document_title: List of Game of Thrones episodes

question_text: how many episodes in this series of game of thrones

text: List of Game of Thrones episodes

text: Series overview[edit]

text:
Season
Episodes
Originally aired
Avg. viewers
(millions)

First aired
Last aired

1
10
April 17, 2011 (2011-04-17)
June 19, 2011 (2011-06-19)
2.52[14]

2
10
April 1, 2012 (2012-04-01)
June 3, 2012 (2012-06-03)
3.80[14]

3
10
March 31, 2013 (2013-03-31)
June 9, 2013 (2013-06-09)
4.97[15]

4
10
April 6, 2014 (2014-04-06)
June 15, 2014 (2014-06-15)
6.84[16]

5
10
April 12, 2015 (2015-04-12)
June 14, 2015 (2015-06-14)
6.88[17]

6
10
April 24, 2016 (2016-04-24)
June 26, 2016 (2016-06-26)
7.69[18]

7
7
July 16, 2017 (2017-07-16)
August 27, 2017 (2017-08-27)
10.26[19]

tag: table

text: Episodes[edit]

text: Season 1 (2011)[edit]

text:
No.
overall
No. in
season
Title
Directed by
Written by
Original air date
U.S. viewers
(millions)

1
1
"Winter Is Coming"
Tim Van Patten
David Benioff & D. B. Weiss
April 17, 2011 (2011-04-17)
2.22[20]

2
2
"The Kingsroad"
Tim Van Patten
David Benioff & D. B. Weiss
April 24, 2011 (2011-04-24)
2.20[21]

3
3
"Lord Snow"
Brian Kirk
David Benioff & D. B. Weiss
May 1, 2011 (2011-05-01)
2.44[22]

4
4
"Cripples, Bastards, and Broken Things"
Brian Kirk
Bryan Cogman
May 8, 2011 (2011-05-08)
2.45[23]

5
5
"The Wolf and the Lion"
Brian Kirk
David Benioff & D. B. Weiss
May 15, 2011 (2011-05-15)
2.58[24]

6
6
"A Golden Crown"
Daniel Minahan
Story by : David Benioff & D. B. Weiss
Teleplay by : Jane Espenson and David Benioff & D. B. Weiss
May 22, 2011 (2011-05-22)
2.44[25]

7
7
"You Win or You Die"
Daniel Minahan
David Benioff & D. B. Weiss
May 29, 2011 (2011-05-29)
2.40[26]

8
8
"The Pointy End"
Daniel Minahan
George R. R. Martin
June 5, 2011 (2011-06-05)
2.72[27]

9
9
"Baelor"
Alan Taylor
David Benioff & D. B. Weiss
June 12, 2011 (2011-06-12)
2.66[28]

10
10
"Fire and Blood"
Alan Taylor
David Benioff & D. B. Weiss
June 19, 2011 (2011-06-19)
3.04[29]

text: Season 2 (2012)[edit]

text:
No.
overall
No. in
season
Title
Directed by
Written by
Original air date
U.S. viewers
(millions)

11
1
"The North Remembers"
Alan Taylor
David Benioff & D. B. Weiss
April 1, 2012 (2012-04-01)
3.86[30]

12
2
"The Night Lands"
Alan Taylor
David Benioff & D. B. Weiss
April 8, 2012 (2012-04-08)
3.76[31]

13
3
"What Is Dead May Never Die"
Alik Sakharov
Bryan Cogman
April 15, 2012 (2012-04-15)
3.77[32]

14
4
"Garden of Bones"
David Petrarca
Vanessa Taylor
April 22, 2012 (2012-04-22)
3.65[33]

15
5
"The Ghost of Harrenhal"
David Petrarca
David Benioff & D. B. Weiss
April 29, 2012 (2012-04-29)
3.90[34]

16
6
"The Old Gods and the New"
David Nutter
Vanessa Taylor
May 6, 2012 (2012-05-06)
3.88[35]

17
7
"A Man Without Honor"
David Nutter
David Benioff & D. B. Weiss
May 13, 2012 (2012-05-13)
3.69[36]

18
8
"The Prince of Winterfell"
Alan Taylor
David Benioff & D. B. Weiss
May 20, 2012 (2012-05-20)
3.86[37]

19
9
"Blackwater"
Neil Marshall
George R. R. Martin
May 27, 2012 (2012-05-27)
3.38[38]

20
10
"Valar Morghulis"
Alan Taylor
David Benioff & D. B. Weiss
June 3, 2012 (2012-06-03)
4.20[39]

text: Season 3 (2013)[edit]

text:
No.
overall
No. in
season
Title
Directed by
Written by
Original air date
U.S. viewers
(millions)

21
1
"Valar Dohaeris"
Daniel Minahan
David Benioff & D. B. Weiss
March 31, 2013 (2013-03-31)
4.37[40]

22
2
"Dark Wings, Dark Words"
Daniel Minahan
Vanessa Taylor
April 7, 2013 (2013-04-07)
4.27[41]

23
3
"Walk of Punishment"
David Benioff
David Benioff & D. B. Weiss
April 14, 2013 (2013-04-14)
4.72[42]

24
4
"And Now His Watch Is Ended"
Alex Graves
David Benioff & D. B. Weiss
April 21, 2013 (2013-04-21)
4.87[43]

25
5
"Kissed by Fire"
Alex Graves
Bryan Cogman
April 28, 2013 (2013-04-28)
5.35[44]

26
6
"The Climb"
Alik Sakharov
David Benioff & D. B. Weiss
May 5, 2013 (2013-05-05)
5.50[45]

27
7
"The Bear and the Maiden Fair"
Michelle MacLaren
George R. R. Martin
May 12, 2013 (2013-05-12)
4.84[46]

28
8
"Second Sons"
Michelle MacLaren
David Benioff & D. B. Weiss
May 19, 2013 (2013-05-19)
5.13[47]

29
9
"The Rains of Castamere"
David Nutter
David Benioff & D. B. Weiss
June 2, 2013 (2013-06-02)
5.22[48]

30
10
"Mhysa"
David Nutter
David Benioff & D. B. Weiss
June 9, 2013 (2013-06-09)
5.39[49]

text: Season 4 (2014)[edit]

text:
No.
overall
No. in
season
Title
Directed by
Written by
Original air date
U.S. viewers
(millions)

31
1
"Two Swords"
D. B. Weiss
David Benioff & D. B. Weiss
April 6, 2014 (2014-04-06)
6.64[50]

32
2
"The Lion and the Rose"
Alex Graves
George R. R. Martin
April 13, 2014 (2014-04-13)
6.31[51]

33
3
"Breaker of Chains"
Alex Graves
David Benioff & D. B. Weiss
April 20, 2014 (2014-04-20)
6.59[52]

34
4
"Oathkeeper"
Michelle MacLaren
Bryan Cogman
April 27, 2014 (2014-04-27)
6.95[53]

35
5
"First of His Name"
Michelle MacLaren
David Benioff & D. B. Weiss
May 4, 2014 (2014-05-04)
7.16[54]

36
6
"The Laws of Gods and Men"
Alik Sakharov
Bryan Cogman
May 11, 2014 (2014-05-11)
6.40[55]

37
7
"Mockingbird"
Alik Sakharov
David Benioff & D. B. Weiss
May 18, 2014 (2014-05-18)
7.20[56]

38
8
"The Mountain and the Viper"
Alex Graves
David Benioff & D. B. Weiss
June 1, 2014 (2014-06-01)
7.17[57]

39
9
"The Watchers on the Wall"
Neil Marshall
David Benioff & D. B. Weiss
June 8, 2014 (2014-06-08)
6.95[58]

40
10
"The Children"
Alex Graves
David Benioff & D. B. Weiss
June 15, 2014 (2014-06-15)
7.09[59]

text: Season 5 (2015)[edit]

text:
No.
overall
No. in
season
Title
Directed by
Written by
Original air date
U.S. viewers
(millions)

41
1
"The Wars to Come"
Michael Slovis
David Benioff & D. B. Weiss
April 12, 2015 (2015-04-12)
8.00[60]

42
2
"The House of Black and White"
Michael Slovis
David Benioff & D. B. Weiss
April 19, 2015 (2015-04-19)
6.81[61]

43
3
"High Sparrow"
Mark Mylod
David Benioff & D. B. Weiss
April 26, 2015 (2015-04-26)
6.71[62]

44
4
"Sons of the Harpy"
Mark Mylod
Dave Hill
May 3, 2015 (2015-05-03)
6.82[63]

45
5
"Kill the Boy"
Jeremy Podeswa
Bryan Cogman
May 10, 2015 (2015-05-10)
6.56[64]

46
6
"Unbowed, Unbent, Unbroken"
Jeremy Podeswa
Bryan Cogman
May 17, 2015 (2015-05-17)
6.24[65]

47
7
"The Gift"
Miguel Sapochnik
David Benioff & D. B. Weiss
May 24, 2015 (2015-05-24)
5.40[66]

48
8
"Hardhome"
Miguel Sapochnik
David Benioff & D. B. Weiss
May 31, 2015 (2015-05-31)
7.01[67]

49
9
"The Dance of Dragons"
David Nutter
David Benioff & D. B. Weiss
June 7, 2015 (2015-06-07)
7.14[68]

50
10
"Mother's Mercy"
David Nutter
David Benioff & D. B. Weiss
June 14, 2015 (2015-06-14)
8.11[69]

text: Season 6 (2016)[edit]

text:
No.
overall
No. in
season
Title
Directed by
Written by
Original air date
U.S. viewers
(millions)

51
1
"The Red Woman"
Jeremy Podeswa
David Benioff & D. B. Weiss
April 24, 2016 (2016-04-24)
7.94[70]

52
2
"Home"
Jeremy Podeswa
Dave Hill
May 1, 2016 (2016-05-01)
7.29[71]

53
3
"Oathbreaker"
Daniel Sackheim
David Benioff & D. B. Weiss
May 8, 2016 (2016-05-08)
7.28[72]

54
4
"Book of the Stranger"
Daniel Sackheim
David Benioff & D. B. Weiss
May 15, 2016 (2016-05-15)
7.82[73]

55
5
"The Door"
Jack Bender
David Benioff & D. B. Weiss
May 22, 2016 (2016-05-22)
7.89[74]

