of the film, that the moment blew right past me. I felt nothing because I was expecting it to feel like everything. I had read so much about it and was expecting to, like, levitate out of my seat with sympathetic grief and rapture. And when I didn’t, I of course was looking somewhere to place the blame: with myself, with the people who’d hyped that moment on social media, with the film itself.

There has to be a way to talk about the things we love in a way that illuminates rather than colonizes them. And, don’t get me wrong, I fully admit my own culpability here; I’ve written reams and reams about film online since 2001, much of it laden with the kind of emotional spoilers I’ve just spent this whole post deriding. In my own small way, I’ve contributed to this me-first, everyone’s-a-critic discourse that has turned into this monster that destroys pleasure by isolating and magnifying it in the name of critique.

So my small act of penance, my small gesture toward allowing precious things to remain precious, is that I’m not going to tell you about my favorite moment in the film. I’m not going to tell you about the line that made me cry twice, first in the theater and then later again in the car when my boyfriend and I were talking about it on the way home. The moment may not hit you in the same way it hit me; hell, it may not even hit me the same way again when and if I see the movie a second time.

Because, that’s the whole message of the movie, right? Don’t deaden your reactions to life by brushing the overwhelm of your feelings aside or stuffing them down. Or, I might extrapolate, by elevating or otherwise blowing them up as a way of fashioning them into a substitute for your personality. As that devastating final shot of Timothée Chalamet’s face shows us so vividly, it’s entirely possible for love, even when painful, to be an experience of accretion. This brief affair not only restored elements to the character’s life (such as the Star of David that he began wearing again around his neck), it also added to it (he got a secret new name, a deepened relationship with his father, etc.). Love, even when it’s fleeting, is something you can keep.

And until I can figure out a more effective way to elevate the things I’m compelled by rather than flattening them through indiscriminate sharing, I’m choosing to keep what I love close to me for a change.