FILM ABOUT MAN-BOY SEX PRAISED BY ACADEMY, BLASTED BY CRITICS

FILM ABOUT MAN-BOY SEX PRAISED BY ACADEMY, BLASTED BY CRITICS

[Hat-tip to PewSitter: Except for neo-Catholic film critic Steven Greydanus, who is a “permanent” deacon in the Archdiocese of Newark (Cardinal Tobin’s digs), founder of Decent Films Guide (How “decent” is this film?), produces film reviews: in-print for the National neo-Catholic Register and the KoC-subsidized, neo-Modernist Crux as well as on-video for the Brooklyn-diocesan NetTVCatholic, on which he gives this homoerotic film about catamite man-boy sex a glowing review! – AQ moderator Tom]

Call Me By Your Name portrays adult-teen homo-eroticism

 

by David Nussman  •  ChurchMilitant.com  •  January 30, 2018
DETROIT (ChurchMilitant.com) – An Academy Awards-nominated film portraying a homosexual relationship between a 17-year-old teenager and a man in his mid-20s is being blasted in The Boston Globe.

 

Call Me By Your Name is set in Italy and describes a relationship between a university professor’s teenage son and an American doctoral student. The film has been showered with praise in Hollywood, receiving Academy Award nominations in four categories.

But critical reviews are noting the characters’ age gap (roughly eight years), although they downplay this fact. One writer for the Boston Globe, however, expresses concern that the film attempts to normalize adult grooming of children, saying the film reminds her of all the men who abused her in her teens.

Cheyenne Montgomery wrote a scathing indictment of the film in an op-ed on January 25. She quipped, “Call Me by Your Name, the new film by Luca Guadagnino, is a deftly directed, beautifully photographed, wonderfully acted master class in sexual predation and abuse.

Call Me by Your Name isn’t about an older man and a younger man,” she insisted. “It falsely romanticizes an exploitative relationship between a grown man and a teenager.”

Montgomery herself was the victim of sexual abuse by adult males on several occasions in her teenage years. She concluded the Boston Globe piece by writing, “So no, Call Me by Your Name isn’t a radical, brilliant piece of art. We need to call it by its name. That name is abuse.”

According to those in the homosexual community, one of the things that attracts young men to the homosexual lifestyle is their longing to be accepted by older men. At gay bars, a teenage boy can find dozens of older men willing to give him attention and affection. Ex-gay Catholic speaker Joseph Sciambra says his own dive into the gay subculture sprang out of this desire for male attention (and lack of confidence in his own masculinity).

Call Me By Your Name hit theaters in November in the midst of the #MeToo movement, following the disclosure of sexual assault allegations against Hollywood mogul Harvey Weinstein, followed by many others. The filmmakers were worried it would not do well with critics, given the timing of its release. But the camerawork, acting and other aesthetic qualities caused many to overlook how the film normalizes sexual predation on youth.

The Daily Wire called the movie “tone-deaf.” Paul Bois wrote, “Hardly a cautionary tale, Call Me By Your Name is a romance of depraved proportions.”

Catholic writer Daniel Mattson, a former homosexual, commented on the film on Twitter: “I know many men to whom this sort of thing happened. This is indeed a dangerous film.”

The actor playing the older partner, Armie Hammer, told a reporter, “The age of consent in Italy is 14. So, to get technical, it’s not illegal there. Whether I agree with that or not, that’s a whole another Oprah, you know?”

 

A secular commentator said that gay men could relate with the teenage boy character in the film. Jeffrey Bloomer of Slate wrote in November, “Few readers who were ever 17, particularly (gay) male readers, will not recognize some of themselves in him.”

The film’s trailers are rife with shirtless, shiny, muscular men and young women in overly revealing swimsuits. Also, unambiguous sexual innuendos abound — both heterosexual and sodomite.

Much to the chagrin of the political Left, there is a statistical correlation between homosexuality and pedophilia. Even though professed gays account for less than 5 percent of the population, figures show at least 33 percent of pedophilia is homosexual.

In parts of ancient Greece (most notably Athens), man-boy relations were enshrined in the culture, especially among the elites, through a tradition known as pederasty. The idea was that a teenage boy would give his body over to an older man, and in return, the man would give him an education. Such practices were rationalized by some of their pagan myths in which Zeus (Roman name Jupiter) would essentially kidnap and rape young women and occasionally young men.

