Genres

Visitors Review

tonymurphylee 2012-05-19 18:54:38

I normally don't like biopics about people who committed suicide, but this really struck me

Being a Joy Division fan, I wasn't crazy about seeing a film aboutsomeone whose talent I'm a huge fan of committing suicide. I wasintrigued, however, by the director Anton Corbijn who was the manresponsible for many of the photographs that we've seen on the band onstage. This is his directorial debut, unless you count his musicvideos, and I'm always interested to see the films of first-timedirectors.I wasn't expecting the film to really tell me much about Ian Curtis orJoy Division, which is fine. All I really wanted was the film to tell astory. I didn't want to watch anything like WALK THE LINE, which,despite being a well made film, is just a plot less tribute piece thatnobody can really enjoy unless they're a Johnny Cash fan. That was themain thing I was afraid of when sitting down to watch CONTROL. Needlessto say, I was not disappointed in the least.There isn't really much to say about the film in terms of what it'sabout. It pretty much details Ian Curtis's life and the rise of the JoyDivision band from the perspective of Ian Curtis before depicting hiscomplete disintegration and destruction all the way up to his suicide.To keep things interesting are the many people in his life which iswhat develops the plot.Samantha Morton, in particular, is the main driving force in the lifeof the film as well as the voice of reason and she is the sole witnessto all the pain and horror that constantly overshadows the film. Hisband members are also depicted much the same way, though without asmuch of the witnesses. They understand that he's in much pain but dueto Ian Curtis's attitude they don't allow it to affect their lives asmuch which is what leads the band to a sort of semi-downfall, thoughthey would later pick up and become New Order.The thing is, the film is as much an art-film as it is a biopic. Thereis much attention granted to the visuals and the editing that gives thefilm a rather haunting and dreamlike quality, yet at the same time itlends the film a kind of gritty and uncommon sense of dread and sadnessthat makes the film feel a lot more personal and intimate than youwould expect.It's terrifying to watch at times knowing that it's based on a truestory, but that was the aim of the film obviously. What struck me moreabout the film was how it didn't sugarcoat the cons of being part ofthat kind of lifestyle. I think because of this the film allows morehumanity to shine, which is ultimately very much needed in this story.The film comes off truly beautifully because of this.I think what a lot of people dislike about this film are the moreartistic moments in which the film just lets things unfold naturally.There are a lot of really long takes and close-ups of many meditativemoments. This doesn't make the film boring in the slightest because thetone of the film is so fascinating. The film is extremely slow-paced,but it helps to allow the viewer to digest the atmosphere of the timeperiod so that you can really get into the story.I think the other thing that a lot of people dislike about the film isthe way that Ian Curtis and the band is depicted. It's not a verypositive depiction, but I wouldn't call it negative either. Just, veryhuman. I think people need to remember that this isn't a documentary,it's an artistic reinterpretation. It doesn't have to go by the factsbecause if it did there wouldn't be as much to appreciate in terms ofhuman interaction. In addition, the film already is intimate enough.This isn't a film for everyone. It's extremely depressing andgut-wrenching at times. It's a very bleak film and it really doesn'tmake you feel good about life. It's a very quiet and simple film and Iunderstand that a lot of people want there to be a lot of depth withthis kind of story when there really isn't any depth to it. Ian Curtishad some serious problems and when he couldn't take it anymore hecommitted suicide.The film is unflinching and ultimately one of the most powerful biopicsI've seen. So what if it doesn't have a good detailing of all theevents of the time period like Michael Winterbottom's 24 HOUR PARTYPEOPLE? Even though I like 24 HOUR PARTY PEOPLE more than CONTROL,though I still love CONTROL. CONTROL is a powerful and very movingpiece of film-making and I, for one, and very happy that I saw it.