56
6
"Blood of My Blood"
Jack Bender
Bryan Cogman
May 29, 2016 (2016-05-29)
6.71[75]

57
7
"The Broken Man"
Mark Mylod
Bryan Cogman
June 5, 2016 (2016-06-05)
7.80[76]

58
8
"No One"
Mark Mylod
David Benioff & D. B. Weiss
June 12, 2016 (2016-06-12)
7.60[77]

59
9
"Battle of the Bastards"
Miguel Sapochnik
David Benioff & D. B. Weiss
June 19, 2016 (2016-06-19)
7.66[78]

60
10
"The Winds of Winter"
Miguel Sapochnik
David Benioff & D. B. Weiss
June 26, 2016 (2016-06-26)
8.89[79]

text: Season 7 (2017)[edit]

text:
No.
overall
No. in
season
Title
Directed by
Written by
Original air date
U.S. viewers
(millions)

61
1
"Dragonstone"
Jeremy Podeswa
David Benioff & D. B. Weiss
July 16, 2017 (2017-07-16)
10.11[80]

62
2
"Stormborn"
Mark Mylod
Bryan Cogman
July 23, 2017 (2017-07-23)
9.27[81]

63
3
"The Queen's Justice"
Mark Mylod
David Benioff & D. B. Weiss
July 30, 2017 (2017-07-30)
9.25[82]

64
4
"The Spoils of War"
Matt Shakman
David Benioff & D. B. Weiss
August 6, 2017 (2017-08-06)
10.17[83]

65
5
"Eastwatch"
Matt Shakman
Dave Hill
August 13, 2017 (2017-08-13)
10.72[84]

66
6
"Beyond the Wall"
Alan Taylor
David Benioff & D. B. Weiss
August 20, 2017 (2017-08-20)
10.24[85]

67
7
"The Dragon and the Wolf"
Jeremy Podeswa
David Benioff & D. B. Weiss
August 27, 2017 (2017-08-27)
12.07[86]

text: Home media releases[edit]

text:
Season
Episodes
DVD and Blu-ray release date

Region 1
Region 2
Region 4

1
10
March 6, 2012[87]
March 5, 2012[88]
August 10, 2012[89]

2
10
February 19, 2013[90]
March 4, 2013[91]
March 6, 2013[92]

3
10
February 18, 2014[93]
February 17, 2014[94]
February 19, 2014[95]

4
10
February 17, 2015[96]
February 16, 2015[97]
February 18, 2015[98]

5
10
March 15, 2016[99]
March 14, 2016[100]
March 16, 2016[101]

6
10
November 15, 2016[102]
November 14, 2016[103]
November 16, 2016[104]

7
7
December 12, 2017[105]
December 11, 2017[106]
December 11, 2017[107]

text: Ratings[edit]

text:
Season
Ep. 1
Ep. 2
Ep. 3
Ep. 4
Ep. 5
Ep. 6
Ep. 7
Ep. 8
Ep. 9
Ep. 10
Average

1
2.22
2.20
2.44
2.45
2.58
2.44
2.40
2.72
2.66
3.04
2.52[108]

2
3.86
3.76
3.77
3.65
3.90
3.88
3.69
3.86
3.38
4.20
3.80[108]

3
4.37
4.27
4.72
4.87
5.35
5.50
4.84
5.13
5.22
5.39
4.97[109]

4
6.64
6.31
6.59
6.95
7.16
6.40
7.20
7.17
6.95
7.09
6.84[110]

5
8.00
6.81
6.71
6.82
6.56
6.24
5.40
7.01
7.14
8.11
6.88[111]

6
7.94
7.29
7.28
7.82
7.89
6.71
7.80
7.60
7.66
8.89
7.69[112]

7
10.11
9.27
9.25
10.17
10.72
10.24
12.07
N/A
10.26[113]


document_title: Flank (anatomy)

question_text: where is the flank located on your body

question_tokens: where is the flank located on your body

root

text: Flank (anatomy)

text:
Flank
Surface lines of the front of the thorax and abdomen. (Latus labeled as "lumbar".)DetailsIdentifiersLatin
regio lateralisTA
A01.2.04.004FMA
14603
Anatomical terminology[edit on Wikidata]

text: The flank or latus is the side of the body between the rib cage and the iliac bone of the hip (below the rib cage and above the ilium).[1]

tag: p

text: In some contexts, it is sometimes called the lumbar region.


document_title: Groundhog Day (film)

question_text: what song does he wake up to in groundhog day

text: Groundhog Day (film)

text: Plot[edit]

text: Weatherman Phil Connors reassures Pittsburgh viewers that an approaching blizzard will miss western Pennsylvania. He goes with news producer Rita Hanson and cameraman Larry to Punxsutawney, Pennsylvania, to cover the Groundhog Day festivities. Phil makes no secret of his contempt for the assignment, the small town, and the "hicks" who live there.

text: The next day, Phil awakens at his Punxsutawney bed and breakfast to Sonny & Cher's "I Got You Babe" on the clock radio. He tapes a half-hearted report on Punxsutawney Phil and the town's festivities. Rita wants to stay and cover other events, but Phil wants to return to Pittsburgh. The blizzard blankets the region in snow, stranding them in Punxsutawney. Phil shuns the celebrations and retires to bed early.

text: Phil wakes to "I Got You Babe" and the same announcement from the radio, and discovers the day's events repeating exactly. Phil relives the day and returns to bed, assuming it was a dream, but it is still Groundhog Day when he wakes: he is trapped in a time loop that no one else is aware of. Realizing there are no consequences for his actions, he spends the first several loops indulging in binge drinking, one-night stands, and reckless driving. He becomes depressed and commits suicide several times, but does not escape the loop.

text: Phil tries to explain his situation to Rita, for whom he has feelings, by accurately predicting the day's events. Rita sympathises and they spend the entirety of one loop together, but Phil wakes up alone as usual. He decides to use his knowledge of the day's events to better himself and the lives of others; he learns how to play the piano, sculpt ice, and speak French, but is unable to prevent the death of a homeless man.

text: During one loop, Phil enthusiastically reports the Groundhog Day festivities, amazing Rita. They spend the rest of the day together, with Phil impressing her with his apparent overnight transformation and charitable deeds. She successfully bids for Phil at a charity bachelor auction. Phil makes an ice sculpture of Rita's face, and tells her that no matter what happens, even if he is doomed to continue awakening alone each morning forever, he wants her to know that he is finally happy, because he loves her. They retire together to Phil's lodgings. Phil wakes to "I Got You Babe" again, but finds Rita is still in bed with him; he has escaped the time loop.

text: Cast[edit]

text:
Bill Murray as Phil Connors
Andie MacDowell as Rita Hanson
Chris Elliott as Larry the cameraman
Stephen Tobolowsky as Ned Ryerson
Brian Doyle-Murray as Buster Green
Angela Paton as Mrs. Lancaster
Rick Ducommun as Gus
Rick Overton as Ralph
Robin Duke as Doris the waitress
Marita Geraghty as Nancy Taylor
Harold Ramis as Neurologist
Richard Henzel as D.J. #1
Rob Riley as D.J. #2
David Pasquesi as Psychiatrist
Hynden Walch as Debbie the bride
Michael Shannon as Fred the groom

tag: ul

text: Production[edit]

text: Concept[edit]

text: Danny Rubin had completed and sold his script for Hear No Evil and moved from Chicago to Los Angeles to become a professional screenwriter around 1990.[4] His agent suggested that he prepare a "calling-card" script that he could use to gain meetings with various producers.[4] He came up with the core idea of the script which would become Groundhog Day while sitting in a movie theater.[4] He asked himself the question "If a person could live forever, if a person was immortal, how would they change over time?"[5] Having this character be immortal and having the world change around them would have been too cumbersome for filming. Instead he came back to a concept he had written down about two years earlier about a man living the same day over and over. With the idea of a person changing over time, this repeating day motif found its "deeper purpose" within the new script.[4] The two ideas, combined, answered his proverbial question as well as opened up several possibilities of drama and comedy with that framework.[5]

text: Rubin first conceived of the dating aspect for the film, "being able to use your superior knowledge to pick up women", which led to the film leaning more to the comedy side.[5] He knew he needed some calendar date to use for the day, and his earlier concept had the character reliving a late January day over and over; when he looked at his calendar, he saw Groundhog Day, February 2, as a date with great potential as a recognized holiday but one with little fanfare, and a date on which the film could be played annually, similar to Christmas or Halloween specials. Groundhog Day also presented Rubin with the idea of being able to take his character out of his home town into the unfamiliar territory and relative isolation of Punxsutawney, and cementing the character being named Phil in honor of Punxsutawney Phil, as well as making him a weatherman.[5][4] Rubin took about seven weeks to fix the basic concepts and "rules" for the time loop in the film, and then completed the first draft of the screenplay within three to four days.[5]

text: Rubin started to shop the screenplay around to around 50 different producers. While many studios expressed interest, they told him they wouldn't be able to film it, though Rubin was able to secure additional work through these meetings. After his own agent left the industry, Rubin hired a spec agent to help sell the script more. The script got to the hands of Richard Lovett in the Creative Artists Agency, who was able to get it to Harold Ramis around 1991, leading to Ramis offering to produce the film.[5][6]

text: Writing and casting[edit]

text: In the first draft of the script, Rubin had not wanted to have to explain to the audience how Phil got in the loop, and so had the movie start in medias res, with Phil already in the midst of the looping; the audience would have followed one of his days after waking up to "I Got You Babe" where he is already aware of what will be happening, and thus provoking the audience's curiosity; the film would then have used voice-over narration by Phil to provide some of the backstory.[5] Rita would also confess to being trapped in a time loop of her own.[7] Rubin considered this draft to be more in line with the black comedy Kind Hearts and Coronets, particularly with regards to how Phil's suicides were presented.[4]

text: While Ramis wanted to keep this approach, the studio applied pressure to use a more standard narrative structure, forcing Rubin to rewrite the script under Ramis' direction.[5] A major change was to restructure the film as a standard three-act piece.[8] This second draft of the screenplay established the reason for Phil being put in a time loop, according to actor Eddie Deezen. In that version, Phil unceremoniously dumps his current girlfriend Stephanie during the introductory scenes of the film at the studio. While Phil is at Punxsutawney, a scorned Stephanie devises a way to cast a spell to trap Phil within the loop for 10,000 years. [9] According to Rubin, he felt that he had taken a defensive position in writing these new scenes, feeling that it would "take away everything that was innovative and interesting and turn it into an easily-dismissed Hollywood comedy", and acknowledges that Ramis interceded on his behalf to remove these explanatory scenes while keeping the three-act format.[4]

text: Another change in the second draft was to change Phil's attitude from having come to accept the nature of the time loop, to one that was more optimistic about being able to end the loop, making the role more suited to Murray's comedy talents.[6] Ramis had known Murray since their days in The Second City improv troupe and had used him in several successful films prior to Groundhog Day, so he knew how to play on his strengths to convince Murray to take the role. Prior to Murray's casting, Tom Hanks[10] and Michael Keaton[11] turned down the lead role.

