The monochromatic palette suggests the kitchen-sink heyday of 1960s British cinema; fittingly, 'Control' is at its best when it concentrates on the quotidian.
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
Control humanizes Curtis while acknowledging that he could be remote and even cruel in his selfishness and despair.
Joy Division fans have already embraced Control, a film biography of short-lived lead singer Ian Curtis. Those of us who didn't follow the 1970s English band or the post-punk scene around it may feel less invested.
[An] absorbing and ultimately harrowing look at Ian Curtis' short, unhappy life.
A wobbly construction of facts, but as musical bio-pics go, it has real cinematic personality and avoids most of the painful clichés that tend to shadow these productions...you can sense Deborah's script-approval fingerprints all over the material.
Sam Riley is fascinating as Curtis, a hypersensitive young man hobbled by his incurable disease, and Samantha Morton is poignant as his put-upon wife.
Even if you have no interest in Joy Division, this picture is worth seeing for the unsentimental empathy and passion of the moviemaking.
Control is easily one of the finest films ever made about the collision of music, madness, and the human heart.
Where many biopic actors simply dress like the subject and re-enact his or her life, Riley truly conveys Ian's heart and soul.
The film's examination of Curtis' seeming passivity "from a distance" grants his mythology%u2014as damaged, resistant rock star%u2014a kind of nostalgic weight.
Corbijn creates an extremely empathetic atmosphere, and Riley ranges richly and deeply over a whole world of emotions -- which, yes, includes massive continents of depression and hopelessness.
Film is a powerful historian, especially one as compelling, dazzling and emotionally riveting as Control.
It's not as overwhelmingly dark and depressing as might be expected. Control is not particularly sunny, but there is some well-timed humor and it's well-acted.
Curtis' story is scant and unremarkable, filled with every rock 'n roll cliché save for drug addiction, but Corbijn treats it as though it's some sort of epic.
The film nails both the malaise and creative vigor of Curtis' short, bruised and chillingly relatable life.
Control is a brilliant feature debut by Corbijn, and a compelling portrait of the life and art of the late Ian Curtis.
Even if you're not a Joy Division fan, it's a compelling movie by a new director worth keeping an eye on.
Though Curtis is hopelessly dysfunctional, photographer-turned-filmmaker Anton Corbijn makes us achingly aware of the singer's talent, the haunting poetry of his songs and how, living in the gloomy culture he did, his passing was virtually inevitable.
Riley delivers a tremendous performance, not so much a mimic as a wholesale recreation of another human being.
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December 14, 2007:
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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:
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