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Here, God is the boy’s father, Professor Perlman (Michael Stuhlbarg), an archaeology professor researching sensual male nude sculptures of classical Greece.
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Or is it the editing of Walter Fasano who takes you on a high, then abruptly cuts scenes so that the music and the mood lingers in your body even as your eyes relish a new shot? The mythologist in me, however, noticed the metaphors and the symbols, and sensed there was something far more subversive at work – a radical retelling of a myth, where Eden becomes a place of love, where God does not judge, and in fact encourages transgression through education, perhaps because the garden, full of peaches, cherries and apricots, and rivers full of fish, belongs to the Goddess. Is it the gently sonorous music of indie-pop artist Sufjan Stevens, so full of love and longing? Is it the fabulous work of Thai cinematographer Sayombhu Mukdeeprom, who successfully creates a dreamy sun-drenched summer experience? Or is it the screenplay by veteran James Ivory, who transforms Andre Aciman’s novel of the same name from being a memoir of an older and more reflective Elio to being an experience located in the present, not just of Elio but also of Oliver, who is excited yet terrified by the force of this forbidden feeling? Why you feel quietly happy, even uplifted, despite the tragic end. It has been done before, only this time it involves two people of the same sex, a boy and a man.īut then you wonder why the film lingers long after the credits have rolled. The film follows the step-by-step exploration of sensual love (shringara rasa) described in Bharata’s Natyashastra between precocious 17-year old Elio (played by the talented Timothee Chalamet) from an affluent, well-educated and highly cultured American-Italian family, and his father’s 24-year-old American student Oliver (played by the gorgeous Arnie Hammer) from the first meeting to tension, anticipation, realisation, termination and finally reflection.
This is the dominant myth that most gays and lesbians have to contend with.Īnd so it is indeed delightful to discover how Luca Guadagnino’s Oscar-nominated Call Me By Your Name, with brilliant use of narrative, visuals and music, reclaims Eden for gay men and women around the world, for everyone in fact – homosexual or heterosexual – who values love over law.Īt face value, it is a finely crafted coming-of-age film, set in a villa in a quaint little Italian town one summer, amidst a feast of food, friends, wine, music, dancing, swimming and indolence. Imagined for centuries as being against the order of nature, it is considered forbidden not only by God but also by man. Nothing is more transgessive in human society than homosexuality: the desire of a man for a man, or a woman for a woman. It is where good children go, the obedient ones, those who either resist the temptation, or those who genuinely regret the transgression. The quest for ‘happily ever after’ in modern retellings of ancient European fairy tales is essentially a yearning to return to that perfect Eden. It is the Original Sin, an act of transgression. The most dominant mythic structure in the Western world is the biblical one, of Adam and Eve being cast out of Eden, the perfect garden, by Yahweh, God of Abraham, because they succumb to the serpent’s temptation and eat the Forbidden Fruit. Įvery fiction, whether a novel, a play or a film, is a writer’s attempt to reinforce or challenge mythic structures around him. Published on 6th March, 2018, on Scroll.in.