写得匆忙，随时修改随时更正，先放一段导演访谈（源：Don’t believe everything you hear about ‘Call Me by Your Name’）：
The caution and obscure between the 24-year-old man and the 17-year-old boy is almost close to the traditional love, 7 year’s gap did disturb their attitude towards the emotion. Age is an obstacle. But their beautiful friendship still showed especial intercourse gestures. As their love heat up, I conclude four kinds of senses to describe the process.
A. Implicit expression:
This kind of emotion began before Elio and Oliver confirmed their relation, I called the process as tentative processes.In the tentative processes, they always used some instruments or other media or even some detailed actions to show a sense or a response. And I found 3 plots in this movie, which can lead us to feel the ambiguity.
Before going to the seaside, Elio made Oliver angry deliberately. But immediately, Elio actively withdrawed, then they made peace by shaking bronze’s hand at the seaside — Oliver carried the bronze hand and Elio fit in it.
In this plot, bronze hand was a media, or in other words, was a bridge. Before confirmed the love, they were both too shy to touch each other’s hands. That’s the magic of calf love, partial emotion made they be more cautious.
Elio wore the same necklace as Oliver’s, which hadn't worn in a long time after the relationship grew. People who are falling in love always want to have more in common with those they like, so that they can integrate into each other's world. It's like calling each other by their names.
After the cold war ended with a note, Oliver's note was rubbed on Elio’s lips continually. In the long waiting, camera gave close-up shots of watch twice, In first case, Elio carefully removed the watch and placed it on the table before making out with Marzia in the attic. In second case, after Elio playing the piano, he's father gave the watch back to him. Elio looked at the watch to see the time again and again, a total of 7 times, showing a subtle impatience with the passage of time. Even though Elio spent the afternoon making out with Marzia, he was distracted by his frequent watch reading, as if he just pretended to date her to suffer the long wait.
Loves make man over-sensitivity. Drown into the love river, just like the earth spinning over lover. A rush, a glance, a touch, a dance, they always like to guess the real meaning under the face, even although there is nothing special.
C. Sense of unstable:
Because same-sex love is so special, you have to be careful enough in case of disturbing your partner when expressing it. And you will be swayed by considerations of gain and loss after you own it. Because it is so rare and precious that no one can bear what it looked like when it died, and it is so beautiful that one cannot believe why it happened to themselves.
When Elio first saw Oliver dancing with others, Elio rushed into the dance floor in silence and found another girl to dance crazily for the night. When Elio set the girl on fire, they took off their clothes by the river. But Elio finally chose to swim in the river. That’s not means Elio flinched, but means he was complaining in his young heart, he’s jealous. He wanted to revenge, but every time he got the chance he found that he was binded by fidelity.
On the night before their departure, Elio saw Oliver and strange women dancing by the roadside. He crouched down and vomited violently. Vomiting is because the feeling of separation is coming right into your heart. It's because you're watching a loved one and a stranger dance happily. Moment you may realize that the person you love, after all, some parts are not belong to you, and he'll be gone, so he has suddenly wanted to give the heart all out with the miserable feeling. Of course, Elio drank a lot of wine that night, and it may have been too much for him to vomit. But the real reason, we can never know.
D. Fiercely passion:
They were keeping pursuing a powerful way to experience love, they used their passion as if the relationship was fleeting.
Elio confessed when he had a bloody nose at lunch that day. The novel is written because Oliver was poking Elio's feet with his foot. The reason for Elio's nosebleeds is not clear, as it was not filmed under the table. However, it is precisely the director's treatment that reminds us of more, to guess what filled in Elio's heart and what made him so energetic.
The Peach. Peach also becomes a verb after this movie. Because it shows the most daring and erotic scenes of the whole movie —— have sex with a peach.
After the sexual behavior, Elio lay on the sofa in attic, at the next moment, Oliver came and found it. Then suddenly Elio started to cry. First of all, I think it's because of shame, like a child caught doing something wrong. Oliver found that the tone of jokes made Elio think it was teasing him. Meanwhile Elio always felt that oliver's love was just a concern for him. Then Oliver's crazy performance immediately proved how much he loved Elio, so I think it was shame and tears of joy. It is the other person who is not related by blood who is so accepting of Elio.
I think Elio and Oliver's story should be regarded as the closest meta-text to the essence of love, rather than just as the representative of another beautiful homosexual relationship. Meanwhile, there is a passage in the novel where Elio asks himself: “Did I want to be like him? Did I want to be him? Or did I just want to have him?” This question applies to all types of love rather than only this one. It’s a video for Oliver, because he had known what love is and in his rest life, Elio may be his mind time to time. And it’s visions of Gideon for Elio, because he suffered it and grown up, then they will never do interact.