There is a controversial distinction between disordered attraction to pubescent teens and disordered attraction to pre-pubescent children. Attraction to teens would be called ephebophilia rather than pedophilia. Some spurn this distinction as inaccurate when compared to the actual behavior patterns of pedophiles. Others argue there is a difference in an abuser’s mentality when he exploits teens versus when he exploits very young children.

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4 comments on “FILM ABOUT MAN-BOY SEX PRAISED BY ACADEMY, BLASTED BY CRITICS

  1. [More on Deacon Steve and his recent film review]

    Let’s call Steven Greydanus by his name

    Louie February 8, 2018

    I’ll be honest, while I have been familiar with the name Steven Greydanus for some time, I had no firsthand knowledge of anything he has ever said or written until yesterday.

    Evidently, he is a film critic whose work is published by the neo-conservative National Catholic Register.

    His bio on their website states that he is “the creator of Decent Films, a permanent deacon in the Archdiocese of Newark, and a member of the New York Film Critics Circle.”

    He also provides film reviews via a program entitled “Reel Faith” that is aired by “NET TV Catholic,” which is, according to its website, “the communications and technology arm of the Diocese of Brooklyn.”

    Yesterday, I happened upon Greydanus’ “Reel Faith” review of a film entitled, “Call me by your name,” which apparently is Hollywood’s latest attempt to “normalize” homosexual deviance.

    So, what did the deacon have to say to Catholics who may have been looking for insight into how this particular “reel” measures against the “faith”?

    Rather than simply providing the transcript of Greydanus’ review, I would encourage you to watch the roughly 1 minute episode for yourself as the written word cannot possibly do justice to what you’re about to witness.

    Having watched Greydanus’ glowing review of a film set in Italy that, according to him, “wants to seduce the viewer” by telling the story of “a young man (a 17 year old minor, that is) … in a relationship with an older man,” the actors of which, he gushes, are “attractive and often winsome,” I have an idea.

    How about we call Greydanus by his name. (HINT: It ain’t “Reverend Mr.”)

    In keeping with the Italian theme, a more appropriate moniker would be something like: mezzo finnoch’

    For those who aren’t familiar with the term, it describes a testosterone-free male who, although not a self-identified practitioner of homo-deviance, is just this side of full-blown, out-of-the-closet, gay as-the-day-is-long.

    Those of you who suffered through the video cannot but concur thanks as much to his cringeworthy effeminate persona as to his drooly description of the film as “a decadent ode to desire and celebration of male beauty.”

    Seriously, what kind of man, never mind “clergyman,” speaks that way?

    Oh, yeah, a guy whose NCR bio states, “Steven and his wife Suzanne have seven children.”

    How proud they must be.

    And let us not forget that this particular review bears the “imprimatur” of the Diocese of Brooklyn.

    Let’s be honest, folks; the Catholic Church in our day, or better said, the conciliar creation presently passing itself off as the Catholic Church, is overrun by homos (like James Martin and Battista Ricca), homo-sympathizers (like Francis and Rheinhard Marx), and pseudo-males (like Steven Greydanus and what by all indications is the preponderance of Novus Ordo clergy in parishes worldwide).

    If anyone ever needed proof that Satan has indeed infiltrated the Church even to the highest places, this is it.

    As I wrote in a post entitled “It all comes down to the males” back in 2015:

    It’s rather clear that attacking the male of the species has always been among Satan’s highest priorities; undermining maleness in such a way as to tempt men into rejecting the God-given attributes that define “masculinity.”

    So, you want to read the signs of the times relative to the approaching final confrontation?

    Keep an eye on the state of males both in the culture at large and in the Church – their strength, their manliness and their godliness – as you can be certain that this is precisely where Satan is determined to pile up the most casualties.

    If Steven Greydanus is any indication, the excrement is just a hair away from the fan.

  2. I read Louie’s article on his web page earlier today. The combox was loaded with shady sedes ( i.e, BLEEPS! ), and the usual assortment of Bombastic Bushkins. Somewhat entertaining, actually.

