A sensitive film about first love and self-discovery

Browsing Sky Cinema for something to watch, I came across Luca Guadagnino’s 2017 coming-of-age romantic drama, Call Me by Your Name. I knew next to nothing about it, but drawn by seeing Timothée Chalamet’s name, I decided to dive in.

Adapted from André Aciman’s 2007 novel of the same name by James Ivory, it tells of a summer romance between the precocious Elio Perlman, the 17-year-old son of archaeology professor Samuel, and Oliver, a 24-year-old graduate, who is staying at the family’s summer home in northern Italy to assist Samuel.

Set in 1983, Elio initially thinks he has little in common with the older man – indeed, that he is arrogant. But gradually, he’s drawn toward him and starts to understand that he sexually attracted to him.

It’s not difficult to see why it was critically acclaimed and won a batch of awards – including an Oscar and Bafta for best adapted screenplay for Ivory.

The look of it is beautiful – Sayombhu Mukdeeprom’s cinematography is excellent. The film uses music so well – Elio is obsessed with music, plying piano and guitar, transposing music and adapting a piece of early Bach to perform it in the styles of later composer (Chalamet plays both piano and classical guitar in the film).

The central cast is very good indeed. Not just Chalamet, but Armie Hammer as Oliver bring great intelligence and sensitivity to their roles. Amira Casar as Annella, Elio’s mother also deserves a mention, as does Michael Stuhlbarg’s father seems light for the main, but gets a superb final scene of great emotional depth.

The age difference between the main characters was controversial for some – particularly in the US, where the lowest age of consent was higher than in Italy.

Two writers in the American journal, Psychiatric Times, said the central relationship was “about asexual predation” and asked whether one scene in particular was “appropriate” (the scene involves alcohol), perhaps forgetting that it’s a work of fiction, adapted from another work of fiction – and fiction doesn’t have to deal with “appropriate” or that cultural differences do actually happen.

One imagines a substantial element of that was a certain type of American prudery – not just about sex, but also about teenagers having a drink (though a gun is fine).

An enjoyable, sensitive and beautiful film about self-discovery.

Wonka is a (Paddington) bear hug of a movie

Paul King has found a formula – and it’s every bit the equal of any chocolate treat that Willy Wonka can confect.

Having hit the jackpot with the Paddington films (Paddington in Peru comes next year), King teamed up with Paddington 2 co-writer Paul Farnaby to create a Willy Wonka origin story. And it’s an absolute joy.

We meet our titular hero as he arrives by sea in an unnamed European city (hints of both France and Germany though mostly filmed in England), armed only with his magical abilities with the cocoa bean and the dreams that his mother, who steered a narrow boat up and down canals, told him were so important.

She herself made wondrous chocolate – this feels reminiscent of Joanne Harris’s iconic novel, Chocolat, not least in a sense of magic being involved – but died before she could impart the secrets to her son.

The problem for Willy though, is that the town he has chosen in which to launch his products on the world is effectively run by a cartel of three unscrupulous chocolatiers who want this threat to their power gone – and that follows having fallen prey to the dreadful Mrs Scrubitt and her henchman Bleacher, after the latter offers a homeless Willy a roof over his head, without mentioning the hidden costs that will drive him into captivity and forced labour.

Calah Lane as Noodle

But Willy makes new friends, including the orphan Noddle, and they all – eventually – engage with his plans of how to free themselves and defeat the cartel.

A few commentators have suggested that Willy is such a nice character, it’s hard to believe that, in his future lies a less charming approach.

But there are hints here that his inherent mischievousness could develop a darker side. And Timothée Chalamet captures both that and the naivety of the character in a completely convincing way.

He also has a very pleasing singing voice that does full justice to the great new songs from Neil ‘The Divine Comedy’ Hannon. It’s also a delight that the film includes new versions of Pure Imagination and The Oompa-Loompa Song from the classic 1971 Leslie Bricusse and Anthony Newley score.

I’ve already effectively said that Chalamet is very good indeed – he is utterly convincing and has charm by the bucketload, and can sing and hoof brilliantly. Teenager Calah Lane as Noodle is simply wonderful in what is sure to be her breakthrough role.

Everywhere else – as with the Paddington films – is a wonderful ensemble cast. Sally Hawkins as Willy’s mother, Jim Carter, Natasha Rothwell, Farnaby and Rakhee Thakrar as his new friends are all excellent.

Matt Lucas and Mathew John Baynton as two of the triumvirate of the chocolate cartel are also great, but do rather lose out to a wonderful turn from Paterson Joseph as the third of their corrupt number. And this is before we mention Rowan Atkinson as a dodgy priest, Olivia Colman as Mrs Scrubitt, Tom Davis as Bleacher and Keegan-Michael Key as a corrupt chief of police.

Ah… and then there’s Hugh Grant, who risks stealing the entire show with his Oompa-Loompa (left), as he did when playing Phoenix Buchanan in Paddington 2.

Anything else to add? It looks gorgeous. And after a really tough personal year, it was the hug of a movie that I needed. There is a scene involving flamingos and balloons that had me blubbing for sheer joy.

And that seems to be King’s great skill: he can create films like this, without a shred of cynicism, but always avoiding over sentimentality or mawkishness. A great big (Paddington bear) hug of a film!