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Call Me By Your Name #1
醿ㄡ償醿溼儤 醿♂儛醿償醿氠儤 醿撫儛醿涐儤醿儛醿償
醿愥儨醿撫儬醿� 醿愥儭醿樶儧醿愥儨醿樶儭 鈥炨儴醿斸儨醿� 醿♂儛醿償醿氠儤 醿撫儛醿涐儤醿儛醿償鈥� 醿掅儛醿溼儭醿愥儥醿ａ儣醿犪償醿戓儯醿氠儤 醿撫儛 醿撫儛醿ａ儠醿樶儸醿п儛醿犪儤 醿♂儤醿п儠醿愥儬醿ａ儦醿樶儭 醿ㄡ償醿♂儛醿償醿� 醿涐儩醿掅儠醿樶儣醿儬醿濁儜醿�. 醿犪儩醿涐儛醿溼儤醿� 醿♂儤醿ａ儫醿斸儮醿� 醿掅儛醿♂儯醿氠儤 醿♂儛醿ａ儥醿ａ儨醿樶儭 80-醿樶儛醿� 醿儦醿斸儜醿ㄡ儤 醿┽儬醿撫儤醿氠儩醿斸儣 醿樶儮醿愥儦醿樶儤醿� 醿炨儛醿⑨儛醿犪儛 醿メ儛醿氠儛醿メ儴醿� 醿曖儤醿椺儛醿犪儞醿斸儜醿�. 17 醿儦醿樶儭 醿斸儦醿樶儩 醿栣儛醿め儺醿ａ儦醿ㄡ儤 醿涐儤醿� 醿涐儴醿濁儜醿氠償醿戓儣醿愥儨 醿斸儱醿曖儭醿� 醿欋儠醿樶儬醿樶儣 醿┽儛醿♂儯醿� 醿愥儧醿斸儬醿樶儥醿斸儦 醿♂儮醿ａ儞醿斸儨醿⑨儭, 24 醿儦醿樶儭 醿濁儦醿樶儠醿斸儬醿� 醿掅儛醿樶儶醿溼儩醿戓儭. 醿♂儸醿濁儬醿斸儞 醿愥儱 醿樶儸醿п償醿戓儛 醿涐儛醿椺儤 醿撫儛醿ａ儠醿樶儸醿п儛醿犪儤 醿♂儛醿栣儛醿め儺醿ａ儦醿� 醿椺儛醿曖儝醿愥儞醿愥儭醿愥儠醿愥儦醿�. 醿愥儠醿⑨儩醿犪儤 醿♂償醿溼儮醿樶儧醿斸儨醿⑨儛醿氠儤醿栣儧醿樶儭醿掅儛醿� 醿撫儛醿儦醿樶儦醿� 醿椺儺醿犪儩醿戓儤醿� 醿涐儛醿溼償醿犪儤醿椺儛 醿撫儛 醿掅儛醿涐儩醿犪儵醿斸儯醿氠儤 醿掅儯醿氠儛醿儞醿樶儦醿濁儜醿樶儣 醿掅儠醿樶儳醿曖償醿戓儛 醿愥儞醿愥儧醿樶儛醿溼儯醿犪儤 醿曖儨醿斸儜醿樶儭 醿樶儭醿⑨儩醿犪儤醿愥儭.
醿愥儨醿撫儬醿� 醿愥儭醿樶儧醿愥儨醿� 醿戓償醿犪儷醿溼儯醿氠儤 醿儛醿犪儧醿濁儧醿愥儠醿氠儩醿戓儤醿� 醿愥儧醿斸儬醿樶儥醿斸儦醿� 醿涐儸醿斸儬醿愥儦醿�, 醿斸儭醿斸儤醿♂儮醿� 醿撫儛 醿欋儬醿樶儮醿樶儥醿濁儭醿樶儛. 2017 醿償醿氠儭 醿欋儤醿溼儩醿斸儥醿犪儛醿溼償醿戓儢醿� 醿涐儤醿♂儤 醿п儠醿斸儦醿愥儢醿� 醿掅儛醿儧醿愥儯醿犪償醿戓儯醿氠儤 醿犪儩醿涐儛醿溼儤醿� 醿涐儤醿償醿撫儠醿樶儣 醿掅儛醿撫儛醿︶償醿戓儯醿氠儤 醿め儤醿氠儧醿�, 鈥炨儴醿斸儨醿� 醿♂儛醿償醿氠儤 醿撫儛醿涐儤醿儛醿償鈥� 醿掅儛醿涐儩醿┽儨醿撫儛. 醿斸儥醿犪儛醿溼儤醿栣儛醿儤醿愥儧 醿ａ儛醿涐儬醿愥儠醿� 醿♂儛醿斸儬醿椺儛醿ㄡ儩醿犪儤醿♂儩 醿炨儬醿樶儢醿� 醿撫儛醿樶儧醿♂儛醿儯醿犪儛, 醿涐儛醿� 醿ㄡ儩醿犪儤醿� 醿愥儧醿斸儬醿樶儥醿樶儭 醿欋儤醿溼儩醿愥儥醿愥儞醿斸儧醿樶儤醿� 醿儤醿氠儞醿� 鈥� 醿濁儭醿欋儛醿犪儤 醿♂儛醿ａ儥醿斸儣醿斸儭醿� 醿愥儞醿愥優醿⑨儤醿犪償醿戓儯醿氠儤 醿♂儶醿斸儨醿愥儬醿樶儭醿椺儠醿樶儭.
醿愥儨醿撫儬醿� 醿愥儭醿樶儧醿愥儨醿� 醿戓償醿犪儷醿溼儯醿氠儤 醿儛醿犪儧醿濁儧醿愥儠醿氠儩醿戓儤醿� 醿愥儧醿斸儬醿樶儥醿斸儦醿� 醿涐儸醿斸儬醿愥儦醿�, 醿斸儭醿斸儤醿♂儮醿� 醿撫儛 醿欋儬醿樶儮醿樶儥醿濁儭醿樶儛. 2017 醿償醿氠儭 醿欋儤醿溼儩醿斸儥醿犪儛醿溼償醿戓儢醿� 醿涐儤醿♂儤 醿п儠醿斸儦醿愥儢醿� 醿掅儛醿儧醿愥儯醿犪償醿戓儯醿氠儤 醿犪儩醿涐儛醿溼儤醿� 醿涐儤醿償醿撫儠醿樶儣 醿掅儛醿撫儛醿︶償醿戓儯醿氠儤 醿め儤醿氠儧醿�, 鈥炨儴醿斸儨醿� 醿♂儛醿償醿氠儤 醿撫儛醿涐儤醿儛醿償鈥� 醿掅儛醿涐儩醿┽儨醿撫儛. 醿斸儥醿犪儛醿溼儤醿栣儛醿儤醿愥儧 醿ａ儛醿涐儬醿愥儠醿� 醿♂儛醿斸儬醿椺儛醿ㄡ儩醿犪儤醿♂儩 醿炨儬醿樶儢醿� 醿撫儛醿樶儧醿♂儛醿儯醿犪儛, 醿涐儛醿� 醿ㄡ儩醿犪儤醿� 醿愥儧醿斸儬醿樶儥醿樶儭 醿欋儤醿溼儩醿愥儥醿愥儞醿斸儧醿樶儤醿� 醿儤醿氠儞醿� 鈥� 醿濁儭醿欋儛醿犪儤 醿♂儛醿ａ儥醿斸儣醿斸儭醿� 醿愥儞醿愥優醿⑨儤醿犪償醿戓儯醿氠儤 醿♂儶醿斸儨醿愥儬醿樶儭醿椺儠醿樶儭.
270 pages, Paperback
First published January 23, 2007
32408 people are currently reading
500982 people want to read
About the author
Andr茅 Aciman
54听books9,940听followersAndr茅 Aciman was born in Alexandria, Egypt and is an American memoirist, essayist, novelist, and scholar of seventeenth-century literature. He has also written many essays and reviews on Marcel Proust. His work has appeared in The New Yorker, The New York Review of Books, The New York Times, The Paris Review, The New Republic, Cond茅 Nast Traveler as well as in many volumes of The Best American Essays. Aciman received his Ph.D. in Comparative Literature from Harvard University, has taught at Princeton and Bard and is Distinguished Professor of Comparative Literature at The CUNY Graduate Center. He is currently chair of the Ph. D. Program in Comparative Literature and founder and director of The Writers' Institute at the Graduate Center.
Aciman is the author of the Whiting Award-winning memoir Out of Egypt (1995), an account of his childhood as a Jew growing up in post-colonial Egypt. Aciman has published two other books: False Papers: Essays in Exile and Memory (2001), and a novel Call Me By Your Name (2007), which was chosen as a New York Times Notable Book of the Year and won the Lambda Literary Award for Men's Fiction (2008). His forthcoming novel Eight White Nights (FSG) will be published on February 14, 2010
Aciman is the author of the Whiting Award-winning memoir Out of Egypt (1995), an account of his childhood as a Jew growing up in post-colonial Egypt. Aciman has published two other books: False Papers: Essays in Exile and Memory (2001), and a novel Call Me By Your Name (2007), which was chosen as a New York Times Notable Book of the Year and won the Lambda Literary Award for Men's Fiction (2008). His forthcoming novel Eight White Nights (FSG) will be published on February 14, 2010
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Displaying 1 - 30 of 51,623 reviews
August 26, 2023
A friend of mine took me to a French film festival when I was in my 20s. The first movie we watched was about a creepy little 12 or 13 year old kid who stole a piece of raw liver from his mother's kitchen and proceeded to have relations with it. He then returned the liver to the kitchen, where his mother lovingly (and none the wiser) proceeded to cook the organ meat for her family, and then we, the audience, were subjected to watching them all eat it. The little creep then got bored with stealing and sullying the family's groceries, so he started having relations with a neighborhood cat. It was at this point that I stood up and announced to my friend, 鈥淚'll be at the car. Join me when you're ready.鈥�
That night that movie made it clear to me that we just don't need to sit through every program or movie or read through every book. Not every aspect of 鈥渁rt鈥� is made for us in mind. It's true that sometimes we should consider stretching our comfort zones and not always abandon something because it makes us slightly uncomfortable. But, it may also be true that sometimes something is just plain disgusting to our senses.
This book, Call Me By Your Name could fall into either (or both categories) depending upon your perspective.
My grandmother, who was born in 1923, was from a different time, and never, within her lifetime, became comfortable with the topic of homosexuality (to be honest, she wasn't all that comfortable with the topic of heterosexuality). Hers was not a religious bias, more a cultural one, but naturally many religious perspectives against homosexuality exist still today. This book would not have been palatable to my grandmother for that reason, and is not for everyone.
I, on the other hand, have no religious or cultural bias against stories that explore sexual relations between any consenting adults. And, the homosexual relationship that happens here is actually the most palatable one to me in the entire story. To be frank, I was cheering on the Elio-Oliver relationship right from the start.
THIS was not my problem. But, I'd LOVE to tell you what was.
First off, this kid Elio is the most unrealistic 17-year-old character (unless you want to include any character from Jaws) I've come across in a while. Nothing about him seems legitimate, from his completely unrealistic grasp of translating the most difficult musical masterpieces to expressing insecurities about himself but then boldly proclaiming himself sexually to a man seven years his senior. Absolutely none of his dialogue is believable and he remains a totally unformed character, from beginning to end.
AND. . . not only was I perpetually frustrated with Mr. Unformed and Mr. Inauthentic Voice, I then needed to journey with him on his secret, perverted mission of finding his Dreamboy's dirty bathing suit and rubbing it all over his face and then 鈥渒issing every corner of it,鈥� only to find himself disappointed that he didn't find any pubic hair.
People, a creeper did this to my mother's dirty underwear in college and she and my father called the cops. Get it? That ain't sexy, that's creepy.
And then. . . oh boy. Now (grab me a Xanax, will you?). . . the peach scene.
Argh. Crumble. The peach scene on page 147 is where I closed the book and declared again, 鈥淚'll be at the car. Join me when you're ready.鈥�
I'll try to spare you the spoilers and just say that, instead of raw liver, this young man sullies a very good peach, and afterwards thinks:
What a crazy thing this was. I let myself hang back, holding the fruit in both hands, grateful that I hadn't gotten the sheet dirty with either juice or come. The bruised and damaged peach, like a rape victim, lay on its side on my desk, shamed, loyal, aching, and confused, struggling not to spill what I'd left inside.
EXCUSE ME?? Like a 鈥渞ape victim. . . shamed, loyal, aching, and confused??鈥� Shame on you, Mr. Aciman, for this disgusting and inappropriate metaphor.
You have pissed me off, sir!
Your book will remain UNFINISHED by me.
That night that movie made it clear to me that we just don't need to sit through every program or movie or read through every book. Not every aspect of 鈥渁rt鈥� is made for us in mind. It's true that sometimes we should consider stretching our comfort zones and not always abandon something because it makes us slightly uncomfortable. But, it may also be true that sometimes something is just plain disgusting to our senses.
This book, Call Me By Your Name could fall into either (or both categories) depending upon your perspective.
My grandmother, who was born in 1923, was from a different time, and never, within her lifetime, became comfortable with the topic of homosexuality (to be honest, she wasn't all that comfortable with the topic of heterosexuality). Hers was not a religious bias, more a cultural one, but naturally many religious perspectives against homosexuality exist still today. This book would not have been palatable to my grandmother for that reason, and is not for everyone.
I, on the other hand, have no religious or cultural bias against stories that explore sexual relations between any consenting adults. And, the homosexual relationship that happens here is actually the most palatable one to me in the entire story. To be frank, I was cheering on the Elio-Oliver relationship right from the start.
THIS was not my problem. But, I'd LOVE to tell you what was.
First off, this kid Elio is the most unrealistic 17-year-old character (unless you want to include any character from Jaws) I've come across in a while. Nothing about him seems legitimate, from his completely unrealistic grasp of translating the most difficult musical masterpieces to expressing insecurities about himself but then boldly proclaiming himself sexually to a man seven years his senior. Absolutely none of his dialogue is believable and he remains a totally unformed character, from beginning to end.
AND. . . not only was I perpetually frustrated with Mr. Unformed and Mr. Inauthentic Voice, I then needed to journey with him on his secret, perverted mission of finding his Dreamboy's dirty bathing suit and rubbing it all over his face and then 鈥渒issing every corner of it,鈥� only to find himself disappointed that he didn't find any pubic hair.
People, a creeper did this to my mother's dirty underwear in college and she and my father called the cops. Get it? That ain't sexy, that's creepy.
And then. . . oh boy. Now (grab me a Xanax, will you?). . . the peach scene.
Argh. Crumble. The peach scene on page 147 is where I closed the book and declared again, 鈥淚'll be at the car. Join me when you're ready.鈥�
I'll try to spare you the spoilers and just say that, instead of raw liver, this young man sullies a very good peach, and afterwards thinks:
What a crazy thing this was. I let myself hang back, holding the fruit in both hands, grateful that I hadn't gotten the sheet dirty with either juice or come. The bruised and damaged peach, like a rape victim, lay on its side on my desk, shamed, loyal, aching, and confused, struggling not to spill what I'd left inside.
EXCUSE ME?? Like a 鈥渞ape victim. . . shamed, loyal, aching, and confused??鈥� Shame on you, Mr. Aciman, for this disgusting and inappropriate metaphor.
You have pissed me off, sir!
Your book will remain UNFINISHED by me.
December 10, 2021
This book is a fucking axe to the heart. But because my heart, perhaps yours, too, was broken long ago, no further damage can be done. So perhaps the book's more like a probe, yes, a very discomfiting probe, making a fuller assessment of the wreckage. The book is also a final report of the survey. Finally, one thinks, here鈥檚 someone who has not only plumbed the depths of heartbreak, but who鈥檚 taken excruciatingly detailed notes along the way revealing every nuance of the required self-abasement. The result is an astonishing catharsis for the reader.
This is what literature at its best can do. Think 鈥檚 , but with an all-mortal cast and without the choruses. I speak here of the novel鈥檚 sheer emotional power.
For most of the novel the narrative is the first-person thoughts, fantasies, worries, shames and fears of Elio in the summer of his 17th year. The young man is with his parents at their big comfortable summer house on the Italian Riviera. It鈥檚 the mid-1980s. The boy鈥檚 father is an academic and Oliver, 24, is a young American colleague exchanging some brief work as amanuensis for room and board while finishing his own manuscript. But in the marvelous, big-hearted Italian sense, Oliver, even if for only the six weeks of his stay, is very much a part of the family.
Women are alluring to Elio but they are not his predominant fascination this particular summer. Description is thin at first, almost transient, and because the reader鈥檚 not distracted by descriptive flights he or she never feels far from the anguish of Elio. Life鈥檚 first love is the theme, and this iteration is so fresh, so vivid and beautifully layered, that it鈥檚 not to be missed. Among the best parts of the novel are those passages in which Elio鈥攂efore his intimacy with Oliver begins鈥攊magines what he might say to Oliver, the multiple responses he might at any moment utter in Oliver鈥檚 presence, or imagined presence. Elio鈥檚 mind is racing with alternative scenarios. Is this even what he wants? He鈥檚 not sure but he wants to find out. Matters are thought out and after some new bit of action or information, rethought and modified. The technique reminds me of Philip Roth鈥檚 , in which circumstances are similarly considered then reconsidered. There is a mastery of tone here that constantly astonishes and bewilders.
Later in the novel, when the description intensifies, it鈥檚 as if it has been saved for just these moments of lovemaking, the confidential exchanges between the two in their subsequent walks and swims, their farewell in Rome, the devastating coda. It is the frankness between the two young men that to my mind constitutes the book鈥檚 magic. That something as amorphous as desire can be written about with such fluidity and integrity is near miraculous. The wrenching depiction of Elio鈥檚 new and utterly discomfiting passion consumes not only him but us as well.
In closing, let me say that this book is likely to resound more with those with some mileage on them (real or metaphorical). The prerequisite is suffering. One can鈥檛 imagine the novel鈥檚 insights and wisdom working their wonders on anyone who hasn鈥檛 at some time put everything on the line.
鈥淚n love鈥檚 service only the wounded soldiers can serve.鈥� 鈥擳hornton Wilder
The end was simply excruciating yet I couldn't stop reading. Extremely powerful. I will reread this one soon. In terms of achievement, I place Call Me By Your Name on the same shelf as and and, yes, very near Aeschylus too.
This is what literature at its best can do. Think 鈥檚 , but with an all-mortal cast and without the choruses. I speak here of the novel鈥檚 sheer emotional power.
For most of the novel the narrative is the first-person thoughts, fantasies, worries, shames and fears of Elio in the summer of his 17th year. The young man is with his parents at their big comfortable summer house on the Italian Riviera. It鈥檚 the mid-1980s. The boy鈥檚 father is an academic and Oliver, 24, is a young American colleague exchanging some brief work as amanuensis for room and board while finishing his own manuscript. But in the marvelous, big-hearted Italian sense, Oliver, even if for only the six weeks of his stay, is very much a part of the family.
Women are alluring to Elio but they are not his predominant fascination this particular summer. Description is thin at first, almost transient, and because the reader鈥檚 not distracted by descriptive flights he or she never feels far from the anguish of Elio. Life鈥檚 first love is the theme, and this iteration is so fresh, so vivid and beautifully layered, that it鈥檚 not to be missed. Among the best parts of the novel are those passages in which Elio鈥攂efore his intimacy with Oliver begins鈥攊magines what he might say to Oliver, the multiple responses he might at any moment utter in Oliver鈥檚 presence, or imagined presence. Elio鈥檚 mind is racing with alternative scenarios. Is this even what he wants? He鈥檚 not sure but he wants to find out. Matters are thought out and after some new bit of action or information, rethought and modified. The technique reminds me of Philip Roth鈥檚 , in which circumstances are similarly considered then reconsidered. There is a mastery of tone here that constantly astonishes and bewilders.
Later in the novel, when the description intensifies, it鈥檚 as if it has been saved for just these moments of lovemaking, the confidential exchanges between the two in their subsequent walks and swims, their farewell in Rome, the devastating coda. It is the frankness between the two young men that to my mind constitutes the book鈥檚 magic. That something as amorphous as desire can be written about with such fluidity and integrity is near miraculous. The wrenching depiction of Elio鈥檚 new and utterly discomfiting passion consumes not only him but us as well.
In closing, let me say that this book is likely to resound more with those with some mileage on them (real or metaphorical). The prerequisite is suffering. One can鈥檛 imagine the novel鈥檚 insights and wisdom working their wonders on anyone who hasn鈥檛 at some time put everything on the line.
鈥淚n love鈥檚 service only the wounded soldiers can serve.鈥� 鈥擳hornton Wilder
The end was simply excruciating yet I couldn't stop reading. Extremely powerful. I will reread this one soon. In terms of achievement, I place Call Me By Your Name on the same shelf as and and, yes, very near Aeschylus too.
May 2, 2023
鈥淗e came. He left. Nothing else had changed. I had not changed. The world hadn't changed. Yet nothing would be the same. All that remains is dreammaking and strange remembrance.鈥�
I should probably issue a warning that this is a book I usually wouldn't like. I think. A summer romance up to its neck in purple prose and wandering introspection sounds like a nightmare. And yet, there was something so beautiful, awful, intoxicating and sad about . Maybe I like it because - and I hate to admit this - there is a part of me that recognizes something of myself within it.
Either you have been this kind of person, perhaps still are this kind of person, or you have not, are not, and this book will seem overwritten and alien. I, unfortunately, have experienced that deep, all-encompassing infatuation with another person. I don't personally call it love; not anymore. Instead, it's a feeling of overwhelming, almost feverish, obsession with their existence-- their body, their laugh, and everything they do or say.
I鈥檓 not proud of it and I don鈥檛 think it鈥檚 healthy. But I do think this book captures it in all its intensity and sadness. , for me, stands apart from other romances because it doesn't follow the usual formula of two people meet, cliche flirtations and angst ensue, and then finally they end up together. It's not a spoiler to say this isn't that kind of story; if you're reading it for the warm fuzzies then you're going to be disappointed.
It is about seventeen-year-old Elio, who falls into a deep romantic and sexual obsession with the twenty-four year-old Oliver when the latter becomes a summer guest at Elio's parents' Italian villa. If there was ever a perfect place to set a heady novel of this kind, then it must be the cliffs of the Italian Riviera. I can feel my cold heart melting just thinking about it.
We stay inside Elio's mind as he fantasizes romantically and sexually about Oliver. Aciman builds a novel based on innermost thoughts and the most painful of emotions. It is sometimes almost too much and I wanted to look away as Elio feels like he can鈥檛 get close enough; feels like he wants to crawl inside Oliver's skin. It鈥檚 an intoxicatingly romantic, intimate, physical, miserable experience.
There is one moment when Elio's wise father comforts him: 鈥淩ight now there鈥檚 sorrow. I don鈥檛 envy the pain. But I envy you the pain.鈥� Which I thought was deeply sad, though also perfect. It might not be my usual choice of book, but I think is one that will stay with me. Sometimes it is the exceptions to my rules that I find myself remembering the most.
| | | |
March 26, 2020
4/5 Stars 猸愶笍 猸愶笍 猸愶笍 猸愶笍
Phew! What an intense book, what an intense ending. Hello people, I hope you remember this lass here, I haven't written a single review in almost 6 months. Which is the entire period of my internship, the one that's almost ending now. So I picked up reading again, how fucking happy that makes me you have no idea. So, back to the chase.
Call Me by Your Name is the story of a sudden and powerful romance that blossoms between an adolescent boy and a summer guest at his parents' cliff-side mansion on the Italian Riviera. Unprepared for the consequences of their attraction, at first each feigns indifference. But during the restless summer weeks that follow, unrelenting buried currents of obsession and fear, fascination and desire, intensify their passion as they test the charged ground between them. What grows from the depths of their spirits is a romance of scarcely six weeks' duration and an experience that marks them for a lifetime. For what the two discover on the Riviera and during a sultry evening in Rome is the one thing both already fear they may never truly find again: total intimacy.
My experience with this story starts with the movie. Yes, I committed the dreadful sin of watching the movie before reading the book. And yes, I'm a bookworm. FUCKING ARREST ME ALREADY, BITCH. But anyway, I watched the movie, fell in love, bought the book with a 5 euro deal from Book Depository, fell in love again. You see, this book has no plot. I hate books which contain no plot, and things just happen without a specific order or reason. But this book worked because it entailed no plot. This book conveys in us the raw and true and sinful emotions and feelings of Elio, a very special and intricate character, which at the age of 17 falls in love with a 24 year old man. What is more beautiful than this? His emotions are so real that they take form, we can smell them, eat them, feel them ourselves.
This book was so mesmerizing, the writing was so poetic and John-Greeny at times, but it suited it. This kind of writing was needed, otherwise the book wouldn't be as gripping as it was. The ending absolutely and irrevocably annihilated my feelings. This ending wasn't included in the movie, it was something entirely new to me and I don't know how it will work with an alleged sequel I'm hearing is at works, but i'm excited to know the outcome.
I truly hope, we will all find love like this in our lives. Their love moved me in many aspects, and I wish love just like this exists in this world. I want people (and myself) to feel this love to their bones, and always feel young because of it. Anyway, till the next one K BYE!
鈥淲e rip out so much of ourselves to be cured of things faster than we should that we go bankrupt by the age of thirty and have less to offer each time we start with someone new. But to feel nothing so as not to feel anything - what a waste!鈥�
Phew! What an intense book, what an intense ending. Hello people, I hope you remember this lass here, I haven't written a single review in almost 6 months. Which is the entire period of my internship, the one that's almost ending now. So I picked up reading again, how fucking happy that makes me you have no idea. So, back to the chase.