2012-05-18 21:35:46

Recommended

This review is from: Control (The Miriam Collection) (DVD) Sam Riley and the rest deliver an amazing performance. Sam Riley's portrayal of Ian Curtis is great.The entire film is in black and white--this compliments Joy Division's imagery, and it enhances the tone of the film.It's one of the best biopics I've seen. Even if you don't listen to Joy Division or like their music, I think that you'll find something to appreciate about this film.The music comes in at all the right moments, and it adds to the atmosphere and the plot.Also, as another reviewer mentioned, the bonus features do add to the film.

2012-05-16 02:10:28

ok...it was more for my husband than me

This review is from: Control (The Miriam Collection) (DVD) this movie was okay...my husband liked it, but hes really into the band so it was probably better for him than me.

paulthemagnificent01 2012-05-15 13:45:13

Great Soundtrack, Boring Movie

Ian Curtis made some excellent music with Joy Division but the story ofhis life doesn't really make for an entertaining or exciting film. JoyDivision fans and most music fans will know Ian wrote emotional anddark lyrics, had a unique dance style, had epilepsy, cheated on hiswife and hung himself this movie portrays all this but is very boringand doesn't really do much else. If you want to see and hear his musicon film or check out the dance moves just type in Joy Division onYoutube. The black and white did suit this movie and the acting andsoundtrack was superb (it'd be pretty damn hard to make a film aboutjoy division and have a bad soundtrack anyway)but the story is just souninteresting. The film about factory records 24 Hour Party People ismuch better. Even though Joy Division make up a small part of the filmand the actor doesn't really look like Ian as a movie it is a lot moreentertaining and interesting.

fakevampireteeth 2012-05-10 01:23:21

Pretty and Careful

This biopic by famed photographer Anton Corbijn about the late IanCurtis, lead singer of Joy Division, looks sharp and is likely toplease fans (it already has an 8.3 out of 10 on IMDb). Thoughostensibly based on his widow's memoirs, it delves into many areas ofthe singer's life that she never gained access to, such as his life onthe road and an intense love affair therein. CONTROL, unlike theCorbijn-directed music video for Joy Division's "Atmosphere," made 8years after Ian's suicide, doesn't seem to want to push the myth of IanCurtis further, but merely to photograph it. Corbijn, known forsnapping some of the only photos of Joy Division, has said that he wasa smitten, impressionable fanboy at the time--and this movie clearlygrew out of that experience. It is as if the only way Corbijn couldfeel artistically in charge was to shape his actors in to veritableband members (the actors play and sing and dance Joy Division's songsthemselves) and then simply photograph them like he would U2 or MilesDavis or, well, Joy Division. The effect is good-looking, but the movieisn't so much about the music, or the band playing it, as about Ian'stroubled life off stage: epilepsy, booze and the consequences of anearly marriage and fame. Due to a lack of pathos, the movie often seemsto be merely glamorizing doom, and if we can't be there for the music,we are apparently supposed to be entertained by suffering.

Atreyu_II 2012-05-09 09:30:12

It's like a rabbit coming off the hat

This film is a surprise for being in black and white. I didn't knowthat they still make films in black and white. A movie from the year2007 in black and white is very unusual. In fact, considering thatnowadays's youth (and even many more grown up people) doesn't like towatch old movies (even lesser if they're in black and white), I amsurprised that this was even made like this and even more with itssuccess.That said, it's time to talk about the movie in question. I watched itwithout knowing anything about it. In fact, once I realized it was inblack and white, I thought it was a very old film, but I didn't takelong to realize it wasn't old at all. The way it is made is anythingbut old.My best friend loaned me the film. I have to admit that I knew nothingabout the musician (Ian Curtis) and the band (Joy Division) inquestion. But with this film and later some research, I got to learn.To make a judgement on this band's type of music, they're very muchlike The Doors (Jim Morrison's band).This movie is simply a biography of the singer and band in question,focusing on Ian Curtis's life between 1973 and 1980 (the year of hisdeath). It deals mostly with his many personal problems, his marriageto Deborah (and a bit, but very little, on his baby's birth), the birthand rise of Joy Division, his epilepsy issue and his love affair withAnnik, and his self-homicide (that is, his suicide). It closes with thewords «Ian Curtis died May 18, 1980. He was 23 years old». The film'stitle comes from a Joy Division song, "She's Lost Control".Is it a good movie? Well, this is a rather complicated film to judge,as it often happens with biographical films (of course, I am speakingfor myself).