  3. [A real review of a fake movie; hat-tip to PewSitter: “Deacon Steven Greydanus Slammed for Positive Review of Homoerotic ‘Call Me by Your Name'”]

    “Call Me by Your Name” and the perpetuation of boy-love in gay male culture

    Joseph Sciambra – 2/8/18

    Short version from the author’s facebook:

    Deacon Greydaus – you could not have gotten this more wrong; “Call Me by Your Name” is not about “sexual awakening” but about a lonely and confused boy who is raised by sexual libertine parents and then preyed upon by an older man. I have to ask this – are you okay with a 17 year old getting anally penetrated by a guy in his 20s?

    [Warning: Some graphic descriptions and links. – No worry: Unlike Visual mode, which does not work in making comments, Text mode does not automatically add images and links, each of which must be specifically entered, and none of which I did not added – AQ moderator Tom]

    Upon it’s release, the film “Call Me by Your Name” was almost instantaneously heralded by the majority of movie critics as “an erotic triumph,” and “a beguiling tale of first love” and “another ravishment of the senses.”

    “Call Me by Your Name” is based on the 2007 novel by Egyptian-born Jewish-American author André Aciman; who is heterosexual. The story revolves around the brief homosexual relationship between Elio, the 17-year-old son of an archaeologist, and Oliver, his father’s 24-year-old graduate student apprentice. In the film, the two male lead roles are played by Timothée Chalamet, who was 20 years old during filming, and Armie Hammer, who was 29.

    Set in 1983, the movie begins with the arrival of Oliver at the idyllic Italian villa owned by Elio’s parents. Elio observes Oliver from a second-story window and remarks: “He seems very confident.” Then, we learn a little about Elio; he is semi-introverted, rather bookish and obsessed with composing music. In a sense, Elio is representative of all pre-homosexual boys who went through the same struggles; myself – I was a similarly disorientated kid who endlessly drew. Like many young men his age, he is unsure, somewhat shy and seemingly caught between his childhood and the world of adult men. His personality is contrasted with that of the boisterous, robust, highly poised, but casual nature of Oliver. Elio is first revolted by Oliver’s self-assured demeanor, but then becomes fascinated; in one scene, he follows Oliver to a small nearby village and into an all-male tavern, where Oliver coolly converses with everyone and then sits down among a group of men playing cards. In my own life, I keenly remember growing up, not unlike Elio, as a down-cast and slightly angry boy who watched my father and other men interact with a relaxed certitude and ease that was both off-putting and mesmerizing.

    At first glance, Elio’s parents are highly progressive, nonchalant and lackadaisical; but they are also sexual libertines; an interesting scene occurs when the out-spoken house-keeper protests to Elio’s mother about the constant erratic unsupervised comings and goings of the boy. His mother flippantly dismisses her worries. In another scene, Elio’s father, who is self-absorbed with his work, encourages his son to sexually experiment with a local girl. After languidly watching Oliver’s ecstatic dance with a voluptuous woman, in an attempt to mimic the object of his fixation, he initiates his first sexual experience. Elio is awkward, but enjoys it. However, during a second liaison, he hears the song “Words” by F.R. David playing on his transistor radio:

    Well, I’m just a music man
    Melodies are so far my best friend
    But my words are coming out wrong
    Girl, I reveal my heart to you and
    Hope that you believe it’s true cause
    Words don’t come easy to me
    How can I find a way to make you see I love you…

    At that moment, he decides to share his feelings with Oliver. For the majority of “gay” men, Elio’s apparent bisexual inclination is incomprehensible, but it reveals his utter confusion and malleability.

