This example essay examines the parallel and contrasting narratives of queer love in Luca Guadagnino's 'Call Me By Your Name' (2017) and James Ivory's 'Maurice' (1989). It explores how both films depict the intense emotional and intellectual journeys of young men grappling with nascent same-sex desire within restrictive social contexts. The analysis highlights the films' distinct historical settings and stylistic approaches while identifying common threads of longing, societal pressure, and the profound impact of formative relationships on identity. The essay uses specific scenes and character developments to illustrate its arguments about the universal human need for connection and acceptance.
Comparative essays require a clear thesis that identifies both similarities and differences between subjects.
Effective analysis integrates specific details from the source material (films, in this case) to support claims.
Understanding the historical and social context of a work is crucial for interpreting its themes and character motivations.
Academic writing benefits from precise language, varied sentence structure, and an objective, analytical tone.
Assignment brief
Write an essay comparing and contrasting the portrayal of queer desire and its societal reception in Luca Guadagnino's 'Call Me By Your Name' (2017) and James Ivory's 'Maurice' (1989). Consider the historical contexts of each film, the characters' internal struggles, and the different narrative resolutions offered. Your essay should analyze how each film contributes to the broader discourse on LGBTQ+ representation in cinema.
Reference example
The cinematic exploration of same-sex desire has evolved significantly, yet certain thematic echoes persist across decades. Luca Guadagnino's sun-drenched "Call Me By Your Name" (2017) and James Ivory's "Maurice" (1989), adapted from E.M. Forster's posthumously published novel, offer compelling, albeit distinct, visions of burgeoning queer love. Set in the languid Italian summer of 1983 and the rigidly stratified England of the early 20th century, respectively, these films invite a comparative analysis of how societal constraints, personal awakening, and the transformative power of connection are depicted. While "Maurice" grapples with the existential peril of homosexual identity in a pre-Wildean era, "Call Me By Your Name" navigates the more internalized, though still potent, anxieties of a generation raised on the cusp of greater acceptance. Both films, however, ultimately celebrate the profound, often life-altering, nature of first love and the courage required to embrace one's authentic self.
"Maurice" presents its titular character, Maurice Hall, as a young man deeply uncomfortable with the prescribed heterosexuality of his Cambridge and London circles. Forster's narrative, brought to life by Ivory's measured direction, emphasizes the sheer danger inherent in Maurice's desires. The film meticulously recreates a society where any deviation from the norm could lead to social ruin, blackmail, or worse. Maurice's initial, unrequited affection for the aristocratic Clive Durham is fraught with intellectual posturing and veiled longing, a dance of words and glances in drawing rooms and libraries. Clive, though seemingly sympathetic, ultimately succumbs to societal pressure, marrying a woman and urging Maurice to do the same, advocating for a life of feigned normalcy. This pivotal moment underscores the film's central conflict: the struggle between personal truth and public survival. The introduction of Alec Scudder, a gamekeeper who offers Maurice a path toward genuine, albeit clandestine, fulfillment, marks a crucial turning point. Alec represents a different kind of love, one less intellectualized and more grounded in shared vulnerability and physical intimacy, offering a radical departure from the suffocating expectations of Maurice's class and time. The film's resolution, while hopeful, acknowledges the ongoing need for discretion and the precariousness of their union.
In contrast, "Call Me By Your Name" unfolds in a more psychologically intimate and aesthetically sensual manner. Elio Perlman, a precocious fifteen-year-old, experiences his first love with Oliver, a charismatic American graduate student spending the summer with his family. Guadagnino's direction emphasizes the sensory details of the Italian landscape – the heat, the music, the food – mirroring Elio's own burgeoning sensuality and emotional awakening. The film's power lies in its nuanced portrayal of desire as a gradual unfolding, a process of intellectual sparring, shared experiences, and unspoken longing that eventually culminates in physical intimacy. Unlike "Maurice," where the threat of societal reprisal is a constant, palpable danger, the obstacles in "Call Me By Your Name" are largely internal and relational. Elio and Oliver grapple with the fleeting nature of their summer romance, the age difference, and the uncertainty of Oliver's return to America. The film's famous closing monologue by Elio's father, played with profound wisdom by Michael Stuhlbarg, offers a starkly different perspective on love and loss than the one typically found in "Maurice." Instead of urging concealment, Elio's father encourages his son to embrace the pain and beauty of his experience, advocating for a life lived fully, even in the face of heartbreak. This philosophical acceptance, while perhaps more plausible in the 1980s than in the early 1900s, provides a powerful counterpoint to the fear-driven existence depicted in "Maurice."