Redcitykev 2012-05-09 02:59:27

Caught the atmosphere wonderfully

Speaking as someone 'who was there' - ie a teenage/young man in thelate 1970's/early 1980's - the first thing that struck me about thisfilm was the way in which it captured the atmosphere of that age. Dank,grim and often feeling bereft of hope for the future. Into this darkworld stormed music which attempted to capture the zeitgeist of theage, groups like the Sex Pistol, The Damned, The Clash etc, and, aboveall of these to my mind, Joy Division and their strange, troubledlooking lead singer Ian Curtis.In trying to capture the essence of Ian and the band onto film is noeasy feat, and director Alan Corbijn has almost pulled it offcompletely. The dissolution of the times, the soul destroying high riseblocks, grubby clubs (many a night spent in such places!) and a societyon the verge of Thatcherism is wonderfully portrayed, and use of music,going from the glam of Bowie to the 'in your face' Pistols creates theatmosphere of society on the turn.It is clever in the way that Corbijn only shows the reaction to othergroups - ie like when Ian and Deborah are watching Bowie as ZiggyStardust, or the lads - ie Hooky et al - are transfixed by the Pistols.This is repeated when Tony Wilson watches Joy Division for the firsttime, his reaction is splendid! This allows for the performances by JoyDivision themselves to take centre stage, and when they do, WOW!Corbijn captures the live experience in a way that is almostScoreses/Raging Bull in its intensity.Needless to say the cast are all fine, with Ms Morton again giving anobject lesson in portraying tortured females on the screen - ie'Longford' and herself as Maria Hindly. But of course, as with anythingconnected to Joy Division, it is Curtis we have come to watch, and SamRiley delivers a once-in-a-lifetime performance as Ian. If he doesanything better then I REALLY want to watch it! Yes the film is bleak,it was a bleak era, and the humour could be lost on those who were notthere - it is typically British Northern, and, speaking as aSoutherner, I did find it a little hard to take - but the film doesgive an insight into a tortured soul without ever being sentimental orcruel.If the film has a fault it is that it is, maybe, a little too long - 10minutes could have easily been trimmed, and it is at times a little toobleak, but it is rewarding if you were there, the memories will comeflooding back, believe me!, and if you were not, then it shows you whatyou missed out on!

2012-05-08 14:11:26

Extra Great

This is a must have for anyones collection of great performers/singers/groups. This movie is shot in the most perfect way that Ian's life ever could be told. Jodi

