A film that perfectly captures the essence of the legendary and influential cult band Joy Division and its tragic lead singer, Ian Curtis.
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
There is nothing here that fans of the genre won’t have seen many times before but some of the elements are so brilliantly done.
Control” has an unmistakable pulse: a wiry, electric tension between the extraordinary spectacle of Curtis at maximum surge and the dented ordinariness of which his undear life, like ours, was mostly composed.
A work of art disguised as a rock-star biography, it's an evocative portrait of an iconic outsider and the place that he tried to transcend.
Joy Division has the movie that, for better or worse, lives up to the myth.
Control suffers a bit from a touch of dry art-house-movie self-consciousness. But that's easily offset by the deeper soulfulness through which the film patiently reveals Curtis' full, almost oracular gifts and the cost of his ordinary burdens.
Director Anton Corbijn seems determined not to let the music get in the way of the human story, and his fervor goes too far.
The movie examines a life -- and a death -- without getting deep about it. The result is oddly exhilarating.
Control is never less than completely engaging. The film is visually mesmerizing.
A good movie that falls short of greatness by aping too well the behaviour of its subject -- occasionally brilliant, sometimes mundane.
Riley gives a star-making performance as the complicated Curtis, and gets more points for convincing director Corbijn, who has shot the film in moody, monochromatic wide-screen black-and-white.
The extraordinary achievement of Control is that it works simultaneously as a musical biopic and the story of a life.
A steady and moving memorial to a man who rarely felt comfortable in his own skin.
Though it follows the usual biopic formula, Corbijn's stark, black-and-white widescreen visual scheme restores some of the story's real power.
Corbijin understands the essentials of the story. He succeeds, with Riley's help, in exhuming a flesh-and-blood person from the myth that Ian Curtis has become.
Methodical and cool, this film is more artful sonnet than fanzine rave.
Cinematographer Martin Ruhe's stunning black and white photography recalls the early Beatles days, Stuart Sutcliffe's doomed artist reborn in the post punk era.
Credit the filmmakers for not mythologizing Curtis. However, he just might be a bigger enigma after watching Control.
Control honors its subject’s eternal self-doubt by honing in on that truth and leaving the legend to others.
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