    As a former “gay” man, the most overwhelming aspect of the film is the contrasting appearance of Elio and Oliver. During much of the film, taking place in the midst of a sweltering Italian summer, the two male principles are almost constantly portrayed shirtless, wearing only swim trucks and sunbathing and splashing about a nearby swimming hole or pool. Therefore, it’s no surprise, James Ivory, of Merchant and Ivory fame, wrote the screenplay for “Call Me by Your Name.” Because in “A Room with a View” from 1985, the first major hit for Ivory and his former partner and collaborator the late Ismail Merchant, we see his fixation with male communal bathing; I will never forget as a teenage boy seeing the prolonged and incredibly explicit nude swimming scene in that film. Parts of the scene, due to the presence of the lissome blonde actor Julian Sands and the waifish Rupert Graves, evoke the wistful atmosphere of the work by artist Henry Scott Tuke who principally painted nude young men bathing on the English coastline. There is also a similar precedence in Continental Europe for these types of representations from a small group of early-20th Century avant-garde artists namely Sascha Schneider (see above) in Germany and Alexander Deineka in Russia. Both, were profiled by the gay periodical “The Advocate.” In fact, today there is a whole subgenre of homoerotic fiction and gay porn which details and attempts to recreate the often-embarrassing and clumsy childhood incidents at a public swimming pool or in the locker-room showers. Luca Guadagnino, the director of “Call Me by Your Name” titled his first major film “A Bigger Splash” in homage to gay British artist David Hockney’s painting of a man diving into a pool – created when Hockney was preoccupied with the naked young men swimming in his California backyard. Among the Hollywood elites, X-Men director Bryan Singer’s penchant for hosting pool parties attended by young boys and their older male admirers was a long established open secret.

    The constant undress of the two stars is both voyeuristic and troubling; particularly because Elio looks much younger than 17, and Oliver appears older than 24; for those with even a rudimentary knowledge of gay male culture, there are also some obvious homosexual tropes being played with in the film; where Elio is slight, very thin, ribs-showing, smooth-skinned and pallid, Oliver is tall, muscular, hairy and bronzed. Similar to their contrasting temperaments, their postures are also remarkably different. Elio is slumped, tentative and prone to fidgeting, while Oliver remains in a constant state of self-control and swaggering confidence. Their incredibly dissimilar personalities and physical traits are almost immediately displayed near the beginning of the film when a sweaty Oliver, in the middle of a volleyball game, while Elio sits on the sidelines talking with the girls, approaches the hesitant young man and begins to rub his shoulders. Later, Oliver explains to Elio that there are certain non-verbal cues shared by gay men which serve to signal their interest in each other. When I first traveled to the video porn arcades, and gay dance-clubs of San Francisco, I quickly surmised the true meaning behind the often bewildering long-held stares and the deliberate unintentional brush of someone’s pelvis against my back as I sat on barstool.

    According to the Centers for Disease Control and Prevention:

    Young gay and bisexual men are more likely to choose older sex partners than those of their own age, and older partners are more likely to be infected with HIV.

    During every situation, revealing his naivete, Elio fails to comprehend Oliver’s promptings. Instead, he reverts into a boyish fantasy world of erotic daydreams and masturbation. This section of the film is indeed reminiscent of my own anguished teenage years; I recall as a lonely young man – peering out my bedroom window and masturbating while a shirtless construction worker strained his muscles laying concrete near my parent’s home; like Elio, I was attracted to his appearance, but it was his masculine determination and effortlessness that I found exciting. He was nothing like me.

    While the film does raise some interesting questions about the development of homosexual desire, the way in which the filmmakers approached the subject is completely homoerotic boarding upon, and even steeping over into, the realm of child porn. For example, the conflicting physiognomy of Elio and Oliver is truly exaggerated by the choice of actors: Timothée Chalamet, who plays Elio, gives the appearance of being almost prepubescent; this is partially due to his frame, but also the styling employed in the film: he wears New Wave pop-music t-shirts, back-packs and brightly colored shorts. Throughout the film, the camera pans, scans and lingers upon Elio as he reclines half-naked on his bed; while expertly shot, they evoke some of the haunted moodiness of 19th-Century Victorian homoerotic paintings of the male nude, yet in “Call Me by Your Name” these scenes are unavoidably pornographic and reference the ugly porn-chic realism of celebrity photographer Terry Richardson and the undertones of ephebophilia in late-1970s and early-80s gay pornography. This reminds me of a phenomenon in the weird universe of gay porn, where there are “barely legal” actors who are often employed to appear in so-called daddy-son scenes, because they look younger and could pass off as the biological child of an older costar with whom they have sex with. The curly-haired and angelic-looking Chalamet in “Call Me by Your Name” is the epitome of the “twink” idea; in gay slang, a twink is a youngish, inexperienced, usually skinny and hairless gay man who typically takes on the passive role in a sexual relationship. In the majority of gay porn, this type is inevitably coupled with a larger framed, hairier, and muscular older man. In these tableaus, the younger partner is introduced to all-male sex by his patient and supportive lover. Therefore, for those familiar with that sort of imagery, the 6’5” Armie Hammer certainly fits the stereotypical gay vision of the mature, self-confident, somewhat egotistical older male that almost every young man meets when he initially begins to explore his sexuality. And the eventual sex scenes involving Chalamet and Hammer are neither titillating nor erotic, but strangely repulsive – especially when the towering Hammer picks up a lithe Chalamet and drops him on the bed; it’s as if we are watching a gay porn film with just better cinematography, dialogue and lighting. We are witnessing the ravishment of Ganymede by Zeus – and it isn’t pleasant.