commandercool88 2012-05-08 04:14:43

Haunting Cinema

The tragic life of Joy Division's Ian Curtis comes to life in the bleakblack and white 'Control'. Anton Corbijn's debut film places amicroscope over the singer's short life, and it's a perceptive andsignificant entry to the biopic cannon. Bolstered by a fantastic andeven haunting performance from Sam Riley, 'Control' is a difficult butadmirable effort to shed light on one man's mysterious life.There's a quality to 'Control' that almost forces its viewer to watchfrom a distance, and I feel this was an intentional choice. Ian Curtis,by today's standards, would be labeled as one of those introspectiveemo boys. There seems to be a fiery passion underneath, but he's almostshut off to the rest of the world. Riley's tremendous performance attimes comes off as frighteningly realistic, but through all hispersonal torment, he comes off as a distant and detached person who'sdifficult to read.One may almost feel empathy for Curtis' situation in life. He is atonce being pulled between two very different worlds. Life with his wifeand daughter or a promising band on the brink of international stardom.The script, co-written by Ian's real-life wife Deborah Curtis, portraysthe singer as an increasingly unhappy man. Trapped in a life he can'tseem to escape either which way, a life he has no control over. His ownselfishness and health complications hurt those who loved him most, andSamantha Morton's performance as Deborah is a painful and heartbreakingthing to watch.Photographed in black and white, the absence of color seems fitting.'Control' doesn't intend to explain or rationalize Ian's decisions inlife, it is what it is. His eventual suicide at 23 is one that leavesus with a pang of emptiness but not surprise. 'Control' is a tragicstory, and a profoundly difficult piece of work. It doesn't look forthe light at the end of the tunnel, it's a picture that comes to ascreeching halt as the life of another ends. There are no Hollywoodfix-ups, no glamor.It is such a realness that makes 'Control' difficult to judge. Oneknows after watching that they have witnessed something very special,no matter how brutal it may have been. Art isn't always beautiful,'Control' certainly isn't. But it is art.More reviews:rottentomatoes.com/vine/journal_view.php?journalid=219276&view=public

Cliff Hanley 2012-05-07 20:45:31

Signalling a Kitchen-Sink revival?

Anton Corbijn polished his craft as a stills photographer, and thisfilm's greatest strength lies in its visual quality. Nearly all of itworks as a series of animated stills. It certainly could not have doneso well in colour: the director's experience shooting in mono for themusic press (the 'inkies'), including of course the real-life JoyDivision, and his professed admiration for early Ken Loach films,especially 'Kes', comes through clearly.Michael Winterbottom has already covered a little part of the IanCurtis story in '24 Hour Party People', including his suicide when 23.Matt Greenhalgh has said he was sorry to have missed the opportunity towrite the script for it. As he is a Manchester guy he was thedirector's and producer Orian William's popular choice to write thescreenplay for this one. The curious link here is that Craig Parkinson,who plays impresario Tony Wilson, the central figure in 'Party People',looks more like his impersonator Steve Coogan than the man himself,who, although he died before this film was finished, co-produced itwith Curtis' widow Deborah. Toby Kebbell, truly unrecognisable from'Dead Man's Shoes', puts so much meat into his portrayal of the band'smanager, incidentally, that it's possible to re-imagine the whole sagabeing told from his point-of view, as some kind of very black comedy.Much is made of the extraordinary contrast between musicians' day-jobsand rock 'n' roll stage personas: Curtis worked, neatly brushed andkeen, in an employment exchange until the sun went down and he made hisdreams of Gothic, sci-fi and beat poet imagery come alive on stage. SamRiley has been touted as a 'non-actor' (another nod to Loach) but hehandles the Jekyll and Hyde task very well. The gig scenes areconvincingly handled, (something Antonioni, for instance, made such amush of in 'Blow-Up') although a brief appearance by John Cooper Clarkethe 'punk poet', playing his much younger self, just about blowseverything else off the stage. Curtis got married young, to a localgirl (Samantha Morton in yet another sublime disguise) but fell forAnnik (Alexandra Maria Lara), a skinny and dangerous Other Woman fromBelgium. It was being torn between these two beauties that inspired hismost famous song, and combined with epilepsy and chronic stage frightthat contributed to his suicide.Before he became epileptic himself, he witnessed a job-seeker he wasinterviewing, suddenly having a major seizure. It's shown mostly fromhis point-of-view. It's an important event to include - he wrote 'She'sLost Control' about it - although misunderstanding about epilepsy is sowidespread that it's feasible to expect some of the audience to go homethinking he 'caught' it.The overbearing feeling of this film is of a Kitchen-Sink revival,albeit widescreen, and that's not just because of the monochrome. Justto top that, the final scene, as Ian Curtis leaves by way of thecrematorium, of oil black smoke rising up to fill the sky, may be areference to the milieu where the original concentration camp joydivision had to work as sex slaves; although it has strong similaritieswith Charles Foster Kane's big finale.