text: Filming[edit]

text: The film was shot in Woodstock, Illinois, 60 miles (97 kilometres) northwest of Chicago near the Wisconsin border, because Punxsutawney "didn't have a town center that looked good on camera", according to Ramis,[7] and because Punxsutawney's remote location magnified the logistical problems and expense of filming there.[12][13] Woodstock was a suitable replacement for Pennsylvania in the winter months; further, Ramis knew the area as a Chicago native and recognized it would be easy to obtain licenses to film there and operate the film's production during the winter months.[13] Punxsutawney officials, miffed that their town had been passed over, refused to allow the real Punxsutawney Phil to appear in the movie,[7] but sent representatives to Woodstock to make sure the ceremony was being depicted accurately;[14] according to producer Trevor Albert, the Punxsutawney officers "were actually very pleased" with their recreation of Gobbler's Knob, the site near Punxsutawney used for the Groundhog Day ceremonies.[13] Filming began on March 16, 1992, and continued through May. Much of the filming was done in colder-than-normal weather, with Murray saying that temperatures were often under 20 °F (−7 °C), and had snowfall that lasted through May.[13]

text: Punxsutawney Phil was played by a series of groundhogs collectively known as Scooter. "[The animals] hated my guts from day one," said Murray, who was bitten twice during shooting, including during the filming of the scene where he drives himself and Phil into a ravine. The bites were severe enough that he was forced to undergo precautionary rabies immunization afterward.[15][13]

text: The Tip Top Cafe, where many indoor scenes took place, was a set created for the film, but it became an actual restaurant, the Tip Top Bistro, following the movie's success. Later, it became a coffee and Italian ice cream shop,[16] and after that a fried chicken outlet.[17] The Cherry Street Inn, the Queen Anne-Victorian bed & breakfast where Murray's character stayed, was a private home at the time of filming. Today, it is an actual bed & breakfast.[16]

text: During filming, Murray was in the midst of marital problems and several members of the crew reported his attitude as being erratic. Murray had wanted to make the film more contemplative and less of a comedy, contrary to Ramis' view. Rather than have to handle Murray's constant phone calls, Ramis had Murray work with Rubin in New York City directly to adjust the script to satisfy Murray's requests.[6] Actor Stephen Tobolowsky described the script changes: "When I got the part, it was still kind of a mediocre Bill Murray movie," he said. "You know, Bill Murray, with no consequences, in comic situations ... It wasn't until we got into the shooting that everything turned on its head. And it became not only a good movie, not only a great movie, but a classic."[18]

text: During the time he was working with Rubin, Murray refused to talk to Ramis, according to Rubin. When Murray returned to Woodstock to complete filming, Ramis described his behavior as "just really irrationally mean", and difficult to work with.[6] Following the filming, Ramis and Murray's longtime collaboration and friendship ended abruptly, without public explanation. Except for a few words at a wake, and later at a bar mitzvah, the two men did not speak for almost 20 years after the film's release.[6][19] Murray finally initiated a reconciliation—at the suggestion of Brian Doyle Murray—only after Ramis entered the final stages of his terminal illness.[20]

text: Release[edit]

text: Critical reception[edit]

text: The film was released to generally favorable reviews. Janet Maslin of The New York Times called it "a particularly witty and resonant comedy"[21] and Hal Hinson of The Washington Post called it "the best American comedy since 'Tootsie'".[22] Owen Gleiberman of Entertainment Weekly gave it a "B-",[23] and Desson Howe of The Washington Post noted that even though the film is a good Bill Murray vehicle, "'Groundhog' will never be designated a national film treasure by the Library of Congress".[24] Ironically, the film was selected by the National Film Preservation Board for preservation in the Library of Congress in 2006.[25]

text: Roger Ebert revisited it in his "Great Movies" series.[26] After giving it a three-star rating in his original review,[27] Ebert acknowledged in his "Great Movies" essay that, like many viewers, he had initially underestimated the film's many virtues and only came to truly appreciate it through repeated viewings.

text: The film is number 32 on Bravo's "100 Funniest Movies". In Total Film's 1990s special issue, Groundhog Day was deemed the best film of 1993 (the year that saw the release of Schindler's List, The Piano, A Perfect World and The Fugitive). In 2000, readers of Total Film voted it the seventh greatest comedy film of all time. The Writers Guild of America ranked the screenplay #27 on their list of 101 Greatest Screenplays ever written.[28][29] In 2009, American literary theorist Stanley Fish named the film as among the ten best American films ever, writing that "as the movie becomes more serious, it becomes funnier. The comedy and the philosophy (how shall one live?) do not sit side by side, but inhabit each other in a unity that is incredibly satisfying."[30] In 2011, Time Out London named it the 5th-greatest comedy film of all time.[31]

text: Groundhog Day holds a 96% "Certified Fresh" rating on Rotten Tomatoes. The site's consensus reads "Smart, sweet, and inventive, Groundhog Day highlights Murray's dramatic gifts while still leaving plenty of room for laughs".[32] The film is regarded as a contemporary classic. It has a score of 72 out of 100 at Metacritic, indicating "Generally favorable reviews."[33]

text: Box office[edit]

text: The film was a solid performer in its initial release, grossing $70.9 million in North America and ranking 13th among films released in 1993.[34] It was nominated for the Hugo Award for Best Dramatic Presentation, but lost to Jurassic Park.[35]

text: Accolades[edit]

text:
BAFTA Award for Best Original Screenplay 1994
British Comedy Awards 1993 (Comedy Film)
Saturn Award for Best Actress (Film) (Andie MacDowell)

text: In June 2008, AFI revealed its "Ten Top Ten"—the best ten films in ten "classic" American film genres—after polling over 1,500 people from the creative community. Groundhog Day was acknowledged as the eighth best film in the fantasy genre.[36][37]

text: The film is recognized by American Film Institute in these lists:

text:
AFI's 100 Years...100 Laughs – #34[38]
2008: AFI's 10 Top 10:

#8 Fantasy Film[39]

text: Interpretations and analysis[edit]

text: The film is often considered an allegory of self-improvement, emphasizing that happiness comes from placing the needs of others above one's own selfish desires. As the released film offers no explanation why the time loop occurs—or why it ends—viewers are left to draw their own conclusions. Rubin has said that while he and Ramis discussed several of the philosophical and spiritual aspects of the film, they "never intended [it] to be anything more than a good, heartfelt, entertaining story".[4]

text: "Groundhog Day", as an expression, has become shorthand for the concept of spiritual transcendence.[40][41] As such, the film has become a favorite of some Buddhists,[42][43] who see its themes of selflessness and rebirth as reflections of their own spiritual messages. In the Judeo-Christian tradition, it has been seen as a representation of purgatory. "Connors goes to his own version of hell, but since he's not evil it turns out to be purgatory, from which he is released by shedding his selfishness and committing to acts of love," wrote Jonah Goldberg. "Meanwhile, Hindus and Buddhists see versions of reincarnation here, and Jews find great significance in the fact that Connors is saved only after he performs mitzvahs (good deeds) and is returned to earth, not heaven, to perform more." It has even been described by some religious leaders as the "most spiritual film of our time".[44] “The curse is lifted when Bill Murray blesses the day he has just lived," wrote the critic Rick Brookhiser. "And his reward is that the day is taken from him. Loving life includes loving the fact that it goes.”[45]

text: Theologian Michael P. Pholey, writing for Touchstone Magazine, commented on the difficulty of determining a single religious or philosophical interpretation of the film, given Ramis's "ambiguous religious beliefs" as "an agnostic raised Jewish and married to a Buddhist", and suggested that when not viewed through a "single hermeneutical lens", the film could be seen as "a stunning allegory of moral, intellectual, and even religious excellence in the face of postmodern decay, a sort of Christian-Aristotelian Pilgrim's Progress for those lost in the contemporary cosmos."[46] Others see an interpretation of Nietzsche's directive to imagine life—metaphorically or literally—as an endless repetition of events. "How would this shape your actions?" asks Goldberg. "What would you choose to live out for all eternity?"[45]

text: Time loop duration speculations[edit]

text: In relationship to the spiritual interpretations of the films, many have tried to estimate how long Phil supposedly remains trapped in the loop, in real time, with a wide variance in estimated values. During filming, Ramis, who was a Buddhist, observed that according to Buddhist doctrine, it takes 10,000 years for a soul to evolve to its next level. Therefore, he said, in a spiritual sense, the entire arc of Groundhog Day spans 10,000 years.[18] Deezen noted that the second draft of the screenplay called for Phil to be cursed to live the time loop for 10,000 years.[9] In the DVD commentary, Ramis estimated a real-time duration of 10 years. Later, Ramis told a reporter, "I think the 10-year estimate is too short. It takes at least 10 years to get good at anything, and allotting for the down time and misguided years he spent, it had to be more like 30 or 40 years."[47]

text: In 2005, Rubin said, "Ultimately it became this weird political issue because if you asked the studio, 'How long was the repetition?', they'd say, 'Two weeks'. But the point of the movie to me was that you had to feel you were enduring something that was going on for a long time ... For me it had to be—I don't know. A hundred years. A lifetime."[48] In 2014, the website WhatCulture combined various time duration assumptions and estimated that Phil spent a total of 12,395 days—just under 34 years—reliving Groundhog Day.[49][50]

text: Legacy[edit]