In Robert Sternberg’s opinion, love consists of three components: passion, intimacy, and commitment.
Among them, passion is the emotional component of love, which refers to emotional obsession, mainly including deep emotion and sexual desire. Intimacy is the motivation component of love, which refers to the feeling of psychological liking, mainly including the feeling of connection and affection. Commitment is the cognitive component of love. It refers to the expectation, both mentally and verbally. It mainly refers to the decision to establish a long-term relationship with another person.
When we get the general background knowledge, we can look back to the movie. We have to judge the love between Oliver and Elio. What I am sure is their love is grasped all the quality that the traditional love possesses. But the degree of the love is fiercer, which means their happiness, their sadness, their fear will be enlarged. There is no denying that they possessed the passion and the intimacy in love, such as the vigorous bleed nose and the hormonal peach. But they lose an important part, commitment, which made their love become romantic love. Romantic love means don't care about eternity, only care about the past. Just like running in the summer heavy rain hand in hand, just feel the cold on the skin, never care about the possible fever. But the little diseases will grow, finally break the love stone. It’s certain.
We can blame the leave of Oliver to the lack of commitment, just like the calf love we had in our childhood, when we were in it, we’re too young to think about the future, and the tedious thoughts bother our feelings of love itself.
When we lay in an enlightened environment, the pussyfooting is not limited in the homosexual, but just like any other love, it’s a practice of passion, intimacy and commitment. And more important is, all three parts is necessary, otherwise lover will cry alone.
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#影# 2017《Call Me By Your Name》 6+1+0.5+0.5=8/10
Q: Your films are very beautiful, but you’ve said you despise beauty. What do you mean? 你的电影非常美，但你说过你厌恶美丽。这是什么意思？
Director Luca Guadagnino with Timothée Chalamet and Armie Hammer. Photo courtesy of Sony Pictures Classics.
Many of you might remember the old and beloved film called “Love Story” written by Erich Segal (also based on his novel) and gloriously directed by Arthur Hiller. As a quick reminder – it is a tragic love story about Jenny and Oliver who come from different backgrounds. Their journey begins with high anticipation of a beautiful life ahead of them but is cut short tragically.
There is a reason why I have reminded you of Hiller’s film before writing about Luca Guadagnino’s “Call Me by Your Name”. There are several parallels I can draw between these two films: both are based on novels; both have unforgettable soundtracks and splendid storylines; flawless performance in both films shapes subtly the relationship between two individuals. Once you watch Oliver and Elio (portrayed by Armie Hammer and Timothée Chalamet) on the screen, I’m sure you’ll wish that all love stories are told in the same uncompromising way.
I did not mention anything about the gender of the characters on purpose. This film is shot and narrated in such a way that it does not matter at all. “Call Me By Your Name” talks about love and respect. And I believe prejudices will always have a shorter life to live. Every human being is entitled for a right for love and to be loved. Nobody can take it away – now or ever. Thanks to “Call Me By Your Name” for capturing it in such a humble way.
During Toronto International Film Festival, I had a great pleasure to attend a round table interview with Luca Guadagnino – the director of “Call Me By Your Name” and the actors Armie Hammer and Timothée Chalamet. I had a chance to ask questions to give me a better idea about behind-the-scenes of the most fantastic and magical film of the year.
A: Think of the German architect Albert Speer, during the Nazi regime. His buildings were beautiful, but what were they signifiers of? I am interested in the beauty that lies in our actions. I’m thinking of the scene in which Elio is watching Oliver dancing. We are in a dingy club. It’s not a beautiful place. Elio is a normal-looking boy, in normal-looking clothes. 试想一下纳粹时期的德国建筑师Albert Speer。他的建筑很漂亮，但是它们意味着什么呢？我感兴趣的是存在于我们行动中的美。我想到电影中有一幕是Elio看着Oliver跳舞。我们身处一个昏暗的俱乐部。这可不是什么漂亮的地方。Elio是一个长相平平的男孩，身着普普通通的衣服。
有一个原因让我在写关于Luca Guadagnino的“用你的名字呼叫我”之前提醒你Hiller的电影。我可以在这两部电影中找到几种相似之处：都是基于小说; 都有令人难忘的配乐和灿烂的故事情节; 两部电影的无瑕表演巧妙地塑造了两个人之间的关系。一旦你在屏幕上观看了Oliver和Elio（由Armie Hammer和TimothéeChalamet所描绘），我相信你会希望所有的爱情故事都以同样不妥协的方式被告知。
在多伦多国际电影节期间，我非常高兴地出席了与Luca Guadagnino--“Call Me By Your Name”的导演和演员Armie Hammer和TimothéeChalamet的圆桌采访。我有机会提出问题，让我更好地了解一年中最神奇和最神奇的电影幕后故事。
Timothée Chalamet as Elio and Armie Hammer as Oliver. Courtesy of Sony Pictures Classics.