2012-05-02 15:12:28

A decent movie, but...

I just couldn't be persuaded to give a dump. Biopics are often the most forced types of films. Any sparks created by the friction of big name actors and directors are incidental, secondary to the greedy will of the cackling agents and producers who smushed them together. The cast of "Control" have chemistry; there is a cool smoothness to these short-spoken people, and which permeates the film. But nothing really special emerges.The upshot is, I was never sucked into the movie to a depth where I no longer noticed its Hollywood machinery, hear the producer saying, "time for a sex scene," "time for a time jump." I just didn't care. Some will dig it. I did not. Maybe it's me. It's not a bad movie. Just not *great,* perhaps not enough for most people without a strong connection to punk/post-punk. Although with a little patience, I could well see this slow-moving film may serve as a meditative backdrop for some good old pondering about the human condition, fame, fear, and the banality that forms the undercurrent of most of our lives. I just downloaded "True Grit," so I'll be doing that.

2012-05-02 10:43:43

Very good film

I watched the movie only, none of the extras. Although it seemed a bit drawn out in certain parts, an overall very good movie about Ian Curtis and the late 70's. I will end up purchasing the dvd for the extras.

Gary 2012-04-30 21:30:00

No thanks

I thought this was a dreadful film but then I've never liked Bio-Picsbecause they can never capture the charisma of the original performers.I did like the Glenn Miller one and the Buddy Holly Story but even withthat, Holly's wife said their courtship was laughably inaccurate in itsportrayal. So what's the point? Is this social realist/ kitchen sinkdrama? In which case, why all the inaccuracies? I remember us alllistening to that EP where Joy Division first appear (I think asWarsaw.) We kept playing the opening: "You all remember Rudolf Hess?"over and over again as it sounded so dodgy, what with the band'salleged "reputation". I'm pretty sure the song that follows is "A LaterDate", not "Leaders of Men." But maybe that wasn't the case in reality.And I seem to remember the bassist telling the story of how Rob Grettonbecame their manager and it was nothing like the macho confrontationdepicted. Just the opposite, to an amusing degree. And the bandconfessed the "blood letter" was apocryphal. Does any of this matter?Well, according to the critics you would think "Control" is the secondcoming of Tarkovsky. But there is no such poetry here as the directoris a photographer turned director. Film is another disciplinealtogether, and the crucial failing is that Joy Division arguably havethat mysterious mojo called "artistic talent", while the director'slack of it sticks out like a sore thumb on the screen. Why did he wantto make this film? I was left none the wiser, and I heard yawns aroundme.Do we need art? Is it in any way essential? Maybe the film is notinterested in the question. The really uncomfortable aspect of"Control" is we know the outcome, and the songs are merely box afterbox to be ticked as they bring you ever closer to that event. Reallyquite dreadful to sit through. The whole minute by minute depiction ofthe tragedy was unpleasant and unnecessary, at least to me. Yes, it wassad but is this helping? The final shot was particularly repulsive and seemed to allude to thecontroversy of their name and image, hardly touched upon in the filmitself. Sadly, this is a trite little film and definitely made by afan.

hapiores 2012-04-30 17:28:35

Behind a name

It's surprising what a name can hide, what a word defines and what itleaves out. "Control" brings some light to late vocalist Ian Curtis,the man itself, behind Joy Division.What is often spoken is that he hada tragic death at the age of 24 with a suicide that ended a rathercomplicated life. Not being a true fan of J. Division and not knowingwhat it was about i was surprised by the young boy hiding behind thatname, trying to find out his way through live the best he could. Hisyouth mirrors every aspect of his life, from the impetuous choices hemade to the early marriage and fatherhood or the passionate/silentrelation with Annik. That's the center key for the whole movie,watching a young man trying to shape itself, trying to grow, copingwith life, becoming aware of choices and trying, just trying, to be incontrol. All of this with a troubled personality. The black&whitecinematography works perfectly to portray the dismayed dormitory citiesin England's 1970's, pure urban voids where nothing interesting seemedto possibly grow; and surprisingly the background for cult bands ofthat time. It seems he never left those places.