text: The narrative of a protagonist trapped in a time loop, where escape is only possible after accumulating knowledge through multiple passes, is a popular trope in fictional works.[51] Rubin noted that with his script, he "stumbled upon a story with all the makings of a classic, so simple and true that it could be retold many different ways by many different storytellers."[4] Though not the earliest example, the trope has been named after Groundhog Day by the website TV Tropes and other sources because the film established the trope in popular culture.[52] Such films as Edge of Tomorrow and ARQ have used it, as have television shows; one of the more recognized examples is The X-Files episode "Monday". Other genres, including sit-coms and dramas, have employed it as well. Pilot Viruet, in the magazine Vice, wrote, "Because of the inherent reset button the trope provides, an episode of TV can explore different scenarios, plots, character interactions, and outcomes—and if any of them don't quite feel right, the writers can start over (often with the ringing of a shrill alarm clock)."[53]

text: The phrase "Groundhog Day" has entered common usage as a reference to an unpleasant situation that continually repeats.[54] Goldberg paraphrased the common meaning as "same stuff, different day".[45] In the military, referring to unpleasant, unchanging, repetitive situations as "Groundhog Day" became widespread soon after the movie's release in February 1993. A magazine article about the aircraft carrier USS America mentions its use by sailors in September 1993.[55] The film was a favorite among the Rangers deployed for Operation Gothic Serpent in Somalia in 1993, because they saw the film as a metaphor of their own situation, waiting monotonous long days between raids.[56] In February 1994, crew members of the aircraft carrier USS Saratoga referred to their deployment in the Adriatic Sea, in support of Bosnia operations, as Groundhog Station. A speech by President Clinton in January 1996 specifically referred to the movie and the use of the phrase by military personnel in Bosnia.[57] Fourteen years after the movie's release, "Groundhog Day" was noted as common American military slang for any day of a tour of duty in Iraq, often as a successor to the World War II-era slang term "SNAFU" ("Situation Normal: All Fucked Up").[45][58]

text: In his Iraq War memoir Victory Denied, Maj. Roger Aeschliman describes guarding assorted visiting dignitaries as his "Groundhog Day":

text: The dignitary changes but everything else is exactly the same. The same airplanes drop them off at the same places. The same helicopters take us to the same meetings with the same presenters covering the same topics using the same slides. We visit the same troops at the same mess halls and send them away from the same airport pads to find our own way home late at night. Over and over and over and over and over and over and over and over and over until we are redeemed and allowed to go home to Kansas. Amen.[59]

text: In the 2015 memoir, Guantánamo Diary, Mohamedou Ould Slahi refers to the film twice to describe his ongoing confinement in Guantanamo, Cuba.[60]

text: Member of Parliament Dennis Skinner compared British Prime Minister Tony Blair's treatment following the 2004 Hutton Inquiry to the film. "[The affair] was, he said, like Groundhog Day, with the prime minister's critics demanding one inquiry, then another inquiry, then another inquiry." Blair responded, "I could not have put it better myself. Indeed I did not put it better myself."[61]

text: Events[edit]

text: The town of Punxsutawney has seen much larger crowds at the annual Groundhog Day event since the film's release.[62]

text: Since 1992 the town of Woodstock, Illinois where the film was mostly shot has staged an annual Groundhog Day festival, featuring a dinner dance, free screenings of the movie, and a walking tour of the opera house, bowling alley, movie theater, Moose Lodge (site of the dinner dance scene), the piano teacher's house, Cherry Street Inn, and other locations from the film.[16]

text: On February 2, 2016, fans of the film in Liverpool experienced their own "Groundhog Day" by binge-watching the film 12 times in 24 hours.[63]

text: On February 2, 2018, Sky Cinema showed the film 13 times to celebrate the event the film is named after. All of these were consecutive from 6am, with a showing of Dragnet being the only different film shown on the channel that day.

text: Stage adaptation[edit]

text: Although Stephen Sondheim expressed interest in creating a musical adaption of the film in 2003,[64] he eventually concluded that " ... to make a musical of Groundhog Day would be to gild the lily. It cannot be improved."[65] Nevertheless, Ramis announced in 2009 that Rubin was working on an adaptation.[66] At a 2014 concert in Hyde Park, the Australian comedian and lyricist Tim Minchin performed a song he had written for the show, "Seeing You".[67]

text: The musical was officially confirmed in April 2015, with a book by Rubin based on his and Ramis's original screenplay,[68] directed by Matthew Warchus,[69] choreography by Peter Darling,[70] design by Rob Howell,[71] and an original score and lyrics by Minchin.[72] The production reunites most of the creative team behind the 2010 musical Matilda.[73] It premiered in 2016 at The Old Vic theatre in London[74][75] as part of Warchus's debut season as artistic director there.[76] Broadway performances began in March 2017.[77] The musical was well-received, with both the London and Broadway shows receiving a number of nominations and awards, including the Laurence Olivier Award for Best New Musical for the London production.[78]


document_title: Wisdom tooth

question_text: where does the term wisdom teeth come from

text: Wisdom tooth

text: Anatomy[edit]

text: Variation[edit]

text: Agenesis of wisdom teeth differs by population, ranging from practically zero in Aboriginal Tasmanians to nearly 100% in indigenous Mexicans[2] (see research paper with world map showing prevalence). The difference is related to the PAX9 gene (and perhaps other genes).[3]

text: Function[edit]

text: Wisdom teeth are vestigial third molars that helped human ancestors to grind plant tissue. It is thought that the skulls of human ancestors had larger jaws with more teeth, which possibly helped to chew foliage to compensate for a lack of ability to efficiently digest the cellulose that makes up a plant cell wall.[4] After the advent of agriculture 10,000 years ago, soft human diets became the norm, including carbohydrate and high energy foods. Such diets typically result in jaws growing with less forwards growth than our paleolithic ancestors and not enough room for the wisdom teeth.[5]

text: Clinical significance[edit]

text: Wisdom teeth (often notated clinically as M3 for third molar) have long been identified as a source of problems and continue to be the most commonly impacted teeth in the human mouth. The oldest known impacted wisdom tooth belonged to a European woman of the Magdalenian period (18,000–10,000 BCE).[6] A lack of room to allow the teeth to erupt results in a risk of periodontal disease and dental cavities that increases with age.[7] Less than 2% of adults age 65 years or older maintain the teeth without cavities or periodontal disease and 13% maintain unimpacted wisdom teeth without cavities or periodontal disease.[8]

text: Impacted wisdom teeth are classified by the direction and depth of impaction, the amount of available space for tooth eruption and the amount soft tissue or bone that covers them. The classification structure allows clinicians to estimate the probabilities of impaction, infections and complications associated with wisdom teeth removal.[7] Wisdom teeth are also classified by the presence of symptoms and disease.[9]

text: Treatment of an erupted wisdom tooth is the same as any other tooth in the mouth. If impacted, treatment can be localized to the infected tissue overlying the impaction,[10]:440–441 extraction[11] or coronectomy.[12]

text: History[edit]

text: Although formally known as third molars, the common name is wisdom teeth because they appear so late – much later than the other teeth, at an age where people are presumably "wiser" than as a child, when the other teeth erupt.[13] The term probably came as a translation of the Latin dens sapientiae. Their eruption has been known to cause dental issues for centuries; it was noted at least as far back as Aristotle:

text: The last teeth to come in man are molars called 'wisdom-teeth', which come at the age of twenty years, in the case of both sexes. Cases have been known in women upwards of eighty years old where at the very close of life the wisdom-teeth have come up, causing great pain in their coming; and cases have been known of the like phenomenon in men too. This happens, when it does happen, in the case of people where the wisdom-teeth have not come up in early years.


document_title: Call Me by Your Name (film)

question_text: where was call me by your name shot in italy

text: Call Me by Your Name (film)

text: Plot[edit]

text: 17-year-old Elio lives with his parents in rural Northern Italy. His father, a professor of archaeology, invites a 24-year-old graduate student, Oliver, to live with him and his family over the summer and help with his academic paperwork. Elio, an introspective bibliophile and musical prodigy, initially finds little in common with Oliver, who has a contrastingly carefree and exuberant personality. Elio resents having to give up his bedroom for Oliver for the duration of his stay. He spends much of the summer reading, playing piano, and hanging out with his girlfriend, Marzia. Oliver is meanwhile attracted to one of the local girls, much to Elio's annoyance.

text: Elio and Oliver begin a seductive courtship: they swim together, go for long walks into town, and accompany Elio's father on an archaeological trip. Elio begins a sexual relationship with Marzia and brags about it in front of Oliver to gauge his reaction, but nonetheless finds himself increasingly attracted to Oliver. He sneaks into Oliver's room to smell his bathing suit, and thinks about him while masturbating. During a trip to the post office, Elio confesses his feelings to Oliver, who tells him he should not act on them. Later that day, Elio and Oliver kiss, but Oliver is reluctant to go any further. The two grow distant.

text: In response to a note from Elio, Oliver leaves a message on Elio's desk telling Elio to meet him at midnight. Elio spends the day with Marzia but longs to see Oliver. At midnight, he approaches Oliver and they have sex. They become more physically and emotionally intimate over the next few days, having sex frequently while keeping their relationship secret. Smitten with Oliver by this point, Elio starts avoiding Marzia.

text: As the end of Oliver's stay approaches, the couple find themselves overcome by uncertainty and longing. Elio's parents, who are aware of the bond between the two, recommend they visit Bergamo together before Oliver returns to the United States. After spending three romantic days together, Elio, heartbroken, calls his mother and asks her to pick him up and take him home. Marzia, who still wants to be friends with Elio, is sympathetic; his father, seeing Elio's sadness, tells him he was aware of their relationship, confesses to almost having had a similar relationship in his own youth, and urges Elio to learn and grow from his grief, instead of quickly moving on.

text: During Hanukkah, Oliver telephones Elio and his family to tell them he is engaged to be married. Oliver tells Elio he "remembers everything" very clearly. After the call, Elio sits by the fireplace, distraught, as his parents and the house staff prepare a holiday dinner.