MOVIEMOVESME: My first question is to you, Me. Guadagnino. Luca. What has inspired you to adopt André Aciman’s novel into a film?
Luca Guadagnino: I think the reason of making this movie for me was really and literally to making with the people I decided to make it. And not because the book didn’t inspire me but my approach to the book was the one from perspective of producer. And I was a producer until I became a director, but I was a producer for many years. So I never had this kind of tension to all the book, like I want to tell this story. And then when thing collided together, and they said, do you want to do this movie and I said yes if I can do it with Timothée Chalamet and Arnie and Michel Stoolberg and the rest of the cast. So it was about for me the possibility of being with them.
Luca Guadagnino：我认为为我制作这部电影的原因实际上是和我决定制作的人打交道。并不是因为这本书没有启发我，而是我对这本书的看法是从生产者的角度来看。直到我成为导演之前，我一直是制片人，但我多年来一直是制作人。所以我从来没有对这本书感到紧张，就像我想讲这个故事一样。然后当事情相互碰撞，他们说，你想不想拍这部电影，我说是的，如果我可以和TimothéeChalamet，Arnie和Michel Stoolberg以及其他演员合作。所以我想要和他们在一起的可能性。
MOVIEMOVESME: And, Timothée, what kind of work you both needed to do in order to maintain that great chemistry which turned into one of the best and greatest love story?
Timothée Chalamet: Thank you. There was a massive amount of vulnerability and openness and exposing yourself and emotions and all of that. There was such a requisite amount of that that was needed to make this movie work, that it honestly wouldn’t have worked if we didn’t have the immense feeling of safety and protection on set with each other, with Luca, with the crew with everybody around. There was never anything happening that felt unsafe or felt like it violated our trust of, I mean the entire process felt like we were not only in the best hands that we could possibly be in, but that we were also taken care of and protected in such a way that not only did we feel comfortable in sort of opening ourselves up and exposing that, but I mean, honestly we wanted to.
MOVIEMOVESME: How did the shootings go? How was it to shoot a film in Italy?
Timothée Chalamet: The opportunity to shoot in Italy, which on another project would be the biggest reason to do something, but on this was almost the smallest, because above that was the opportunity to work with Luca and because I had seen “I Am Love“ before I even got the chance to meet with him. And then after being attached to “A Bigger Splash” came out during that period, the opportunity to work with Armie Hammer, who people of my generation, the social network, that’s a really formative film Autzman Swartz material that holds such a special place in so many people’s hearts and James Ivory’s screenplay and getting to work with all of these different facets. And trusting Luca from films past incorporate just the coolest and most innovative ideas in people.
It wasn’t a surprise, and yet it was an awesome surprise when he said that Sufjan Stevens had made music for the film because Sufjan, again for people my age – I guess people any age – he’s a brilliant, brilliant musician. So to have his music for the film and have it while I was shooting during the last scene, we had it playing while we did it, it was challenging, and yet it all went very smoothly.
TimothéeChalamet：在意大利拍摄的机会是另一个项目的最大理由，但在这方面几乎是最小的，因为上面是与卢卡合作的机会，因为我曾看过“我很爱“在我还没有机会与他见面之前。然后在那个时期出现“更大的飞溅”后，与Armie Hammer一起工作的机会，我的这一代人，社交网络，这是一个真正的成型电影Autzman Swartz材料，在这样一个特殊的地方许多人的心和James Ivory的剧本，并开始与所有这些不同的方面合作。从过去的电影中相信卢卡将最酷和最具创意的想法融入人们的视野中。
MOVIEMOVESME: People often ask questions about filming the love scenes. I wonder how it feels the moment when the director calls “cut”? How the two of you reacted?
Armie Hammer:We’d keep going.
Armie Hammer： 我们继续。
MOVIEMOVESME: You’d keep going? I was thinking there’d be an answer like that in there somewhere, but I can imagine it’s a complicated thing. You must have a fairly loose relationship on set with somebody that you have to pretend to have a deep relationship with.