    Yet homoeroticism, even images depicting teenage boys, is nothing new to gay male culture. The cult of the beautiful boy dates back to at least Ancient Greece, where the ephebe or adolescent male, not a woman, was celebrated as the near height of physical beauty; the Kritios boy is one of the great landmarks in the history of Western art. In Athenian society, the adulation for the adolescent boy went beyond the gaze of a viewer and comprised the practice of male pederasty or “boy love” involving a pubescent boy and an older man; these relationships were not permanent and never indicated a modern conception of a homosexual orientation. Instead, these relationships included a sort of rite of passage whereby the older male instructed and mentored the boy as to the ways of manhood. In Western culture, this practice was endemic only to certain parts of Greece and only briefly revived by the grecophile Roman Emperor Hadrian who deified his dead teenage lover Antinous after the handsome youth mysteriously drowned – leaving hauntingly beautiful portraits of the boy all over the Empire. Today, the image of the aloof and sullen beautiful boy remains a staple in the gay lexicon from Oscar Wilde’s “Portrait of Dorian Gray” to the homosexual male interest in the very young Justin Bieber.

    What is most disconcerting about the film is the subplot involving Elio’s archaeologist father and his rather bizarre musing about man-boy love. Mid-way through the film, a crucial scene occurs when Elio’s father and Oliver look through a series of slides all of which show various Hellenistic male nude bronze sculptures; Oliver makes a remark about their “sensual” character. In terms of Greek art portraying the male nude, Hellenism witnessed a decadent blurring of the genders when statues of men became increasingly curved and fluid; Donatello’s much later Renaissance version of an ephebic “David” expresses the persistence of this form.

    In “Call Me by Your Name,” there is a cryptic quasi-spiritual initiation scene when Elio accompanies his father and Oliver to the underwater excavation of a lost bronze sculpture depicting a heroic ancient Greek athlete – it’s one of those beautiful supple-muscled ephebes that Oliver finds so incredibly sensual. After the discovery, father, son and Oliver romp ecstatically on the backlit shoreline.

    But most disturbing, at the conclusion of the film, a despondent Elio, looking wounded and childlike sitting on a couch, mourning the absence of Oliver, is consoled by his concerned father. Here, his dad comforts Elio by expressing his admiration for the relationship he and Oliver shared; according to Elio’s father – he too once experienced something similar, but not to their degree of intensity. He says:

    You’re too smart not to know how rare, how special, what you two had was.

    He continues:

    Look – you had a beautiful friendship. Maybe more than a friendship. And I envy you. In my place, most parents would hope the whole thing goes away, to pray that their sons land on their feet. But I am not such a parent.

    Elio’s father is an odd mix of Chris Colfer’s facilitatingly supportive dad from “Glee” and gay rights advocate Harry Hay. When questioned about his advocacy for NAMBLA (The North American Man/Boy Love Association), Hay once said:

    …if the parents and friends of gays are truly friends of gays, they would know from their gay kids that the relationship with an older man is precisely what thirteen-, fourteen-, and fifteen-year-old kids need more than anything else in the world.

    One of the more disturbing and deceptive aspects of the film is the usually awkward Elio suddenly becoming aggressive towards his attraction for Oliver; even after being rebuffed – he grabs the older man’s crotch. This sort of misrepresentation is reminiscent of NAMBLA and child molester talking-points who repeatedly claim that abused children instigated and enjoyed their own molestation. This delusional thought pattern by male pedophiles was horrifically explored in the 1994 documentary “Chicken Hawk: Men Who Love Boys,” in which several men explained how children supposedly flirted and seduced them. According to NAMBLA, one of their stated goals includes: “to educate society about the positive and beneficial nature of man/boy love, and to support men and boys involved in consensual sexual and emotional relationships with each other.”

