Control, masterfully, is an actual story, interested in the emotionally complicated limbos of Curtis' marriage, affair and illness.
Control (2007)
Tomatometer
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Reviews Counted:104
Fresh:90
Rotten:14
Average Rating:7.4/10
Consensus: Control is a work of art, thanks to its evocative black and white cinematography and sensational performances from Sam Riley and Samantha Morton. Even those not familiar with Joy Division can still appreciate the beauty of the film.
Runtime: 2 hrs 2 mins
Genre: Musical & Performing Arts
US Box Office: $801,112
Synopsis: Based on the memoir TOUCHING FROM A DISTANCE by Deborah Curtis, Anton Corbijn's CONTROL is as near perfect a filmic telling of the story of Joy Division and Ian Curtis as any fan could hope for.... Based on the memoir TOUCHING FROM A DISTANCE by Deborah Curtis, Anton Corbijn's CONTROL is as near perfect a filmic telling of the story of Joy Division and Ian Curtis as any fan could hope for. It's also a beautifully rendered piece of cinema about the crippling effects of love and regret, and the salvation we seek in art. Born out of England's post-Sex Pistols punk explosion, Joy Division played a dark, minimalist version of the nascent sound, and became cult heroes thanks in part to their brilliant yet disturbed frontman Ian Curtis (played by an eerily perfect Sam Riley). Corbijn does a wonderful job recreating the Manchester band's music and live show, cutting straight to the essence of Joy Division's unique appeal. Credit must also be given to the three actors who portray the rest of Joy Division. Playing all the instruments themselves, they perfectly capture the band's powerfully stoic presence, one that translates both live and on record into the sonic equivalent of an existential crisis. CONTROL, however, is ultimately about Curtis's tumultuous marriage with his wife, Deborah (Samantha Morton), and the way that Joy Division became an aesthetic manifestation of his pain--one that was both physical (Curtis was an epileptic) and emotional. Corbijn evokes Curtis's hurt and isolation with both honesty and subtlety: a photographer originally, he frames each shot to look like a stark black-and-white photo from an album the audience was never meant to see, making Curtis's pain palpable and his eventual suicide that much more tragic. The overtones to the later suicide of Kurt Cobain are hard to avoid, but where Cobain's suicide has always been discussed in terms of the pressure he felt as a rock star, Curtis's, as rendered by Corbijn, is a pain anyone could potentially be forced to suffer through. [More]
Starring: Samantha Morton, Sam Riley, Alexandra Maria Lara, Joe Anderson
Starring: Samantha Morton, Sam Riley, Alexandra Maria Lara, Joe Anderson, Toby Kebbell, Harry Treadaway
Director: Anton Corbijn
Director: Anton Corbijn
Screenwriter: Matt Greenhalgh
Producer: Orian Williams, Peter Heslop, Deborah Curtis
Composer: New Order
Studio: Weinstein Company
Reviews for Control
Sam Riley, a newcomer to the big screen who portrays Curtis with eerie accuracy, has the stringy, underfed looks of a schoolboy in the midst of a sudden growth spurt.
A tragic and overtly personal story about an ultra-sensitive artist of the 70s who finds his instincts push him beyond his comfort zone, and where guilt overtaxes his innate sense of decency.
Control is a brilliant feature debut by Corbijn, and a compelling portrait of the life and art of the late Ian Curtis.
Though it follows the usual biopic formula, Corbijn's stark, black-and-white widescreen visual scheme restores some of the story's real power.
The film ends, as it begins and largely unfolds, in a blaze of affectlessness. This is anomie as art.
Film %u0107e stoga biti shvatljiv samo onim gledateljima koji detalje povijesti "Joy Divisiona" i Curtisovog %u017Eivota imaju u malom prstu, a to su, dakako, najokorjeliji fanovi.
Control is like a wake where the guests forgot to bring the booze and, for the most part, have nothing very nice or even particularly interesting to say about the deceased.
The monochromatic palette suggests the kitchen-sink heyday of 1960s British cinema; fittingly, 'Control' is at its best when it concentrates on the quotidian.
It features lots of music from that time, and it has decent performances, but it fails to make the case for its fallen star.
Story-wise, this picture doesn't break new ground; this is a tale that one can find littered throughout the pages of history both recent and long ago, but the way Corbijn has presented it gives it a freshness and fervor that makes it worth sampling.
A gorgeous and well-acted movie that doesn't have quite enough substance to sustain its two hour running time.
Corbijn's movie is shot in a stunning high-contrast monochrome, perversely turning Macclesfield's grimness into grandeur. It effortlessly revives a British cinematic style that you might call beautiful realism.
Control is never less than completely engaging. The film is visually mesmerizing.
More expressive than Gus Van Sant's "Last Days" about a tragic music figure, but incrementally so.
A steady and moving memorial to a man who rarely felt comfortable in his own skin.
Latest News for Control
May 19, 2009:
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June 02, 2008:
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Look out! Starship Troopers and Transformers are about to assault your senses in HD, and soon you can choose Harold and Kumar's adventures. This week's new releases are... More...
December 14, 2007:
Atonement, Control Lead London Film Critics Noms
The London Critics Circle has announced the nominees for its year-end awards, with Anton Corbijn's Control and Joe Wright's Atonement leading the pack at eight nominations apiece. More...
October 11, 2007:
Critical Consensus: No Debatin' Clayton, Night Almost Owns, Elizabeth Not Golden
This week at the movies we got lawyer types (Michael Clayton, starring George Clooney and Tilda Swinton), dueling brothers (We Own the Night, starring Joaquin Phoenix and Mark... More...
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