Armie Hammer:There’s a lot of intimacy in this movie, but the intimacy that seemed harder or more challenging wasn’t the physically intimate stuff, it was the emotionally intimate stuff. It was being face to face with someone on camera with a camera extremely close and feeling like you are in a place where you can be vulnerable, and you can … you know, it’s funny, if you’re making a movie and you have an outside perspective of it, it probably looks completely ridiculous. Everything that’s going on, people rushing around, people this and that, people yelling out terms you have not idea what they’re saying, what they actually mean.
This was an experience where I remember when we had intimate scenes between us, whether they be in bed or wherever, the thing that really was a big moment for me was we finished one of the takes and Luca called cut and I remember looking around, because I wasn’t wearing any clothes, and I remember looking around and sort of feeling exposed. And I looked over at the sound guy and he was just holding the boom like usual and then I looked over and the script supervisor had her book like usual and the guy at the camera was doing everything like usual and the focus boy was doing everything like usual and it hit me this is doing our job. This is the same as that scene, that is the same as that scene, let’s do it again. And then-Yeah. But more than that it was like I’m so happy this is all part of this beautiful experience that we’re doing. I remember at one point we finished shooting a scene and someone was like do you want a robe and I was like no, I’m okay. And they were like are you sure? Yeah, I’m okay. You know you just … any fear, anything that was built up by it was all in my head and as soon as we started it all went and away and just became this beautiful, natural part of it.
Armie Hammer： 这部电影里有很多亲密的，但似乎更难或更具挑战性的亲密不是亲密的东西，它是情感上亲密的东西。这是与相机上的某个人面对面，相机非常接近，感觉就像你处在一个容易受到伤害的地方，而且你可以......你知道，这很有趣，如果你正在拍电影，而且你有一个它的外部视角，它可能看起来完全荒谬。发生的一切，人们奔忙，人们这样那样，人们大吼大叫你不知道他们在说什么，他们实际上的意思。
Q: But isn’t Elio beautiful? 但是Elio难道不美吗？
Armie Hammer as Oliver and Timothée Chalamet as Elio. Courtesy of Sony Pictures Classics.
MOVIEMOVESME: Mr. Guadagnino, could you tell a bit about your collaboration with James Ivory? Did you approach him or how did the collaboration started?
Luca Guadagnino: I’ve known James for many years and we’re friends before being collaborators and it was a chance of life. Like he was coming to see me in Crema many times and we both were involved into this movie as producers and then one day because the movie wasn’t happening without directors, we said why don’t we try to imagine the way we would do it and it was like snapping peas at the kitchen table that lead us to writing this great in really almost a moonlighting fashion. It wasn’t a job it was the chance to be together in doing it. I grew up really worshiping artists in my life. I come from a simple family in Palermo, but I always dreamt of meeting the artists I adored and I admired and one of the reasons why every time I complain with something for myself about my life I have to be severe with myself and tell my self you are luck because you have the chance and the luck to have fulfilled your adolescent dreams of meeting the artists you love. And even to dram making things together, so it’s great, it’s a privilege.
MOVIEMOVESME: How important is the period to this story? Not just to the acceptability of the relationship, but also in regards to the society.
Luca Guadagnino: But I don’t think this is a movie in which we are putting a light on acceptability or forbidden love. I think that any movie lives in the eyes of who watch the movie and in their way of watching the film, so I don’t want to censorship anyone perspective, but from my perspective, this is not a movie about forbidden love at all. First of all, I happen to be a person who enjoy the physical company of a man in my personal life. And so there is nothing forbidden about that to me and so it’s the most normal and accessible and suiting thing I can happen to do in my intimacy. So it’s foreign to me to love or to make love to a man it’s forbidden. And at the same time, I don’t think that Elio and Oliver will live in the space in which they are living, hiding. If they put themselves into an alley instead of putting themselves in front of a large group of people staring at them is because they save very much the moment of their intimacy. So the idea of this film and I would say also the idea of Asimov’s book doesn’t lie in the cannon of the forbidden love and the constrictions of society.
MOVIEMOVESME: How did you choose the actors or how did you come on board because the chemistry is so obvious…
Luca Guadagnino: Because I had great chemistry with them. I’m ignorant enough to think that if I have great chemistry they will have great chemistry between them. But I wasn’t jealous of their chemistry.
Director Luca Guadagnino. Photo courtesy of Sony Pictures Classics.
MOVIEMOVESME: I was wondering, people refer to it as the gay love story movie. Do you wish people would take away that tag and see it as a summer love story? I love that Luca said in the press conference – it might be a bisexual movie perhaps. And is that important in the time where in America the president is going backwards, especially in these terms of gender identity, sexuality, so forth?