Call Me by Your Name is the story of a sudden and powerful romance that blossoms between an adolescent boy and a summer guest at his parents' cliff-side mansion on the Italian Riviera. Unprepared for the consequences of their attraction, at first each feigns indifference. But during the restless summer weeks that follow, unrelenting buried currents of obsession and fear, fascination and desire, intensify their passion as they test the charged ground between them. What grows from the depths of their spirits is a romance of scarcely six weeks' duration and an experience that marks them for a lifetime. For what the two discover on the Riviera and during a sultry evening in Rome is the one thing both already fear they may never truly find again: total intimacy.
My experience with this story starts with the movie. Yes, I committed the dreadful sin of watching the movie before reading the book. And yes, I'm a bookworm. FUCKING ARREST ME ALREADY, BITCH. But anyway, I watched the movie, fell in love, bought the book with a 5 euro deal from Book Depository, fell in love again. You see, this book has no plot. I hate books which contain no plot, and things just happen without a specific order or reason. But this book worked because it entailed no plot. This book conveys in us the raw and true and sinful emotions and feelings of Elio, a very special and intricate character, which at the age of 17 falls in love with a 24 year old man. What is more beautiful than this? His emotions are so real that they take form, we can smell them, eat them, feel them ourselves.
This book was so mesmerizing, the writing was so poetic and John-Greeny at times, but it suited it. This kind of writing was needed, otherwise the book wouldn't be as gripping as it was. The ending absolutely and irrevocably annihilated my feelings. This ending wasn't included in the movie, it was something entirely new to me and I don't know how it will work with an alleged sequel I'm hearing is at works, but i'm excited to know the outcome.
I truly hope, we will all find love like this in our lives. Their love moved me in many aspects, and I wish love just like this exists in this world. I want people (and myself) to feel this love to their bones, and always feel young because of it. Anyway, till the next one K BYE!
March 29, 2025
I wanted to kill him myself . . . If I didn't kill him, then I'd cripple him for life, so that he'd be with us in a wheelchair . . . If he were in a wheelchair, I would always know where he was, and he'd be easy to find. I would feel superior to him and become his master, now that he was crippled.
Ah yes, this is a psychological thriller in which we delve deep into the mind and thoughts of a stalker. I got you. Err, you say this is a romance? Well then, you've lost me.
Let me just come out and say it: Call Me by Your Name is awful. It reads like the obsessive, icky, slavish ramblings of an unbalanced teenager rather than the beautiful romance I was promised.
In order to have an enjoyable romance, I need to be able to relate to the characters. Unfortunately, I did not relate to a single person in here. It's unclear why the boys liked each other, other than pure physical attraction:
To think that I had almost fallen for the skin of his hands, his chest, his feet that had never touched a rough surface in their existence鈥攁nd his eyes, which when their other, kinder gaze fell on you, came like the miracle of the Resurrection.
Yes, the book really reads like that, all of it. Elio analyzes every small action, glance, word, and absence from Oliver. And then he obsesses over them. And leaves clues for Oliver, ones that are certain to be creepy and criminal. And it just gets worse from there.
If this were a thriller about the inner workings of an unhinged stalker, I would understand. But I just cannot believe that this is supposed to be a romance, and the other person would reciprocate such desperate and inane infatuations.
It doesn't help that the writing style is so overwrought and full of itself. It's stuffed with references to obscure old writings and music, none of which I knew.
I don't understand how this book could be so highly rated. It was awful purple prose at best and romanticizing criminal behavior at worst. Unless you somehow like the passages I quoted above and can relate to them, it's probably best to avoid this book.
~~~~~~~~~~~~
鉁� Connect with me 鉁� 鉁�
December 23, 2017
2.5 stars
As a gay man, I feel happy seeing queer intimacies receive more acceptance and popularity, as evidenced by this book's film adaptation this year. I appreciate the pulsating emotions of lust and desire in Call Me by Your Name, even if my own first crushes did not manifest into much of anything. However, I struggled to get into this book. The writing felt too distant, intellectual, and heavy for me to immerse myself in Elio and Oliver's world. The book contained so much introspection and I wanted more scenes, to get us into these present moments with the two lovers. And while I understand that the book aims to portray infatuation, I found myself bored at times with Elio's obsession with Oliver. Could he have thought some more about the healthfulness or unhealthfulness of his feelings for Oliver? Or could Andre Aciman have included more details about these characters other than their feelings for one another, to make them both more three-dimensional? I wish we had received more from these characters: more dialogue, more development, and more insight into their desire for one another.
Overall, an okay book that I am curious to see as a film, as I predict the movie may better portray the emotions of the book through lush and/or lustful visuals. If you want a high-quality gay romance this holiday season, check out A Little Life by Hanya Yanagihara, Aristotle and Dante Discover the Secrets of the Universe by Benjamin Alire Saenz , and Imagine Me Gone and You Are Not a Stranger Here by Adam Haslett. Still, yay for a gay romance garnering attention, even if it does feature two white leads and conventionally attractive characters.
As a gay man, I feel happy seeing queer intimacies receive more acceptance and popularity, as evidenced by this book's film adaptation this year. I appreciate the pulsating emotions of lust and desire in Call Me by Your Name, even if my own first crushes did not manifest into much of anything. However, I struggled to get into this book. The writing felt too distant, intellectual, and heavy for me to immerse myself in Elio and Oliver's world. The book contained so much introspection and I wanted more scenes, to get us into these present moments with the two lovers. And while I understand that the book aims to portray infatuation, I found myself bored at times with Elio's obsession with Oliver. Could he have thought some more about the healthfulness or unhealthfulness of his feelings for Oliver? Or could Andre Aciman have included more details about these characters other than their feelings for one another, to make them both more three-dimensional? I wish we had received more from these characters: more dialogue, more development, and more insight into their desire for one another.
Overall, an okay book that I am curious to see as a film, as I predict the movie may better portray the emotions of the book through lush and/or lustful visuals. If you want a high-quality gay romance this holiday season, check out A Little Life by Hanya Yanagihara, Aristotle and Dante Discover the Secrets of the Universe by Benjamin Alire Saenz , and Imagine Me Gone and You Are Not a Stranger Here by Adam Haslett. Still, yay for a gay romance garnering attention, even if it does feature two white leads and conventionally attractive characters.
Read
January 12, 2022鈥淚f I could have him like this in my dreams every night of my life, I'd stake my entire life on dreams and be done with the rest.鈥�
This book has been on my to-read list for a few years, but now that the film is set to be released, I believed it was time to get going and pick it up once and for all. From what I had seen of the film - that is shirtless Armie Hammer and not much else because I wanted to read the book before even watching the trailer - and from what I had heard about the book, I was up for a promising and exciting read. Oh, and a gay one, too.
To be blunt, I expected more. More emotion most of all. Longing and sexual frustration dominated most of the novel, but I was looking for dramatic heartbreak and high emotions. Maybe a tear or two. Maybe I didn't connect enough with Elio, the main character. Sometimes I even disliked him. Then again I understood his aching and longing for a guy that seemed so very much out of reach.
What bothered me most was the highbrow narrative style, the thousands upon thousands of cultural references to literature, music and art. I felt like someone had slapped me with a travelling guide and a Latin dictionary over and over again. It seemed pretentious and took away my interest in the novel.
The writing was beautiful at times and overwhelming at others. Sentences were much too long and seemed never-ending. Pretentious, again.
I can't decide if I want to give this two or three stars - I might change the rating again later. It's not that I disliked the novel, on the contrary, sometimes it was like a dream: Italian food prepared by a personal cook, strolling on the beach, lazing around in the sun, handsome and interesting people around night and day. The openness with which Aciman wrote the gay sex scenes surprised me positively. But especially towards the end, it almost bored me, for reasons that I already mentioned above.
However, I have high hopes for the film adaption. It has the chance to develop the feelings and the relationship between Elio and Oliver much better and to actually make me feel something.
This book has been on my to-read list for a few years, but now that the film is set to be released, I believed it was time to get going and pick it up once and for all. From what I had seen of the film - that is shirtless Armie Hammer and not much else because I wanted to read the book before even watching the trailer - and from what I had heard about the book, I was up for a promising and exciting read. Oh, and a gay one, too.
To be blunt, I expected more. More emotion most of all. Longing and sexual frustration dominated most of the novel, but I was looking for dramatic heartbreak and high emotions. Maybe a tear or two. Maybe I didn't connect enough with Elio, the main character. Sometimes I even disliked him. Then again I understood his aching and longing for a guy that seemed so very much out of reach.
What bothered me most was the highbrow narrative style, the thousands upon thousands of cultural references to literature, music and art. I felt like someone had slapped me with a travelling guide and a Latin dictionary over and over again. It seemed pretentious and took away my interest in the novel.
The writing was beautiful at times and overwhelming at others. Sentences were much too long and seemed never-ending. Pretentious, again.
I can't decide if I want to give this two or three stars - I might change the rating again later. It's not that I disliked the novel, on the contrary, sometimes it was like a dream: Italian food prepared by a personal cook, strolling on the beach, lazing around in the sun, handsome and interesting people around night and day. The openness with which Aciman wrote the gay sex scenes surprised me positively. But especially towards the end, it almost bored me, for reasons that I already mentioned above.
However, I have high hopes for the film adaption. It has the chance to develop the feelings and the relationship between Elio and Oliver much better and to actually make me feel something.
January 30, 2020
I've put off writing this review for far too long because I'm afraid I won't do the book justice. I want to write a review that makes everyone drop what they're doing and start reading Call Me by Your Name immediately.
Reading the other reviews, I find a lot of polarization about Aciman's writing style, which I loved. Some people find him pretentious, while others find his prose bordering on poetic. I definitely fall in the latter category.
Most books are read for a good story and I understand that, but other books, like this one, are read for the enjoyment of language. What I mean by that is that a great many of the sentences in this book can be read and enjoyed all on their own because they're so beautifully written. Aciman has obviously labored over his phrasing to the point that I found myself often stopping to reread a sentence a few times and just luxuriate in the warm bath of words.
The story itself is great because it really has the ring of truth. The characters in this book are far from perfect and sometimes infuriating. I won't discuss plot other than to say that it is bittersweet and just real. I think any gay man will see his young self in the protagonist.
So, in summary, read this book!
Reading the other reviews, I find a lot of polarization about Aciman's writing style, which I loved. Some people find him pretentious, while others find his prose bordering on poetic. I definitely fall in the latter category.
Most books are read for a good story and I understand that, but other books, like this one, are read for the enjoyment of language. What I mean by that is that a great many of the sentences in this book can be read and enjoyed all on their own because they're so beautifully written. Aciman has obviously labored over his phrasing to the point that I found myself often stopping to reread a sentence a few times and just luxuriate in the warm bath of words.
The story itself is great because it really has the ring of truth. The characters in this book are far from perfect and sometimes infuriating. I won't discuss plot other than to say that it is bittersweet and just real. I think any gay man will see his young self in the protagonist.
So, in summary, read this book!
June 12, 2022
2022 review:
I read this in southern Italy (perfect spot if I ever knew one) and, I must say, it wasn鈥檛 as good as I remember it being. That鈥檚 not to say it鈥檚 not good, but I remember it being better. I love the writing, the precepts, how Aciman focuses on the tiniest moments. So much of this book is internal. It鈥檚 not things happening, really, but the possibility of them happening which is much closer to real life where we鈥檙e so contained in our thoughts. He does interesting things with form and speech which you only really realise towards the end which is cool (I love that Oliver and Eliot鈥檚 relationship is represented in so many things other than words).
Definitely worth a read. Maintain that the final part is one of the best things ice ever read x
2020 review:
Aciman's writing is rich and quiscent. Past, present and future intercept in Call Me By Your Name, and I love that this book is etched with memories which are immediate and distant at the same time. Just like Elio and Oliver's relationship which is both carnal and abstract.
One of the best final few pages of any novel I've read.
I read this in southern Italy (perfect spot if I ever knew one) and, I must say, it wasn鈥檛 as good as I remember it being. That鈥檚 not to say it鈥檚 not good, but I remember it being better. I love the writing, the precepts, how Aciman focuses on the tiniest moments. So much of this book is internal. It鈥檚 not things happening, really, but the possibility of them happening which is much closer to real life where we鈥檙e so contained in our thoughts. He does interesting things with form and speech which you only really realise towards the end which is cool (I love that Oliver and Eliot鈥檚 relationship is represented in so many things other than words).
Definitely worth a read. Maintain that the final part is one of the best things ice ever read x
2020 review:
Aciman's writing is rich and quiscent. Past, present and future intercept in Call Me By Your Name, and I love that this book is etched with memories which are immediate and distant at the same time. Just like Elio and Oliver's relationship which is both carnal and abstract.
One of the best final few pages of any novel I've read.
May 13, 2021
[Sufjan Stevens playing softly in the distance]
August 30, 2017
How wonderful it is when you find a forever book.
We're all Elio, aren't we?
We're all Elio, aren't we?
January 16, 2008
I wanted to make fun of this maddening book, but really, I must just want to make fun of myself for loving it. The bare bones of the story could have been assembled using some kind of Gay Coming of Age Novel Trope Generator. Teenager. Grad student. Italian beach. Fruit. Poetry. Jealousy. Sex. Loss. More poetry.
But. I agree with whoever likens Aciman's approach to Proust's (which is probably everybody who has read both Aciman and Proust.) This is not a Gay Coming of Age Novel, at all; it's an elegy for desire, for memory itself; and it manages to visit that interior terrain of longing most notably visited by A LA RECHERCHE DU TEMPS PERDU, without begging a side-by-side comparison. (Which is a feat in itself. What novelist could really survive a direct comparison to Proust? Best to avoid it.)
The frustrations of the novel only become apparent once the spell of Aciman's spare but lovely prose has been broken. While reading it, I never thought to sneer at the clich茅s, or at the problems of a seventeen year old child of wealthy intellectuals. I was too entranced by the salt breezes and the sunlit stones, and the daily rituals of swimming, breakfast, dissertation work, coffee, dinner guests, town, bed, and the millions of specific new shades of pain that result from each and every moment spent around, and away from, the narrator's object of desire. There are some story frustrations here, to be sure, but from this book, I was only expecting a bit of light escapism for my subway ride. My expectations were so successfully shattered, it was almost uncomfortable to read it in public.
"This novel is hot," wrote NYT reviewer Stacey D'Erasmo. Hell, yes. The heat here is not the heat of sex acts, however, (though there is that) but the heat of an ever-building, single-minded, raw-gutted longing, and the pain of remembering it. The heat is the agony of obsession, when any solitary glance or casual exchange can be sharpened with two, three, ten edges of conflicting meaning.
I don't know that I've ever read a book so relentlessly accurate in its detailing of each precise doubt and hope, but mostly doubt, that colors any interaction or lack of interaction with the object of one's desire. These precise doubts are separated out and distilled purely and tightly and lucidly by Aciman. He just does not let up. This was the great surprise of CALL ME BY YOUR NAME, for me. As much as I thought I'd want to throw this book down at times, I almost missed my stop because it would not let me go.
But. I agree with whoever likens Aciman's approach to Proust's (which is probably everybody who has read both Aciman and Proust.) This is not a Gay Coming of Age Novel, at all; it's an elegy for desire, for memory itself; and it manages to visit that interior terrain of longing most notably visited by A LA RECHERCHE DU TEMPS PERDU, without begging a side-by-side comparison. (Which is a feat in itself. What novelist could really survive a direct comparison to Proust? Best to avoid it.)
The frustrations of the novel only become apparent once the spell of Aciman's spare but lovely prose has been broken. While reading it, I never thought to sneer at the clich茅s, or at the problems of a seventeen year old child of wealthy intellectuals. I was too entranced by the salt breezes and the sunlit stones, and the daily rituals of swimming, breakfast, dissertation work, coffee, dinner guests, town, bed, and the millions of specific new shades of pain that result from each and every moment spent around, and away from, the narrator's object of desire. There are some story frustrations here, to be sure, but from this book, I was only expecting a bit of light escapism for my subway ride. My expectations were so successfully shattered, it was almost uncomfortable to read it in public.
"This novel is hot," wrote NYT reviewer Stacey D'Erasmo. Hell, yes. The heat here is not the heat of sex acts, however, (though there is that) but the heat of an ever-building, single-minded, raw-gutted longing, and the pain of remembering it. The heat is the agony of obsession, when any solitary glance or casual exchange can be sharpened with two, three, ten edges of conflicting meaning.
I don't know that I've ever read a book so relentlessly accurate in its detailing of each precise doubt and hope, but mostly doubt, that colors any interaction or lack of interaction with the object of one's desire. These precise doubts are separated out and distilled purely and tightly and lucidly by Aciman. He just does not let up. This was the great surprise of CALL ME BY YOUR NAME, for me. As much as I thought I'd want to throw this book down at times, I almost missed my stop because it would not let me go.
January 24, 2019
Fue un libro encantador. Y cada que lo proceso m谩s, me gusta M脕S. Creo que la primer lectura del a帽o estar谩 en mis mejores lecturas del a帽o.
Y TODAV脥A NO VEO LA PEL脥CULA PORQUE LA QUIERO VER EN EL CINE.
HASTA CU脕NDO, M脡XICO, HASTA CU脕NDO.
Y TODAV脥A NO VEO LA PEL脥CULA PORQUE LA QUIERO VER EN EL CINE.
HASTA CU脕NDO, M脡XICO, HASTA CU脕NDO.
August 30, 2019
Well, this fucked me up.
January 25, 2021
All I know is pain.
This is a contemporary romance between a boy named Elio and his summer guest, Oliver. It's very introspective, dreamy, somehow disconnected from the physical world. I hated it.
The writing felt far away, almost--as if Elio's thoughts were from a whole different planet altogether. It's 50% obscure literary references and 50% Elio being melodramatic and angsty. It is An Important Book鈩�.
Elio is a shallow character who is only half crafted. Before Oliver, he was nothing. We know nothing about his life before this summer. He has no hobbies besides transcribing music and sitting next to the pool, ruminating on the secrets of the universe. I'm trying to describe him, but I simply can't, because there's nothing to describe. He's a vessel through which the story is told. He is not a unique individual.
Oliver isn't much better. We hardly know anything about him, besides the fact that sometimes he wears red bathing suits. I don't even know what he looks like. He's American. He always says "Later" instead of "good-bye." I believe this is supposed to replace a personality.
I did not care about this ship. I did not care about Elio or Oliver. The only person I cared about was Marzia, who was basically used by Elio to cover up his relationship with Oliver, which I thought was disgusting. We do not stan toxicity in this household.
The main problem with this book was the lack of humanity. Every character was under-developed. Even the setting wasn't vibrant. I had a hard time distinguishing Elio's thoughts from what was actually happening. It's very contemplative and brooding, but I find that annoying and I didn't enjoy it at all.
I managed to force myself through until I got to the part where Elio compared a peach to a rape victim, and then I decided to finish this quickly, rate it 0.5 stars, and move on with my life.
Conclusion: Romance is not for me.
Another conclusion: Never again.
0.5 stars, I am traumatized
This is a contemporary romance between a boy named Elio and his summer guest, Oliver. It's very introspective, dreamy, somehow disconnected from the physical world. I hated it.
The writing felt far away, almost--as if Elio's thoughts were from a whole different planet altogether. It's 50% obscure literary references and 50% Elio being melodramatic and angsty. It is An Important Book鈩�.
Elio is a shallow character who is only half crafted. Before Oliver, he was nothing. We know nothing about his life before this summer. He has no hobbies besides transcribing music and sitting next to the pool, ruminating on the secrets of the universe. I'm trying to describe him, but I simply can't, because there's nothing to describe. He's a vessel through which the story is told. He is not a unique individual.
Oliver isn't much better. We hardly know anything about him, besides the fact that sometimes he wears red bathing suits. I don't even know what he looks like. He's American. He always says "Later" instead of "good-bye." I believe this is supposed to replace a personality.
I did not care about this ship. I did not care about Elio or Oliver. The only person I cared about was Marzia, who was basically used by Elio to cover up his relationship with Oliver, which I thought was disgusting. We do not stan toxicity in this household.
The main problem with this book was the lack of humanity. Every character was under-developed. Even the setting wasn't vibrant. I had a hard time distinguishing Elio's thoughts from what was actually happening. It's very contemplative and brooding, but I find that annoying and I didn't enjoy it at all.
I managed to force myself through until I got to the part where Elio compared a peach to a rape victim, and then I decided to finish this quickly, rate it 0.5 stars, and move on with my life.
Conclusion: Romance is not for me.
Another conclusion: Never again.
0.5 stars, I am traumatized
March 9, 2018
A/N 03/18: i did this. and like all my public mistakes, erasing the evidence of it won't erase the consequences.
it stays.
as much to remind me how it happened as to accept that it did at all.
little intimacies.
of the many, many aspects of this book that resonated with us, one in particular was the basis of an interesting exchange between me and author santino hassell.
that exchange is excerpted below.
SH: what do you think so far
JAG: i like it. it's very good at being what i think of as authentic teen gay boy POV
SH: it reminds me of something
JAG: it reminds me of a lot of things
SH: the parts where he's talking about how hot and cold the love interest dude gets
JAG: yes, with his facial expression
SH: yeah
JAG: that, specifically that. i've been there. with someone like that. it's a little scary. and then you understand them and it stops being scary, sometimes
SH: yes. i had a friend like that. when i was a kid. i thought i was in love with him but he was straight
JAG: i was thinking of the exact same thing. i had the exact same thing. a friend, when i was a teen. he'd be warm and affectionate and then his face would go cold like i was a stranger
SH: yes. that's how my friend was. i think he suspected i wanted him. he didn't know how to feel about it
JAG: that's what that scene in the book is about. they realize you have deeper feelings and they don't know how to deal, and then their face goes fucked, in this moment of vulnerability. they can't hide the panic or the revulsion
SH: yes
JAG: and it looks like that
SH: yes
JAG: because straight dudes can feel warm affection for you too, obviously. and for a moment鈥攚ith some of them鈥攖hey feel... when they realize you want them, they feel that their affection has left them exposed. like their affection has been abused
SH: that's exactly what my friend acted like. like all the times we'd been close, i'd taken advantage of him. he suspected me. and then he found out when he caught me and another boy fooling around in the locker rooms. found out that i really was bi. and then he knew he'd been right about me, and didn't know how to handle it
JAG: in the book, i recognized it right away. that feeling of ...recoiling
SH: yes
JAG: of resentment. it looks like that
SH: that was... a horrible experience
JAG: it happened to me too. i wonder if it happens to every queer person
SH: i wonder the same thing
JAG: like imagine you're a girl, you have your best girl friends, going to the bathroom together, secrets, sharing lipstick...
SH: yeah
JAG: little intimacies. and then you tell your girlfriends you're queer and they remember all those times, all those intimacies
SH: that's what happened with him, with my friend. he listed all of these things and acted like i'd manipulated something to make those things happen, or like i'd taken advantage of opportunities
JAG: instead of it being about basic humanity, about you being the same person you always were, it was about... about whatever
SH: he made me cry like a bitch
JAG: i'm sorry
SH: i even apologized. even though i hadn't done anything. because i didn't want him to hate me. but he did anyways
JAG: that's fucked. and i know exactly what that's like
SH: yea?
JAG: the first time i ever cried in public was when he told me he didn't want to be my friend. it's a thing that sticks with you. and i... turned into a different person, after that
SH: i'd never been rejected as an entire person because i was bi, before
JAG: i lost all my friends. because i'd made him #1 and everyone else peripheral. and when he was gone, he took all the rest with him
SH: if we smoked he refused to hit the same pipe. before he found out. he was on to me. i don't hide my feelings very well, on my face
JAG: kids feel things with everything. you loved him. and that's hard to hide
SH: when we smoked together i kinda got off on how the blunt or the pipe would be kind of damp from his mouth
JAG: i liked that too. my best girl friend would light my cigarette for me like that. like humphrey bogart. and i would feel really good
SH: i always remember that
JAG: me too
SH: he mentioned it. when he was telling me what a horrible person i was. and that's when i started crying
JAG: asshole
SH: actually i think he felt bad. but not bad enough to take it back
JAG: where was this
SH: at school. he saw me fooling around with the other kid and ran away and i chased after him for two blocks
JAG: shit
SH: he came into the locker room and saw, and gave me this look of disgust and hatred, and i followed him. he told me off on the corner. near central park. he was disgusted i was even near him. and that's where i lost it
JAG: my shit happened at school too
SH: where
JAG: in the building. during class. the hall. i wrote him a letter to ask if we could be friends again and gave it to a teacher's assistant who taught in both of our classes to hand it to him the next day. his class was before mine, so the whole day after i felt like i was going to throw up but also full of this crazy hope. and so finally that class rolls around, with the TA i gave my letter to, and she takes me out into the hall with her to give me what he wrote back. she hands me this folded up thing, and it's my own letter
SH: wow
JAG: and the thing is, dude鈥攊t was like being crazy, because i'm smelling him just then. because he had this smell, and only he smelled like this, a really, really good smell. and his smell was on this piece of paper in my hand, on my own letter, and she's saying to me "i'm really sorry. he just said no." and that was it. cried my eyes out right there in the hall in front of whomever
SH: people are fucked. like it's a violation
JAG: i think the point is that it feels like one, to them. they panic. and they don't know how to manage things gracefully. and when you're that young, you really don't. and that leads to The Look. it leads to The No.