text: Cast[edit]

text: Credits are adapted from Fandango.[5]

text:
Armie Hammer as Oliver
Timothée Chalamet as Elio Perlman
Michael Stuhlbarg as Mr. Perlman[a]
Amira Casar as Annella Perlman
Esther Garrel as Marzia
Victoire Du Bois as Chiara
Vanda Capriolo as Mafalda
Antonio Rimoldi as Anchise
Elena Bucci as Bambi, Art Historian 1
Marco Sgrosso as Nico, Art Historian 2
André Aciman as Mounir
Peter Spears as Isaac

text: Styles and themes[edit]

text:
Call Me by Your Name is the final installment in Luca Guadagnino's thematic Desire trilogy, following I Am Love (2009) and A Bigger Splash (2015).[7][8] Guadagnino described his approach in the film as "lighthearted and simple";[9][10] it is a departure from his "highly stylised [and] dazzling" previous work, according to Jordan Hoffman of The Guardian.[11] He considers Call Me by Your Name a "homage to the fathers of my life: my own father, and
my cinematic ones", referring to filmmakers Jean Renoir, Jacques Rivette, Éric Rohmer, and Bernardo Bertolucci, who inspired him.[12]

text: He has described Call Me by Your Name as a family-oriented film for the purpose of "transmission of knowledge and hope that people of different generations come to see the film together".[13] He never saw it as a "gay" movie but rather calls it a film about the "beauty of the newborn idea of desire, unbiased and uncynical", and reflecting his motto of living "with a sense of joie de vivre"[9][10] in which "we should always be very earnest with one's feelings, instead of hiding them or shielding ourselves".[7] He further declared it as an "uplifting film" about "being who you want to be and finding yourself into the gaze of the other in his or her otherness."[14]

text: The director tried to avoid the flaws he had seen in most coming-of-age films, in which growth is often portrayed as being a result of resolving preconceived dilemmas such as an enforced choice between two lovers.[15] He also wanted the story to follow two people in the moment, rather than focus on an antagonist or a tragedy,[10] an approach inspired by À nos amours (1983), directed by Maurice Pialat.[15][16] As someone who considers sex in film a representation of the characters' behavior and identity,[17] Guadagnino was not interested in including explicit sex scenes in the film, to keep the tone as planned.[18] He explained his intention: "I wanted the audience to completely rely on the emotional travel of these people and feel first love... It was important to me to create this powerful universality, because the whole idea of the movie is that the other person makes you beautiful—enlightens you, elevates you".[18]

text: Production[edit]

text: Development[edit]

text: After seeing an early proof of André Aciman's debut novel Call Me by Your Name in 2007, American producers Peter Spears and Howard Rosenman bought the screen rights to it before it was published.[19] Rosenman first heard about the book through a friend after acting in Milk (2008) and described it as "divine";[20] Spears was also moved by it and felt the need to make it into a film, which later became the first feature film he credited as producer.[21] They invited their friend James Ivory to work as an executive producer on the film adaptation.[22] Spears and Rosenman read the book independently and began to produce the film in 2008.[23] The project was soon in "development hell":[24] the producers met with three sets of directors and writers—among them Gabriele Muccino, Ferzan Özpetek, and Sam Taylor-Johnson[25]—but could not find anyone who would commit to the project.[19][26] Scheduling around the need to film in Italy during the summer also proved difficult.[19][26]

text: The producers contacted Guadagnino, their first choice to direct, but he declined, citing a busy schedule.[8][23] Living in northern Italy, he was first hired as a location consultant instead,[15][27] to help "put the movie together from the Italian side".[9] Guadagnino later suggested that he co-direct the film with Ivory but no contractual agreement was yet in place.[9][24] Ivory accepted the offer,[24] and spent between six and nine months in 2014 working on the screenplay.[22][28] Guadagnino, who has described the novel as "a Proustian book about remembering the past and indulging in the melancholy of lost things",[16] wrote the adaptation with Ivory while also collaborating with Walter Fasano to refine it.[9][13] Screenwriting was done at Ivory's house, Guadagnino's kitchen table in Crema, and sometimes in New York City.[29] Ivory hardly met Guadagnino during the process; Guadagnino was making A Bigger Splash (2015).[28]

text: The screenplay was completed in late 2015.[28] Aciman approved it and commended the adaptation as "direct ... real and persuasive". He added, "as the writer I found myself saying, 'Wow, they've done better than the book'".[19] The completed screenplay was vital in securing funding for the film's production.[22][24] Among the financiers were the production companies La Cinéfacture (France); Frenesy Film Company (Italy, owned by Guadagnino); M.Y.R.A. Entertainment (United States); RT Features (Brazil), and Water's End Productions (United States). The project was also supported by the Italian Ministry of Cultural Heritage and Activities and Tourism.[13][30][31] The financiers, however, considered the film "too expensive";[32] during negotiations, the production's budget was reduced from $12 million to $3.5 million, while the filming schedule was cut down from 12 to 5 weeks.[31][33]

text: In 2016, Ivory stepped down from directing, leaving Guadagnino to direct the film alone.[8][9] According to Ivory, financiers from Memento Films International did not want two directors to be involved with the project because they "thought it would be awkward ... It might take longer, it would look terrible if we got in fights on the set, and so on".[22][28] Guadagnino said Ivory's version would have likely been "a much more costly [and] different film" that could not have been made because of "market realities".[15][27] Ivory became the sole-credited screenwriter;[34] he later sold the rights to the screenplay to Guadagnino's company.[22][28] Call Me by Your Name was Ivory's first produced screenplay since Le Divorce (2003) and the only narrative feature he has written and not directed.[34] Ivory was "very much involved" with other aspects of the production.[34] Guadagnino dedicated the film to his friend Bill Paxton, who came to visit the set in Crema before his death in February 2017.[35]

text: Adaptation[edit]

text: The film differs from its source material in a number of ways. While the novel serves as a memory-piece from Elio's perspective, the filmmakers set the movie entirely in the present timeline, a "much more efficient" solution, to help the audience understand the characters and "reflect the essence of the book".[23][16] The setting was changed from Bordighera to the countryside of Crema, Lombardy, where Guadagnino lives.[b] Aciman felt the place was not familiar with the town square he pictured in the novel, one he described was "far smaller and stood high on a hill overlooking a windswept Mediterranean"; the arid climate and "spookily deserted" nature in Crema concerned him that the film wouldn't correspond to the novel.[38] The director also changed the year of the events from 1987 to 1983—a year in which he said, "in Italy at least, when everything that was great about the '70s is definitely shut down", and one in which the characters "are in a way untouched by the corruption of the '80s—in the U.S., [Ronald] Reagan, and in the UK, [Margaret] Thatcher".[29][36] Ivory altered Mr. Perlman's profession from a classics scholar to "an art historian/archeologist type",[23][37] a decision that Aciman described as "perfect" and "more visual, [...] more exciting, as opposed to what a scholar does at his desk."[37]

text: Guadagnino was tempted to remove the scene from the novel in which Elio masturbates into a pitted peach, which he thought it was too explicit.[19][39] Timothée Chalamet was also nervous about the scene,[40] describing it as "a metamorphosis of some of the strongest ideas in the movie" and the key to illuminating the character's "overabundant sexual energy".[23][41] Despite their reservations, Guadagnino and Chalamet each tested the method by themselves and both agreed it worked so it was included in the film.[42] A scene featuring Elio and Oliver dancing enthusiastically to The Psychedelic Furs' song "Love My Way" in a small bar is not drawn from the book but was inspired by Jonathan Demme's Something Wild (1986) and Guadagnino's experience of dancing by himself when he was young.[19][43]

text: When he was revising Ivory's draft of the script, Guadagnino removed the voice-over narration and a considerable amount of nudity.[16][27] According to Ivory, Guadagnino was "talking about how he would do" the scenes with nudity involved, but later dropped it.[44] The director did not like the idea of having the main character tell the story retrospectively, stating that "it kills the surprise".[16] Towards the end of the novel, the two protagonists visit Rome together; the trip lasts an entire chapter and introduces new characters in multiple locations.[28][34] Because of the film's limited budget, Ivory and the producers wrote several variations, introducing the idea of having the lead characters left alone in the house; this was changed into another trip in which they spend time alone together.[28]

text: In his original script, Ivory depicted Elio's parents discussing about AIDS in two scenes,[44] and Elio decorating a Christmas tree in his family's home in the final scene.[34] Ivory had to reduce the length of Mr. Perlman's speech but was committed to keeping it in the script.[45] He described the scene in which Elio conveys his feelings to Oliver as one of the story's most important moments that captures the "euphoric passion and nervousness" of their first love.[46] Aciman was surprised by Guadagnino's final scene where Elio is seen crying by the fireplace.[38] He wrote about the film adaptation: "Cinema can be an entirely magical medium. What I do as a writer, and what Guadagnino does as a film director, is more than speak two different languages. What I do is chisel a statue down to its finest, most elusive details. What a film director does is make the statue move."[38]

text: Casting[edit]

text: In 2015, Shia LaBeouf and Greta Scacchi were reportedly set to be cast in the film.[47] In September 2016, Ivory confirmed they were no longer involved in the project. LaBeouf had read for the film in New York City, but the production company later felt he was unsuitable because of his "various troubles"; although Ivory thought Scacchi and LeBeouf "had good scenes together" and could have made it into the film, the company disagreed.[48]

text: After seeing Armie Hammer's performance in The Social Network (2010), Guadagnino "fell in love" with him and cultivated his passion for Hammer and the movies he made afterwards.[9][42] The director found him to be a "sophisticated actor, with a great range" and considered him for the role of Oliver.[9] Hammer met with Guadagnino seven years before the film went into production, when the director was promoting I Am Love.[43] Hammer almost turned down the role after reading the draft script because it contained nudity. He said, "I did want to pass; it scared me"[49] and "There's a lot of stuff here that I've never done on film before. But there's no way I can't do this [film], mostly because it scares me so much."[50] According to Guadagnino, Hammer was going to pass on the role through his agent, but then changed his mind at the end of their conversation.[9][51] This is the third film in which Hammer has played a queer character, following J. Edgar (2011) and Final Portrait (2017).[39][52]

text: In 2013, Swardstrom—Spears's husband and agent—introduced the 17-year-old Chalamet to Guadagnino,[9][17] who immediately felt the actor had "the ambition, the intelligence, the sensitivity, the naivety, and the artistry" to play Elio.[16] Chalamet read Aciman's novel by the time he was 17 and described it as "a window into a young person".[40] Chalamet, who had played piano and guitar for years, arrived in Italy five weeks early to prepare for his part by working with composer Roberto Solci.[23][31] His character, 17-year-old Elio, is fluent in three languages;[31] while being able to speak French fluently, Chalamet also took Italian lessons and gym workouts during his time in Italy.[23][53]