Despite their differing historical contexts and stylistic approaches, both "Maurice" and "Call Me By Your Name" resonate with shared thematic concerns. Both films explore the profound impact of a significant first love on identity formation. Maurice's journey is one of self-discovery forced by societal ostracization, leading him to seek an authentic existence outside conventional norms. Elio's awakening, while occurring within a more liberalized social milieu, is equally transformative, teaching him about desire, vulnerability, and the bittersweet nature of human connection. Furthermore, both narratives highlight the role of intellectual and emotional connection as precursors to physical intimacy. Maurice and Clive engage in philosophical debates, while Elio and Oliver share music, literature, and intimate conversations. These intellectual bonds lay the groundwork for their romantic pursuits, suggesting that genuine connection transcends mere physical attraction. The films also implicitly critique the societal structures that attempt to suppress or dictate the terms of love. "Maurice" directly confronts the legal and social prohibitions against homosexuality, while "Call Me By Your Name," though set in a more tolerant period, still depicts the anxieties surrounding same-sex relationships and the potential for misunderstanding or judgment.
Ultimately, "Maurice" and "Call Me By Your Name" serve as vital cinematic contributions to the understanding of queer experience. "Maurice" stands as a testament to the resilience of the human spirit in the face of extreme adversity, offering a historical perspective on the fight for self-acceptance. "Call Me By Your Name" captures the tender, often overwhelming, intensity of first love with a modern sensibility, emphasizing emotional honesty and the beauty of shared experience. While one film depicts a struggle for survival and the other a journey toward embracing vulnerability, both ultimately affirm the enduring power of love and the courage it takes to answer its call, regardless of the era or the societal pressures one faces.
Analysis of "Call Me By Your Name" and "Maurice" Essay
This section breaks down the structure, arguments, and stylistic choices within the comparative essay on "Call Me By Your Name" and "Maurice." Understanding these elements can help students identify effective strategies for their own analytical writing.
Structure and Organization
The essay adopts a clear comparative structure, beginning with an introduction that establishes the films and the essay's thesis. The body paragraphs are organized thematically, dedicating sections to historical context, character development, societal pressures, and the nature of love depicted. This thematic approach allows for direct comparison and contrast within each point. For instance, the essay first discusses "Maurice's" historical setting and then "Call Me By Your Name's," followed by a synthesis of how context shapes the narratives. Paragraphs transition smoothly, often by explicitly linking the discussion of one film to the other, maintaining a cohesive flow. The conclusion effectively summarizes the main points and offers a final thought on the films' broader significance.
Thesis and Argument Development
The central thesis posits that while "Call Me By Your Name" and "Maurice" differ in historical setting and style, they share common thematic concerns regarding queer desire, societal constraints, and identity formation. The argument is developed by drawing parallels between the characters' internal struggles and the external pressures they face. The essay argues that "Maurice" highlights existential peril and the fight for survival, while "Call Me By Your Name" focuses on internalized anxieties and emotional awakening. The essay supports its claims by referencing specific narrative elements, character interactions (e.g., Maurice and Clive, Elio and Oliver), and directorial choices (e.g., Guadagnino's sensuality vs. Ivory's measured approach). The father's monologue in "Call Me By Your Name" is used as a key piece of evidence to contrast the films' resolutions and philosophical underpinnings.
Use of Evidence and Detail
The essay effectively integrates specific details from both films to support its analytical points. References to the "sun-drenched Italian summer," "languid Italian summer," "rigidly stratified England," "Cambridge and London circles," "drawing rooms and libraries," and the "gamekeeper" Alec Scudder ground the analysis in concrete examples. The essay also mentions key plot points like Clive's marriage and his advice to Maurice, and the father's closing monologue. These details are not merely descriptive; they are used interpretively to illustrate the broader themes of societal pressure, personal awakening, and the nature of love. The contrast between intellectual sparring (Maurice/Clive, Elio/Oliver) and physical intimacy is also highlighted through narrative examples.
Tone and Style
The tone of the essay is academic, analytical, and objective, suitable for a film studies or literature analysis. It maintains a formal register appropriate for academic writing, avoiding colloquialisms. The language is precise, using terms like "nascent desire," "societal constraints," "existential peril," "internalized anxieties," and "thematic concerns." Sentence structure is varied, incorporating both complex sentences that link ideas and shorter sentences for emphasis. The essay aims for clarity and sophistication, aiming to persuade the reader through reasoned argument and well-supported claims. The use of descriptive language (e.g., "sun-drenched," "languid," "measured direction") adds depth without sacrificing academic rigor.