SH: yea
JAG: whole-person rejection. for stupidity.
SH: you wanna know something weird? before that happened with my friend, i could fool myself into thinking he semi-reciprocated. he seemed to like being close to me
JAG: that is probably not something you imagined. like with my friend... we had this... unspeakable intimacy? little things
SH: yes
JAG: nice things
SH: yes
JAG: like there's this fence. made out of steel poles in the ground and a single chain, like a suspension bridge, behind the bus stop. we'd stand there every day, waiting for the bus. and while we waited he'd try to balance on the chain, like a tightrope walker. and i'd stand near him. like right under him, just casually talking and whatever like i wasn't loving it, loving him touching me, loving his smell. he'd put his hand on me. he'd rest his weight on me. and we'd just stand there doing that. every day
SH: little things like that matter
JAG: yeah. and there were a thousand of them
SH: ...damn this book
JAG: i am mildly peeved at it as well. the nerve, making us remember this shit
SH: whatever
JAG: yeah, whatever
SH: not like it has anything to do with who we are now
JAG: right, no, totally, nothing
SH: real men don't cry
JAG: i have never cried a day in my life
SH: are you going to use any of this in your review
JAG: obviously
SH: if you put the sissy bits in it i will kill you
JAG: not if i kill you first, motherfucker
SH: i said no!!! no means no!!!
JAG: fine, i'll change your name. a pseudonymous random author buddy talking books and queerz
SH: what will you use
JAG: i will be JAG and you will be PAB
SH: wtf is that
JAG: Punk Assed Bitch
SH: you dare
JAG: can't stop me. can't stop my flo
SH: no, i want Gay Chuck Norris
JAG: wut, Flaming Pustule McGee doesn't appeal to you?
SH: i should stab you
you may readsantino hassell gay chuck norris鈥檚 review of this book here.
PS added january 23, 2018:
fuck me in the eye do i hate it when straight actors get kudos for playing queer characters.
that's not "brave," you simpering buttmunch, that's your profession.
i'm glad your vacation in the land of the Less Privileged was so critically acclaimed, but those of us out here exiled by our families or beat up in high school gymnasiums don't get to wear tuxedoes and tell the macabre fucks on entertainment tonight about our exciting growth as actors.
and to be perfectly frank, while i don't know timothy chalamet from a hole in the wall, me and armie hammer go way back鈥攁nd so i feel led to clarify at this juncture that while i would still happily climb that man like a tree if he managed to keep himself in that doofily sexy, subvocal grunting range of human elocution, i nevertheless simply cannot with him and his comments about having to "pray on it" and ask his wife whether it would be "okay to play a gay man" in a movie.
cannot.
no puedo.
*rude gesture*
it stays.
as much to remind me how it happened as to accept that it did at all.
little intimacies.
of the many, many aspects of this book that resonated with us, one in particular was the basis of an interesting exchange between me and author santino hassell.
that exchange is excerpted below.
SH: what do you think so far
JAG: i like it. it's very good at being what i think of as authentic teen gay boy POV
SH: it reminds me of something
JAG: it reminds me of a lot of things
SH: the parts where he's talking about how hot and cold the love interest dude gets
JAG: yes, with his facial expression
SH: yeah
JAG: that, specifically that. i've been there. with someone like that. it's a little scary. and then you understand them and it stops being scary, sometimes
SH: yes. i had a friend like that. when i was a kid. i thought i was in love with him but he was straight
JAG: i was thinking of the exact same thing. i had the exact same thing. a friend, when i was a teen. he'd be warm and affectionate and then his face would go cold like i was a stranger
SH: yes. that's how my friend was. i think he suspected i wanted him. he didn't know how to feel about it
JAG: that's what that scene in the book is about. they realize you have deeper feelings and they don't know how to deal, and then their face goes fucked, in this moment of vulnerability. they can't hide the panic or the revulsion
SH: yes
JAG: and it looks like that
SH: yes
JAG: because straight dudes can feel warm affection for you too, obviously. and for a moment鈥攚ith some of them鈥攖hey feel... when they realize you want them, they feel that their affection has left them exposed. like their affection has been abused
SH: that's exactly what my friend acted like. like all the times we'd been close, i'd taken advantage of him. he suspected me. and then he found out when he caught me and another boy fooling around in the locker rooms. found out that i really was bi. and then he knew he'd been right about me, and didn't know how to handle it
JAG: in the book, i recognized it right away. that feeling of ...recoiling
SH: yes
JAG: of resentment. it looks like that
SH: that was... a horrible experience
JAG: it happened to me too. i wonder if it happens to every queer person
SH: i wonder the same thing
JAG: like imagine you're a girl, you have your best girl friends, going to the bathroom together, secrets, sharing lipstick...
SH: yeah
JAG: little intimacies. and then you tell your girlfriends you're queer and they remember all those times, all those intimacies
SH: that's what happened with him, with my friend. he listed all of these things and acted like i'd manipulated something to make those things happen, or like i'd taken advantage of opportunities
JAG: instead of it being about basic humanity, about you being the same person you always were, it was about... about whatever
SH: he made me cry like a bitch
JAG: i'm sorry
SH: i even apologized. even though i hadn't done anything. because i didn't want him to hate me. but he did anyways
JAG: that's fucked. and i know exactly what that's like
SH: yea?
JAG: the first time i ever cried in public was when he told me he didn't want to be my friend. it's a thing that sticks with you. and i... turned into a different person, after that
SH: i'd never been rejected as an entire person because i was bi, before
JAG: i lost all my friends. because i'd made him #1 and everyone else peripheral. and when he was gone, he took all the rest with him
SH: if we smoked he refused to hit the same pipe. before he found out. he was on to me. i don't hide my feelings very well, on my face
JAG: kids feel things with everything. you loved him. and that's hard to hide
SH: when we smoked together i kinda got off on how the blunt or the pipe would be kind of damp from his mouth
JAG: i liked that too. my best girl friend would light my cigarette for me like that. like humphrey bogart. and i would feel really good
SH: i always remember that
JAG: me too
SH: he mentioned it. when he was telling me what a horrible person i was. and that's when i started crying
JAG: asshole
SH: actually i think he felt bad. but not bad enough to take it back
JAG: where was this
SH: at school. he saw me fooling around with the other kid and ran away and i chased after him for two blocks
JAG: shit
SH: he came into the locker room and saw, and gave me this look of disgust and hatred, and i followed him. he told me off on the corner. near central park. he was disgusted i was even near him. and that's where i lost it
JAG: my shit happened at school too
SH: where
JAG: in the building. during class. the hall. i wrote him a letter to ask if we could be friends again and gave it to a teacher's assistant who taught in both of our classes to hand it to him the next day. his class was before mine, so the whole day after i felt like i was going to throw up but also full of this crazy hope. and so finally that class rolls around, with the TA i gave my letter to, and she takes me out into the hall with her to give me what he wrote back. she hands me this folded up thing, and it's my own letter
SH: wow
JAG: and the thing is, dude鈥攊t was like being crazy, because i'm smelling him just then. because he had this smell, and only he smelled like this, a really, really good smell. and his smell was on this piece of paper in my hand, on my own letter, and she's saying to me "i'm really sorry. he just said no." and that was it. cried my eyes out right there in the hall in front of whomever
SH: people are fucked. like it's a violation
JAG: i think the point is that it feels like one, to them. they panic. and they don't know how to manage things gracefully. and when you're that young, you really don't. and that leads to The Look. it leads to The No.
SH: yea
JAG: whole-person rejection. for stupidity.
SH: you wanna know something weird? before that happened with my friend, i could fool myself into thinking he semi-reciprocated. he seemed to like being close to me
JAG: that is probably not something you imagined. like with my friend... we had this... unspeakable intimacy? little things
SH: yes
JAG: nice things
SH: yes
JAG: like there's this fence. made out of steel poles in the ground and a single chain, like a suspension bridge, behind the bus stop. we'd stand there every day, waiting for the bus. and while we waited he'd try to balance on the chain, like a tightrope walker. and i'd stand near him. like right under him, just casually talking and whatever like i wasn't loving it, loving him touching me, loving his smell. he'd put his hand on me. he'd rest his weight on me. and we'd just stand there doing that. every day
SH: little things like that matter
JAG: yeah. and there were a thousand of them
SH: ...damn this book
JAG: i am mildly peeved at it as well. the nerve, making us remember this shit
SH: whatever
JAG: yeah, whatever
SH: not like it has anything to do with who we are now
JAG: right, no, totally, nothing
SH: real men don't cry
JAG: i have never cried a day in my life
SH: are you going to use any of this in your review
JAG: obviously
SH: if you put the sissy bits in it i will kill you
JAG: not if i kill you first, motherfucker
SH: i said no!!! no means no!!!
JAG: fine, i'll change your name. a pseudonymous random author buddy talking books and queerz
SH: what will you use
JAG: i will be JAG and you will be PAB
SH: wtf is that
JAG: Punk Assed Bitch
SH: you dare
JAG: can't stop me. can't stop my flo
SH: no, i want Gay Chuck Norris
JAG: wut, Flaming Pustule McGee doesn't appeal to you?
SH: i should stab you
you may read
PS added january 23, 2018:
fuck me in the eye do i hate it when straight actors get kudos for playing queer characters.
that's not "brave," you simpering buttmunch, that's your profession.
i'm glad your vacation in the land of the Less Privileged was so critically acclaimed, but those of us out here exiled by our families or beat up in high school gymnasiums don't get to wear tuxedoes and tell the macabre fucks on entertainment tonight about our exciting growth as actors.
and to be perfectly frank, while i don't know timothy chalamet from a hole in the wall, me and armie hammer go way back鈥攁nd so i feel led to clarify at this juncture that while i would still happily climb that man like a tree if he managed to keep himself in that doofily sexy, subvocal grunting range of human elocution, i nevertheless simply cannot with him and his comments about having to "pray on it" and ask his wife whether it would be "okay to play a gay man" in a movie.
cannot.
no puedo.
*rude gesture*
October 1, 2019
鉂� 1 / 5 stars - DNF @ PAGE 42
Guys, I don鈥檛 get it. I don鈥檛 get why this book got such a high average rating like this. I can鈥檛 even stand being in Elio鈥檚 head. Don鈥檛 you think this guy is super creepy?
For instance, while they were talking about apricot, instead of him thinking about apricot, what do you think he thought of? APRICOCK! Oliver鈥檚 cock!
WUTTTTTT? ARE YOU FUCKING KIDDING ME?!
But that one didn鈥檛 make me stop reading this book. THIS ONE DID.
IS THIS NORMAL? HELL NO! THIS IS NOWHERE NEAR NORMAL. THIS IS A PSYCHOPATH!!
Fuck it. I shouldn鈥檛 have read it. I shouldn鈥檛 have read this book. I HATE IT. AND I HATE IT WITH PASSION.
Guys, I don鈥檛 get it. I don鈥檛 get why this book got such a high average rating like this. I can鈥檛 even stand being in Elio鈥檚 head. Don鈥檛 you think this guy is super creepy?
For instance, while they were talking about apricot, instead of him thinking about apricot, what do you think he thought of? APRICOCK! Oliver鈥檚 cock!
WUTTTTTT? ARE YOU FUCKING KIDDING ME?!
But that one didn鈥檛 make me stop reading this book. THIS ONE DID.
If I didn鈥檛 kill him, then I鈥檇 cripple him for life, so that he鈥檇 be with us in a wheelchair and never go back to the States. If he were in a wheelchair, I would always know where he was, and he鈥檇 be easy to find. I would feel superior to him and become his master, now that he was crippled.
Then it hit me that I could have killed myself instead, or hurt myself badly enough and let him know why I鈥檇 done it. If I hurt my face, I'd want him to look at me and wonder why, why might anyone do this to himself, until, years and years later鈥攜es, Later! 鈥攈e鈥檇 finally piece the puzzle together and beat his head against the wall.
IS THIS NORMAL? HELL NO! THIS IS NOWHERE NEAR NORMAL. THIS IS A PSYCHOPATH!!
Fuck it. I shouldn鈥檛 have read it. I shouldn鈥檛 have read this book. I HATE IT. AND I HATE IT WITH PASSION.
January 12, 2025
Love or intimacy is not about saying sentimental words for the sake of saying sentimental words even though you have shared almost nothing and know nothing about one another, nor is it about living in your fantastical dream detached from reality, nor is it about everything that dirtiest mind of the protagonist associates with sex.
This book is nothing but over-sentimental, redundant, hubristic, dishonest words that pretend to convey love and intimacy, but indeed convey nothing but resentment, shallowness, egoism, and the disability to love anyone, not even oneself. I won't pretend to know what true love is, but at least I know that the first step of love is to acknowledge that the person you love is neither yourself nor your illusive creation but someone real and concrete.
If Elio truly thinks this is the love of his life, and he holds onto it for goddamn twenty years (as if adding a time period arbitrarily could convince everyone of how special his love story is), all I can say to him is: Get a life!
PS: This book totally ruined my appetite for fruits.
This book is nothing but over-sentimental, redundant, hubristic, dishonest words that pretend to convey love and intimacy, but indeed convey nothing but resentment, shallowness, egoism, and the disability to love anyone, not even oneself. I won't pretend to know what true love is, but at least I know that the first step of love is to acknowledge that the person you love is neither yourself nor your illusive creation but someone real and concrete.
If Elio truly thinks this is the love of his life, and he holds onto it for goddamn twenty years (as if adding a time period arbitrarily could convince everyone of how special his love story is), all I can say to him is: Get a life!
PS: This book totally ruined my appetite for fruits.
June 20, 2021
I turned on spotify , put my head phones on and played the song MYSTERY OF LOVE.
HECK I AM READY TO WRITE THE REVIEW OF THIS BOOK.
鈥�
鈥�
鈥�
...
Me after 15 mins of staring at the screen with tears in my eyes and song plying in my ears and mind thinking about how beautiful is this book!
I freaking fucking loved this book.(understatement of the year!)
No words, no phrase, no vocabulary, no language can put my feelings for this book in words.
How can you even rate or review a masterpiece.
I loved it and I will keep loving it. 馃挏
HECK I AM READY TO WRITE THE REVIEW OF THIS BOOK.
鈥�
鈥�
鈥�
...
Me after 15 mins of staring at the screen with tears in my eyes and song plying in my ears and mind thinking about how beautiful is this book!
I freaking fucking loved this book.(understatement of the year!)
No words, no phrase, no vocabulary, no language can put my feelings for this book in words.
How can you even rate or review a masterpiece.
I loved it and I will keep loving it. 馃挏
April 10, 2018
"鈥斅縏e gusta estar solo? 鈥攎e pregunt贸.
鈥擭o. A nadie le gusta estar solo. Pero he aprendido a vivir con ello".
No s茅 ni c贸mo expresar lo precioso y doloroso que es este libro. Ll谩mame Por Tu Nombre no es s贸lo una historia m谩s de dos hombres que se enamoran, es una historia de amistad, dudas, p茅rdida, descubrimiento, familia y, por supuesto, amor. Pero no el amor id铆lico de los felices por siempre jam谩s, sino de esos amores que trascienden el tiempo, rompen barreras, sacan sonrisas y l谩grimas, cambian tu mundo y, a煤n as铆, nunca estar谩n completos del todo.
Ll谩mame Por Tu Nombre es de ese tipo de libros cuyo final no es lo m谩s importante, sino todo el viaje emocional que viven Elio y Oliver a lo largo de un verano, de una vida. Los finales felices no importan aqu铆, lo que importa son los momentos, los besos robados en Roma, las tardes en la piscina, las notas de medianoche y las miradas que lo dec铆an todo.
Si bien el ritmo del libro no es el m谩s 谩gil, s铆 que es un ritmo que le pega un mont贸n a la historia. Lo que viven Oliver y Elio, a pesar de tener una fecha de caducidad, el final del verano, no se basa en un romance de temporada, no es nada apresurado. La tensi贸n que se construye y que notamos por el punto de vista de Elio, un adolescente que teme y a la vez desea dar rienda suelta a sus m谩s hondos pensamientos y fantas铆as, es genial. Con cada p谩gina que pasa necesitamos que Oliver le d茅 se帽ales claras a Elio, que compartan una mirada c贸mplice, que por fin se rindan a los labios del otro... Aciman narra todo de una manera tan real y tan ingenua que nos da igual lo parsimonioso de la historia, pues disfrutamos de cada pensamiento y queremos que la peque帽a burbuja de felicidad italiana que viven Elio y Oliver dure para siempre.
Ll谩mame Por Tu Nombre tiene la extra帽a cualidad de narrarse con un tono s煤per nost谩lgico que no nos permite olvidar nunca que, por muy especial que haya sido el verano, Oliver seguir谩 con su vida en Estados Unidos y Elio seguir谩 pensando en todo lo que vivieron, en todo lo que pudieron ser y en el tiempo que no se puede recuperar. Aciman crea un libro tremendamente triste y nost谩lgico, pero que nos hace absurdamente felices al leerlo. No me pregunten c贸mo funciona eso, sencillamente es as铆. Quiz谩 es el misterio del amor.
"Hab铆amos encontrado las estrellas, t煤 y yo. Y esto solo se consigue una vez".
鈥擭o. A nadie le gusta estar solo. Pero he aprendido a vivir con ello".
No s茅 ni c贸mo expresar lo precioso y doloroso que es este libro. Ll谩mame Por Tu Nombre no es s贸lo una historia m谩s de dos hombres que se enamoran, es una historia de amistad, dudas, p茅rdida, descubrimiento, familia y, por supuesto, amor. Pero no el amor id铆lico de los felices por siempre jam谩s, sino de esos amores que trascienden el tiempo, rompen barreras, sacan sonrisas y l谩grimas, cambian tu mundo y, a煤n as铆, nunca estar谩n completos del todo.
Ll谩mame Por Tu Nombre es de ese tipo de libros cuyo final no es lo m谩s importante, sino todo el viaje emocional que viven Elio y Oliver a lo largo de un verano, de una vida. Los finales felices no importan aqu铆, lo que importa son los momentos, los besos robados en Roma, las tardes en la piscina, las notas de medianoche y las miradas que lo dec铆an todo.
Si bien el ritmo del libro no es el m谩s 谩gil, s铆 que es un ritmo que le pega un mont贸n a la historia. Lo que viven Oliver y Elio, a pesar de tener una fecha de caducidad, el final del verano, no se basa en un romance de temporada, no es nada apresurado. La tensi贸n que se construye y que notamos por el punto de vista de Elio, un adolescente que teme y a la vez desea dar rienda suelta a sus m谩s hondos pensamientos y fantas铆as, es genial. Con cada p谩gina que pasa necesitamos que Oliver le d茅 se帽ales claras a Elio, que compartan una mirada c贸mplice, que por fin se rindan a los labios del otro... Aciman narra todo de una manera tan real y tan ingenua que nos da igual lo parsimonioso de la historia, pues disfrutamos de cada pensamiento y queremos que la peque帽a burbuja de felicidad italiana que viven Elio y Oliver dure para siempre.
Ll谩mame Por Tu Nombre tiene la extra帽a cualidad de narrarse con un tono s煤per nost谩lgico que no nos permite olvidar nunca que, por muy especial que haya sido el verano, Oliver seguir谩 con su vida en Estados Unidos y Elio seguir谩 pensando en todo lo que vivieron, en todo lo que pudieron ser y en el tiempo que no se puede recuperar. Aciman crea un libro tremendamente triste y nost谩lgico, pero que nos hace absurdamente felices al leerlo. No me pregunten c贸mo funciona eso, sencillamente es as铆. Quiz谩 es el misterio del amor.
"Hab铆amos encontrado las estrellas, t煤 y yo. Y esto solo se consigue una vez".
November 10, 2014
This is a beautifully written story of passion, obsession, and possibly love.
It's told primarily in the voice of a highly intelligent 17 year old boy living in the Italian Riviera with his family. They are wealthy, have a beautiful villa, and allow tourists to visit, and writers to stay there for the summer. The book is about the obsession the narrator, Elio, has for a young professor named Oliver (one of the writers staying for the summer). The atmosphere is perfectly described. I could picture it vividly, possible because I visited the region in the summer of 2013, but primarily because of the writing.
Out of the three themes I listed above, I think the primary one is obsession which is why I'm not sure if I consider this a love story. That isn't a flaw in my eyes, but I was often disturbed by the narrator during the first third of the book. It isn't the book's fault. A lot of it has to do with my own personal opinions and my current attitude towards people who have the mindset of Elio as he obsessed over Oliver. At first, his interest seems one-sided, but he becomes so focused on it that it consumes him and makes him toxic at times. He tracks Oliver's movements, his conversations with others, choreographs conversations and interactions, and eventually becomes so obsessed that he considers plotting to turn Oliver against a girl he may have interest in out of jealousy and a need to control him. He seemed to see Oliver as primarily a possession even though Elio has made no move to actually make his own interest and desire apparent.
There were two things that snapped me out of my cringing judgment: 1) I had to check myself and remember that Elio is only 17. Extreme emotional responses are more acceptable for a teenager. 2) Elio was aware of how insidious he was being and checked himself.
Other than that brief foray, Elio's feelings were well drawn. I could see their interactions, I could feel what he was feeling, and I understood perfectly his moments of doubt and anguish when he felt rejected. It took me back to moments in my life when I was a teenager and in love with a boy, and how every minor moment was monumental in my mind. And how it feels to be hopeful about something when the outcome is ambiguous, or I could fool myself into thinking it was. Primarily for this reason, I give the book four stars. Elio felt real and sometimes that hurt me, but ultimately it helped his story feel real as well.
Although 80% of the book is literally "told" by Elio more so than scenes are written out in their entirety, I enjoyed the style. However, the book slowed down a lot for me at the end. I guess you can say, the major conflict had been resolved and my engagement dwindled because I assumed things would tie up neatly in a bow and all would be well. I was wrong, but I still found the pacing and final chapters to be at odds with the beginning of the book.
All in all, this is a wonderful coming of age story about a teenage boy who is exploring his sexuality and his first real taste of passion and love. It often felt like I was there beside Elio and Oliver, simultaneously rooting them on while at times wondering if the situation was healthy for either party. Despite my own personal opinions, I can admit that this perfectly captured moments that most people experience in their youth--intense, careless incidents where everything feels important and devastating even if it fades with the end of the season, or the summer, or the semester, but you remember those moments for the rest of your life.
It's told primarily in the voice of a highly intelligent 17 year old boy living in the Italian Riviera with his family. They are wealthy, have a beautiful villa, and allow tourists to visit, and writers to stay there for the summer. The book is about the obsession the narrator, Elio, has for a young professor named Oliver (one of the writers staying for the summer). The atmosphere is perfectly described. I could picture it vividly, possible because I visited the region in the summer of 2013, but primarily because of the writing.
Out of the three themes I listed above, I think the primary one is obsession which is why I'm not sure if I consider this a love story. That isn't a flaw in my eyes, but I was often disturbed by the narrator during the first third of the book. It isn't the book's fault. A lot of it has to do with my own personal opinions and my current attitude towards people who have the mindset of Elio as he obsessed over Oliver. At first, his interest seems one-sided, but he becomes so focused on it that it consumes him and makes him toxic at times. He tracks Oliver's movements, his conversations with others, choreographs conversations and interactions, and eventually becomes so obsessed that he considers plotting to turn Oliver against a girl he may have interest in out of jealousy and a need to control him. He seemed to see Oliver as primarily a possession even though Elio has made no move to actually make his own interest and desire apparent.
There were two things that snapped me out of my cringing judgment: 1) I had to check myself and remember that Elio is only 17. Extreme emotional responses are more acceptable for a teenager. 2) Elio was aware of how insidious he was being and checked himself.
Other than that brief foray, Elio's feelings were well drawn. I could see their interactions, I could feel what he was feeling, and I understood perfectly his moments of doubt and anguish when he felt rejected. It took me back to moments in my life when I was a teenager and in love with a boy, and how every minor moment was monumental in my mind. And how it feels to be hopeful about something when the outcome is ambiguous, or I could fool myself into thinking it was. Primarily for this reason, I give the book four stars. Elio felt real and sometimes that hurt me, but ultimately it helped his story feel real as well.
Although 80% of the book is literally "told" by Elio more so than scenes are written out in their entirety, I enjoyed the style. However, the book slowed down a lot for me at the end. I guess you can say, the major conflict had been resolved and my engagement dwindled because I assumed things would tie up neatly in a bow and all would be well. I was wrong, but I still found the pacing and final chapters to be at odds with the beginning of the book.
All in all, this is a wonderful coming of age story about a teenage boy who is exploring his sexuality and his first real taste of passion and love. It often felt like I was there beside Elio and Oliver, simultaneously rooting them on while at times wondering if the situation was healthy for either party. Despite my own personal opinions, I can admit that this perfectly captured moments that most people experience in their youth--intense, careless incidents where everything feels important and devastating even if it fades with the end of the season, or the summer, or the semester, but you remember those moments for the rest of your life.
October 27, 2017
Gorgeous prose elicits vivid emotions .....
This is a beautiful coming of age novel.... absolutely stunning!
So passionate - so all consuming!
Elio is 17 years old. Every summer his father selects and hosts a doctoral student to stay with them for the summer.
Oliver is the summer student - writing his dissertation.... he has come to Rome... wears his Star of David necklace right out in the open. Elio and his family are also Jewish - but most Jews didn鈥檛 flaunt their Star of David for anyone to see ....