Luca Guadagnino: I think the president is a bitter person who is thinking of his own business all the time and he doesn’t have the poetic hope to see how beautiful is it to be unbiased and able to love no matter what is your gender. So I think in this way, maybe this is a political movie and it’s a sort of invitation not to be like this president. Probably should put that in the bio.
A: He becomes beautiful. You are mistaking youth for beauty. The transport of his desire for Oliver is so deep that you can see beyond the physicality of the actor, beyond his age and into the depth of the character. That’s the kind of beauty I’m interested in. 他变得美丽。你把青春错当成了美丽。他对Oliver的渴望太强烈了，以至于你看到的不再仅仅局限于演员的样貌、他的年龄，你可以感受到这个角色的深度。那种美才是我感兴趣的。
MOVIEMOVESME: To the actors, what is the biggest thing that you learned from each other during the filming?
Armie Hammer: Stop me if you want to. Timmy has such a rich and beautiful almost complicated inner life that is so vibrant and so full and he’s able to keep it just under the surface in such a beautiful way where … it almost feels like while some things he is aware of as we all are, it’s almost like he’s just not aware of some things. And that openness and honesty is really, it’s great. I feel like maybe sometimes the tendency might be to try to guard yourself or protect yourself or hide. And I think watching Tim live in the scenes and watching it affect him, it was almost like an acting exercise.
Timothée Chalamet: Ah, man.
Armie Hammer:Just hope my breath was goo.
Timothée Chalamet: Yeah. I said this before. I feel like what I’ve learned with the great actors I’ve worked with, whether it’s Armie Hammer or Steve Carell or Louis Rabe, those lessons are almost – they’re hard to verbalize. It’s almost like subconscious or something. You take on the habits of other actors or the way I saw Michael Stuhlbarg take notes in this film, or the way I see Armie rehearse a scene before we go to it, those things stay with you. For me as it relates to Armie, the way he carries himself as a man, the way he carries himself as a father, the way he carries himself as a husband, it’s been such a crucial roadmap for me. The cliché of this business is that those road maps aren’t really there and those that are there are negative or devastating in some fashion. And I’m so lucky, you know, I did a film in LA this past year. LA’s never been a place that I feel very close to, but because Armie lives there, I felt like I was welcomed in with open arms and was introduced to a number of friends now that I wouldn’t have without him. And also, like I said, as a husband, again not to put pressure, but there is such love in this marriage between he and Elizabeth and there’s such love between Armie and his daughter, Harper, it’s very inspiring for me. It gives me hope for myself that love, being in love, marriage, these things don’t necessarily have bad or tragic or sterile endings; that these things can blossom beautifully the way it does in “Call Me By Your Name”.
Luca Guadagnino: I wanted to say something about Armie as a collaborative director. You can go up. Armie is a great catalyst. He’s like my partner in making sure the movie’s following a lead of optimism and concentration and generosity, I think. Not to take anything off of you my love, but it’s just that I found that partnership in making the movie with Armie, apart from the rest of which is him acting as Elio.
Armie Hammer： 只希望我的呼吸是咕。。
TimothéeChalamet：是的。我之前说过。我感觉就像我与我合作过的伟大演员学到的一样，无论是Armie Hammer还是Steve Carell还是Louis Rabe，这些课程都差不多 - 他们很难用语言表达。它几乎就像是潜意识或其他东西。你接受其他演员的习惯，或者我看到Michael Stuhlbarg在这部电影中记录的方式，或者我看到Armie在进场前排练一个场景的方式，那些东西就在你身边。对我来说，因为它涉及到阿米，他把自己作为一个男人的方式，他把自己当作父亲的方式，他把自己当作丈夫的方式，对我来说这是一个非常重要的路线图。这项业务的陈词滥调是，那些路线图并不是真的存在，那些在某些方面是负面的或破坏性的。我很幸运，你知道，我在过去一年在洛杉矶拍过一部电影。洛杉矶从来不是一个我觉得非常接近的地方，但是因为阿米住在那里，我感觉自己像张开双臂受到欢迎，现在已经被介绍给一些朋友，现在我不会没有他。还有，就像我说的那样，作为一个丈夫，再一次不要施加压力，但是他和伊丽莎白之间的这种婚姻存在着这样的爱，阿米和他的女儿哈珀之间有这样的爱，这对我来说非常鼓舞人心。它给了我希望，爱情，恋爱，婚姻，这些东西不一定有坏的或悲惨的或无菌的结局; 这些东西可以像在“通过你的名字致电我”中那样开花。作为一个丈夫，再次不要施加压力，但是他和伊丽莎白之间的这种婚姻存在着这样的爱，而且阿米和他的女儿哈珀之间有这样的爱，这对我来说非常鼓舞人心。它给了我希望，爱情，恋爱，婚姻，这些东西不一定有坏的或悲惨的或无菌的结局; 这些东西可以像在“通过你的名字致电我”中那样开花。作为一个丈夫，再次不要施加压力，但是他和伊丽莎白之间的这种婚姻存在着这样的爱，而且阿米和他的女儿哈珀之间有这样的爱，这对我来说非常鼓舞人心。它给了我希望，爱情，恋爱，婚姻，这些东西不一定有坏的或悲惨的或无菌的结局; 这些东西可以像在“通过你的名字致电我”中那样开花。
MOVIEMOVESME: So I wonder, as you were trying to learn about your characters – Elio or Oliver – what do you think they found in each other that they were so fond of? What made them fall in love with each other?