2012-04-30 04:07:37

A few things you should know about 'Control'

'Control' is an okay film, but the music of Joy Division transcends the script and storyline. Let's face it, 'Control' would be bleak and depressing if not for the beautiful music. I never understood why people think of Joy Division as some kind of morbid 'downer' group. Their music always moves me and inspires me...it is a fabric of light, wove from choking strands of sadness and confusion.You may also enjoy Time Struggle 1: The Wolves of Odin (Volume 1).

tonyjackie 2012-04-29 10:10:59

A fitting and worthwhile tribute

As a fan of Joy Division and also hearing so many positive things saidabout this movie,it was with some trepidation that I watched'Control'.So often it is the films that you really look forward to thatcan disappoint the most.I am glad to say that this movie is very wellmade and a fitting tribute to the life of Ian Curtis.Filmed in black and white,this gives the film the atmosphere needed forthe subject matter.While we may all know the outcome,the ending is donewith subtlety and handled in a very professional manner.The movie nevertries to gloss over the darker phases of Curtis' life but there isnever the slightest hint of sensationalism and you get the feeling thatthe story of his life is being told in an honest and accurate way.As for the acting,it is uniformly excellent throughout.Sam Riley givesa very good performance as Ian Curtis especially when he is on stage.Hetruly becomes the troubled singer and deserves the plaudits that he hasreceived for this film.He could have a pretty good future ahead ofhim.Samantha Morton is as reliable as ever as Deborah.She shows thetorment but also the love she felt for Ian Curtis in a convincing wayand it is to her credit that she manages to portray a woman quite a fewyears younger than herself in an always truthful and honest way.I wasalso impressed with Toby Kebbell as the manager of Joy Division RobGretton.He brings humour and a touch of cynicism to the role and almoststeals the movie.Actually,there aren't really any dud performances inthis film at all.This is a fine film and captures the spirit of the time perfectly.Welldirected,beautifully shot and a very good script.Recommended.

deadrose 2012-04-28 20:17:24

Soundscapes of Emptiness

This is a beautiful film of an achingly bleak, short life.We follow Ian Curtis from April 1973 to his death in May 1980, thenight before Joy Division's first American tour would have launched.Schoolboy pill-stealing hijinks and fumbling romance are punctuatedwith moody thoughts and a first, telling, absence seizure (petit mal)in class.Ian married his sweetheart at 19, just as punk rock exploded acrossEngland and alienated teens started grabbing musical instruments andstripping the accretions off rock and roll. He joined a band with somemates, and the rest truly is history.Sam Riley does such an amazing job playing Ian that I kept having toremind myself it wasn't actually him - the thin hunched shoulders thatsagged lower as multiple stresses piled up, the writhing spasmodicmovements onstage, all look so much like the real footage of Ian thatit's quite uncanny. His portrait of severe depression is spot-on, too.The scene where Debbie confronts him and he shrinks back into himselfas she backs him into a corner was familiar to anyone who's eversuffered clinical depression.The lack of a score combines with the photography to provide deep,still, lonely scenes, making the viewer feel the emptiness andisolation growing within him. When the music finally comes in, it fillsthe space but at the same time rips at you.I was a fan of Joy Division back then (and still), and so May 18th 1980was a doubly depressing day for me - I'd been very excited that JoyDivision was touring the US, and as an added bonus for us Seattleites,Mt. St. Helens decided to blow her top. A fitting memorial, perhaps.

valgrim1333 2012-04-28 17:06:50

Bleh

The most mundane example of insanity ever filmed. Ian Curtis shouldhave killed himself 15 minutes into this crap. This movie clocks in at2 hours but it felt like five at least. Five TEDIOUS hours. Much likehis life as depicted but minus the epilepsy. Although the fits didbreak up the boredom a little. Just a little.If you get what you always wanted, maybe it becomes everything youhate... Gratitude is replaced by a strange apathy. The first emoband,what else could a life so gray have ended in but suicidal deathover the end of a marriage he couldn't even decide to want.Bleh

come2whereimfrom 2012-04-26 08:39:23

A stunning and moving portrait.