Elio begins to jog with Oliver ...and swim .....( oh and the descriptions are breathtaking)...and soon Elio is aching to touch Oliver鈥檚 skin - every inch of him.
Elio鈥檚 inner thoughts are brilliant- raw - real .....
鈥淏ut I loved the fear鈥� if fear it really was鈥� and this they didn鈥檛 know, my ancestors. It was the underside of fear I loved, like the smoothest wool found on the underbelly of the coarsest sheep. I loved the boldness that was pushing me forward; it aroused me, because it was born of arousal itself. 鈥淵ou鈥檒l kill me if you stop鈥濃€攐r was it: 鈥淚鈥檒l die if you stop鈥�. Each time I hear these words, I couldn鈥檛 resist.鈥�
鈥淚 knock on the glass panel, softly. My heart is beating like crazy. I am afraid of nothing, so why be so frightened? Why? Because everything scares me, because both fear and desire are busy equivocating with each other, with me, I can鈥檛 even tell the difference between wanting him to open the door and hoping he stood me up鈥�.
I loved it!!!!!!!!!
I understand there is a movie ..... I鈥檇 like to see it. Yet I haven鈥檛 heard anything in my area ( yet?)
This is a beautiful coming of age novel.... absolutely stunning!
So passionate - so all consuming!
Elio is 17 years old. Every summer his father selects and hosts a doctoral student to stay with them for the summer.
Oliver is the summer student - writing his dissertation.... he has come to Rome... wears his Star of David necklace right out in the open. Elio and his family are also Jewish - but most Jews didn鈥檛 flaunt their Star of David for anyone to see ....
Elio begins to jog with Oliver ...and swim .....( oh and the descriptions are breathtaking)...and soon Elio is aching to touch Oliver鈥檚 skin - every inch of him.
Elio鈥檚 inner thoughts are brilliant- raw - real .....
鈥淏ut I loved the fear鈥� if fear it really was鈥� and this they didn鈥檛 know, my ancestors. It was the underside of fear I loved, like the smoothest wool found on the underbelly of the coarsest sheep. I loved the boldness that was pushing me forward; it aroused me, because it was born of arousal itself. 鈥淵ou鈥檒l kill me if you stop鈥濃€攐r was it: 鈥淚鈥檒l die if you stop鈥�. Each time I hear these words, I couldn鈥檛 resist.鈥�
鈥淚 knock on the glass panel, softly. My heart is beating like crazy. I am afraid of nothing, so why be so frightened? Why? Because everything scares me, because both fear and desire are busy equivocating with each other, with me, I can鈥檛 even tell the difference between wanting him to open the door and hoping he stood me up鈥�.
I loved it!!!!!!!!!
I understand there is a movie ..... I鈥檇 like to see it. Yet I haven鈥檛 heard anything in my area ( yet?)
April 21, 2019
TIN N脫NG TIN N脫NG!!!! T谩c gi岷� Andre Aciman 膽茫 confirm s岷� vi岷縯 ph岷 ti岷縫 theo c峄 "Call Me By Your Name" r峄搃 n脿y m峄峣 ng瓢峄漣 啤i ahhhhhhhh!!!!!!!!!!!!!!!!!!!!!!
Update:
Sau bao th谩ng ng脿y 膽峄 mong, cu峄慽 c霉ng th矛 t么i c农ng 膽茫 xem 膽瓢峄 b峄� phim 鈥淐all me by your name鈥� b岷 full SD Vietsub. Tr瓢峄沜 khi xem phim, t么i 膽茫 v么 c霉ng 岷 t瓢峄g v峄沬 c芒u chuy峄噉 t矛nh y锚u n峄搉g nhi峄噒, 膽岷痬 say nh瓢ng cu峄慽 c霉ng kh么ng th峄� c贸 m峄檛 k岷縯 th煤c c贸 h岷璾 c峄 hai nh芒n v岷璽 ch铆nh. 膼贸 l脿 m峄檛 m峄慽 t矛nh ng岷痭 ng峄 k茅o d脿i v峄弉 v岷筺 ch峄� 6 tu岷, nh瓢ng c贸 s峄ヽ 岷h h瓢峄焠g v脿 膽峄� l岷 d瓢 v峄� m茫i m茫i v峄� sau cho c岷� Elio v脿 Oliver. M峄慽 t矛nh 岷 di峄卬 ra tr锚n c谩i n峄乶 m霉a h猫 n瓢峄沜 脻 v霉ng 膼峄媋 Trung H岷, tr脿n ng岷璸 谩nh n岷痭g v脿ng 岷 谩p v脿 khung c岷h c峄� k铆nh, n锚n th啤. Khung c岷h 岷, c谩i 谩nh v脿ng c峄 nh峄痭g ng脿y h猫 岷 谩p 膽贸 膽茫 膽瓢峄 t谩i hi峄噉 m峄檛 c谩ch xu岷 s岷痗 l锚n m脿n 岷h, v峄沬 c谩i h峄� n瓢峄沜 n啤i Elio v脿 Oliver c霉ng t岷痬 v峄沬 nhau, kho岷g c峄� r峄檔g n啤i m峄峣 ng瓢峄漣 t峄� t岷璸 ch啤i b贸ng chuy峄乶, khu v瓢峄漬 膽岷 nh峄痭g qu岷� 膽脿o, m啤 v脿 l峄眜 - nh峄痭g th峄� tr谩i c芒y 膽岷璵 ch岷 m霉a h猫, nh峄痭g ly n瓢峄沜 m啤 ngon l脿nh m谩t l岷h, nh峄痭g b峄痑 膬n ngo脿i tr峄漣 d瓢峄沬 b贸ng c芒y, khu th脿nh ph峄� v峄沬 nh峄痭g t貌a nh脿, nh峄痭g c么ng tr矛nh ki岷縩 tr煤c ch峄゛ 膽峄眓g b峄� d脿y l峄媍h s峄� c峄 n瓢峄沜 脻.
V脿 tr锚n c谩i n峄乶 膽贸, m峄檛 m峄慽 t矛nh 膽岷筽 v脿 kh岷痗 kho岷 膽茫 di峄卬 ra. Timoth茅e Chalamet 膽贸ng vai Elio 膽茫 l峄檛 t岷� 膽瓢峄 ho脿n to脿n c谩i th岷 th谩i c峄 nh芒n v岷璽: m峄檛 c岷璾 thi岷縰 ni锚n nh岷 c岷, y锚u 芒m nh岷 v脿 h岷縯 m峄眂 si t矛nh, 膽峄﹏g tr瓢峄沜 m峄檛 t矛nh c岷 m峄沬 m岷� v脿 膽岷 谩m 岷h d脿nh cho m峄檛 ng瓢峄漣 膽脿n 么ng l峄沶 h啤n m矛nh 膽岷縩 t岷璶 7 tu峄昳. Elio lao v脿o t矛nh y锚u v峄沬 Oliver nh瓢 con thi锚u th芒n lao v脿o l峄璦, b岷 ch岷 k岷縯 c峄 sau n脿y c贸 l脿 g矛; c岷璾 y锚u nh瓢 ch瓢a t峄玭g 膽瓢峄 y锚u, nh瓢 th峄� ch铆nh m峄慽 t矛nh 膽岷, ch铆nh t矛nh y锚u c峄 tu峄昳 tr岷� ph岷 th岷�: d脿o d岷, 膽i锚n cu峄搉g v脿 th岷砿 s芒u. Nh峄痭g kho岷h kh岷痗 ch峄� 膽峄 trong b峄搉 ch峄搉 cho 膽岷縩 n峄璦 膽锚m cho cu峄檆 h岷筺 膽岷 ti锚n gi峄痑 hai ng瓢峄漣; nh峄痭g c岷h l脿m t矛nh v峄沬 c么 b岷 Marzia nh瓢ng m岷痶 v岷玭 h瓢峄沶g v峄� c谩i 膽峄搉g h峄� 膽eo tay, t岷 c岷� 膽茫 l脿m n锚n m峄檛 Elio c峄 tu峄昳 17 l岷 膽岷 ti锚n th峄眂 s峄� bi岷縯 y锚u, l岷 膽岷 ti锚n th峄眂 s峄� bi岷縯 ng贸ng ch峄� ai 膽贸, t瓢啤ng t瓢 ai 膽贸. V脿 ai 膽贸 c峄 Elio l脿 Oliver, 膽茫 膽瓢峄 di峄卬 vi锚n Armie Harmmer h贸a th芒n m峄檛 c谩ch tr峄峮 v岷筺, v峄沬 v岷� ngo脿i cao r谩o, 膽岷筽 trai v脿 phong th谩i nh瓢 m峄檛 鈥渕ovie star鈥�, th峄昳 lu峄搉g gi贸 m峄沬 v脿o m峄檛 m霉a h猫 nh峄痭g t瓢峄焠g nh瓢 r岷 膽峄梚 b矛nh th瓢峄漬g 峄� n瓢峄沜 脻.
Tr瓢峄漬g 膽o岷 khi hai ng瓢峄漣 l脿m t矛nh v峄沬 nhau l岷 膽岷 ti锚n, sau 膽贸 Oliver th矛 th岷 v峄沬 Elio r岷眓g: 鈥淐all me by your name, and I鈥檒l call you by mine.鈥� (鈥淗茫y g峄峣 anh b岷眓g t锚n em, v脿 anh s岷� g峄峣 em b岷眓g t锚n anh.鈥�) 膽茫 khi岷縩 t么i b岷璽 kh贸c. T么i kh贸c v矛 kho岷h kh岷痗 岷 qu谩 膽岷筽, qu谩 tinh kh么i, d岷玼 n贸 di峄卬 ra trong b贸ng t峄慽, b锚n trong nh峄痭g c谩nh c峄璦 kh茅p k铆n c峄 hai c膬n ph貌ng k岷� b锚n nhau. V脿 t么i kh贸c b峄焛 v矛 t么i 膽茫 bi岷縯 tr瓢峄沜, r岷眓g d岷玼 t矛nh y锚u 岷 c贸 膽岷筽 膽岷縩 th岷� n脿o, tinh kh么i 膽岷縩 th岷� n脿o, th矛 cu峄慽 c霉ng, hai ng瓢峄漣 v岷玭 ph岷 chia tay nhau, v岷玭 ph岷 b瓢峄沜 膽i tr锚n nh峄痭g ng茫 r岷� kh谩c c峄 cu峄檆 膽峄漣. T么i kh贸c khi th岷 Elio kh贸c, khi c岷璾 d峄 膽岷 v脿o l貌ng Oliver m脿 h峄廼 anh r岷眓g li峄噓 c岷璾 c贸 b峄噉h ho岷 qu谩 kh么ng, khi to脿n l脿m nh峄痭g chuy峄噉 k峄� d峄� c峄憈 ch峄� 膽峄� c贸 anh g岷 b锚n, g岷 h啤n n峄痑; 膽峄� th峄廰 m茫n c谩i c啤n th猫m kh谩t Oliver, th峄廰 m茫n n峄梚 谩m 岷h kh谩t khao c峄 m峄檛 ch脿ng trai 膽ang l峄沶 d岷 l锚n c霉ng v峄沬 nh峄痭g c岷 x煤c m峄沬 m岷� m脿 d峄� d峄檌 c峄 m矛nh.
C岷� Timoth茅e Chalamet v脿 Armie Hammer 膽峄乽 l脿 trai th岷硁g (Armie Hammer th矛 膽茫 c贸 v峄� con 膽峄� hu峄� r峄搃 c啤 ^^), v岷瓂 m脿 khi xem phim, 膽峄� ai bi岷縯 膽瓢峄 h峄� kh么ng ph岷 l脿 gay, v矛 chemistry c峄 h峄� tr锚n m脿n 岷h qu谩 tuy峄噒; nh峄痭g c岷h hai nh芒n v岷璽 么m 岷 nhau c峄� t峄� nhi锚n v脿 t矛nh c岷 v么 c霉ng. Phim 膽茫 c峄� g岷痭g 膽瓢a 膽瓢峄 g岷 nh瓢 to脿n b峄� nh峄痭g chi ti岷縯 ch铆nh c峄 cu峄憂 ti峄僽 thuy岷縯 l锚n phim, nh瓢ng nh矛n chung c岷� hai kh谩c nhau v峄� c谩ch mi锚u t岷� c芒u chuy峄噉, d霉 ch煤ng 膽峄乽 k峄� v峄� m峄檛 c芒u chuy峄噉 gi峄憂g nhau. N岷縰 cu峄憂 s谩ch mang trong l貌ng n贸 s峄� d峄� d峄檌 v脿 ng芒y ng岷 c峄 t矛nh d峄, c峄 m峄慽 k岷縯 n峄慽 鈥渢uy hai m脿 m峄檛鈥� gi峄痑 Elio v脿 Oliver, th矛 c谩 nh芒n t么i th岷 phim l脿m nh岷� nh脿ng h啤n nhi峄乽, nh瓢ng v岷玭 r岷 c贸 chi峄乽 s芒u. C贸 l岷� v矛 phim 膽i theo h瓢峄沶g ngh峄� thu岷璽, n锚n c岷h t矛nh d峄 c农ng c贸, nh瓢ng kh么ng 膽岷縩 n峄梚 qu谩 ph么 b脿y hay g芒y k铆ch 膽峄檔g m岷h, tr峄� c岷h sex c峄 Elio v脿 Marzia (ch峄� n岷縰 l脿m y x矛 nh瓢 trong s谩ch ch岷痗 膽茫 b峄� g峄峣 l脿 phim k铆ch d峄 r峄搃 :D). 膼岷縩 c岷� c岷h Elio 鈥渇uck the peach鈥� (l脿 c岷h n峄昳 b岷璽 v脿 g芒y 岷 t瓢峄g m岷h nh岷 c峄 cu峄憂 ti峄僽 thuy岷縯) c农ng 膽瓢峄 l脿m kh谩 nh岷� nh脿ng v脿 c贸 ph岷 膽谩ng y锚u :D.
Thay v矛 chuy峄僴 t岷 s峄� d峄� d峄檌 c峄 b岷 truy峄噉 g峄慶, phim 膽茫 s峄� d峄g c岷h v岷璽 v脿 b岷 kh么ng kh铆 n瓢峄沜 脻 膽岷 ho脿i c峄� nh峄痭g n膬m 1980s 膽峄� k峄� l岷 c芒u chuy峄噉 t矛nh kh岷痗 kho岷 c峄 Elio v脿 Oliver. T么ng m脿u v脿ng 岷 c峄 m霉a h猫 c霉ng nh峄媝 膽i峄噓 k峄� chuy峄噉 ch岷璵 r茫i, l峄漣 tho岷 铆t, ch峄玜 nh峄痭g kho岷g kh么ng im 岷痭g cho di峄卬 vi锚n di峄卬 xu岷 膽茫 膽峄媙h h矛nh c谩ch k峄� chuy峄噉 c峄 b峄� phim. 峄� 膽芒y, t么i kh么ng b脿n lu岷璶 gi峄痑 s谩ch v脿 phim, c谩i n脿o hay h啤n, b峄焛 m峄梚 c谩i 膽峄乽 c贸 nh峄痭g n茅t ri锚ng 膽岷 cu峄憂 h煤t c峄 m矛nh. Nh瓢ng cho d霉 n茅t ri锚ng 岷 c贸 l脿 g矛, th矛 峄� t岷璶 s芒u trong trung t芒m c峄 鈥淐all me by your name鈥�, c岷� b岷 s谩ch v脿 b岷 phim, lu么n l脿 m峄檛 c芒u chuy峄噉 膽谩ng 膽峄� 膽峄峜, 膽峄� xem, 膽峄� tr岷 nghi峄噈 v脿 c岷 nh岷璶, d岷玼 b岷眓g ng么n ng峄� 膽i峄噉 岷h hay ng么n ng峄� v膬n ch瓢啤ng. C芒u chuy峄噉 n脿y 膽岷穋 bi峄噒 v脿 膽谩ng 膽峄峜 膽岷縩 n峄梚, sau khi xem phim xong, t么i 膽茫 bu峄檆 m矛nh ph岷 suy ngh末 l岷 v脿 cho cu峄憂 s谩ch 5 sao thay v矛 4 sao nh瓢 l煤c 膽岷. C谩ch truy峄乶 t岷 c峄 t谩c gi岷� c贸 kh贸 hi峄僽 m峄檛 ch煤t th矛 膽茫 sao ch峄�? V峄� c啤 b岷, c芒u chuy峄噉 c峄 "Call me by your name" 膽茫 qu谩 tuy峄噒 v峄漣 v脿 x峄﹏g 膽谩ng 膽瓢峄 n岷眒 trong h脿ng ng农 nh峄痭g cu峄憂 s谩ch 5 sao tr锚n k峄� s谩ch c峄 t么i :))
Xem phim gi煤p t么i hi峄僽 nhi峄乽 h啤n v峄� nh芒n v岷璽 cha c峄 Elio, m峄檛 ng瓢峄漣 cha v么 c霉ng t芒m l媒 m脿 t么i 瓢峄沜 ao t岷 c岷� nh峄痭g ai thu峄檆 c峄檔g 膽峄搉g LGBT 膽峄乽 c贸 trong cu峄檆 膽峄漣. 膼o岷 g岷 k岷縯 phim, sau khi Elio 膽茫 chia tay Oliver 峄� ga t脿u h峄廰 v脿 膽瓢峄 m岷� ch峄� v峄� nh脿, cha c峄 Elio 膽茫 chia s岷� v峄沬 c岷璾 nh峄痭g suy ngh末 v脿 c岷 nh岷璶 c峄 么ng v峄� nh峄痭g g矛 Elio 膽茫 c贸 c霉ng v峄沬 Oliver: m峄檛 膽i峄乽 膽岷穋 bi峄噒 hi岷縨 hoi v脿 tuy峄噒 膽岷筽. V脿 c貌n nh峄痭g l峄漣 khuy锚n nh峄� 膽煤c k岷縯 t峄� ch铆nh kinh nghi峄噈 c霉ng nh峄痭g ti岷縞 nu峄慽 c峄 么ng v峄� nh峄痭g g矛 么ng 膽茫 b峄� l峄� trong 膽峄漣 n峄痑:
鈥淭hen let me say one more thing. It'll clear the air. I may have come close, but I never had what you two have. Something always held me back or stood in the way. How you live your life is your business, just remember, our hearts and our bodies are given to us only once. And before you know it, your heart is worn out, and, as for your body, there comes a point when no one looks at it, much less wants to come near it. Right now, there's sorrow, pain. Don't kill it and with it the joy you've felt.鈥�
膼o岷 k岷縯 tr脿n 膽岷 s峄� dang d峄� c峄 m峄檛 m峄慽 t矛nh kh么ng vi锚n m茫n s岷� g芒y 膽峄沶 膽au v脿 th峄昻 th峄ヽ cho nhi峄乽 ng瓢峄漣. Nh瓢ng 膽峄慽 v峄沬 t么i, c谩i k岷縯 膽贸 l脿 h峄 l媒. V矛 峄� th峄漣 膽i峄僲 膽贸, c谩i th峄漣 m脿 quy峄乶 LGBT v岷玭 c貌n l脿 m峄檛 kh谩i ni峄噈 qu谩 xa v峄漣, m峄檛 m峄慽 t矛nh 膽峄搉g t铆nh c贸 th峄� 膽i 膽岷縩 膽芒u? N岷縰 Elio v脿 Oliver 膽岷縩 膽瓢峄 v峄沬 nhau, n岷縰 h峄� mu峄憂 x芒y d峄眓g m峄檛 gia 膽矛nh c峄 ri锚ng m矛nh, ai s岷� cho ph茅p h峄� nh岷璶 con nu么i? Li峄噓 t矛nh y锚u c峄 h峄� c贸 膽峄� m岷h m岷�, 膽峄� s芒u s岷痗 膽峄� v瓢峄 qua nh峄痭g d峄� ngh峄� v脿 d貌m ng贸 c峄 ng瓢峄漣 膽峄漣? Gia 膽矛nh Elio th矛 t芒m l媒 qu谩 r峄搃, nh瓢ng c貌n gia 膽矛nh c峄 Oliver? Anh 膽茫 n贸i v峄沬 Elio qua 膽i峄噉 tho岷 l脿 cha anh s岷� 膽瓢a anh v脿o tr岷 c岷 hu岷 n岷縰 anh d谩m c么ng khai t矛nh y锚u c峄 m矛nh v峄沬 Elio v脿 ch峄峮 c谩ch 峄� b锚n c岷璾. V脿 c貌n c岷� nh峄痭g k峄� v峄峮g c峄 gia 膽矛nh v脿 x茫 h峄檌 v脿o m峄檛 ng瓢峄漣 膽脿n 么ng c贸 h峄峜 v岷 nh瓢 Oliver n峄痑. 膼啤n gi岷 l脿 峄� th峄漣 膽i峄僲 膽贸, m峄檛 c岷穚 t矛nh nh芒n 膽峄搉g t铆nh v峄沬 tu峄昳 膽峄漣 tr岷� nh瓢 Elio v脿 Oliver kh么ng c贸 nhi峄乽 s峄� l峄盿 ch峄峮 膽峄� c贸 th峄� ti岷縫 t峄 cu峄檆 s峄憂g c峄 m矛nh m脿 kh么ng ph岷 h峄慽 ti岷縞 v矛 nh峄痭g quy岷縯 膽峄媙h m矛nh 膽瓢a ra...
Nghe 膽芒u phim s岷� c贸 ph岷 2 (ra m岷痶 v脿o n膬m 2020), n锚n th脿nh ra kh煤c cu峄慽 ch峄� ti岷縯 l峄� Oliver chu岷﹏ b峄� l脿m 膽谩m c瓢峄沬 th么i, ch峄� kh么ng c贸 kh煤c 20 n膬m sau khi Oliver tr峄� l岷 ng么i nh脿 c峄 gia 膽矛nh Elio 峄� 脻, d岷痶 theo v峄� c霉ng hai 膽峄゛ con trai :)) S谩ch th矛 ch峄� c贸 m峄檛 cu峄憂, n锚n n岷縰 phim l脿m ph岷 2 th矛 ch岷痗 ch岷痭 l脿 s岷� t峄� vi岷縯 k峄媍h b岷 r峄搃 ^^ Tr瓢峄沜 m岷痶 hy v峄峮g m霉a 鈥渉峄憈 v脿ng鈥� Oscars s岷痯 t峄沬, phim 鈥淐all me by your name鈥� s岷� 膽瓢峄 膽峄� c峄� 峄� h岷g m峄 鈥淏est Picture鈥�, 鈥淏est Adapted Screenplay鈥�, 鈥淏est Cinematography鈥�, 鈥淏est Score鈥�, 鈥淏est Song鈥� (m峄� 啤i c谩i b脿i 鈥淢ystery of Love鈥� qu谩 hay v脿 qu谩 h峄 v峄沬 kh么ng kh铆 c峄 phim ahhhh!!!!), 膽岷 di峄卬 Luca Guadagnino s岷� 膽瓢峄 膽峄� c峄� 鈥淏est Director鈥�, Timoth茅e Chalamet th矛 膽瓢峄 膽峄� c峄� 鈥淏est Actor in a Leading Role鈥� v脿 Armie Hammer th矛 膽瓢峄 膽峄� c峄� 鈥淏est Actor in a Supporting Role鈥�. Ch峄� c岷 膽瓢峄 膽峄� c峄� th么i l脿 m峄玭g th么i ha ha :D
P. S.: Trong phim th岷 nh芒n v岷璽 Elio n贸i chuy峄噉 v峄沬 Marzia b岷眓g ti岷縩g Ph谩p, d霉 khi 膽峄峜 s谩ch m矛nh kh么ng nh峄� c么 b茅 n脿y c贸 ph岷 ng瓢峄漣 Ph谩p kh么ng (nh峄� l脿 nguy锚n d脿n nh芒n v岷璽 tr峄� anh Oliver ra l脿 ng瓢峄漣 脻 h岷縯 c岷ｂ€�) n锚n 膽ang th岷痗 m岷痗 (v矛 c芒u chuy峄噉 di峄卬 ra 峄� 脻 m脿 l岷 n贸i ti岷縩g Ph谩p :D). Kh么ng l岷� t岷 Timoth茅e Chalamet bi岷縯 ti岷縩g Ph谩p ch峄� kh么ng ph岷 ti岷縩g 脻 n锚n cho 岷籱 n贸i ti岷縩g Ph谩p lu么n ha ha :))))
Coi phim xong ch峄� mu峄憂 nh瓢 cha m岷� c峄 Elio, c贸 m峄檛 ng么i nh脿 峄� mi峄乶 膼峄媋 Trung H岷 c峄 脻 v脿 m峄檛 khu v瓢峄漬 r峄檔g 膽岷 hoa c霉ng c芒y 膬n qu岷�, ng脿y ng脿y 膽瓢峄 ng岷痬 c岷h 膽岷筽, ra v瓢峄漬 ng峄搃 膽峄峜 s谩ch, ch谩n ch锚 r峄搃 th矛 膽i b啤i h峄�, t岷痬 s么ng, t峄沬 h猫 th矛 膽瓢峄 膬n qu岷� ngon, ri锚ng m峄梚 ng脿y 膽峄乽 膽瓢峄 膬n 膽峄� 脻 峄� ngo脿i s芒n v瓢峄漬 :)) Cu峄檆 膽峄漣 膽岷筽 膽啤n gi岷 th岷� th么i, ch峄� c农ng kh么ng d谩m m啤 c贸 膽瓢峄 m峄檛 t矛nh y锚u n峄搉g nhi峄噒 v脿 d峄� d峄檌 nh瓢 c峄 Elio v脿 Oliver 膽芒u :D
Old review:
M霉a h猫 nh峄痭g n膬m 1980s. M峄檛 t貌a bi峄噒 th峄� nh矛n ra v霉ng bi峄僴 膼峄媋 Trung H岷 峄� 脻. Elio, n膬m 膽贸 m峄沬 ch峄� l脿 ch脿ng trai 17 tu峄昳, c霉ng cha m岷� 膽贸n v峄� kh谩ch 膽岷縩 峄� tr峄� 峄� khu bi峄噒 th峄� m脿 m峄梚 n膬m h峄� 膽峄乽 cho gi峄沬 v膬n s末 thu锚 膽峄� vi岷縯 s谩ch. Ngay t峄� l岷 膽岷 ti锚n nh矛n th岷 Oliver - gi岷g vi锚n 膽岷 h峄峜 ki锚m nh脿 v膬n ng瓢峄漣 M峄� 膽岷縩 脻 膽峄� gi谩m s谩t vi峄嘽 d峄媍h thu岷璽 cu峄憂 s谩ch c峄 anh - b瓢峄沜 ra kh峄廼 chi岷縞 xe taxi d峄玭g tr瓢峄沜 c峄昻g nh脿, Elio 膽茫 tr煤ng ti岷縩g s茅t 谩i t矛nh v峄沬 ng瓢峄漣 膽脿n 么ng h啤n m矛nh 7 tu峄昳. Oliver 膽岷筽 trai s谩ng ng峄漣, m峄檛 ki峄僽 鈥渕ovie star鈥� nh瓢 m岷� c峄 Elio mi锚u t岷�, m峄檛 l脿n gi贸 膽岷璵 m霉i nam t铆nh c贸 th峄� 膽谩nh g峄 b岷 c峄� ai. Anh xu岷 hi峄噉 nh瓢 m峄檛 th峄廼 nam ch芒m gi峄痑 v霉ng bi峄僴 m霉a h猫 c峄 n瓢峄沜 脻, chinh ph峄 nh峄痭g c么 g谩i tr岷� trong v霉ng, tr峄� th脿nh trung t芒m c峄 khu bi峄噒 th峄� v脿 膽峄搉g th峄漣 膽谩nh c岷痯 tr谩i tim c峄 Elio.
