![]() ![]() After this passive-aggressive foreplay he finally offers the original tune, revealing his true feelings through the gentler sounds his touch produces. Despite Oliver’s entreaties for Elio to play the version he had played on the guitar, Elio teasingly alters it in these different pianistic guises, emoting dramatically. The faces Elio makes as he plays comically mirror the gestures of his hand-crossings and emphatic octaves. ( Christoph Wolff suggests that Bach composed this suite as a farewell to a departing friend when he was only seventeen years old, the same age as Elio.) The original tune and the two arrangements allow Elio to touch the piano keys-and by extension to touch Oliver (Armie Hammer), who is standing directly in line with the keyboard in this frame-in a variety of expressive ways: delicately, cleverly, intently, forcefully, madly. Bach’s Capriccio on the Departure of a Beloved Brother in the manner of Franz Liszt and Ferruccio Busoni. This tactility through sound is especially clear in the scene of Elio playing the “Postillion’s Aria” from J. ![]() In a few scenes the prodigious Elio (Timothée Chalamet) plays the family’s Bösendorfer grand. Music also performs a crucial role in the movie’s simulations and stimulations of touch, heightening its visual vocabulary with a palpable tactility of sound, particularly that of the piano. This tactile quality comes through not only in its evocative visual imagery: close-ups of hands and fingers and feet, shoulder rubs, sweaty bare skin glistening in the sun, bodies lounging on lush grass or jumping into chilly spring-fed ponds, soft-boiled eggs and ripe fruits bursting with juices, the broken limbs and pitted patina of ancient bronzes. A rich sensuality of touch permeates Luca Guadagnino’s new film Call Me By Your Name, based on André Aciman’s 2007 novel of the same name. ![]()
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