text: Michael Stuhlbarg plays Mr. Perlman, Elio's father.[50][54] Stuhlbarg did not start reading the book until he had already joined the production.[55] He was moved by the "many beautiful sentiments expressed" in the script, including Mr. Perlman's "sense of generosity and love and understanding".[56] Esther Garrel was contacted by Guadagnino when he was in Paris for the promotion of A Bigger Splash.[57] Garrel was casted as Marzia without any test, and chose not to read the book before shooting.[57] Towards the end of the film, Marzia asks Elio, "Friend for life?"— a line taken from J'entends plus la guitare (1991), directed by the actress's father, Philippe Garrel.[32] "I like the idea of talking virtually with Philippe Garrel through her," Guadagnino said.[32] Garrel spoke French with Chalamet on set; to improve her English, she watched Friends with English subtitles while shooting.[57]

text: The director chose Amira Casar, who he had known for twenty years, for the role of Annella.[32][54] He admired her "sense of the transgression" and said that she represents "the most audacious test of European art cinema".[32] Casting director Stella Savino met Vanda Capriolo when she was bicycling in the countryside. Capriolo, who is not an actor, was later cast for the role of the maid, Mafalda.[43][58] Aciman and Spears also appear briefly in cameo roles as Mounir and Isaac, a gay couple who attend a dinner party.[23][37] Aciman was asked to be in the movie after actors became unavailable. "It was a last-minute decision", Spears recalled, "Andrė turns out to be a phenomenal actor! So comfortable, not nervous at all. His wife was sitting there and said, 'I had no idea!' "[59]

text: Hammer and Chalamet both signed contracts that prohibited full-frontal nudity. Ivory, whose original screenplay had contained nudity, was dismayed by the decision, criticizing what he saw as an "American" attitude and saying, "Nobody seems to care that much or be shocked about a totally naked woman. It's the men".[24][27] He later commented that the lack of nudity, due to the director's "aesthetic decision", feels "phoney".[44] Guadagnino, who remained involved in the casting,[50] chose actors based on their performances and chemistry rather than choosing to "investigate or label" their sexuality.[18] He said, "The idea that you have to cast only someone who has a certain set of skills, and worse, a certain gender identity in any role: that's oppressive to me".[8]

text: Production design and costume[edit]

text: The main location set for the Perlmans' residence was Villa Albergoni, an uninhabited 17th-century mansion in Moscazzano.[23][60] Guadagnino wanted to buy the house but could not afford it, so he made a film there instead.[31][61] A landscape designer was hired to construct an orchard in the mansion's garden.[58] A pergola was built on the patio, and apricot and peach trees were placed in the garden.[60][62]

text: Six weeks before production, the crew—including production designer Samuel Dehors and first-time set decorator Violante Visconti di Modrone—gradually decorated the house with furniture, objects, and decoration inspired by the characters.[23][61] Much of the furniture, including the dishes and glassware from the 1950s, belonged to Guadagnino and di Modrone's parents. Di Modrone said, "That made it cozy and personal ... I wanted to give it the sense of time passing by".[63] Most of the Asia-inspired paintings, maps, and mirrors came from an antiques store in Milan.[62][63] Books seen in background were published before 1982.[58] The swimming pool used in the film was recreated from a watering trough common in the area.[23][63]

text: The filmmakers set up faded political billboards in public places to reflect the Italian general election in 1983,[58] and re-created a newsstand full of magazines of that time.[58] Guadagnino did not want the film to "look like a reflection on the 80s ... when it becomes [a period piece]."[15] His team researched extensively with help from the residents of Crema; they entered people's houses and collected their pictures of the 1980s.[15][64] Chen Li served as graphic designer; she wrote the titles of the opening credits, in which the director used photocopied images of statues and placed them with Mr. Perlman's personal items.[58]

text: Costume designer Giulia Piersanti avoided using period costumes; he wanted to provide "a sense of insouciant adolescent sensuality, summer heat and sexual awakening" to the characters.[63] Several costume pieces were made for the film from scratch.[58] The costumes were influenced by the French films Pauline at the Beach (1983), A Tale of Springtime (1990), and A Summer's Tale (1996).[63] Piersanti took inspiration for the Perlmans' wardrobe from her parents' photograph albums. For Oliver's "sexy, healthy American" image, Piersanti referred to "some of Bruce Weber's earliest photographs".[63] His clothes change throughout the film as "he's more able to free himself".[58] Aiming to emphasize Elio's confident style, she chose several Lacoste costumes and a distinctive, New Romantic-looking shirt in the final scene.[15][63] Piersanti chose several costume for Elio, including the polo shirt and Fido Dido T-shirt, from her husband's closet.[63]

text: Principal photography[edit]

text: Principal photography on Call Me by Your Name lasted around 33 days.[58][65] It began on May 9, 2016,[66] and was completed in June 2016.[48][67] The process occurred quietly,[68] with reports only appearing after filming had been underway for two weeks.[69][70] The film was shot primarily in Crema[9][12] and the province of Cremona.[71][72] It was filmed during an unexpected, heavy rainstorm in Italy that was described by Spears as "the coldest, wettest, stormiest time in 200 years in Europe."[21][65] A search for extras in Crema began in March and April.[73][74] Scenes set in the nearby villages Pandino and Moscazzano were filmed from May 17,[75][76] before moving to Crema on June 1.[77] Additional outdoor scenes were shot on December 4, 2016.[78][79] Production in Crema cost €18,000,[80] and a promotion campaign cost €7,500.[81]

text: Several historical locations in the streets of Crema and Pandino, including the arch of Torrazzo at Crema Cathedral, were chosen during production.[60][75] Businesses received compensation for financial losses caused by the closure, which was scheduled for May 30 and 31.[82] Two days' filming at the cathedral were postponed due to poor weather.[83] Filming also took place in the Lodigiano area near Crespiatica[60] and two small towns Montodine and Ripalta near Crema.[23][78] The archaeological discovery scene was filmed at the Grottoes of Catullus in Sirmione on the Brescian shores of Lake Garda.[60][84] The trip to Bergamo was filmed at the exterior of multiple historical buildings, including Bergamo Cathedral, the Santa Maria Maggiore, the courtyard of Liceo Classico Paolo Sarpi in Piazza Rosate and the University of Sciences, Letters and Arts.[60] The train station scenes were filmed at the Station of Pizzighettone.[85] Because of security concerns, the production team was only granted permission to film at the Cascate del Serio in Valbondione for half an hour.[60][71][86]

text: Before and during filming, the actors lived in Crema and were able to experience small-town life.[23] Guadagnino engaged with the cast and filmmakers, and often cooked and showed films in his house for them.[19] Hammer and Chalamet, who did not have to do a screen test together,[16][87] met for the first time during production in Crema.[23][67] Before filming began, they spent a month together, watching Mike Tyson documentaries and going to local restaurants to build character development.[7][51][67] "We'd hang out with each other all the time, because we were pretty much the only Americans there, and we were able to defend one another and really get to know one another", Chalamet said.[53] In the first two days of production, Guadagnino read the script with the cast.[29] Hammer and Chalamet went to the kissing scene during the first rehearsal.[20][87] The actors rehearsed their scenes every night before filming and spent several days filming nude.[88] "I've never been so intimately involved with a director before. Luca was able to look at me and completely undress me", Hammer said.[42]

text:
Pictures from some of the filming locations

The Villa Albergoni

The arch of Torrazzo at the Crema Cathedral

The Grottoes of Catullus, on the Brescian shore of Lake Garda

The Bergamo Cathedral

The Piazza Vittorio Emanuele in Pandino

Cascate del Serio

The South portal of Santa Maria Maggiore, Bergamo

The Station of Pizzighettone

text: Guadagnino shot the film in chronological order,[29][89] which allowed the filmmakers to "witness the onscreen maturity of both protagonist and actor".[90] The scene in which Mr. Perlman delivers an educational speech to Elio was filmed on the penultimate day of filming.[7][29] Stuhlbarg spent months preparing for the scene,[7][56] which Guadagnino wanted to make "as simple as possible" by taking fewer setups and "let the actors be".[14] According to Fasano, the scene took three takes to film and Stuhlbarg was "on three different levels of getting emotional".[90] Garrel enjoyed filming the sex scene between her and Chalamet; she described the scene was filled with "joy and simplicity."[57] Chalamet was listening to "Visions of Gideon", one of the original songs written for the film, in an earpiece while filming the final sequence,[91][92] in which the director asked him to perform for three variations—one per take.[93] The camera was set in the fireplace with nobody behind it. "It was bit of an acting experiment," Chalamet said.[43]

text: At the Piazza Vittorio Emanuele,[85] a memorial to the victims of battle of the Piave located in Pandino,[38] the filmmakers laid a long camera dolly track and filmed the scene in which Elio tells Oliver of his feelings for him in one take to provide the flexibility and the "flow of emotion" a cut scene could not.[94] The scene was observed by Aciman in his first day on set.[38] During the dancing sequence, Hammer had to perform to the click track in front of 50 off-camera extras; the music was turned down so the dialogue could be recorded.[43][51] In preparation for the scene, a dance coach was arranged by Guadagnino.[43] Hammer said that it was "the worst scene" he had ever filmed.[95] Choreographer Paolo Rocchi, who was contacted by the Frenesy Film Company in June 2016, described the routine as "awkward and realistic".[96] Rosenman described the scene as one of the most emotional moments, he said "It embodied and encapsulated, for me, what teenage love is all about, what desire is all about."[20]

text: Sayombhu Mukdeeprom, who had previously collaborated with Guadagnino on Ferdinando Cito Filomarino's Antonia (2015), served as the director of photography.[17][70] He read Aciman's novel before receiving the script and walked around filming locations to "get a feeling for everything ... to see the color, to see how the light changed during the day, and input it into my data".[97] He had to use artificial lighting to capture the Northern Italian summer atmosphere for Call Me by Your Name[9] because of heavy rains that lasted the entirety of the shoot.[17][65] He also empathized with the actors during the scene; Mukdeeprom cried in a corner of the room when they finished the first take of the confrontation between Oliver and Elio.[9] The entire film was made using 35 mm celluloid film and a single lens[98]—a decision influenced by the work of David Cronenberg to "solidif[y] the point of view"[10] and make "the tension of the performance come off the screen"—even if it meant increasing a production's budget.[98] Guadagnino also praised Jean-Pierre Laforce, the sound designer and mixer of the film, for his "wonderful" and "pivotal" contribution to the film. He described the work as "visionary, even though it starts from reality."[14]