T矛nh c岷 m脿 Elio d脿nh cho Oliver l脿 m峄檛 th峄� t矛nh c岷 g芒y nghi峄噉, v脿 trong con m岷痶 c峄 c岷璾 l脿 th岷璽 膽谩ng x岷 h峄� bi岷縯 bao. Nh瓢ng c岷璾 kh么ng th峄� n脿o bu峄檆 t芒m tr铆 v脿 tr谩i tim m矛nh th么i th峄昻 th峄ヽ v矛 ch脿ng v膬n s末 mang d谩ng d岷 c峄 m峄檛 di峄卬 vi锚n 膽i峄噉 岷h. B峄� ngo脿i, Elio c峄� g岷痭g duy tr矛 m峄檛 th谩i 膽峄� d峄璶g d瓢ng, th峄� 啤 v峄沬 v峄� kh谩ch c峄 gia 膽矛nh, nh瓢ng b锚n trong, t峄玭g ng脿y t峄玭g gi峄�, ch脿ng trai tr岷� ph岷 膽峄慽 m岷穞 n峄梚 d岷眓 v岷穞 膽峄沶 膽au mang t锚n n峄梚 th猫m kh谩t. 膼贸 l脿 n峄梚 th猫m kh谩t 膽瓢峄 ch岷 v脿o Oliver, 膽瓢峄 c岷 gi谩c th芒n th峄� c峄 ng瓢峄漣 膽脿n 么ng 24 tu峄昳 k岷� b锚n m矛nh, 峄� tr锚n m矛nh, s芒u trong c啤 th峄� m矛nh. Elio kh谩t khao 膽瓢峄 s峄憂g trong c啤 th峄� c峄 Oliver, 膽瓢峄 l脿 Oliver, v脿 膽峄� Oliver tr峄� th脿nh c岷璾.
C岷璾 膽脿n nh峄痭g b岷 nh岷 c峄 Bhrams v脿 Haydn cho Oliver nghe, c霉ng v峄� kh谩ch 膽脿m 膽岷 v峄� v膬n h峄峜 th岷� gi峄沬. C岷璾 ph谩t hi峄噉 膽农ng qu岷 m矛nh 瓢峄泃 nh岷筽 v矛 k铆ch th铆ch b峄焛 s峄� c贸 m岷穞 c峄 Oliver trong ph貌ng c岷璾; v脿 c岷璾 c农ng 瓢峄泃 nh瓢 th岷� khi l岷籲 v脿o ph貌ng ng瓢峄漣 m矛nh y锚u 膽峄� m岷穋 tr峄檓 nh峄痭g b峄� 膽峄� c峄 Oliver, 膽峄� 膽瓢峄 c岷 nh岷璶 ch煤t g矛 膽贸 c峄 Oliver th么ng qua nh峄痭g th峄� 膽茫 ch岷 v脿o da th峄媡 c峄 v峄� kh谩ch. C岷璾 n岷眒 m啤, nh峄痭g gi岷 m啤 ph岷 谩nh c谩i kh谩t khao ch谩y b峄弉g c峄 c岷璾 膽峄慽 v峄沬 Oliver, c谩i 瓢峄沜 v峄峮g th岷砿 s芒u v脿 m茫nh li峄噒 mu峄憂 膽瓢峄 Oliver ch煤 媒 膽岷縩, 膽瓢峄 Oliver 膽谩p l岷 t矛nh y锚u, 膽瓢峄 h貌a quy峄噉 c霉ng Oliver tr锚n gi瓢峄漬g, c峄 c岷璾 hay c峄 Oliver 膽峄乽 膽瓢峄.
Elio t峄� nh岷璶 m矛nh 膽茫 t峄玭g c贸 v脿i m峄慽 t矛nh tho谩ng qua, v脿 膽茫 t峄玭g ng峄� v峄沬 r岷 nhi峄乽 c么 g谩i. Nh瓢ng c岷璾 膽芒u ng峄� m峄慽 t矛nh 膽岷 th岷璽 s峄� c峄 c岷璾, l岷 膽岷 ti锚n trong 膽峄漣 c岷璾 c岷 nh岷璶 膽瓢峄 vi峄嘽 khao kh谩t m峄檛 ng瓢峄漣 l脿 nh瓢 th岷� n脿o, l岷 c贸 th峄� m茫nh li峄噒 v脿 gi脿y v貌 t芒m can 膽岷縩 nh瓢 v岷瓂. B岷 ch岷 t岷 c岷� nh峄痭g h脿nh vi nh峄� nh岷穞, nh峄痭g bi峄僽 hi峄噉 c贸 th峄� ti岷縯 l峄� m峄檛 膽i峄乽 g矛 kh谩c h啤n ch峄� l脿 m峄檛 t矛nh b岷 膽啤n thu岷 gi峄痑 hai ng瓢峄漣 膽脿n 么ng, Oliver v岷玭 膽峄慽 x峄� v峄沬 Elio v峄沬 m峄檛 th谩i 膽峄� d峄璶g d瓢ng y h峄噒, m峄檛 th谩i 膽峄� 膽茫 膽峄憈 ch谩y t芒m h峄搉 ch脿ng trai tr岷� trong nh峄痭g n峄梚 nghi ng峄�. Elio nghi ng峄� Oliver 膽茫 ng峄� v峄沬 to脿n b峄� ph峄� n峄� trong v霉ng, v脿 thay v矛 ghen tu么ng, thay v矛 thu h岷縯 can 膽岷 膽峄� th峄� l峄� l貌ng m矛nh, Elio l岷 th岷 m矛nh c瓢啤ng c峄﹏g tr瓢峄沜 c谩i h矛nh 岷h Oliver quan h峄� t矛nh d峄 v峄沬 m峄檛 c么 g谩i kh谩c di峄卽 ra tr瓢峄沜 m岷痶 c岷璾. C岷璾 ch岷 nh岷璶 y锚u trong c芒m l岷穘g v脿 tuy峄噒 v峄峮g, ch岷 nh岷璶 duy tr矛 c谩i tr岷g th谩i 膽au kh峄� c霉ng c峄眂 trong l貌ng, 膽芒u bi岷縯 r岷眓g Oliver th峄眂 ra c农ng 膽谩p l岷 t矛nh c岷 c峄 c岷璾.
V脿 theo sau c谩i 膽au kh峄� 膽贸 l脿 nh峄痭g n峄� h么n c峄 hai ng瓢峄漣 tr锚n ng峄峮 膽峄搃 nh矛n ra qu岷g tr瓢峄漬g nh峄�, n啤i m脿 theo l峄漣 Elio l脿 膽峄媋 膽i峄僲 h峄峚 s末 thi锚n t脿i ng瓢峄漣 Ph谩p Claude Monet 膽茫 t峄玭g v岷� tranh. Nh峄痭g bu峄昳 chi峄乽 c霉ng nhau 膽岷 xe. Chuy岷縩 膽i t峄沬 hi峄噓 s谩ch. Elio b铆 m岷璽 l脿m t矛nh v峄沬 Marzia - m峄檛 c么 g谩i trong v霉ng, ch峄� 膽峄� c峄� g岷痭g qu锚n 膽i th峄� t矛nh c岷 膽岷 x岷 h峄� c岷璾 c岷 nh岷璶 膽瓢峄 v峄沬 m峄檛 ng瓢峄漣 膽脿n 么ng. V脿 r峄搃 t矛nh c岷 岷 膽茫 膽瓢峄 th峄� l峄�. Nh峄痭g cu峄檆 h岷筺 b铆 m岷璽 v脿o bu峄昳 t峄慽, 膽瓢峄 th么ng b谩o b岷眓g nh峄痭g t峄� ghi ch煤 nh峄� nh茅t v脿o d瓢峄沬 c峄璦 ph貌ng. V脿 s峄� b霉ng n峄� c峄 c岷 x煤c, c峄 t矛nh y锚u, c峄 nh峄痭g 膽锚m l脿m t矛nh m锚 m峄噒, say s瓢a, cho谩ng v谩ng.
T矛nh d峄 v脿 r岷 nhi峄乽 t矛nh d峄, th峄� t矛nh d峄 膽岷痬 say, g岷痭 k岷縯, 膽au 膽峄沶 nh瓢ng c农ng 膽岷 th峄廰 m茫n; th峄� t矛nh d峄 gi峄痑 hai ng瓢峄漣 膽脿n 么ng, hay 膽煤ng h啤n l脿 gi峄痑 m峄檛 ng瓢峄漣 膽脿n 么ng 膽茫 tr瓢峄焠g th脿nh v脿 m峄檛 ch脿ng trai m峄沬 l峄沶 膽ang kh谩m ph谩 nh峄痭g g矛 thu峄檆 v峄� t矛nh y锚u v脿 b岷 th峄� c峄 m矛nh. Th峄� t矛nh d峄 峄� m峄ヽ t峄檛 c霉ng nh瓢ng kh么ng h峄� b峄噉h ho岷, th峄� t矛nh d峄 膽茫 bi岷縩 Elio tr峄� th脿nh Oliver v脿 Oliver tr峄� th脿nh Elio. V脿 trong nh峄痭g 膽锚m nh瓢 th岷�, khi Elio c岷 nh岷璶 膽瓢峄 Oliver 膽ang 峄� s芒u trong c啤 th峄� m矛nh, c岷璾 膽茫 g峄峣 ng瓢峄漣 m矛nh y锚u b岷眓g t锚n c峄 ch铆nh m矛nh, nh瓢 c谩i c谩ch Oliver 膽茫 g峄峣 c岷璾 b岷眓g ch铆nh t锚n c峄 anh.
鈥淐all Me By Your Name鈥� kh么ng ch峄� l脿 c芒u chuy峄噉 t矛nh c峄 hai ng瓢峄漣 膽脿n 么ng; n贸 c貌n l脿 c芒u chuy峄噉 c峄 ri锚ng Elio, c峄 m峄檛 ch脿ng trai l岷 膽岷 ti锚n trong 膽峄漣 kh谩m ph谩 s峄ヽ m岷h c峄 m峄慽 t矛nh 膽岷, m峄檛 m峄慽 t矛nh m岷穋 d霉 ch峄� k茅o d脿i trong 6 tu岷 Oliver l瓢u l岷 脻, nh瓢ng l岷 谩m 岷h kh么n ngu么i. M峄檛 m峄慽 t矛nh nh瓢 谩nh sao b膬ng, xo岷箃 ngang qua b岷 tr峄漣, 膽峄� r峄搃 to脿n b峄� m峄峣 th峄� b霉ng n峄� trong nh峄痭g 膽峄 s岷痗 m脿u kh么ng sao t岷� n峄昳. Elio v岷璽 l峄檔 v峄沬 t矛nh c岷 m峄沬 m岷� n脿y, v岷璽 l峄檔 v峄沬 vi峄嘽 c贸 c貌n n锚n xem n贸 l脿 th峄� t矛nh c岷 膽谩ng x岷 h峄� v脿 t峄檌 l峄梚. C岷璾 ti岷縫 t峄 nh峄痭g gi峄� l脿m t矛nh b铆 m岷璽 v峄沬 Marzia, coi n贸 nh瓢 l脿 m峄檛 th峄� 膽峄� c芒n b岷眓g l岷 v峄沬 m峄慽 t矛nh gi峄痑 hai ng瓢峄漣 膽脿n 么ng m脿 c岷璾 膽ang duy tr矛 v峄沬 Oliver. 膼峄� r峄搃 sau c霉ng Elio nh岷璶 ra, ch峄� c贸 nh峄痭g g矛 c岷璾 膽茫 tr岷 qua v峄沬 Oliver l脿 nh峄痭g g矛 s岷� 膽i v脿o k媒 峄ヽ c峄 c岷璾 - m峄檛 tr岷 nghi峄噈 m茫i m茫i thay 膽峄昳 con ng瓢峄漣 c岷璾, thay 膽峄昳 nh峄痭g g矛 c岷璾 nh矛n nh岷璶 v峄� ch铆nh m矛nh. N贸i m峄檛 c谩ch kh谩c h啤n, 鈥淐all Me By Your Name鈥� c貌n l脿 h脿nh tr矛nh c峄 m峄檛 ch脿ng trai kh谩m ph谩 b岷 d岷g gi峄沬 t铆nh c峄 b岷 th芒n, c霉ng l煤c c贸 m峄檛 m峄慽 t矛nh 膽谩ng nh峄� v峄沬 m峄檛 ng瓢峄漣 m脿 v矛 c谩ch tr峄� v峄� 膽峄媋 l媒 v脿 s峄� ng膬n tr峄� c峄 t瓢 t瓢峄焠g th峄漣 膽岷, s岷� kh么ng c貌n l脿 c峄 c岷璾.
Elio vay m瓢峄 th峄漣 gian c峄 hi峄噉 t岷 膽峄� n铆u gi峄� nh峄痭g gi峄� ph煤t c貌n l岷 v峄沬 Oliver b岷眓g chuy岷縩 膽i 膽岷縩 th峄� 膽么 Rome. V脿 t岷 膽芒y, c岷璾 ti岷縫 t峄 nh峄痭g ng脿y h岷h ph煤c hi岷縨 hoi c峄 cu峄檆 膽峄漣 b锚n c岷h Oliver v脿 nh峄痭g ng瓢峄漣 b岷, b锚n nh峄痭g qu谩n bar, nh峄痭g c峄慶 r瓢峄 m岷h, b岷眓g 膽么i b脿n tay c峄 Oliver 膽峄� c岷璾 khi c岷璾 贸i d峄峜 v峄� 膽瓢峄漬g. V脿 nh岷 l脿, b岷眓g n峄� h么n 膽岷痬 say Oliver trao t岷穘g cho c岷璾 trong con ng玫 v岷痭g, khi anh 膽岷﹜ ch脿ng trai tr岷� v脿o b峄ヽ t瓢峄漬g v脿 bu峄檆 c岷璾 ph岷 gh矛 m峄檛 ch芒n v脿o ch芒n anh - n峄� h么n 膽茫 m茫i m茫i bi岷縩 n啤i 膽贸 tr峄� th脿nh n啤i k峄� ni峄噈 c峄 hai ng瓢峄漣, c峄 m峄檛 m峄慽 t矛nh 膽茫 r啤i v脿o qu谩 v茫ng.
K岷縯 th煤c chuy岷縩 膽i t峄沬 Rome, Elio v峄� l岷 nh脿, trong khi Oliver quay v峄� M峄�. 脥t l芒u sau, Oliver li锚n l岷 l岷 膽峄� th么ng b谩o v峄� vi峄嘽 anh s岷痯 k岷縯 h么n, b峄焛 l岷�, 膽峄搉g t铆nh 峄� th峄漣 膽i峄僲 膽贸 v岷玭 l脿 m峄檛 膽峄� t脿i c岷 k峄�, v脿 hai ng瓢峄漣 膽脿n 么ng y锚u nhau th矛 l脿m sao 膽芒y 膽峄� c贸 th峄� tr峄峮 v岷筺 膽岷縩 v峄沬 nhau m脿 kh么ng h峄慽 ti岷縞 膽i峄乽 g矛? Oliver ch峄� c貌n bi岷縯 c谩ch ti岷縫 t峄 s峄憂g cu峄檆 膽峄漣 c峄 m矛nh, tr峄� th脿nh cha c峄 hai 膽峄゛ con trai, v脿 th岷g ho岷穋, v脿o nh峄痭g ng脿y l峄�, s岷� tr峄� v峄� l岷 khu bi峄噒 th峄� 膽贸, b锚n b峄� bi峄僴 膼峄媋 Trung H岷, n啤i t矛nh y锚u c峄 anh 膽茫 thay 膽峄昳 m峄檛 con ng瓢峄漣. V脿 膽煤ng nh瓢 th峄� m峄檛 谩nh sao b膬ng, hay m峄檛 谩nh ch峄沺 ch贸i l貌a, t岷 c岷� nh峄痭g g矛 h峄� 膽茫 c贸 tr瓢峄沜 膽芒y - s峄� th芒n m岷璽 c峄眂 膽i峄僲 膽岷縩 n峄梚 kh么ng g矛 c贸 th峄� chia l矛a - l脿 nh峄痭g g矛 h峄� ch峄� c贸 th峄� tr岷 nghi峄噈 膽瓢峄 m峄檛 l岷 duy nh岷. N贸 膽岷筽 v脿 mong manh nh瓢 ch铆nh s峄� ph岷璶 c峄 hai ng瓢峄漣 膽脿n 么ng gi峄� 膽芒y r岷� sang hai h瓢峄沶g kh谩c bi峄噒. N贸 b峄玭g l锚n v脿 v峄 t岷痶 ch峄� trong m峄檛 l岷, nh瓢ng d瓢 芒m c峄 n贸 th矛 峄� l岷 m茫i m茫i, b锚n trong k媒 峄ヽ v脿 t芒m tr铆 c峄 hai con ng瓢峄漣, v脿o c谩i m霉a h猫 膽贸, 20 n膬m v峄� tr瓢峄沜, khi Elio m峄沬 ch峄� l脿 ch脿ng trai 17 tu峄昳, c貌n Oliver 膽茫 l脿 m峄檛 ch脿ng trai gi峄痑 tu峄昳 20.
C芒u t峄� c峄 t谩c gi岷� Andr茅 Aciman 膽岷筽 nh瓢 th峄� ng么n ng峄� ch煤ng ta ch峄� t矛m th岷 膽瓢峄 峄� trong th啤; n贸 膽岷筽 v脿 谩m 岷h b峄焛 kh岷� n膬ng ph芒n t铆ch v脿 gi茫i b脿y t芒m l媒 c农ng nh瓢 t矛nh c岷 nh芒n v岷璽. Theo d岷 l峄漣 k峄� c峄 Elio, t么i say m锚 d玫i theo c芒u chuy峄噉 t矛nh c峄 c岷璾 v脿 Oliver, 膽au 膽峄沶 nh峄痭g khi c岷璾 膽au 膽峄沶, h岷h ph煤c nh峄痭g khi c岷璾 h岷h ph煤c, tr膬n tr峄� nh峄痭g khi c岷璾 tr膬n tr峄�, suy t瓢 nh峄痭g khi c岷璾 suy t瓢. T谩c gi岷� c农ng 膽茫 t脿i t矛nh d峄眓g n锚n c谩i n峄乶 l脿 khung c岷h m霉a h猫 r峄眂 n岷痭g v脿 kh贸 qu锚n 峄� n瓢峄沜 脻 - khung c岷h c峄 gi贸, b茫i c峄�, m霉i bi峄僴, ti岷縩g ve k锚u, nh峄痭g gi岷 ng峄� ban tr瓢a, h峄� b啤i, nh峄痭g tr谩i m啤 v脿 膽脿o ch铆n 峄璶g. M霉a h猫 l脿 m霉a c峄 t峄� do, c峄 nh峄痭g chuy岷縩 phi锚u l瓢u, c峄 s峄� kh谩m ph谩, v脿 膽岷穋 bi峄噒 l脿 c峄 nh峄痭g m峄慽 t矛nh b铆 m岷璽. Ch岷痗 c贸 l岷� 膽芒y l脿 l媒 do m脿 t谩c gi岷� 膽茫 l峄盿 ch峄峮 m霉a h猫 l脿m n峄乶 cho c芒u chuy峄噉 c峄 m矛nh. 膼i峄僲 tr峄� duy nh岷 c峄 鈥淐all Me By Your Name鈥� c贸 l岷� l脿 vi峄嘽 s峄� d峄g nhi峄乽 khi qu谩 m峄ヽ ch岷 th啤 v脿 ch岷 tri岷縯 l媒 trong nh峄痭g suy ng岷玬 c峄 Elio, d岷玭 膽岷縩 vi峄嘽 nhi峄乽 c芒u v膬n qu谩 d脿i, 膽峄峜 m峄檛 h峄搃 m峄沬 hi峄僽 t谩c gi岷� 膽ang mu峄憂 n贸i g矛 (nhi峄乽 khi 膽峄峜 ho脿i m脿 c农ng ch岷硁g hi峄僽 lu么n鈥�).
P.S.: M峄沬 bi岷縯 l脿 cu峄憂 ti峄僽 thuy岷縯 n脿y 膽茫 膽瓢峄 d峄眓g th脿nh phim, s岷� ra r岷 v脿o ng脿y 24/11 n膬m nay ^^ Ch瓢a g矛 m脿 tr锚n trang Rotten Tomatoes critics 膽茫 ch岷 100% r峄搃 n猫 :D
Trong s谩ch c贸 膽o岷 Elio have sex v峄沬 tr谩i 膽脿o, t岷 h矛nh d谩ng tr谩i 膽脿o nh矛n gi峄憂g c谩i m么ng ng瓢峄漣 qu谩, l脿m 岷籱 li锚n t瓢峄焠g t峄沬 ph岷 d瓢峄沬 c峄 Oliver :D Th锚m c谩i v峄� b锚n trong tr谩i 膽脿o th矛 nh矛n gi峄憂g anus (anus ngh末a l脿 g矛 th矛 m峄漣 d貌 t峄� 膽i峄僴 ^^), l脿m 岷籱 ngh末 t峄沬 Oliver ti岷縫, n锚n l脿 岷籱 m峄沬 quy岷縯 膽峄媙h fuck the peach. N贸i chung c岷h 膽贸 b岷 li峄噒 l岷痬, 膽峄峜 m脿 n贸ng c岷� ng瓢峄漣 :D R峄搃 cha n峄檌 Oliver 膽i v么, th岷 Elio 膽ang n岷眒 th峄廰 m茫n ph峄� ph锚 tr锚n gi瓢峄漬g, b锚n c岷h l脿 hai mi岷縩g 膽脿o b峄� t谩ch ra, b锚n trong c貌n ch峄゛ 膽岷 tinh d峄媍h c峄 岷籱. Cha n峄檌 kho谩i qu谩, c岷 l锚n 膬n ngon l脿nh, ki峄僽 gi峄憂g nh瓢 l脿 鈥渃谩i g矛 c峄 em anh c农ng y锚u h岷縯. Nh峄痭g g矛 thu峄檆 v峄� em n岷縰 c贸 ch岷縯 th矛 ph岷 ch岷縯 b锚n trong ng瓢峄漣 anh鈥� :D Nghe 膽峄搉 l锚n phim 么ng 膽岷 di峄卬 quy岷縯 膽峄媙h l脿m c岷h 膽贸 lu么n, m脿 膽ang kh么ng bi岷縯 di峄卬 vi锚n di峄卬 th岷� n脿o 膽芒y =))))) Ph芒n 膽o岷 qu谩 nh岷 c岷 :)))) R峄搃 c谩i n峄痑 l脿 kh么ng bi岷縯 khi phim 膽瓢峄 mua v峄� VN chi岷縰 th矛 s岷� c贸 b峄� censored kh么ng, censored nhi锚u ph岷 n峄痑鈥� (n岷縰 censored h岷縯 th矛 m岷 m峄� n贸 nh峄痭g chi ti岷縯 hay r峄搃). M脿 quan tr峄峮g l脿 VN c贸 ai d谩m mua phim v峄� chi岷縰 kh么ng 膽芒y鈥� C谩i 岷 ki峄僲 duy峄噒 峄� n瓢峄沜 ta c农ng gh锚 g峄沵 l岷痬...