Making the leap from photographer to music video director to filmdirector, Anton Corbijn's feature length debut 'Control' is quitesimply stunning. Shot entirely in black and white it tell the story ofIan Curtis the lead singer with Manchester band Joy Division but itsalso much more than that it also tells of one mans journey into theheart of darkness (Apocalypse Now is mentioned in the film) a journeyof fear, paranoia, illness and depression. Curtis has been played infilms before but only as bit parts (24 hour party people etc) here heis portrayed breathtakingly by Sam Riley who played Mark E Smith in 24hour party people and when he first appears on the screen I have toadmit I wasn't convinced but as Ian the person grows so too does Rileyinto the role and at times he has him so down to a tee its hard toimagine its not the real Curtis up there. The rest of the band arepretty good as well but are only really second fiddle to Riley but youhave to give them credit for learning all the songs and playing themlive rather than mime. Samantha Morton is great as the put upon wifeDeborah and Craig Parkinson is convincing enough as Tony Wilson butapart from Riley's stand out performance its Toby Kebbell as managerRob Gretton who has some of the best lines and has come so far sincehis role in 'Dead Man's Shoes'. The cinematography is a visual feastfor the eyes, being shot in black and white adds to the mood and givesa haunting feel that echo's the music and lyrics of the band, it alsomeans (and I guess its Corbijn's photography background) that so manyof the shots in the movie could be still images they are framed sowell. Although never really explained in terms of answers, Curtis'sillness from the seizures to the depression and the hopeless sense offalling apart reminded me of Catherine Deneuve in Polanski's'Repulsion' another black and white film that deals with madness. Iguess that treating mental illnesses was still in its infancy in theseventies, yes we'd stopped electro-shocking people but medicationswere still being developed and trialled. It seems it was very easy forCurtis to reach a certain point what with juggling home, life on theroad, his condition and the pressure of increasing fame but when itcame to helping him out he really was on his own and did feel a senseof 'isolation'. But with a story that has a widely known end point itsmore about the journey and here Corbjin punctures the narrative withsome truly witty moments while leading up the incredibly moving andinevitable finale. Handled brilliantly by all involved this is anotherexample of a great British film that deserves all the accolades it isreceiving and if this performance is anything to go by expect Riley tobe very big indeed.

2012-04-25 19:24:50

Indispensable but Limited

Of the three Joy Division films available, "24 Hour Party People," Grant Gee's excellent documentary "Joy Division," and "Control," "Control" is the least fun and the most demanding. It suffers from concentrating on Ian Curtis and his final days - it moves quickly through the formation of Joy Division to the chaotic and disastrous last week of his life, exploring his final hours in some detail. So it's depressing - interesting and beautiful to watch, but it ends badly, of course. The film does justice to the onset of his epilepsy, betrayal of his young wife and baby, a love affair he can't resist, the band's new fame, ending in his suicide, all sensitively treated with taste and restraint. Anton Corbijn's photography is gorgeous and the acting is strong, but the script is minimalist to a fault. A standout is the part of Annik Honore, played by the lissome and limpid-eyed Alexandra Maria Lara. Corbijn overdoes the shots of her smiling up prettily at Curtis from the audience in concert scene after scene, but this movie makes it as clear as the docu how different she was from Curtis's everyday Macclesfield milieu. Alexandra Maria Lara also played Hitler's high-spirited secretary Traudl in the outstanding "Downfall."