A stylized biopic of Joy Division's Ian Curtis (poignantly played by Sam Riley), which captures the punk and post-punk eras, centering on the singer as a tormented, romantic man, who loved two women equally.
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
A film that must be seen by any true Joy Division fan, but also entertaining enough as an introduction to this influential band and its troubled singer.
Distinguished by its close connection to its subjects, coupled with unexpected flashes of irreverent humor, the film is as emotionally charged as the music it celebrates, which has been cited as an influence by everyone from Nine Inch Nails to U2.
Corbijn has done his research during 30 years as a photographer, striking a realistic balance between farce and tragedy.
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.
After decades of acclaimed rock-and-roll photography and music videos, it's not surprising that Anton Corbjin's first feature film is about a musician; what is surprising is how well-crafted, sympathetic and good Control ultimately is.
It features lots of music from that time, and it has decent performances, but it fails to make the case for its fallen star.
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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...
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