Update:
Sau bao th谩ng ng脿y 膽峄 mong, cu峄慽 c霉ng th矛 t么i c农ng 膽茫 xem 膽瓢峄 b峄� phim 鈥淐all me by your name鈥� b岷 full SD Vietsub. Tr瓢峄沜 khi xem phim, t么i 膽茫 v么 c霉ng 岷 t瓢峄g v峄沬 c芒u chuy峄噉 t矛nh y锚u n峄搉g nhi峄噒, 膽岷痬 say nh瓢ng cu峄慽 c霉ng kh么ng th峄� c贸 m峄檛 k岷縯 th煤c c贸 h岷璾 c峄 hai nh芒n v岷璽 ch铆nh. 膼贸 l脿 m峄檛 m峄慽 t矛nh ng岷痭 ng峄 k茅o d脿i v峄弉 v岷筺 ch峄� 6 tu岷, nh瓢ng c贸 s峄ヽ 岷h h瓢峄焠g v脿 膽峄� l岷 d瓢 v峄� m茫i m茫i v峄� sau cho c岷� Elio v脿 Oliver. M峄慽 t矛nh 岷 di峄卬 ra tr锚n c谩i n峄乶 m霉a h猫 n瓢峄沜 脻 v霉ng 膼峄媋 Trung H岷, tr脿n ng岷璸 谩nh n岷痭g v脿ng 岷 谩p v脿 khung c岷h c峄� k铆nh, n锚n th啤. Khung c岷h 岷, c谩i 谩nh v脿ng c峄 nh峄痭g ng脿y h猫 岷 谩p 膽贸 膽茫 膽瓢峄 t谩i hi峄噉 m峄檛 c谩ch xu岷 s岷痗 l锚n m脿n 岷h, v峄沬 c谩i h峄� n瓢峄沜 n啤i Elio v脿 Oliver c霉ng t岷痬 v峄沬 nhau, kho岷g c峄� r峄檔g n啤i m峄峣 ng瓢峄漣 t峄� t岷璸 ch啤i b贸ng chuy峄乶, khu v瓢峄漬 膽岷 nh峄痭g qu岷� 膽脿o, m啤 v脿 l峄眜 - nh峄痭g th峄� tr谩i c芒y 膽岷璵 ch岷 m霉a h猫, nh峄痭g ly n瓢峄沜 m啤 ngon l脿nh m谩t l岷h, nh峄痭g b峄痑 膬n ngo脿i tr峄漣 d瓢峄沬 b贸ng c芒y, khu th脿nh ph峄� v峄沬 nh峄痭g t貌a nh脿, nh峄痭g c么ng tr矛nh ki岷縩 tr煤c ch峄゛ 膽峄眓g b峄� d脿y l峄媍h s峄� c峄 n瓢峄沜 脻.
V脿 tr锚n c谩i n峄乶 膽贸, m峄檛 m峄慽 t矛nh 膽岷筽 v脿 kh岷痗 kho岷 膽茫 di峄卬 ra. Timoth茅e Chalamet 膽贸ng vai Elio 膽茫 l峄檛 t岷� 膽瓢峄 ho脿n to脿n c谩i th岷 th谩i c峄 nh芒n v岷璽: m峄檛 c岷璾 thi岷縰 ni锚n nh岷 c岷, y锚u 芒m nh岷 v脿 h岷縯 m峄眂 si t矛nh, 膽峄﹏g tr瓢峄沜 m峄檛 t矛nh c岷 m峄沬 m岷� v脿 膽岷 谩m 岷h d脿nh cho m峄檛 ng瓢峄漣 膽脿n 么ng l峄沶 h啤n m矛nh 膽岷縩 t岷璶 7 tu峄昳. Elio lao v脿o t矛nh y锚u v峄沬 Oliver nh瓢 con thi锚u th芒n lao v脿o l峄璦, b岷 ch岷 k岷縯 c峄 sau n脿y c贸 l脿 g矛; c岷璾 y锚u nh瓢 ch瓢a t峄玭g 膽瓢峄 y锚u, nh瓢 th峄� ch铆nh m峄慽 t矛nh 膽岷, ch铆nh t矛nh y锚u c峄 tu峄昳 tr岷� ph岷 th岷�: d脿o d岷, 膽i锚n cu峄搉g v脿 th岷砿 s芒u. Nh峄痭g kho岷h kh岷痗 ch峄� 膽峄 trong b峄搉 ch峄搉 cho 膽岷縩 n峄璦 膽锚m cho cu峄檆 h岷筺 膽岷 ti锚n gi峄痑 hai ng瓢峄漣; nh峄痭g c岷h l脿m t矛nh v峄沬 c么 b岷 Marzia nh瓢ng m岷痶 v岷玭 h瓢峄沶g v峄� c谩i 膽峄搉g h峄� 膽eo tay, t岷 c岷� 膽茫 l脿m n锚n m峄檛 Elio c峄 tu峄昳 17 l岷 膽岷 ti锚n th峄眂 s峄� bi岷縯 y锚u, l岷 膽岷 ti锚n th峄眂 s峄� bi岷縯 ng贸ng ch峄� ai 膽贸, t瓢啤ng t瓢 ai 膽贸. V脿 ai 膽贸 c峄 Elio l脿 Oliver, 膽茫 膽瓢峄 di峄卬 vi锚n Armie Harmmer h贸a th芒n m峄檛 c谩ch tr峄峮 v岷筺, v峄沬 v岷� ngo脿i cao r谩o, 膽岷筽 trai v脿 phong th谩i nh瓢 m峄檛 鈥渕ovie star鈥�, th峄昳 lu峄搉g gi贸 m峄沬 v脿o m峄檛 m霉a h猫 nh峄痭g t瓢峄焠g nh瓢 r岷 膽峄梚 b矛nh th瓢峄漬g 峄� n瓢峄沜 脻.
Tr瓢峄漬g 膽o岷 khi hai ng瓢峄漣 l脿m t矛nh v峄沬 nhau l岷 膽岷 ti锚n, sau 膽贸 Oliver th矛 th岷 v峄沬 Elio r岷眓g: 鈥淐all me by your name, and I鈥檒l call you by mine.鈥� (鈥淗茫y g峄峣 anh b岷眓g t锚n em, v脿 anh s岷� g峄峣 em b岷眓g t锚n anh.鈥�) 膽茫 khi岷縩 t么i b岷璽 kh贸c. T么i kh贸c v矛 kho岷h kh岷痗 岷 qu谩 膽岷筽, qu谩 tinh kh么i, d岷玼 n贸 di峄卬 ra trong b贸ng t峄慽, b锚n trong nh峄痭g c谩nh c峄璦 kh茅p k铆n c峄 hai c膬n ph貌ng k岷� b锚n nhau. V脿 t么i kh贸c b峄焛 v矛 t么i 膽茫 bi岷縯 tr瓢峄沜, r岷眓g d岷玼 t矛nh y锚u 岷 c贸 膽岷筽 膽岷縩 th岷� n脿o, tinh kh么i 膽岷縩 th岷� n脿o, th矛 cu峄慽 c霉ng, hai ng瓢峄漣 v岷玭 ph岷 chia tay nhau, v岷玭 ph岷 b瓢峄沜 膽i tr锚n nh峄痭g ng茫 r岷� kh谩c c峄 cu峄檆 膽峄漣. T么i kh贸c khi th岷 Elio kh贸c, khi c岷璾 d峄 膽岷 v脿o l貌ng Oliver m脿 h峄廼 anh r岷眓g li峄噓 c岷璾 c贸 b峄噉h ho岷 qu谩 kh么ng, khi to脿n l脿m nh峄痭g chuy峄噉 k峄� d峄� c峄憈 ch峄� 膽峄� c贸 anh g岷 b锚n, g岷 h啤n n峄痑; 膽峄� th峄廰 m茫n c谩i c啤n th猫m kh谩t Oliver, th峄廰 m茫n n峄梚 谩m 岷h kh谩t khao c峄 m峄檛 ch脿ng trai 膽ang l峄沶 d岷 l锚n c霉ng v峄沬 nh峄痭g c岷 x煤c m峄沬 m岷� m脿 d峄� d峄檌 c峄 m矛nh.
C岷� Timoth茅e Chalamet v脿 Armie Hammer 膽峄乽 l脿 trai th岷硁g (Armie Hammer th矛 膽茫 c贸 v峄� con 膽峄� hu峄� r峄搃 c啤 ^^), v岷瓂 m脿 khi xem phim, 膽峄� ai bi岷縯 膽瓢峄 h峄� kh么ng ph岷 l脿 gay, v矛 chemistry c峄 h峄� tr锚n m脿n 岷h qu谩 tuy峄噒; nh峄痭g c岷h hai nh芒n v岷璽 么m 岷 nhau c峄� t峄� nhi锚n v脿 t矛nh c岷 v么 c霉ng. Phim 膽茫 c峄� g岷痭g 膽瓢a 膽瓢峄 g岷 nh瓢 to脿n b峄� nh峄痭g chi ti岷縯 ch铆nh c峄 cu峄憂 ti峄僽 thuy岷縯 l锚n phim, nh瓢ng nh矛n chung c岷� hai kh谩c nhau v峄� c谩ch mi锚u t岷� c芒u chuy峄噉, d霉 ch煤ng 膽峄乽 k峄� v峄� m峄檛 c芒u chuy峄噉 gi峄憂g nhau. N岷縰 cu峄憂 s谩ch mang trong l貌ng n贸 s峄� d峄� d峄檌 v脿 ng芒y ng岷 c峄 t矛nh d峄, c峄 m峄慽 k岷縯 n峄慽 鈥渢uy hai m脿 m峄檛鈥� gi峄痑 Elio v脿 Oliver, th矛 c谩 nh芒n t么i th岷 phim l脿m nh岷� nh脿ng h啤n nhi峄乽, nh瓢ng v岷玭 r岷 c贸 chi峄乽 s芒u. C贸 l岷� v矛 phim 膽i theo h瓢峄沶g ngh峄� thu岷璽, n锚n c岷h t矛nh d峄 c农ng c贸, nh瓢ng kh么ng 膽岷縩 n峄梚 qu谩 ph么 b脿y hay g芒y k铆ch 膽峄檔g m岷h, tr峄� c岷h sex c峄 Elio v脿 Marzia (ch峄� n岷縰 l脿m y x矛 nh瓢 trong s谩ch ch岷痗 膽茫 b峄� g峄峣 l脿 phim k铆ch d峄 r峄搃 :D). 膼岷縩 c岷� c岷h Elio 鈥渇uck the peach鈥� (l脿 c岷h n峄昳 b岷璽 v脿 g芒y 岷 t瓢峄g m岷h nh岷 c峄 cu峄憂 ti峄僽 thuy岷縯) c农ng 膽瓢峄 l脿m kh谩 nh岷� nh脿ng v脿 c贸 ph岷 膽谩ng y锚u :D.
Thay v矛 chuy峄僴 t岷 s峄� d峄� d峄檌 c峄 b岷 truy峄噉 g峄慶, phim 膽茫 s峄� d峄g c岷h v岷璽 v脿 b岷 kh么ng kh铆 n瓢峄沜 脻 膽岷 ho脿i c峄� nh峄痭g n膬m 1980s 膽峄� k峄� l岷 c芒u chuy峄噉 t矛nh kh岷痗 kho岷 c峄 Elio v脿 Oliver. T么ng m脿u v脿ng 岷 c峄 m霉a h猫 c霉ng nh峄媝 膽i峄噓 k峄� chuy峄噉 ch岷璵 r茫i, l峄漣 tho岷 铆t, ch峄玜 nh峄痭g kho岷g kh么ng im 岷痭g cho di峄卬 vi锚n di峄卬 xu岷 膽茫 膽峄媙h h矛nh c谩ch k峄� chuy峄噉 c峄 b峄� phim. 峄� 膽芒y, t么i kh么ng b脿n lu岷璶 gi峄痑 s谩ch v脿 phim, c谩i n脿o hay h啤n, b峄焛 m峄梚 c谩i 膽峄乽 c贸 nh峄痭g n茅t ri锚ng 膽岷 cu峄憂 h煤t c峄 m矛nh. Nh瓢ng cho d霉 n茅t ri锚ng 岷 c贸 l脿 g矛, th矛 峄� t岷璶 s芒u trong trung t芒m c峄 鈥淐all me by your name鈥�, c岷� b岷 s谩ch v脿 b岷 phim, lu么n l脿 m峄檛 c芒u chuy峄噉 膽谩ng 膽峄� 膽峄峜, 膽峄� xem, 膽峄� tr岷 nghi峄噈 v脿 c岷 nh岷璶, d岷玼 b岷眓g ng么n ng峄� 膽i峄噉 岷h hay ng么n ng峄� v膬n ch瓢啤ng. C芒u chuy峄噉 n脿y 膽岷穋 bi峄噒 v脿 膽谩ng 膽峄峜 膽岷縩 n峄梚, sau khi xem phim xong, t么i 膽茫 bu峄檆 m矛nh ph岷 suy ngh末 l岷 v脿 cho cu峄憂 s谩ch 5 sao thay v矛 4 sao nh瓢 l煤c 膽岷. C谩ch truy峄乶 t岷 c峄 t谩c gi岷� c贸 kh贸 hi峄僽 m峄檛 ch煤t th矛 膽茫 sao ch峄�? V峄� c啤 b岷, c芒u chuy峄噉 c峄 "Call me by your name" 膽茫 qu谩 tuy峄噒 v峄漣 v脿 x峄﹏g 膽谩ng 膽瓢峄 n岷眒 trong h脿ng ng农 nh峄痭g cu峄憂 s谩ch 5 sao tr锚n k峄� s谩ch c峄 t么i :))
Xem phim gi煤p t么i hi峄僽 nhi峄乽 h啤n v峄� nh芒n v岷璽 cha c峄 Elio, m峄檛 ng瓢峄漣 cha v么 c霉ng t芒m l媒 m脿 t么i 瓢峄沜 ao t岷 c岷� nh峄痭g ai thu峄檆 c峄檔g 膽峄搉g LGBT 膽峄乽 c贸 trong cu峄檆 膽峄漣. 膼o岷 g岷 k岷縯 phim, sau khi Elio 膽茫 chia tay Oliver 峄� ga t脿u h峄廰 v脿 膽瓢峄 m岷� ch峄� v峄� nh脿, cha c峄 Elio 膽茫 chia s岷� v峄沬 c岷璾 nh峄痭g suy ngh末 v脿 c岷 nh岷璶 c峄 么ng v峄� nh峄痭g g矛 Elio 膽茫 c贸 c霉ng v峄沬 Oliver: m峄檛 膽i峄乽 膽岷穋 bi峄噒 hi岷縨 hoi v脿 tuy峄噒 膽岷筽. V脿 c貌n nh峄痭g l峄漣 khuy锚n nh峄� 膽煤c k岷縯 t峄� ch铆nh kinh nghi峄噈 c霉ng nh峄痭g ti岷縞 nu峄慽 c峄 么ng v峄� nh峄痭g g矛 么ng 膽茫 b峄� l峄� trong 膽峄漣 n峄痑:
鈥淭hen let me say one more thing. It'll clear the air. I may have come close, but I never had what you two have. Something always held me back or stood in the way. How you live your life is your business, just remember, our hearts and our bodies are given to us only once. And before you know it, your heart is worn out, and, as for your body, there comes a point when no one looks at it, much less wants to come near it. Right now, there's sorrow, pain. Don't kill it and with it the joy you've felt.鈥�
膼o岷 k岷縯 tr脿n 膽岷 s峄� dang d峄� c峄 m峄檛 m峄慽 t矛nh kh么ng vi锚n m茫n s岷� g芒y 膽峄沶 膽au v脿 th峄昻 th峄ヽ cho nhi峄乽 ng瓢峄漣. Nh瓢ng 膽峄慽 v峄沬 t么i, c谩i k岷縯 膽贸 l脿 h峄 l媒. V矛 峄� th峄漣 膽i峄僲 膽贸, c谩i th峄漣 m脿 quy峄乶 LGBT v岷玭 c貌n l脿 m峄檛 kh谩i ni峄噈 qu谩 xa v峄漣, m峄檛 m峄慽 t矛nh 膽峄搉g t铆nh c贸 th峄� 膽i 膽岷縩 膽芒u? N岷縰 Elio v脿 Oliver 膽岷縩 膽瓢峄 v峄沬 nhau, n岷縰 h峄� mu峄憂 x芒y d峄眓g m峄檛 gia 膽矛nh c峄 ri锚ng m矛nh, ai s岷� cho ph茅p h峄� nh岷璶 con nu么i? Li峄噓 t矛nh y锚u c峄 h峄� c贸 膽峄� m岷h m岷�, 膽峄� s芒u s岷痗 膽峄� v瓢峄 qua nh峄痭g d峄� ngh峄� v脿 d貌m ng贸 c峄 ng瓢峄漣 膽峄漣? Gia 膽矛nh Elio th矛 t芒m l媒 qu谩 r峄搃, nh瓢ng c貌n gia 膽矛nh c峄 Oliver? Anh 膽茫 n贸i v峄沬 Elio qua 膽i峄噉 tho岷 l脿 cha anh s岷� 膽瓢a anh v脿o tr岷 c岷 hu岷 n岷縰 anh d谩m c么ng khai t矛nh y锚u c峄 m矛nh v峄沬 Elio v脿 ch峄峮 c谩ch 峄� b锚n c岷璾. V脿 c貌n c岷� nh峄痭g k峄� v峄峮g c峄 gia 膽矛nh v脿 x茫 h峄檌 v脿o m峄檛 ng瓢峄漣 膽脿n 么ng c贸 h峄峜 v岷 nh瓢 Oliver n峄痑. 膼啤n gi岷 l脿 峄� th峄漣 膽i峄僲 膽贸, m峄檛 c岷穚 t矛nh nh芒n 膽峄搉g t铆nh v峄沬 tu峄昳 膽峄漣 tr岷� nh瓢 Elio v脿 Oliver kh么ng c贸 nhi峄乽 s峄� l峄盿 ch峄峮 膽峄� c贸 th峄� ti岷縫 t峄 cu峄檆 s峄憂g c峄 m矛nh m脿 kh么ng ph岷 h峄慽 ti岷縞 v矛 nh峄痭g quy岷縯 膽峄媙h m矛nh 膽瓢a ra...
Nghe 膽芒u phim s岷� c贸 ph岷 2 (ra m岷痶 v脿o n膬m 2020), n锚n th脿nh ra kh煤c cu峄慽 ch峄� ti岷縯 l峄� Oliver chu岷﹏ b峄� l脿m 膽谩m c瓢峄沬 th么i, ch峄� kh么ng c贸 kh煤c 20 n膬m sau khi Oliver tr峄� l岷 ng么i nh脿 c峄 gia 膽矛nh Elio 峄� 脻, d岷痶 theo v峄� c霉ng hai 膽峄゛ con trai :)) S谩ch th矛 ch峄� c贸 m峄檛 cu峄憂, n锚n n岷縰 phim l脿m ph岷 2 th矛 ch岷痗 ch岷痭 l脿 s岷� t峄� vi岷縯 k峄媍h b岷 r峄搃 ^^ Tr瓢峄沜 m岷痶 hy v峄峮g m霉a 鈥渉峄憈 v脿ng鈥� Oscars s岷痯 t峄沬, phim 鈥淐all me by your name鈥� s岷� 膽瓢峄 膽峄� c峄� 峄� h岷g m峄 鈥淏est Picture鈥�, 鈥淏est Adapted Screenplay鈥�, 鈥淏est Cinematography鈥�, 鈥淏est Score鈥�, 鈥淏est Song鈥� (m峄� 啤i c谩i b脿i 鈥淢ystery of Love鈥� qu谩 hay v脿 qu谩 h峄 v峄沬 kh么ng kh铆 c峄 phim ahhhh!!!!), 膽岷 di峄卬 Luca Guadagnino s岷� 膽瓢峄 膽峄� c峄� 鈥淏est Director鈥�, Timoth茅e Chalamet th矛 膽瓢峄 膽峄� c峄� 鈥淏est Actor in a Leading Role鈥� v脿 Armie Hammer th矛 膽瓢峄 膽峄� c峄� 鈥淏est Actor in a Supporting Role鈥�. Ch峄� c岷 膽瓢峄 膽峄� c峄� th么i l脿 m峄玭g th么i ha ha :D
P. S.: Trong phim th岷 nh芒n v岷璽 Elio n贸i chuy峄噉 v峄沬 Marzia b岷眓g ti岷縩g Ph谩p, d霉 khi 膽峄峜 s谩ch m矛nh kh么ng nh峄� c么 b茅 n脿y c贸 ph岷 ng瓢峄漣 Ph谩p kh么ng (nh峄� l脿 nguy锚n d脿n nh芒n v岷璽 tr峄� anh Oliver ra l脿 ng瓢峄漣 脻 h岷縯 c岷ｂ€�) n锚n 膽ang th岷痗 m岷痗 (v矛 c芒u chuy峄噉 di峄卬 ra 峄� 脻 m脿 l岷 n贸i ti岷縩g Ph谩p :D). Kh么ng l岷� t岷 Timoth茅e Chalamet bi岷縯 ti岷縩g Ph谩p ch峄� kh么ng ph岷 ti岷縩g 脻 n锚n cho 岷籱 n贸i ti岷縩g Ph谩p lu么n ha ha :))))
Coi phim xong ch峄� mu峄憂 nh瓢 cha m岷� c峄 Elio, c贸 m峄檛 ng么i nh脿 峄� mi峄乶 膼峄媋 Trung H岷 c峄 脻 v脿 m峄檛 khu v瓢峄漬 r峄檔g 膽岷 hoa c霉ng c芒y 膬n qu岷�, ng脿y ng脿y 膽瓢峄 ng岷痬 c岷h 膽岷筽, ra v瓢峄漬 ng峄搃 膽峄峜 s谩ch, ch谩n ch锚 r峄搃 th矛 膽i b啤i h峄�, t岷痬 s么ng, t峄沬 h猫 th矛 膽瓢峄 膬n qu岷� ngon, ri锚ng m峄梚 ng脿y 膽峄乽 膽瓢峄 膬n 膽峄� 脻 峄� ngo脿i s芒n v瓢峄漬 :)) Cu峄檆 膽峄漣 膽岷筽 膽啤n gi岷 th岷� th么i, ch峄� c农ng kh么ng d谩m m啤 c贸 膽瓢峄 m峄檛 t矛nh y锚u n峄搉g nhi峄噒 v脿 d峄� d峄檌 nh瓢 c峄 Elio v脿 Oliver 膽芒u :D
Old review:
M霉a h猫 nh峄痭g n膬m 1980s. M峄檛 t貌a bi峄噒 th峄� nh矛n ra v霉ng bi峄僴 膼峄媋 Trung H岷 峄� 脻. Elio, n膬m 膽贸 m峄沬 ch峄� l脿 ch脿ng trai 17 tu峄昳, c霉ng cha m岷� 膽贸n v峄� kh谩ch 膽岷縩 峄� tr峄� 峄� khu bi峄噒 th峄� m脿 m峄梚 n膬m h峄� 膽峄乽 cho gi峄沬 v膬n s末 thu锚 膽峄� vi岷縯 s谩ch. Ngay t峄� l岷 膽岷 ti锚n nh矛n th岷 Oliver - gi岷g vi锚n 膽岷 h峄峜 ki锚m nh脿 v膬n ng瓢峄漣 M峄� 膽岷縩 脻 膽峄� gi谩m s谩t vi峄嘽 d峄媍h thu岷璽 cu峄憂 s谩ch c峄 anh - b瓢峄沜 ra kh峄廼 chi岷縞 xe taxi d峄玭g tr瓢峄沜 c峄昻g nh脿, Elio 膽茫 tr煤ng ti岷縩g s茅t 谩i t矛nh v峄沬 ng瓢峄漣 膽脿n 么ng h啤n m矛nh 7 tu峄昳. Oliver 膽岷筽 trai s谩ng ng峄漣, m峄檛 ki峄僽 鈥渕ovie star鈥� nh瓢 m岷� c峄 Elio mi锚u t岷�, m峄檛 l脿n gi贸 膽岷璵 m霉i nam t铆nh c贸 th峄� 膽谩nh g峄 b岷 c峄� ai. Anh xu岷 hi峄噉 nh瓢 m峄檛 th峄廼 nam ch芒m gi峄痑 v霉ng bi峄僴 m霉a h猫 c峄 n瓢峄沜 脻, chinh ph峄 nh峄痭g c么 g谩i tr岷� trong v霉ng, tr峄� th脿nh trung t芒m c峄 khu bi峄噒 th峄� v脿 膽峄搉g th峄漣 膽谩nh c岷痯 tr谩i tim c峄 Elio.