Armie Hammer: Go ahead, Timmy.
Timothée Chalamet: I think it’s … I think it would be almost indescribable. I don’t think it’s necessarily a shared activity or a shared passion, not that those are the requisites of love, but sometimes they are. I don’t think that’s necessarily the case here. Correct me if anything I’m saying is not of vision, but I think it’s almost more organic. It just flowers. One of my favorite part of Andre Aciman’s book, and we did it in the film too, is that Elio’s reaction to Oliver at first is that he’s actually a little put off and it’s like who’s this guy who’s walking around saying later. And from that place it lands in a romantic spot, but it doesn’t begin there. So, again it would almost be difficult to say what it was that brought them together.
MOVIEMOVESME：所以我想知道，当你试图了解你的角色 - Elio或者Oliver时 - 你认为他们在对方发现他们喜欢什么？是什么让他们彼此坠入爱河？
看完Call Me By Your Name已过一周，整个人却依然被笼罩在那层阴郁中无法逃脱。这段时间我根本看不进去其他任何一部超过60分钟的电影。尽管看第一遍（第一次看分了两个晚上才看完，第二个晚上直接看到凌晨四点，看完倒头就睡甚至都来不及有什么太大感想）的时候也没有觉得它有多完美，比如突兀的剪辑总略显奇怪，但第二天醒来整部电影却一直在脑海中挥之不去，之后几天每次醒来就会想起Elio难受得要命。后来重看的时候发现了更多小细节，原本困扰我的那些（我以为的）小瑕疵相比之下也就不再重要了。这几天迫使自己转移注意力，不再循环原声，开始听别的音乐，心情才稍好一点。克制自己不再重看电影，试图抽离。不敢看，一看就会想起那个回不去的夏天，那段如幻影一般的罗马时光，会想起最后一句话都说不出的离别，更会想起书里由时间跨度带来的绵延不绝的遗憾。看电影的时候觉得永远无法原谅Oliver，难以想象Elio在他离开后的日子里都要如何度过。只要一想起那个目送火车驶离的背影，就会紧接着想起前一天晚上他俩还在一起。
至於Monet's Berm換成山中透明小溪，介於Elio那踏上前一步的勇氣和淘氣，可以接受這個設定更改，雖然在我腦海里是類似這樣的山頂看下來……（Monet 1984年的Bordighera，法國意大利邊界小鎮）
I can, from the distance of years now, still think I'm hearing the voices of two young men singing these words in Neapolitan toward daybreak, neither realizing, as they held each other and kissed again and again on the dark lanes of old Rome, that this was the last night they would ever make love again. 经过了这么许多年，如今我仍然觉得我听到两个年轻人在即将破晓的时候，用那不勒斯语唱这些字句的声音。他们在古罗马的暗巷里相拥，一次一次吻着彼此，不知道那是他们能够做爱的最后一次。（中译本）
在感情最炙热的时候分别实在太过残忍。如果两个灵魂真正相爱，那么无论如何总有一种办法吧？世界上，整个世界上，到底有什么能阻止得了他们在一起呢？这让我困惑和心碎。后来看书看到这么一段："Rome was a final bash before school and travel took us away, just a way of putting things off and extending the party long past closing time. Perhaps, without thinking, we had taken more than a brief vacation; we were eloping together with return-trip tickets to separate destinations. Perhaps it was his gift to me." 看到"eloping"这个词的时候心跳漏了半拍，天啊。心情有一瞬间仿佛释然。罗马一行就是他们的私奔吧——一场带着回程票的私奔，虽然终点不同。Armie Hammer在CNN采访时提到: "Don't cry because it's over. Smile because it happened." 这样想心里就好受一点。原著中两人离别后，故事还在继续。想象一个32岁的Elio和一个39岁的Oliver，读着读着就麻木了，仿佛一针一针扎下来逐渐就习惯了这种痛苦，也回忆不起来在此之前“不难受不伤心”是怎样的感觉了，因为那个80年代的夏天已经过去好久好久久到分不清是真实还是虚幻。丧失了感知力。产生了一种伤痛是会被时间抚平的错觉。"We belonged to each other, but had lived so far apart that we belonged to others now." 读着这样的句子只剩苦笑。