Revision Opportunities
Deeper Dive into Cinematic Techniques: While the essay discusses directorial style (Guadagnino's sensuality vs. Ivory's measured approach), it could be strengthened by analyzing specific cinematic techniques like cinematography, editing, or sound design and how they contribute to the portrayal of desire and atmosphere in each film.
Broader Theoretical Framework: Incorporating relevant film theory (e.g., queer theory, auteur theory, historical materialism) could provide a more robust analytical framework and deepen the interpretation of the films' social and political contexts.
Nuance in Character Motivation: While Elio's father's monologue is a strong point, exploring the nuances of other characters' motivations (e.g., Oliver's internal conflict, Clive's societal pressures) could add further complexity.
Comparative Resolution Analysis: The essay touches on the resolutions, but a more detailed comparison of how each film ultimately offers hope or acceptance (or the limitations thereof) for its characters could be beneficial. For instance, the precariousness of Maurice and Alec's union versus the bittersweet acceptance of Elio's experience.
Example of Thematic Contrast
Consider the following passage from the essay: 'While 'Maurice' presents its titular character, Maurice Hall, as a young man deeply uncomfortable with the prescribed heterosexuality of his Cambridge and London circles... The introduction of Alec Scudder, a gamekeeper who offers Maurice a path toward genuine, albeit clandestine, fulfillment, marks a crucial turning point. Alec represents a different kind of love, one less intellectualized and more grounded in shared vulnerability and physical intimacy, offering a radical departure from the suffocating expectations of Maurice's class and time. In contrast, 'Call Me By Your Name' unfolds in a more psychologically intimate and aesthetically sensual manner. Elio Perlman, a precocious fifteen-year-old, experiences his first love with Oliver... Guadagnino's direction emphasizes the sensory details of the Italian landscape – the heat, the music, the food – mirroring Elio's own burgeoning sensuality and emotional awakening.' This excerpt effectively contrasts the societal dangers and intellectual underpinnings of Maurice's love with the sensual, internally focused awakening of Elio. It uses specific details (Cambridge circles, gamekeeper, Italian summer, sensory details) to illustrate the core difference in how desire is presented and experienced within each film's unique context.
FAQs
How do I structure a comparative essay on two films?
A strong comparative essay typically begins with an introduction that provides context for both films and presents a clear thesis statement outlining the main points of comparison and contrast. The body paragraphs can be organized either point-by-point (discussing one aspect for both films in each paragraph) or subject-by-subject (dedicating sections to each film before synthesizing). Thematic organization, as seen in the example, is often highly effective, allowing for direct comparison within specific thematic areas like character development, societal context, or narrative resolution. Ensure smooth transitions between points and films.
What kind of evidence should I use when analyzing films?
When analyzing films, use specific details from the movie itself. This includes referencing plot points, character actions and dialogue, visual elements (cinematography, setting, costumes), sound (music, sound effects), and directorial choices. For example, instead of saying 'the film showed societal pressure,' you might say, 'Maurice's discomfort in the drawing rooms and Clive's eventual marriage illustrate the societal pressure to conform.' Direct quotes from dialogue or narration, if available and relevant, can also be powerful evidence.
How can I ensure my tone is academic?
An academic tone is objective, formal, and analytical. Avoid slang, contractions (e.g., 'don't,' 'it's'), and overly casual language. Use precise vocabulary relevant to the subject matter (e.g., 'cinematic techniques,' 'narrative arc,' 'societal constraints'). Vary your sentence structure to avoid monotony; combine short, impactful sentences with longer, more complex ones that explain relationships between ideas. Focus on presenting reasoned arguments supported by evidence, rather than expressing personal opinions or emotions.
What makes 'Call Me By Your Name' and 'Maurice' good subjects for comparison?
These films are excellent subjects for comparison because they both explore the theme of same-sex desire and its challenges, but within vastly different historical and social contexts. 'Maurice' depicts the extreme dangers and repression of homosexuality in the early 20th century, while 'Call Me By Your Name' explores the more nuanced emotional and psychological journey of awakening desire in the more liberal, yet still anxious, 1980s. This temporal and contextual difference allows for a rich analysis of how societal evolution impacts the experience and portrayal of queer love, identity, and self-acceptance.