T矛nh c岷 m脿 Elio d脿nh cho Oliver l脿 m峄檛 th峄� t矛nh c岷 g芒y nghi峄噉, v脿 trong con m岷痶 c峄 c岷璾 l脿 th岷璽 膽谩ng x岷 h峄� bi岷縯 bao. Nh瓢ng c岷璾 kh么ng th峄� n脿o bu峄檆 t芒m tr铆 v脿 tr谩i tim m矛nh th么i th峄昻 th峄ヽ v矛 ch脿ng v膬n s末 mang d谩ng d岷 c峄 m峄檛 di峄卬 vi锚n 膽i峄噉 岷h. B峄� ngo脿i, Elio c峄� g岷痭g duy tr矛 m峄檛 th谩i 膽峄� d峄璶g d瓢ng, th峄� 啤 v峄沬 v峄� kh谩ch c峄 gia 膽矛nh, nh瓢ng b锚n trong, t峄玭g ng脿y t峄玭g gi峄�, ch脿ng trai tr岷� ph岷 膽峄慽 m岷穞 n峄梚 d岷眓 v岷穞 膽峄沶 膽au mang t锚n n峄梚 th猫m kh谩t. 膼贸 l脿 n峄梚 th猫m kh谩t 膽瓢峄 ch岷 v脿o Oliver, 膽瓢峄 c岷 gi谩c th芒n th峄� c峄 ng瓢峄漣 膽脿n 么ng 24 tu峄昳 k岷� b锚n m矛nh, 峄� tr锚n m矛nh, s芒u trong c啤 th峄� m矛nh. Elio kh谩t khao 膽瓢峄 s峄憂g trong c啤 th峄� c峄 Oliver, 膽瓢峄 l脿 Oliver, v脿 膽峄� Oliver tr峄� th脿nh c岷璾.
C岷璾 膽脿n nh峄痭g b岷 nh岷 c峄 Bhrams v脿 Haydn cho Oliver nghe, c霉ng v峄� kh谩ch 膽脿m 膽岷 v峄� v膬n h峄峜 th岷� gi峄沬. C岷璾 ph谩t hi峄噉 膽农ng qu岷 m矛nh 瓢峄泃 nh岷筽 v矛 k铆ch th铆ch b峄焛 s峄� c贸 m岷穞 c峄 Oliver trong ph貌ng c岷璾; v脿 c岷璾 c农ng 瓢峄泃 nh瓢 th岷� khi l岷籲 v脿o ph貌ng ng瓢峄漣 m矛nh y锚u 膽峄� m岷穋 tr峄檓 nh峄痭g b峄� 膽峄� c峄 Oliver, 膽峄� 膽瓢峄 c岷 nh岷璶 ch煤t g矛 膽贸 c峄 Oliver th么ng qua nh峄痭g th峄� 膽茫 ch岷 v脿o da th峄媡 c峄 v峄� kh谩ch. C岷璾 n岷眒 m啤, nh峄痭g gi岷 m啤 ph岷 谩nh c谩i kh谩t khao ch谩y b峄弉g c峄 c岷璾 膽峄慽 v峄沬 Oliver, c谩i 瓢峄沜 v峄峮g th岷砿 s芒u v脿 m茫nh li峄噒 mu峄憂 膽瓢峄 Oliver ch煤 媒 膽岷縩, 膽瓢峄 Oliver 膽谩p l岷 t矛nh y锚u, 膽瓢峄 h貌a quy峄噉 c霉ng Oliver tr锚n gi瓢峄漬g, c峄 c岷璾 hay c峄 Oliver 膽峄乽 膽瓢峄.
Elio t峄� nh岷璶 m矛nh 膽茫 t峄玭g c贸 v脿i m峄慽 t矛nh tho谩ng qua, v脿 膽茫 t峄玭g ng峄� v峄沬 r岷 nhi峄乽 c么 g谩i. Nh瓢ng c岷璾 膽芒u ng峄� m峄慽 t矛nh 膽岷 th岷璽 s峄� c峄 c岷璾, l岷 膽岷 ti锚n trong 膽峄漣 c岷璾 c岷 nh岷璶 膽瓢峄 vi峄嘽 khao kh谩t m峄檛 ng瓢峄漣 l脿 nh瓢 th岷� n脿o, l岷 c贸 th峄� m茫nh li峄噒 v脿 gi脿y v貌 t芒m can 膽岷縩 nh瓢 v岷瓂. B岷 ch岷 t岷 c岷� nh峄痭g h脿nh vi nh峄� nh岷穞, nh峄痭g bi峄僽 hi峄噉 c贸 th峄� ti岷縯 l峄� m峄檛 膽i峄乽 g矛 kh谩c h啤n ch峄� l脿 m峄檛 t矛nh b岷 膽啤n thu岷 gi峄痑 hai ng瓢峄漣 膽脿n 么ng, Oliver v岷玭 膽峄慽 x峄� v峄沬 Elio v峄沬 m峄檛 th谩i 膽峄� d峄璶g d瓢ng y h峄噒, m峄檛 th谩i 膽峄� 膽茫 膽峄憈 ch谩y t芒m h峄搉 ch脿ng trai tr岷� trong nh峄痭g n峄梚 nghi ng峄�. Elio nghi ng峄� Oliver 膽茫 ng峄� v峄沬 to脿n b峄� ph峄� n峄� trong v霉ng, v脿 thay v矛 ghen tu么ng, thay v矛 thu h岷縯 can 膽岷 膽峄� th峄� l峄� l貌ng m矛nh, Elio l岷 th岷 m矛nh c瓢啤ng c峄﹏g tr瓢峄沜 c谩i h矛nh 岷h Oliver quan h峄� t矛nh d峄 v峄沬 m峄檛 c么 g谩i kh谩c di峄卽 ra tr瓢峄沜 m岷痶 c岷璾. C岷璾 ch岷 nh岷璶 y锚u trong c芒m l岷穘g v脿 tuy峄噒 v峄峮g, ch岷 nh岷璶 duy tr矛 c谩i tr岷g th谩i 膽au kh峄� c霉ng c峄眂 trong l貌ng, 膽芒u bi岷縯 r岷眓g Oliver th峄眂 ra c农ng 膽谩p l岷 t矛nh c岷 c峄 c岷璾.
V脿 theo sau c谩i 膽au kh峄� 膽贸 l脿 nh峄痭g n峄� h么n c峄 hai ng瓢峄漣 tr锚n ng峄峮 膽峄搃 nh矛n ra qu岷g tr瓢峄漬g nh峄�, n啤i m脿 theo l峄漣 Elio l脿 膽峄媋 膽i峄僲 h峄峚 s末 thi锚n t脿i ng瓢峄漣 Ph谩p Claude Monet 膽茫 t峄玭g v岷� tranh. Nh峄痭g bu峄昳 chi峄乽 c霉ng nhau 膽岷 xe. Chuy岷縩 膽i t峄沬 hi峄噓 s谩ch. Elio b铆 m岷璽 l脿m t矛nh v峄沬 Marzia - m峄檛 c么 g谩i trong v霉ng, ch峄� 膽峄� c峄� g岷痭g qu锚n 膽i th峄� t矛nh c岷 膽岷 x岷 h峄� c岷璾 c岷 nh岷璶 膽瓢峄 v峄沬 m峄檛 ng瓢峄漣 膽脿n 么ng. V脿 r峄搃 t矛nh c岷 岷 膽茫 膽瓢峄 th峄� l峄�. Nh峄痭g cu峄檆 h岷筺 b铆 m岷璽 v脿o bu峄昳 t峄慽, 膽瓢峄 th么ng b谩o b岷眓g nh峄痭g t峄� ghi ch煤 nh峄� nh茅t v脿o d瓢峄沬 c峄璦 ph貌ng. V脿 s峄� b霉ng n峄� c峄 c岷 x煤c, c峄 t矛nh y锚u, c峄 nh峄痭g 膽锚m l脿m t矛nh m锚 m峄噒, say s瓢a, cho谩ng v谩ng.
T矛nh d峄 v脿 r岷 nhi峄乽 t矛nh d峄, th峄� t矛nh d峄 膽岷痬 say, g岷痭 k岷縯, 膽au 膽峄沶 nh瓢ng c农ng 膽岷 th峄廰 m茫n; th峄� t矛nh d峄 gi峄痑 hai ng瓢峄漣 膽脿n 么ng, hay 膽煤ng h啤n l脿 gi峄痑 m峄檛 ng瓢峄漣 膽脿n 么ng 膽茫 tr瓢峄焠g th脿nh v脿 m峄檛 ch脿ng trai m峄沬 l峄沶 膽ang kh谩m ph谩 nh峄痭g g矛 thu峄檆 v峄� t矛nh y锚u v脿 b岷 th峄� c峄 m矛nh. Th峄� t矛nh d峄 峄� m峄ヽ t峄檛 c霉ng nh瓢ng kh么ng h峄� b峄噉h ho岷, th峄� t矛nh d峄 膽茫 bi岷縩 Elio tr峄� th脿nh Oliver v脿 Oliver tr峄� th脿nh Elio. V脿 trong nh峄痭g 膽锚m nh瓢 th岷�, khi Elio c岷 nh岷璶 膽瓢峄 Oliver 膽ang 峄� s芒u trong c啤 th峄� m矛nh, c岷璾 膽茫 g峄峣 ng瓢峄漣 m矛nh y锚u b岷眓g t锚n c峄 ch铆nh m矛nh, nh瓢 c谩i c谩ch Oliver 膽茫 g峄峣 c岷璾 b岷眓g ch铆nh t锚n c峄 anh.
鈥淐all Me By Your Name鈥� kh么ng ch峄� l脿 c芒u chuy峄噉 t矛nh c峄 hai ng瓢峄漣 膽脿n 么ng; n贸 c貌n l脿 c芒u chuy峄噉 c峄 ri锚ng Elio, c峄 m峄檛 ch脿ng trai l岷 膽岷 ti锚n trong 膽峄漣 kh谩m ph谩 s峄ヽ m岷h c峄 m峄慽 t矛nh 膽岷, m峄檛 m峄慽 t矛nh m岷穋 d霉 ch峄� k茅o d脿i trong 6 tu岷 Oliver l瓢u l岷 脻, nh瓢ng l岷 谩m 岷h kh么n ngu么i. M峄檛 m峄慽 t矛nh nh瓢 谩nh sao b膬ng, xo岷箃 ngang qua b岷 tr峄漣, 膽峄� r峄搃 to脿n b峄� m峄峣 th峄� b霉ng n峄� trong nh峄痭g 膽峄 s岷痗 m脿u kh么ng sao t岷� n峄昳. Elio v岷璽 l峄檔 v峄沬 t矛nh c岷 m峄沬 m岷� n脿y, v岷璽 l峄檔 v峄沬 vi峄嘽 c贸 c貌n n锚n xem n贸 l脿 th峄� t矛nh c岷 膽谩ng x岷 h峄� v脿 t峄檌 l峄梚. C岷璾 ti岷縫 t峄 nh峄痭g gi峄� l脿m t矛nh b铆 m岷璽 v峄沬 Marzia, coi n贸 nh瓢 l脿 m峄檛 th峄� 膽峄� c芒n b岷眓g l岷 v峄沬 m峄慽 t矛nh gi峄痑 hai ng瓢峄漣 膽脿n 么ng m脿 c岷璾 膽ang duy tr矛 v峄沬 Oliver. 膼峄� r峄搃 sau c霉ng Elio nh岷璶 ra, ch峄� c贸 nh峄痭g g矛 c岷璾 膽茫 tr岷 qua v峄沬 Oliver l脿 nh峄痭g g矛 s岷� 膽i v脿o k媒 峄ヽ c峄 c岷璾 - m峄檛 tr岷 nghi峄噈 m茫i m茫i thay 膽峄昳 con ng瓢峄漣 c岷璾, thay 膽峄昳 nh峄痭g g矛 c岷璾 nh矛n nh岷璶 v峄� ch铆nh m矛nh. N贸i m峄檛 c谩ch kh谩c h啤n, 鈥淐all Me By Your Name鈥� c貌n l脿 h脿nh tr矛nh c峄 m峄檛 ch脿ng trai kh谩m ph谩 b岷 d岷g gi峄沬 t铆nh c峄 b岷 th芒n, c霉ng l煤c c贸 m峄檛 m峄慽 t矛nh 膽谩ng nh峄� v峄沬 m峄檛 ng瓢峄漣 m脿 v矛 c谩ch tr峄� v峄� 膽峄媋 l媒 v脿 s峄� ng膬n tr峄� c峄 t瓢 t瓢峄焠g th峄漣 膽岷, s岷� kh么ng c貌n l脿 c峄 c岷璾.
Elio vay m瓢峄 th峄漣 gian c峄 hi峄噉 t岷 膽峄� n铆u gi峄� nh峄痭g gi峄� ph煤t c貌n l岷 v峄沬 Oliver b岷眓g chuy岷縩 膽i 膽岷縩 th峄� 膽么 Rome. V脿 t岷 膽芒y, c岷璾 ti岷縫 t峄 nh峄痭g ng脿y h岷h ph煤c hi岷縨 hoi c峄 cu峄檆 膽峄漣 b锚n c岷h Oliver v脿 nh峄痭g ng瓢峄漣 b岷, b锚n nh峄痭g qu谩n bar, nh峄痭g c峄慶 r瓢峄 m岷h, b岷眓g 膽么i b脿n tay c峄 Oliver 膽峄� c岷璾 khi c岷璾 贸i d峄峜 v峄� 膽瓢峄漬g. V脿 nh岷 l脿, b岷眓g n峄� h么n 膽岷痬 say Oliver trao t岷穘g cho c岷璾 trong con ng玫 v岷痭g, khi anh 膽岷﹜ ch脿ng trai tr岷� v脿o b峄ヽ t瓢峄漬g v脿 bu峄檆 c岷璾 ph岷 gh矛 m峄檛 ch芒n v脿o ch芒n anh - n峄� h么n 膽茫 m茫i m茫i bi岷縩 n啤i 膽贸 tr峄� th脿nh n啤i k峄� ni峄噈 c峄 hai ng瓢峄漣, c峄 m峄檛 m峄慽 t矛nh 膽茫 r啤i v脿o qu谩 v茫ng.
K岷縯 th煤c chuy岷縩 膽i t峄沬 Rome, Elio v峄� l岷 nh脿, trong khi Oliver quay v峄� M峄�. 脥t l芒u sau, Oliver li锚n l岷 l岷 膽峄� th么ng b谩o v峄� vi峄嘽 anh s岷痯 k岷縯 h么n, b峄焛 l岷�, 膽峄搉g t铆nh 峄� th峄漣 膽i峄僲 膽贸 v岷玭 l脿 m峄檛 膽峄� t脿i c岷 k峄�, v脿 hai ng瓢峄漣 膽脿n 么ng y锚u nhau th矛 l脿m sao 膽芒y 膽峄� c贸 th峄� tr峄峮 v岷筺 膽岷縩 v峄沬 nhau m脿 kh么ng h峄慽 ti岷縞 膽i峄乽 g矛? Oliver ch峄� c貌n bi岷縯 c谩ch ti岷縫 t峄 s峄憂g cu峄檆 膽峄漣 c峄 m矛nh, tr峄� th脿nh cha c峄 hai 膽峄゛ con trai, v脿 th岷g ho岷穋, v脿o nh峄痭g ng脿y l峄�, s岷� tr峄� v峄� l岷 khu bi峄噒 th峄� 膽贸, b锚n b峄� bi峄僴 膼峄媋 Trung H岷, n啤i t矛nh y锚u c峄 anh 膽茫 thay 膽峄昳 m峄檛 con ng瓢峄漣. V脿 膽煤ng nh瓢 th峄� m峄檛 谩nh sao b膬ng, hay m峄檛 谩nh ch峄沺 ch贸i l貌a, t岷 c岷� nh峄痭g g矛 h峄� 膽茫 c贸 tr瓢峄沜 膽芒y - s峄� th芒n m岷璽 c峄眂 膽i峄僲 膽岷縩 n峄梚 kh么ng g矛 c贸 th峄� chia l矛a - l脿 nh峄痭g g矛 h峄� ch峄� c贸 th峄� tr岷 nghi峄噈 膽瓢峄 m峄檛 l岷 duy nh岷. N贸 膽岷筽 v脿 mong manh nh瓢 ch铆nh s峄� ph岷璶 c峄 hai ng瓢峄漣 膽脿n 么ng gi峄� 膽芒y r岷� sang hai h瓢峄沶g kh谩c bi峄噒. N贸 b峄玭g l锚n v脿 v峄 t岷痶 ch峄� trong m峄檛 l岷, nh瓢ng d瓢 芒m c峄 n贸 th矛 峄� l岷 m茫i m茫i, b锚n trong k媒 峄ヽ v脿 t芒m tr铆 c峄 hai con ng瓢峄漣, v脿o c谩i m霉a h猫 膽贸, 20 n膬m v峄� tr瓢峄沜, khi Elio m峄沬 ch峄� l脿 ch脿ng trai 17 tu峄昳, c貌n Oliver 膽茫 l脿 m峄檛 ch脿ng trai gi峄痑 tu峄昳 20.
C芒u t峄� c峄 t谩c gi岷� Andr茅 Aciman 膽岷筽 nh瓢 th峄� ng么n ng峄� ch煤ng ta ch峄� t矛m th岷 膽瓢峄 峄� trong th啤; n贸 膽岷筽 v脿 谩m 岷h b峄焛 kh岷� n膬ng ph芒n t铆ch v脿 gi茫i b脿y t芒m l媒 c农ng nh瓢 t矛nh c岷 nh芒n v岷璽. Theo d岷 l峄漣 k峄� c峄 Elio, t么i say m锚 d玫i theo c芒u chuy峄噉 t矛nh c峄 c岷璾 v脿 Oliver, 膽au 膽峄沶 nh峄痭g khi c岷璾 膽au 膽峄沶, h岷h ph煤c nh峄痭g khi c岷璾 h岷h ph煤c, tr膬n tr峄� nh峄痭g khi c岷璾 tr膬n tr峄�, suy t瓢 nh峄痭g khi c岷璾 suy t瓢. T谩c gi岷� c农ng 膽茫 t脿i t矛nh d峄眓g n锚n c谩i n峄乶 l脿 khung c岷h m霉a h猫 r峄眂 n岷痭g v脿 kh贸 qu锚n 峄� n瓢峄沜 脻 - khung c岷h c峄 gi贸, b茫i c峄�, m霉i bi峄僴, ti岷縩g ve k锚u, nh峄痭g gi岷 ng峄� ban tr瓢a, h峄� b啤i, nh峄痭g tr谩i m啤 v脿 膽脿o ch铆n 峄璶g. M霉a h猫 l脿 m霉a c峄 t峄� do, c峄 nh峄痭g chuy岷縩 phi锚u l瓢u, c峄 s峄� kh谩m ph谩, v脿 膽岷穋 bi峄噒 l脿 c峄 nh峄痭g m峄慽 t矛nh b铆 m岷璽. Ch岷痗 c贸 l岷� 膽芒y l脿 l媒 do m脿 t谩c gi岷� 膽茫 l峄盿 ch峄峮 m霉a h猫 l脿m n峄乶 cho c芒u chuy峄噉 c峄 m矛nh. 膼i峄僲 tr峄� duy nh岷 c峄 鈥淐all Me By Your Name鈥� c贸 l岷� l脿 vi峄嘽 s峄� d峄g nhi峄乽 khi qu谩 m峄ヽ ch岷 th啤 v脿 ch岷 tri岷縯 l媒 trong nh峄痭g suy ng岷玬 c峄 Elio, d岷玭 膽岷縩 vi峄嘽 nhi峄乽 c芒u v膬n qu谩 d脿i, 膽峄峜 m峄檛 h峄搃 m峄沬 hi峄僽 t谩c gi岷� 膽ang mu峄憂 n贸i g矛 (nhi峄乽 khi 膽峄峜 ho脿i m脿 c农ng ch岷硁g hi峄僽 lu么n鈥�).
P.S.: M峄沬 bi岷縯 l脿 cu峄憂 ti峄僽 thuy岷縯 n脿y 膽茫 膽瓢峄 d峄眓g th脿nh phim, s岷� ra r岷 v脿o ng脿y 24/11 n膬m nay ^^ Ch瓢a g矛 m脿 tr锚n trang Rotten Tomatoes critics 膽茫 ch岷 100% r峄搃 n猫 :D
Trong s谩ch c贸 膽o岷 Elio have sex v峄沬 tr谩i 膽脿o, t岷 h矛nh d谩ng tr谩i 膽脿o nh矛n gi峄憂g c谩i m么ng ng瓢峄漣 qu谩, l脿m 岷籱 li锚n t瓢峄焠g t峄沬 ph岷 d瓢峄沬 c峄 Oliver :D Th锚m c谩i v峄� b锚n trong tr谩i 膽脿o th矛 nh矛n gi峄憂g anus (anus ngh末a l脿 g矛 th矛 m峄漣 d貌 t峄� 膽i峄僴 ^^), l脿m 岷籱 ngh末 t峄沬 Oliver ti岷縫, n锚n l脿 岷籱 m峄沬 quy岷縯 膽峄媙h fuck the peach. N贸i chung c岷h 膽贸 b岷 li峄噒 l岷痬, 膽峄峜 m脿 n贸ng c岷� ng瓢峄漣 :D R峄搃 cha n峄檌 Oliver 膽i v么, th岷 Elio 膽ang n岷眒 th峄廰 m茫n ph峄� ph锚 tr锚n gi瓢峄漬g, b锚n c岷h l脿 hai mi岷縩g 膽脿o b峄� t谩ch ra, b锚n trong c貌n ch峄゛ 膽岷 tinh d峄媍h c峄 岷籱. Cha n峄檌 kho谩i qu谩, c岷 l锚n 膬n ngon l脿nh, ki峄僽 gi峄憂g nh瓢 l脿 鈥渃谩i g矛 c峄 em anh c农ng y锚u h岷縯. Nh峄痭g g矛 thu峄檆 v峄� em n岷縰 c贸 ch岷縯 th矛 ph岷 ch岷縯 b锚n trong ng瓢峄漣 anh鈥� :D Nghe 膽峄搉 l锚n phim 么ng 膽岷 di峄卬 quy岷縯 膽峄媙h l脿m c岷h 膽贸 lu么n, m脿 膽ang kh么ng bi岷縯 di峄卬 vi锚n di峄卬 th岷� n脿o 膽芒y =))))) Ph芒n 膽o岷 qu谩 nh岷 c岷 :)))) R峄搃 c谩i n峄痑 l脿 kh么ng bi岷縯 khi phim 膽瓢峄 mua v峄� VN chi岷縰 th矛 s岷� c贸 b峄� censored kh么ng, censored nhi锚u ph岷 n峄痑鈥� (n岷縰 censored h岷縯 th矛 m岷 m峄� n贸 nh峄痭g chi ti岷縯 hay r峄搃). M脿 quan tr峄峮g l脿 VN c贸 ai d谩m mua phim v峄� chi岷縰 kh么ng 膽芒y鈥� C谩i 岷 ki峄僲 duy峄噒 峄� n瓢峄沜 ta c农ng gh锚 g峄沵 l岷痬...
April 30, 2016
I found this novel painfully slow going at times. There was too much introspection, too little dialogue. The young grad student and the 17-year-old narrator annoyed me with their wishy-washy feelings and emotions. I craved more intensity and passion. Despite its flaws, I was gradually swept away by the lovely writing, the setting, and growing intimacy between the two main characters. Knowing early on these two young men were not destined to remain together did not prevent me from being deeply moved by the story鈥檚 poignant conclusion.
July 4, 2018
鈥�
We are not written for one instrument alone.
鈥�
Do you remember longing for something, someone (鈥淚ntoxicated rapture鈥� and 鈥淭he twisted skein of desire鈥�), while worrying about the implications? Fear of rejection - and of acceptance? I do.
This is an achingly slow, beautiful, microscopic analysis of the glittering facets of identity. They鈥檙e painfully and joyously revealed during the fluctuating and confusing experiences of late adolescence.
Hunger and fear. 鈥淚 loved the fear.鈥� Desire and shame. Shame that becomes a route to total intimacy.
The emotions are universal, if not the specific permutations and situations. If that were not possible, genres like fantasy and murder mysteries could not succeed.
Know Yourself
Perhaps the most important task of adolescence is to understand oneself. Only then can one truly begin to understand others.
Oliver, at 24, seems very sure of himself - and everyone else. The impetus of the story is 17-year old Elio鈥檚 struggle to achieve the same, occasionally aided by the tactful, understated empathy of his father.
鈥�If there is pain, nurse it, and if there is a flame, don鈥檛 snuff it out.鈥�
(His mother is almost irrelevant.)
Hiders
鈥�People who read are hiders. They hide who they are. People who hide don鈥檛 always like who they are.鈥�
I hide in books. I expect many GoodReaders do. But it鈥檚 not because I dislike myself (though there鈥檚 room for self-improvement). It鈥檚 an escape from ordinary me, in ordinary life. Books are safe spaces where I can confront the truth. By hiding in books, I can learn about the world, and about myself.
Photo: fortune cookie 鈥淭o truly find yourself you should play hide and seek alone.鈥�
Unity
鈥�Having someone鈥檚 body to touch and being that someone we鈥檙e longing to touch are one and the same, just opposite banks on a river that passes from us to them鈥� This perpetual circuit where the chambers of the heart, like the trapdoors of desire, and the wormholes of time, and the false-bottomed drawer we call identity share a beguiling logic according to which the shortest distance between real life and the life unlived, between who we are and what we want, is a twisted staircase designed with the impish cruelty of MC Escher.鈥�
The deepest intimacy of all is when two become one, where each can call the other by caller鈥檚 name.
鈥�Is it your body that I want鈥� or do I want to slip into it and own it as if it were my own?鈥�
Where that one becomes many: brother, friend, father, son, husband, lover, self. Thence comes self-knowledge.
鈥�He was my secret conduit to myself.鈥�
Exquisite, intimate, poignant. Peaches and feet feature notably, separately, sexually.