text: Post-production[edit]

text: Fasano collaborated with Guadagnino during the post-production.[99][31] They had worked together for 25 years since Guadagnino's debut feature The Protagonists (1999);[31] Fasano described working with him as "atypical... very demanding, but it's a great experience."[99] For Call Me by Your Name, post-production took only a month, between June and July[9]—the fastest they had edited.[67] Their first cut of the film was three hours and 20 minutes long;[99][100] Fasano said that was his favorite cut of the film, and made him "lose [him]self in the story and the images."[99] The final result lasts two hours and 10 minutes; its shooting ratio was 1:25.[99] The process came naturally; Fasano cited the "fast and unexplained" storytelling in Pialat's À nos amours as his inspiration.[99] The monologue sequence from Elio's father once had piano playing underneath, while the scene where the two protagonists bike to a courtyard almost didn't made the cut because one of the producers said that it was inconsequential.[90] Hammer revealed that some scenes were digitally altered to fix his wardrobe malfunction due to his short shorts.[101][102]

text: Guadagnino has confirmed a number of scenes that did not make the final cut. There was a "well-acted" scene where Elio and Oliver were "teasing one another" under a lime tree, which the director felt was "too precious".[39] A scene where Elio's parents make love in the bedroom while Elio and Oliver are kissing under the moonlight in the garden was also cut.[39] The latter scene was shown in a screening in Castiglioncello in June 2018, where another cut scene was also revealed, in which Elio invites Oliver to tour the village.[103]

text: Music[edit]

text: Guadagnino usually selects the music for his films himself.[23] For Call Me by Your Name, he wanted to find an "emotional narrator to the film" through music, in a "less heavy, less present, and more enveloping" way than voice and text.[29] He was inspired by the films Barry Lyndon (1975), The Magnificent Ambersons (1942), and The Age of Innocence (1993).[29] Guadagnino wanted the film's music to be connected to Elio, a young pianist who likes to transcribe and adapt piano pieces to deepen his relationship with Oliver.[16] Music is used in the film to reflect the period setting, the characters' family life and their level of education, and "the kind of canon they would be a part of".[16] Guadagnino also researched which pop songs had been frequently played on local radio stations that summer.[16][104]

text: Guadagnino found that Sufjan Stevens's lyrics resonated with him,[17] and had initially asked Stevens to narrate the film from the perspective of Elio at an older age, as well as to record an original song for Call Me by Your Name.[17][91] Stevens declined the voiceover role,[91] but contributed three songs to the soundtrack: "Mystery of Love", "Visions of Gideon", and a re-recording of his 2010 song "Futile Devices".[16] Stevens was inspired by the film's script, its base novel, and conversations with Guadagnino about the characters.[17] He submitted the songs a few days before filming began. Surprised by the result, Guadagnino listened to them on-set with the actors and editor Walter Fasano.[23][67] The project marks the first time Stevens had written songs explicitly for a feature-film soundtrack.[105][106]

text: A soundtrack album was released in digital formats by Madison Gate Records and Sony Classical on November 3, 2017,[107] and in physical formats on November 17, 2017.[108] It features songs by Stevens, The Psychedelic Furs, Franco Battiato, Loredana Bertè, Bandolero, Giorgio Moroder, Joe Esposito, and F. R. David. It also includes music composed by John Adams, Erik Satie, Ryuichi Sakamoto, Johann Sebastian Bach, and Maurice Ravel.[109] As of February 1, 2018, the soundtrack has sold 9,000 copies and earned 29 million on-demand audio streams for its tracks in the United States, according to Nielsen SoundScan.[110]

text: Release[edit]

text: Call Me by Your Name had its world premiere on January 22, 2017, at the Sundance Film Festival.[111][112] Prior to its premiere, Sony Pictures Classics acquired U.S. distribution rights to the film for $6 million.[113] The deal was negotiated by WME Global and UTA Independent Film Group.[114] International distribution rights were purchased by Memento Films International, a French company that showed the film promo reel at the American Film Market in November 2016.[30][115] It was also screened at the Berlin International Film Festival on February 13, 2017;[54] Toronto International Film Festival on September 7, 2017;[9][67][116] and New York Film Festival on October 3, 2017.[117] It was originally scheduled to be shown on Beijing International Film Festival in April 2018, but it was removed from the official program with no explanation; the decision was reportedly made due to the government's "consistent stance of intolerance toward gay content".[118][119] That year, the film was tributed at the Crema Film Festival: Aciman met with the public on June 23, and Garrel later joined the screening at the Crema Cathedral on June 30.[120]

text: Call Me by Your Name began a limited release in the United Kingdom on October 27, 2017,[12] and United States on November 24, 2017.[4] It expanded from four to thirty locations in the United States on December 15, 2017,[121] and then to 114 theaters on December 22.[122] It opened in 174 theaters in January 2018,[123] before going into wide release  in 815 theaters a few days before the Oscar nomination announcement ceremony on January 19, 2018.[124][125] On the Oscars weekend, the film opened in 914 theaters, its widest release in the US.[126]

text: In Italy, Warner Bros. Entertainment released the film on January 25[127][128][129] in less than 150 theaters,[130] before expanding to nearly 200 theaters on February 2.[131] Special screenings and a public meet-and-greet with Guadagnino, Hammer and Chalamet took place in Crema between January 27 and 30.[129][132][133] The film opened in Brazil on January 18,[134] and in France on February 28, 2018.[135] In March 2018, a distributor in Tunisia reported that the Ministry of Culture has banned the film as an "attack on liberties" because of its subject.[136][137] In Ireland, it became the longest-running film shown at the Light House Cinema in early June 2018, after a 30-week run.[138] In the Philippines, the film will be screened accompanied by a live performance of its soundtrack as performed by the Manila Symphony Orchestra on October 28.[139][140]

text: Marketing[edit]

text: Sony Pictures Classics released an official poster for Call Me by Your Name on July 27, 2017.[141] The first theatrical trailer was released on August 1, 2017.[142][143] On October 11, 2017, Sony Pictures Classics released a teaser titled "Dance Party" to celebrate National Coming Out Day.[144] The 42-second clip, which consists of a single take of Hammer and Chalamet dancing to "Love My Way" in a bar, became a meme on Twitter.[145][146][147]  Because of its use in the clip, "Love My Way" gained popularity on music-streaming websites and rose 13% on on-demand streams during the two months before the film's release. In the week ending November 30, 2017, the song collected 177,000 on-demand streams, its biggest streaming week in the U.S.[148]

text: Reaction to the advertisement on social media was somewhat negative, largely because of Sony Pictures' "misleading" use of an image of Chalamet and Garrel instead of a focus on the protagonist's relationship.[149][150] Daniel Megarry of Gay Times described it as "an attempt to 'straight-wash' the movie's predominant same-sex romance",[151] while Benjamin Lee of The Guardian called it a "disastrous attempt to push Oscar-buzzed Call Me by Your Name as a straight love story", and said the advert "belies an industry awkwardly denying queerness".[152] Sony Pictures Classics later aired several commercial spots to promote the film during its U.S.-wide expansion on January 19, 2018.[124] In Korea, Sony Pictures released several never-before-seen photos taken on set, along with pastel promotional pictures, illustrated by Son Eunkyoung in March 2018.[153][154]

text: Home media[edit]

text: A pirated copy of an awards-screener DVD of Call Me by Your Name, along with copies of Last Flag Flying and fellow Oscar nominees I, Tonya and Lady Bird, was leaked onto piracy file-sharing websites by the hacker group Hive-CM8 on December 24, 2017.[155][156][157] The film was officially released for digital download on February 27, 2018.[158] It was released on Blu-ray and DVD on March 13, 2018; bonus includes two featurettes ("In Conversation with Armie Hammer, Timothée Chalamet, Michael Stuhlbarg & Luca Guadagnino" and "Snapshots of Italy: The Making of Call Me by Your Name"), an audio commentary track by Chalamet and Stuhlbarg, and the music video for "Mystery of Love".[95][158][159] The film made $1,336,207 in DVD sales and $1,713,563 in Blu-ray sales in the United States, for a total of $3,049,770 in home media sales.[160] In the United Kingdom, the DVD charted at number 7 and the Blu-ray at number 4 on Top 100 sales for both formats.[161][162]

text: Reception[edit]

text: Box office[edit]

text: Call Me by Your Name grossed $18.1 million in the United States and Canada, and $23.3 million in other territories, for a worldwide total of $41.4 million against a production budget of $3.5 million.[4] The film was Sony Pictures Classics' third-highest-grossing release of 2017.[163]

text: In the United States, Call Me by Your Name began its limited run on November 24, 2017, at The Paris Theater and Union Square Theatre in New York City, and the ArcLight Hollywood and Landmark Theater in Los Angeles.[164] The film made $404,874 in its opening weekend—a per-theater average of $101,219.[165][166] It was the highest average of 2017—the biggest since that of La La Land the previous December—[167] and had the best per-screen opening for a gay romance film since Brokeback Mountain (2005).[165][168] In its second weekend, the film grossed $281,288,[169][170] with an "excellent" per-screen average of $70,320.[171][172] The film expanded to nine theaters in its third weekend, grossing $291,101 for a "solid" $32,345 per-theater average.[173] It earned $491,933 from 30 theaters in its fourth weekend, averaging $16,398.[121] The film expanded to 114 theaters in its fifth week and grossed $850,736, averaging $7,463 per screen.[122] It crossed $6 million in its seventh weekend, earning $758,726 from 115 locations.[174] It grossed $715,559 from 174 theaters in its eighth weekend, averaging $4,185 per screen.[123]