往往对于特别特别喜爱的作品，我都不知道讲什么。每次脑海里冒出来的都是那句——我有很多话未曾讲。是啊，还是什么都说不出。在2017年的尾巴看了这部叫Call Me By Your Name的电影，它直接毁了我接下来一周的节奏和情绪，但活着能看到这样的电影真好啊。这是2017年我遇到的最好的一件事了。另外不得不说，对于这部作品来说，先看电影再看书会更合适。庆幸自己当初忍住了没有先看书。各位演员的出色表现（特别是Timothée Chalamet的表演真的太厉害了值得所有的赞美！关于他的演技这儿放一个评论：Words are futile devices: On Timothée Chalamet in Call Me by Your Name），音乐画面的氛围渲染，让你在阅读原著的时候会更容易代入。而反过来，书又为电影增加了一份厚重感。如果先看了书再去看电影这份厚重感大概会有所缺失。电影与原著最显要的区别——离别后的部分，很多人已经提及，这里就不多说了。我印象比较深的是一开始Elio和Oliver生气后在书中有很长篇幅的叙述——We stopped talking。这种处境持续了很久。想象一下明明爱得要死，却憋着很多很多天，什么话都不能同对方讲的煎熬吧。而电影里由于片长等各种客观因素限制处理得就相对潦草。还有一处就是两人初夜后Elio的心情变化在原著里有很详细的解释。生理上的疼痛和不适可能会被视为导火索，但他冷淡的诱因并不仅止于此，在书中我们可以看到这个少年的思绪真的相当复杂，绝不是三言两语就可说清楚的。罗马的书友会也占了很大篇幅，有个诗人讲述他在泰国的经历很有意思。他讲到他在那儿遇见的陌生人——"The twenty-four-year-old night clerk... stares and I stare back. His features are a girl’s. But he looks like a girl who looks like a boy. The girl at the American Express desk stares and I stare back. She looks like a boy who looks like a girl and who’s therefore just a boy." 这里，性别的模糊总带着些许深意。在我看来，作者借这位诗人的口述，把这部作品中“同性”这个标签又一次淡化。因为我们得承认并允许在同一个人身上可以同时存在着两种性别的特质，脱离了肉身的限制，一个人可以既像男孩又像女孩，而这并不是什么奇怪的事。到头来，我们都只是人而已，我们的血液里都流淌着同一种欲望，一种爱与被爱的欲望。七情六欲如同柴米油盐一样稀松平常，不受性别之阻隔。“因为无论喜欢与否，等你明白过来，全人类都操着同样野蛮的语言。（中译本）”
The bookseller had ordered two copies of Stendhal’s Armance, one a paperback edition and the other an expensive hardbound. An impulse made me say I’d take both and to put them on my father’s bill. I then asked his assistant for a pen, opened up the hardbound edition, and wrote, Zwischen Immer und Nie, for you in silence, somewhere in Italy in the mid-eighties. 书店老板进了两本司汤达的《阿蒙丝》，一本是平装版，另一本是昂贵的精装版。一阵冲动让我脱口说我两本都要，并且记在父亲的账上。接着我请老板帮忙找笔，翻开精装版，我写下：在永恒与虚无之间。八十年代中于意大利某处，为你沉默。（中译本）
「插一段，油管子上这个饭制视频，我看了很多遍，想马克在这里：Is it a video? [CMBYN] 自己也想剪来着，但和以往不同，这次想来想去，没找到合适的BGM，大概适合这个故事的音乐真的只有Sufjan Stevens的歌了。泪目。(几个月后补充：其实二月初就剪了一个：Shiver，可还是觉得原声无敌。有精力了再捣鼓吧。）」
Oliver~~ mmd 簡直把Armie Hammer變成花花公子、負心漢加戀童癖！“自信”這點把握的很好，但是外強中乾“害羞”這點呢，完全沒有表達出來。在草地上，為什麼是你先挑逗Elio？警察蜀黍，戀童癖在這裡！
"For you, however you think of it, it's still fun and games, which it should be. For me it's something else which I haven't figured out, and the fact that I can't scares me." 然而，我並沒有看出來Oliver在影片里有多掙扎，感覺就是設了圈套等著小兔子跳進來，吃完擦擦嘴就走了……
Anyway, Armie Hammer沒有把握好這個角色，浮在表面的“油”容易演好，但是眼睛的戲份不夠，沒辦法看進去內心的掙扎，特別是吃桃子那一幕，完全沒看出“愛之深”，而是“變態”——sorry 這幕Elio也沒有演好，沒有看過書里心理描寫的人，難道不覺得“哭”的很莫名其妙？
Elio Elio Elio，小甜茶對於這個角色的把握可以給到90分，書中心理描寫的表達部分，口是心非、玩世不恭、天真無邪都完美的出來了，“youth has no shame, shame comes with age”龜毛到極致的精蟲上腦17歲，天使和惡魔混合體，誰是小白兔都很難說……電影里幾處小甜茶自己加的戲份，特別是那晚進房間門大聲關上的一幕，可愛到想犯罪。幕終的流淚長鏡頭，可憐兮兮，怎麼可能不讓人恨Oliver？
You could never stare long enough but needed to keep staring to find out why you couldn't.