Duality
We seek unity, and we have one life and one body, but most of us live as if we have two: 鈥渙ne is the mockup and the other is the finished version鈥�.
The job of poetry and wine is 鈥渢o help us see double鈥�. Is that a good thing?
Fluidity
"Bakers and butchers don't compete."
Because Elio and Oliver sail on open waters of identity and sexuality, there鈥檚 no need for labels, no need to be bisexual or male to relate to them. Their unstated (at the time) bond of shared secular Judaism was more elusive to me.
Sexuality is a spectrum; some move along it, while others stick at one point on it. Personality, behaviour, or circumstances?
explains, 鈥渟ame-sex relations were viewed in pre-modern times as merely a predilection or practice, whereas during the 19th century they came to be considered an innate nature, an identity鈥� and "rather than a hetero/homosexual dichotomy, the two sexualities are defined by penetrating and being penetrated."
Gender can be fluid, too. A peripheral character had formative experiences in Thailand, and was picked up by a ladyboy.
Gay Romance
Don鈥檛 let the book blurb or film trailer let you think this is a gay romance (not that there鈥檚 anything wrong with them, but this is not one).
My first impressions were about the importance of first impressions in setting our path, our fate. I experienced the 鈥減romises of instant affinities鈥� from the first page, and that held firm beyond the last page.
It鈥檚 a bildungsroman told by a middle-aged man looking back to a summer in the mid 1980s, when he was 17: a boy who liked girls and was struck by a passion for a slightly older man who also liked girls. Oliver was staying with Elio's family in Italy for six weeks: that year's promising grad student. The setting is a lush and elemental component of the story. It could not have happened the same way in the US or UK.
Elio dips in and out of his memories, showing how his typical teen uncertainty, coupled with his atypical academic and self-analytical approach, affect them both, throughout their lives. Just as he imagined:
"Two young men who found much happiness for a few weeks and lived the remainder of their lives dipping cotton swabs into that bowl of happiness, fearing they鈥檇 use it up, without daring to drink more than a thimbleful on ritual anniversaries."
It鈥檚 not clear who he鈥檚 telling the story to or why. He refers to the diary he kept at the time, but he observes 鈥淚鈥檇 written it down in my diary but omitted to say I had dreamt it. I wanted to come back years later and believe, if only for a moment.鈥� He remembers 鈥溾€榬epeat鈥� moments鈥�, but not necessarily the sequence.
By the end, I wondered how relevant it was that Elio and Oliver were both male, rather as I did with Brokeback Mountain (see my review HERE) and the dwarfism of the lead character in the film . Here, the taboo, inasmuch as there is one, is Elio鈥檚 youth, the age gap, and Oliver鈥檚 position as guest.
Consent
鈥�Does this make you happy?鈥� and 鈥�You sure you want this?鈥� and 鈥�Can I kiss you?鈥�
Consent is of recurring importance here. Ten years after it was published, it is topical in the aftermath of Harvey Weinstein and #MeToo. But as in real life, sometimes the messages are mixed:
鈥�Please, don鈥檛 hurt me, which meant, Hurt me all you want.鈥�
Later
鈥�I鈥檇 lodged him in the permanent past, my pluperfect lover.鈥�
We learn something of Oliver鈥檚 life decades hence, but almost nothing of Elio鈥檚. That balances the fact that for most of the book we know every nuance of Elio鈥檚 thoughts, but can only infer Oliver鈥檚.
Quotes
鈥� 鈥淭he promise of so much bliss hovering a fingertip away.鈥�
鈥� 鈥淭he soft wind training exhalations from our garden up the stairs to my bedroom.鈥�
鈥� 鈥淎wakened by the rich brown cloistral scent of coffee.鈥�
鈥� 鈥淭here are certain wishes that must be clipped like wings off a thriving butterfly.鈥�
鈥� 鈥淲hat startles virgins on being touched for the first time by the person they desire: he stirs nerves in them they never knew existed and that produce far, far more disturbing pleasures than they are used to on their own.鈥�
鈥� 鈥淲anting to test desire is nothing more than a ruse to get what we want without admitting that we want it.鈥�
鈥� 鈥淭he kind of lovemaking that can run circles round time.鈥�
鈥� 鈥淪crambling for something to say, the way a fish struggles for water in a muddied pond that鈥檚 fast drying up in the heat.鈥�
鈥� 鈥淯nreal and sticky goblin lanes that seemed to lead to a different, nether realm you entered in a state of stupor and wonderment.鈥�
鈥� 鈥淚 intentionally failed to drop breadcrumbs for my return journey; instead, I ate them.鈥�
鈥� 鈥淏y not planning to keep things alive, we were avoiding the prospect that they might ever die.鈥�
鈥� 鈥淲e were eloping together with return-trip tickets to different destinations.鈥�
鈥� 鈥�That summer, our lives had scarcely touched, but we had crossed to the other bank鈥� We had found the stars鈥� And this is given only once.鈥�
UPDATE re Film
I've just seen the film, and unlike many GR fans of the book, I was very disappointed.
鈥� It looks gorgeous: Italian sun and scenery, and some subtly clever cinematography, particularly with the relative positioning of characters in the scene.
鈥� It sounds good, too, which matters, given the importance of music in the story, especially Elio.
鈥� Whereas the recent adaptation of On Chesil Beach added a significant postscript to the story that changed the meaning of the main story (see my review here), this omitted the rather pointless postscript of the book.
But:
鈥� I didn't feel the warmth, let alone the passion. I didn't believe the characters, let alone their relationship.
鈥� It felt somehow prurient in a way the book did not, but that may just be me.
鈥� The father was creepy, rather than empathetic.
鈥� A seminal trip was to beautiful countryside, rather than Rome. Why?
Film details on imdb .
Do you remember longing for something, someone (鈥淚ntoxicated rapture鈥� and 鈥淭he twisted skein of desire鈥�), while worrying about the implications? Fear of rejection - and of acceptance? I do.
This is an achingly slow, beautiful, microscopic analysis of the glittering facets of identity. They鈥檙e painfully and joyously revealed during the fluctuating and confusing experiences of late adolescence.
Hunger and fear. 鈥淚 loved the fear.鈥� Desire and shame. Shame that becomes a route to total intimacy.
The emotions are universal, if not the specific permutations and situations. If that were not possible, genres like fantasy and murder mysteries could not succeed.
Know Yourself
Perhaps the most important task of adolescence is to understand oneself. Only then can one truly begin to understand others.
Oliver, at 24, seems very sure of himself - and everyone else. The impetus of the story is 17-year old Elio鈥檚 struggle to achieve the same, occasionally aided by the tactful, understated empathy of his father.
鈥�If there is pain, nurse it, and if there is a flame, don鈥檛 snuff it out.鈥�
(His mother is almost irrelevant.)
Hiders
鈥�People who read are hiders. They hide who they are. People who hide don鈥檛 always like who they are.鈥�
I hide in books. I expect many GoodReaders do. But it鈥檚 not because I dislike myself (though there鈥檚 room for self-improvement). It鈥檚 an escape from ordinary me, in ordinary life. Books are safe spaces where I can confront the truth. By hiding in books, I can learn about the world, and about myself.
Photo: fortune cookie 鈥淭o truly find yourself you should play hide and seek alone.鈥�
Unity
鈥�Having someone鈥檚 body to touch and being that someone we鈥檙e longing to touch are one and the same, just opposite banks on a river that passes from us to them鈥� This perpetual circuit where the chambers of the heart, like the trapdoors of desire, and the wormholes of time, and the false-bottomed drawer we call identity share a beguiling logic according to which the shortest distance between real life and the life unlived, between who we are and what we want, is a twisted staircase designed with the impish cruelty of MC Escher.鈥�
The deepest intimacy of all is when two become one, where each can call the other by caller鈥檚 name.
鈥�Is it your body that I want鈥� or do I want to slip into it and own it as if it were my own?鈥�
Where that one becomes many: brother, friend, father, son, husband, lover, self. Thence comes self-knowledge.
鈥�He was my secret conduit to myself.鈥�
Exquisite, intimate, poignant. Peaches and feet feature notably, separately, sexually.
Duality
We seek unity, and we have one life and one body, but most of us live as if we have two: 鈥渙ne is the mockup and the other is the finished version鈥�.
The job of poetry and wine is 鈥渢o help us see double鈥�. Is that a good thing?
Fluidity
"Bakers and butchers don't compete."
Because Elio and Oliver sail on open waters of identity and sexuality, there鈥檚 no need for labels, no need to be bisexual or male to relate to them. Their unstated (at the time) bond of shared secular Judaism was more elusive to me.
Sexuality is a spectrum; some move along it, while others stick at one point on it. Personality, behaviour, or circumstances?
explains, 鈥渟ame-sex relations were viewed in pre-modern times as merely a predilection or practice, whereas during the 19th century they came to be considered an innate nature, an identity鈥� and "rather than a hetero/homosexual dichotomy, the two sexualities are defined by penetrating and being penetrated."
Gender can be fluid, too. A peripheral character had formative experiences in Thailand, and was picked up by a ladyboy.
Don鈥檛 let the book blurb or film trailer let you think this is a gay romance (not that there鈥檚 anything wrong with them, but this is not one).
My first impressions were about the importance of first impressions in setting our path, our fate. I experienced the 鈥減romises of instant affinities鈥� from the first page, and that held firm beyond the last page.
It鈥檚 a bildungsroman told by a middle-aged man looking back to a summer in the mid 1980s, when he was 17: a boy who liked girls and was struck by a passion for a slightly older man who also liked girls. Oliver was staying with Elio's family in Italy for six weeks: that year's promising grad student. The setting is a lush and elemental component of the story. It could not have happened the same way in the US or UK.
Elio dips in and out of his memories, showing how his typical teen uncertainty, coupled with his atypical academic and self-analytical approach, affect them both, throughout their lives. Just as he imagined:
"Two young men who found much happiness for a few weeks and lived the remainder of their lives dipping cotton swabs into that bowl of happiness, fearing they鈥檇 use it up, without daring to drink more than a thimbleful on ritual anniversaries."
It鈥檚 not clear who he鈥檚 telling the story to or why. He refers to the diary he kept at the time, but he observes 鈥淚鈥檇 written it down in my diary but omitted to say I had dreamt it. I wanted to come back years later and believe, if only for a moment.鈥� He remembers 鈥溾€榬epeat鈥� moments鈥�, but not necessarily the sequence.
By the end, I wondered how relevant it was that Elio and Oliver were both male, rather as I did with Brokeback Mountain (see my review HERE) and the dwarfism of the lead character in the film . Here, the taboo, inasmuch as there is one, is Elio鈥檚 youth, the age gap, and Oliver鈥檚 position as guest.
Consent
鈥�Does this make you happy?鈥� and 鈥�You sure you want this?鈥� and 鈥�Can I kiss you?鈥�
Consent is of recurring importance here. Ten years after it was published, it is topical in the aftermath of Harvey Weinstein and #MeToo. But as in real life, sometimes the messages are mixed:
鈥�Please, don鈥檛 hurt me, which meant, Hurt me all you want.鈥�
Later
鈥�I鈥檇 lodged him in the permanent past, my pluperfect lover.鈥�
We learn something of Oliver鈥檚 life decades hence, but almost nothing of Elio鈥檚. That balances the fact that for most of the book we know every nuance of Elio鈥檚 thoughts, but can only infer Oliver鈥檚.
Quotes
鈥� 鈥淭he promise of so much bliss hovering a fingertip away.鈥�
鈥� 鈥淭he soft wind training exhalations from our garden up the stairs to my bedroom.鈥�
鈥� 鈥淎wakened by the rich brown cloistral scent of coffee.鈥�
鈥� 鈥淭here are certain wishes that must be clipped like wings off a thriving butterfly.鈥�
鈥� 鈥淲hat startles virgins on being touched for the first time by the person they desire: he stirs nerves in them they never knew existed and that produce far, far more disturbing pleasures than they are used to on their own.鈥�
鈥� 鈥淲anting to test desire is nothing more than a ruse to get what we want without admitting that we want it.鈥�
鈥� 鈥淭he kind of lovemaking that can run circles round time.鈥�
鈥� 鈥淪crambling for something to say, the way a fish struggles for water in a muddied pond that鈥檚 fast drying up in the heat.鈥�
鈥� 鈥淯nreal and sticky goblin lanes that seemed to lead to a different, nether realm you entered in a state of stupor and wonderment.鈥�
鈥� 鈥淚 intentionally failed to drop breadcrumbs for my return journey; instead, I ate them.鈥�
鈥� 鈥淏y not planning to keep things alive, we were avoiding the prospect that they might ever die.鈥�
鈥� 鈥淲e were eloping together with return-trip tickets to different destinations.鈥�
鈥� 鈥�That summer, our lives had scarcely touched, but we had crossed to the other bank鈥� We had found the stars鈥� And this is given only once.鈥�
UPDATE re Film
I've just seen the film, and unlike many GR fans of the book, I was very disappointed.
鈥� It looks gorgeous: Italian sun and scenery, and some subtly clever cinematography, particularly with the relative positioning of characters in the scene.
鈥� It sounds good, too, which matters, given the importance of music in the story, especially Elio.
鈥� Whereas the recent adaptation of On Chesil Beach added a significant postscript to the story that changed the meaning of the main story (see my review here), this omitted the rather pointless postscript of the book.
But:
鈥� I didn't feel the warmth, let alone the passion. I didn't believe the characters, let alone their relationship.
鈥� It felt somehow prurient in a way the book did not, but that may just be me.
鈥� The father was creepy, rather than empathetic.
鈥� A seminal trip was to beautiful countryside, rather than Rome. Why?
Film details on imdb .
November 15, 2022
"I thought I understood why everyone swears by Sant'Eustachio's coffee; or perhaps I wanted to think I understood, but I wasn't sure. I wasn't even sure I liked it. Perhaps no one else did but felt obliged to fall in with the general opinion and claimed that they too couldn't live without it."
Never have a line been written so accurate about not loving a popular product. In my case, this book.
For the entire first 70 percent of the book.
But if that's the way it's been written so that I could appreciate the last 30 percent, I agree, so be it.
***3 things are clear:
*The writing is good and the characters are convincing.
*I didn't like this book as much as everyone else. It's fine. I waited all these years to pick it up again, waiting for the right time. I tried reading this book like 6 times before I actually ended up reading it on 11th January, 2021.
*I am going to like the movie adaptation more.
I wish this book was 30 percent young adult and 70 percent their later years. I love the last 30 percent of the book so much.
**馃枻**馃枻**馃枻**馃枻*馃枻****
I was about to rate this one a 3 star but the last few pages were so good that I felt it's much more than a 3 star read.
I wish the first 60 percent was as good as the later 40 percent.
Yes, the love for this book comes slowly and steadily. Take your time. Be in a quiet environment when you're reading this one.
****馃枻****馃枻馃枻馃枻****
I liked the parents and the other side characters. The few pages towards the end of the book where the father said some important things will always stay as one of my favourite chapters.
I wish the humour was better in some parts of the writing.
I specifically didn't find this one funny at all.
"When I looked around, I saw that I had vomited right next to the statue of the Pasqhino....
I swear, there were peas there that hadn't been bitten into and could have fed the children of India."
Really?
Wish this book was better for me.
Never have a line been written so accurate about not loving a popular product. In my case, this book.
For the entire first 70 percent of the book.
But if that's the way it's been written so that I could appreciate the last 30 percent, I agree, so be it.
***3 things are clear:
*The writing is good and the characters are convincing.
*I didn't like this book as much as everyone else. It's fine. I waited all these years to pick it up again, waiting for the right time. I tried reading this book like 6 times before I actually ended up reading it on 11th January, 2021.
*I am going to like the movie adaptation more.
I wish this book was 30 percent young adult and 70 percent their later years. I love the last 30 percent of the book so much.
**馃枻**馃枻**馃枻**馃枻*馃枻****
I was about to rate this one a 3 star but the last few pages were so good that I felt it's much more than a 3 star read.
I wish the first 60 percent was as good as the later 40 percent.
Yes, the love for this book comes slowly and steadily. Take your time. Be in a quiet environment when you're reading this one.
****馃枻****馃枻馃枻馃枻****
I liked the parents and the other side characters. The few pages towards the end of the book where the father said some important things will always stay as one of my favourite chapters.
I wish the humour was better in some parts of the writing.
I specifically didn't find this one funny at all.
"When I looked around, I saw that I had vomited right next to the statue of the Pasqhino....
I swear, there were peas there that hadn't been bitten into and could have fed the children of India."
Really?
Wish this book was better for me.
September 12, 2018
im flustered. im at a loss. im reeling from a multitude of thoughts and feelings.
oh, where do i even start with a book like this? the story? the characters? the prose? there was a little too much introspection for my liking. i prefer my books to have some sort of consistent plot/action to follow, but the writing, the way in which elio expressed himself, totally made up for it. the writing made my soul sing. yes, it was little bit pretentious, a little too intellectual. but goodness me. i would be lying if i didnt say the prose was absolutely stunning. honestly, just read this:
鈥榓nd on that evening when we grow older still we will speak about these two young men as though they were two strangers we met on the train and whom we admire and want to help along. and we will want to call it envy, because to call it regret would break our hearts.鈥�
so gorgeous. for me, the writing took young obsession and infatuation and elevated those feelings to poetic desire and endearment. i really enjoyed reading about elios growth and how his experiences with oliver shaped him. the ending wasnt what i was hoping for, but i felt very satisfied and at peace with the conclusion. which just shows how wonderfully this story was told.
overall, this didnt blow me away/astound me as much as all the hype made me believe it would, but i did walk away feeling very touched and comforted. which is exactly what you want from a book like this. <3
鈫� 4 stars
oh, where do i even start with a book like this? the story? the characters? the prose? there was a little too much introspection for my liking. i prefer my books to have some sort of consistent plot/action to follow, but the writing, the way in which elio expressed himself, totally made up for it. the writing made my soul sing. yes, it was little bit pretentious, a little too intellectual. but goodness me. i would be lying if i didnt say the prose was absolutely stunning. honestly, just read this:
鈥榓nd on that evening when we grow older still we will speak about these two young men as though they were two strangers we met on the train and whom we admire and want to help along. and we will want to call it envy, because to call it regret would break our hearts.鈥�
so gorgeous. for me, the writing took young obsession and infatuation and elevated those feelings to poetic desire and endearment. i really enjoyed reading about elios growth and how his experiences with oliver shaped him. the ending wasnt what i was hoping for, but i felt very satisfied and at peace with the conclusion. which just shows how wonderfully this story was told.
overall, this didnt blow me away/astound me as much as all the hype made me believe it would, but i did walk away feeling very touched and comforted. which is exactly what you want from a book like this. <3
鈫� 4 stars
April 15, 2022
鈥淵ou are the only person I鈥檇 like to say goodbye to when I die, because only then will this thing I call my life make any sense. And if I should hear that you died, my life as I know it, the me who is speaking with you now, will cease to exist.鈥�
This is a book of all-consuming obsession, sensual to the point that is feels uncomfortable to read at parts, to the point that you feel voyeristic for just sharing those very intimate emotions with Elio and really want to look away, to allow for a semblance of privacy.
鈥淗e came. He left. Nothing else had changed. I had not changed. The world hadn't changed. Yet nothing would be the same. All that remains is dreammaking and strange remembrance.鈥�
Everything is intense, sensual, overpowering, intoxicating 鈥� the thoughts, the smells, the imagery. The oppressive summer heat, the minutiae of the languorous sun-bathed days, the overpowering longing for someone - that someone who is forever etched into the very fibers of your heart. The excruciating intensity with which Elio turns even the smallest things, the tiniest details, over and over in his feverish mind. Perfect clarity and anguished confusion coexisting often in the same sentence, same thought. The desire - no, the sheer need - to be with someone so much that you can meld into the same person, inhabit each other鈥檚 body and mind, forget in this confusion where you end and the other begins.
鈥淒id I want to be like him? Did I want to be him? Or did I just want to have him? Or are 鈥渂eing鈥� and 鈥渉aving鈥� thoroughly inaccurate verbs in the twisted skein of desire, where having someone鈥檚 body to touch and being that someone we鈥檙e longing to touch are one and the same, just opposite banks on a river that passes from us to them, back to us and over to them again in this perpetual circuit where the chambers of the heart, like the trapdoors of desire, and the wormholes of time[鈥鈥�
I remember being young like Elio, young and wearing my heart on my sleeve. From the distance of time I recall how intense everything seemed - and was. How strong and overpowering and at times surreal emotions felt. How all-consuming and pleasantly suffocating love and obsession seemed. How raw the feelings were. How dramatic things seemed. How pain and joy seemed to coexist and both could feel like they could kill you in an instant.
鈥淐or cordium, heart of hearts, I鈥檝e never said anything truer in my life to anyone.鈥�
Maybe you need to have experienced that kind of overwhelming obsession, overpowering infatuation with another person to really *feel* this story, to recognize - at times almost shamefully - that all-encompassing obsession, the need taking over your whole being.
I doubt that it will appeal to many young people, those closer to Elio鈥檚 age than his father鈥檚 age. I think the pull of nostalgia for the intense feelings of early youth is part of the strength of this story 鈥� and you need some temporal distance for the nostalgia to feel real. There a reason why a man two decades older than his seventeen-year-old remembered self is telling us the story of that lazy Italian summer and the deep impact it had on his entire life.
鈥淭ime makes us sentimental. Perhaps, in the end, it is because of time that we suffer.鈥�
Aciman does not shy away from uncomfortable. There are a few scenes so personal that they made me cringe, and yet within the framework of this book 鈥� where soul and desires and the darkest and deepest urges are longings are all laid bare 鈥� they fit.
Listen to it, superbly narrated by Armie Hammer whose voice adds to the magnetic pull of the words, who portrays a perfect Elio - and then, just as these young men longed for, becomes Oliver in the film. (Also, say what you want about that film - but that scene of Oliver goofily and unselfconsciously dancing while Elio darkly watches him gets nothing but pure love from me).
4.5 stars.
鈥淲e had the stars, you and I. And this is given once only.鈥�
鈥斺赌斺赌斺赌斺赌斺赌�
Also posted on .
November 13, 2017
5+Stars.
One of my top reads this year,without any doubt.
I read this weeks ago and still can't find the words to express how much I loved it.
All I can say is,
-it's beautiful,
-it made me happy,
-it made me sad,
-it just made me Feel,so many emotions.
-the writing is just stunning.
Read Nick's review,because he's said it perfectly.
Favourite quotes,
Cannot recommended highly enough.
One of my top reads this year,without any doubt.
I read this weeks ago and still can't find the words to express how much I loved it.
All I can say is,
-it's beautiful,
-it made me happy,
-it made me sad,
-it just made me Feel,so many emotions.
-the writing is just stunning.
Read Nick's review,because he's said it perfectly.
Favourite quotes,
Let summer never end, let him never go away, let the music on perpetual replay play forever, I鈥檓 asking for very little, and I swear I鈥檒l ask for nothing more.
There is a law somewhere that says that when one person is thoroughly smitten with the other, the other must unavoidably be smitten as well. Amor ch鈥檃 null鈥檃mato amar perdona. Love, which exempts no one who鈥檚 loved from loving
To look up and find you there, Oliver. For the day will come soon enough when I鈥檒l look up and you鈥檒l no longer be there.
鈥淐all me by your name and I鈥檒l call you by mine,鈥� which I鈥檇 never done in my life before and which, as soon as I said my own name as though it were his, took me to a realm I never shared with anyone in my life before, or since.
Cannot recommended highly enough.
September 29, 2017
Call Me By Your Name is a meandering, stream of conscious, babbling mess of purple prose that, on writing style alone, I absolutely do not like. It may work well for others, but for me, I was turned off within 20 pages by the writing style. I don't like first person (with some exceptions), I don't like rambling prose that includes an ENTIRE PAGE that is only one paragraph that jumps topics four times without changing paragraphs, and I do not like the overuse of flowery language. Throughout the book, the writing style drove me crazy, including the 40-page epilogue that has no reason to even exist. I wanted to like this book so much, so even though I didn't like the writing style straight off, I stuck with it because of all the positive reviews on the content.
Turns out, the content is just as ill-suited for my tastes as the writing style.
This book was just not good and I'm really disappointed. I got very excited about highly-praised queer content, and this was just the biggest letdown ever. I don't like this book at all. It's one of the worst books I've ever read, and I wanted SO BADLY to love it.
Put it this way: Before this, the worst books I've ever read without giving up were The Scarlett Letter and A Separate Peace, the most boring books I've read in my life. This now takes top spot for worst book I've ever read all the way to the end in my life, and the only reason I read it to the end was that it was like a car crash; I had to know what happened and how it could possibly get worse.
I've never once said, "Don't bother reading this"... but seriously guys. Don't bother reading this.
Turns out, the content is just as ill-suited for my tastes as the writing style.
This book was just not good and I'm really disappointed. I got very excited about highly-praised queer content, and this was just the biggest letdown ever. I don't like this book at all. It's one of the worst books I've ever read, and I wanted SO BADLY to love it.
Put it this way: Before this, the worst books I've ever read without giving up were The Scarlett Letter and A Separate Peace, the most boring books I've read in my life. This now takes top spot for worst book I've ever read all the way to the end in my life, and the only reason I read it to the end was that it was like a car crash; I had to know what happened and how it could possibly get worse.
I've never once said, "Don't bother reading this"... but seriously guys. Don't bother reading this.
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