text: In its nationwide release week—ninth weekend overall—the film grossed $1.4 million from 815 theaters, an under-performance compared to "some of its competition with similar theater counts".[124][125] The following weekend, after the announcement of its four Oscar nominations, the film's revenues dropped 6% to $1.3 million.[175][176] With the total gross revenue of $9,370,359 by the week of January 23, 2018, Call Me by Your Name was the second-lowest-grossing film among Best Picture nominees.[177] Fandango reported that the film had experienced a 56% increase in ticket sales since its Best Picture nomination was announced.[3] Regarding the film's "lagging" box-office performance, Tom Brueggemann of IndieWire commented that Sony Picture Classic "has done an able job so far," and said "at some point the film and the reaction to it is something no distributor can overcome."[178] It grossed $919,926, averaging $1,006, from 914 theaters during the Oscar weekend,[126] and went on to earn $304,228 from 309 theaters in its sixteenth weekend.[179]

text: Call Me by Your Name opened at number 7 in Italy with £781,000 from fewer than 150 theaters, and obtained the best per-theater average of the week (almost £5,500).[130][180] It had made £1.5 million in its first ten days of release,[181] before exceeding £2 million on February 7, 2018.[182][183] The film reached £2.8 million on March 12, 2018.[184] As of  July 6, 2018[update], the film has grossed $3,925,137 in Italy.[160] In Brazil, the film debuted at number 9 at the box office with revenues of $696,000,[185] and earned another $554,000 the following weekend.[186] It attracted 17,152 viewers in France on its first day of screening, with an "excellent" per-theater average of 184 entries.[187] It went on to attract 108,500 viewers in the opening weekend, earning 1,167 viewings—the second-best average of the week;[188] and 238,124 viewers in its third weekend.[189] As of  April 17, 2018[update], the film has grossed $2,652,781 in France.[160] In the United Kingdom, the film earned £231,995 ($306,000) from 112 screens in its opening weekend,[190] including £4,000 from previews.[191] After ten days, it had made £568,000 ($745,000),[192] before reaching the $1 million mark (£767,000) in its third weekend.[193][194] As of  May 21, 2018[update], the film has grossed $2,372,382 in the United Kingdom.[160]

text: Critical response[edit]

text: At its premiere at the Sundance Film Festival, Call Me by Your Name received a standing ovation.[195] When it was screened at Alice Tully Hall as part of the New York Film Festival, it received a ten-minute ovation, the longest recorded ovation in the festival's history.[36][196] On review aggregator Rotten Tomatoes, the film has an approval rating of 95% based on 278 reviews, with an average rating of 8.7/10. The website's critical consensus reads; "Call Me by Your Name offers a melancholy, powerfully affecting portrait of first love, empathetically acted by Timothée Chalamet and Armie Hammer".[197] It was the best-reviewed limited release and the second-best-reviewed romance film of 2017 on the site.[198][199] On Metacritic, the film has an average weighted score of 93 out of 100, based on 51 critics, indicating "universal acclaim".[200] It was the year's fifth-best rated film on Metacritic.[201]

text: Writing for The Hollywood Reporter, Boyd van Hoeij described Call Me by Your Name as an "extremely sensual ... intimate and piercingly honest" adaptation of Aciman's novel, and called Chalamet's performance "the true breakout of the film".[202] Peter Debruge of Variety said the film "advances the canon of gay cinema" by portraying "a story of first love ... that transcends the same-sex dynamic of its central couple". He compared Guadagnino's "sensual" direction with the films of Pedro Almodóvar and François Ozon, and put Call Me by Your Name "on par with the best of their work".[112] David Ehrlich of IndieWire also praised Guadagnino's directing, which he said helps the film "match the artistry and empathy" of Carol (2015) and Moonlight (2016).[203] Sam Adams of BBC stated that Stuhlbarg's performance "puts a frame around the movie's painting and opens up avenues we may not have thought to explore", and called it "one of his finest" to date. He extolled the film as one of "many movies that have so successfully appealed to both the intellectual and the erotic since the heydays of Patrice Chéreau and André Téchiné".[204]

text: Ty Burr of The Boston Globe gave the film three and a half stars, commended the director for "broadens his embrace of humanity while hitting new heights of cinematic bliss", and wrote that the film "may be a fantasy but it's one that's lovely and wise".[205] David Morgan of CBS praised the cinematography, production design, and costuming for "making a summer in the 1980s palpably alive again". He also applauded Stuhlbarg's character as "the most forward-thinking parent in movie history".[206] Richard Lawson said Guadagnino's adaptation "was made with real love, with good intentions, with a clarity of heart and purposeful, unpretentious intellect" and hailed it as a "modern gay classic" in his Vanity Fair review.[207] Chicago Tribune's Michael Phillips was pleased by the "wonderfully paradoxical" visual interests from the director and said Stevens's songs "work like magic on your sympathies regarding Elio's emotional awakening". He praised Hammer's performance as one of "the most easy-breathing and relaxed best work of his career".[208]

text: The Economist noted the tension "between pain and pleasure" in the film and praised Chalamet, stating that he "evokes so many shades of humanity, portraying a path of youthful self-discovery that is more raw, unhinged, and ultimately honest than many actors could manage".[209] Kate Taylor of Globe and Mail, who gave the film two and a half stars, also enjoyed Chalamet's effort in capturing "first love and its inevitable heartbreak" and said the "multilingual, almost-pre-AIDS idyll does not stretch credulity ... but it can try the patience".[210] Ken Eisner of The Georgia Straight questioned the film's central message and said "Guadagnino’s lyrical excesses ... can alternate wildly between the poetically incisive and the indulgently preposterous".[211] In a negative review, Kyle Turner of Paste wrote, "The details of the film are too small for anyone, perhaps particularly a queer person, to see"; a visual distance that "suggests that the film, in the beginning, is as terrified as Elio initially is. It never gets over that hesitation."[212] Armond White of Out called the movie "craven commercialism" and a "super-bourgeois fantasy" that "exploit[s] the queer audience's romantic needs by packaging them and falsifying them".[213] Luke Y. Thompson of Forbes criticized its length and called it an "excruciatingly boring travelogue".[214]

text: Accolades[edit]

text: Call Me by Your Name was selected by the National Board of Review and the American Film Institute as one of the top 10 films of the year.[215][216] At the 90th Academy Awards, it was nominated for Best Picture, Best Actor (Chalamet), Best Original Song ("Mystery of Love"), and Best Adapted Screenplay, winning the latter.[217][218] Chalamet became the youngest Best Actor nominee since 1939, while Ivory became the oldest-ever winner in any competitive category.[219]  The film received four nominations at the 71st British Academy Film Awards, including Best Film and Best Direction, and won Best Adapted Screenplay for Ivory.[220][221] At the 75th Golden Globe Awards, it was nominated for Best Motion Picture – Drama, Best Actor – Motion Picture Drama for Chalamet, and Best Supporting Actor for Hammer.[222] It received eight nominations at the 23rd Critics' Choice Awards; Ivory won Best Adapted Screenplay.[223] The film led the 33rd Independent Spirit Awards with six nominations, winning Best Male Lead for Chalamet and Best Cinematography for Mukdeeprom.[224][225] At the 24th Screen Actors Guild Awards, Chalamet received a nomination for Outstanding Performance by a Male Actor in a Leading Role.[226] The film went on to win the GLAAD Media Award for Outstanding Film – Wide Release at its 29th ceremony.[227] In Italy, Fasano won Best Editing at the 73rd Nastro d'Argento Awards and 33rd Golden Ciak Awards.[228][229] The National Board of Review, the Gotham Independent Film Awards, and the Hollywood Film Awards awarded Chalamet with their Breakout Actor Awards.[230][231]

text: Sequel[edit]

text: Guadagnino has deliberated over the idea of a sequel since the film's premiere at Sundance, when he realized the characters "could go beyond the boundaries of the film".[39] In October 2017, he said he hoped to make a sequel to the film in 2020 that might be in the style of François Truffaut's The Adventures of Antoine Doinel series, telling the story of Oliver and Elio as they age. "If I paired the age of Elio in the film with the age of Timothée, in three years' time, Timothée will be 25, as would Elio by the time the second story was set", he said.[232][233] In the novel, Elio and Oliver reunite 15 years later when Oliver is married. Guadagnino said that in the sequel, "I don't think Elio is necessarily going to become a gay man. He hasn't found his place yet ... I believe that he would start an intense relationship with Marzia again". Guadagnino is interested in the politics of the 1990s, saying, "it would be the beginning of the [Silvio] Berlusconi era in Italy and it would mean dealing with the [first Gulf War] of Iraq".[234][235] In November 2017, Guadagnino shared his intention to make a series of five films, in which the audience could "see those actors grow older, embodying those characters".[39] A month later, he was reported to have begun writing a script for a sequel that would reveal more about Oliver and resemble Michael Apted's Up series.[236][237] Hammer and Chalamet have expressed interest in appearing in a sequel,[238] while Ivory has no interest in the material, saying "that's fine, good. But I don't know how they're going to get a 40-year-old [Chalamet]!"[34]

text: In January 2018, Guadagnino revealed the sequel will be set "right after the fall of Berlin Wall and that great shift that was the end of ... the USSR",[14] and that the first scene in the film could depict Elio watching Paul Vecchiali's Once More (1988)—the first French film to deal with AIDS—in a movie theater.[239] In March 2018, Guadagnino confirmed he will work with Aciman on the sequel, which will take place "five or six years afterwards" with "a different tone" than the first film.[240] He also said that Hammer and Chalamet will reprise their roles with a different backdrop, where they "go around the world".[240] Hammer said he was pitched the script by Guadagnino, saying: "it's not a finished script, but he's got all the ideas for it."[241] In April 2018, Aciman said in an interview for The Sydney Morning Herald that he and Guadagnino were "not sure" about the sequel, saying "[Guadagnino] has quite a few projects in line and so do I. So we are flirting with each other about the sequel but I don't know if we are very serious."[242] In July 2018, Stuhlbarg said that Guadagnino and Aciman were excited the project, and that the director was "serious" about it. He further expressed enthusiasm for reprising his role in the sequel, "I think it would have to be some kind of unique thing from what it was, but I would absolutely be game for trying."[243]

text: Notes[edit]

text:
Jump up ^ Mr. Perlman's full name is mentioned in the film as Samuel "Sammy" Perlman.[6]

Jump up ^ Liguria and Sanremo were once depicted as the main setting in the book.[23][36] Aciman, however, declared that the novel takes place in Bordighera, saying "I didn’t want to name it in the book, but it's known. I go back to Bordighera all the time".[37] During his time as a location consultant, Guadagnino suggested Liguria as the main setting to the producers.[32]

tag: ol