因为“you are my homecoming”.
This, I think, is the first time I dared myself to stare back at him. Usually, I'd cast a glance and then look away—look away because I didn't want to swim in the lovely, clear pool of his eyes unless I'd been invited to—and I never waited long enough to know whether I was even wanted there; look away because I was too scared to stare anyone back; look away because I didn't want to give anything away; look away because I couldn't acknowledge how much he mattered. Look away because that steely gaze of his always reminded me of how tall he stood and how far below him I ranked. Now, in the silence of the moment, I stared back, not to defy him, or to show I wasn't shy any longer, but to surrender, to tell him this is who I am, this is who you are, this is what I want, there is nothing but truth between us now, and where there's truth there are no barriers, no shifty glances, and if nothing comes of this, let it never be said that either of us was unaware of what might happen. I hadn't a hope left. And maybe I stared back because there wasn't a thing to lose now. I stared back with the all-knowing, I-dare-you-to-kiss-me gaze of someone who both challenges and flees with one and the same gesture.
Over the years I’d lodged him in the permanent past, my pluperfect lover, put him on ice, stuffed him with memories and mothballs like a hunted ornament confabulating with the ghost of all my evenings. I'd dust him off from time to time and then put him back on the mantelpiece. He no longer belonged to earth or to life. All I was likely to discover at this point wasn't just how distant were the paths we'd taken, it was the measure of loss that was going to strike me--a loss I didn't mind thinking about in abstract terms but which would hurt when stared at in the face, the way nostalgia hurts long after we've stopped thinking of things we’ve lost and may never have cared for. 过去几年来，我一直把他放在永恒的过去，视他为我过去完成式的情人、悬在夜晚暗影里的兽首标本，将他冰存，以回忆和樟脑丸填满他。我偶尔把他拿出来掸掸灰尘，再放回壁炉架上。他不再属于尘世或生活。此时我发现，不只是我们选择的路相距多远，还有即将打击我的失落有多大，无非是这些东西而已。我不介意用抽象词语去思考这些失落的东西，但被正眼盯着瞧却令人心痛。在我们停止想念已经失去、或许可能也从不在乎的事物很久很久以后，怀旧之情仍然令人心痛。（中译本）
Call Me By Your Name，我一直沒有把這書判定為同性文學，它更多是青春期對性愛的好奇、害怕、嚮往，作者的意願是Elio的個人成長，性向的摸索，青蘋果的澀和甜，對即將進入成人世界的恐懼和躍躍欲試。作者很成功地把所有這一切帶出紙面，讓讀者可以重回躁動的青春，一切都不可以但又一切都有可能……
My pluperfect lover.
套用伊夫林·沃的话：“If it could only be like this always – always summer, always alone, the fruit always ripe...”，如果Perlman夫妇都没有老去，如果Anchise和Mafalda一直都在，如果1983年的夏天永远不会结束，如果意大利的阳光永远那么明媚，那该多好啊。可是在我们还来不及知道的时候，这一切都无可挽回地成了过去完成式。
Mystery of Love從來都沒有人能夠理解，這就是愛的魔力吧！
© 本文版权归作者 steve&joe 所有，任何形式转载请联系作者。
圖片：Claude Monet French, 1840-1926 《Bordighera》1884
© 本文版权归作者 wavyfly 所有，任何形式转载请联系作者。