    As a young man, even when I was 17, or younger, if an older self-assured man would have shown any interest in me, and then initiated a sexual relationship – I would have been a willing participate. Yet, as it happened, when I was 18, not because I was waiting, but on account that I innocently thought I wouldn’t be able to get into a gay club when I was younger, I finally found a man who was indeed masculine, confident, and commanding – and he wasn’t the bullying jock or the disinterested straight guy that I adored from afar; remarkably, he wanted to be with me; he was interested in me, he wanted me to share my feelings and he listened to what I had to say. I would do anything to be near that man. At the height of the AIDS crisis, when a positive HIV test meant an almost assuredly swift and painful death – I was even willing to risk my life. Did my first experience include some sort of coercion? Here, there is a bit of sad truth in André Aciman’s original text:

    I knew there’d be no coming back from this. When it happened, it happened not as I’d dreamed it would, but with a degree of discomfort that forced me to reveal more of myself than I cared to reveal. I had an impulse to stop him, and when he noticed, he did ask, but I did not answer, or didn’t know what to answer, and an eternity seemed to pass between my reluctance to make up my mind and his instinct to make it up for me.

    As poignant as these words sound, they prove ultimately false in the context of the novel and the film; for in the sex act with another man, everything and nothing is simultaneously revealed. The effects of homosexuality are often transitory and all too fleeting; even a broken innocence is stripped away forever and you truly can never return to it. According to the shooting script for the film, here is the screenwriter’s description of Elio’s introduction to gay sex:

    When it happens – when OLIVER enters ELIO – there is a degree of pain and discomfort. ELIO flinches and fights an impulse to stop him, which OLIVER sees.

    OLIVER (CONT’D)
    You’re okay?

    An eternity seems to pass between Elio’s reluctance to make up his mind and Oliver’s instinct to make it up for him. They f***. Bodies are entangled. Elio is flushed, turning from side to side as he alternates obscenities with Oliver’s name; Oliver’s face is more implacable, his lips softly repeating what ELIO says, until he bends forward to say to him:

    OLIVER (CONT’D)
    Call me by your name and I’ll call you by mine.

    This incredibly somber (almost sinister) scene elicits comparison to the use of “cue” words in sex-torture brainwashing techniques and the reliance upon “safe words” by those who engage in BDSM. It’s only at the end of the film, when Elio hears his mother call out his name, does he appear to snap out of a near stupor.

    At the conclusion of the film, Elio sits crying as he gazes into the flames of a kitchen fireplace. “Call Me by Your Name” is not a tender “love-story” nor a touching tale of a young man’s “sexual awakening,” but a tragic account of an alienated teenager who looks for guidance from those who should have protected him, but instead he is indelibly injured. Today, the film speaks less about the era it takes place in, just before the outbreak of the AIDS epidemic, and more about the current situation among young and confused boys who currently make up the majority of new HIV infections:

    Gay and bisexual men aged 13 to 24 accounted for 92% of new HIV diagnoses among all men in their age group…

    Encouraged by supposedly enlightened parents who find nothing even slightly detrimental about homosexual activity, where self-serving acceptance masquerades as compassion, and welcomed into the gay world by persuasive older men who seem to be the only adults that actually pay attention and care – the current landscape of sexual liberation has created only disappointment and devastation. With gay men, the film sadly resonates – for in seeing someone else’s loss of innocence, it somehow makes your own childhood suffering and sexual exploitation seem okay.

  4. In reference to Louie’s commentary…Bleeps may love it, but one doesn’t have to be a bleep to love Louie’s comments.
    This Greydanus is a TOTAL pervert; an absolute slave of Satan.
    Joseph Sciambra’s take on the matter pretty much says it all. Listen to the voice of experience. This is how God draws good from evil.
    Satan has learned a great, great deal in the centuries since the fall of Adam. Movies like this are the distillation of the wisdom of the serpent.

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