Control Reviews

I was only a teenager when we went to the Hacienda in manchester for the first time. The band that played that night and was joy division. The club was empty but they were amazing. Ian was amazing. R.I.p

"Ian was walking pain", went a line describing the late Joy Division's singer. "His whole short life was black & white", went another. So it should be appropriate that Control was filmed in stark black & white, all the while giving us a pain-and-depression filled atmosphere and a superb performance by up-and-comer Sam Riley that was haunting and sublime. Taking the title from Joy Division's most iconic song, She's Lost Control, this film chronicles the very short life of Ian Curtis, - He suicided at the age of 23 - his drug addiction, his short-lived marriage, the forming of the band, the success, the inspiration, and finally, the death - All done in a hypnotizing fashion that, by the time the film ends, will have you become a fan of the band, or will make the already fans go back to their original albums, namely Unknown Pleasures. I found myself whisking straight to that album when it ended. Felt like listening to a voice of an old friend through a long-forgotten recorded tape / video.

The film opens memorably; It shows Ian just a few short seconds before his death, lamenting about his life. Then it flashbacks to 1973, starting the story proper and, in a way, a documentary of punk rock. We get a shot of his bedroom and are reminded of the fact that even iconic rock-stars (lame term but whatever) started out as nothing more than most of us are now; Posters of Bowie and Reed on the wall, a small plaque of sorts honoring Morrison and various other tidbits. This in a way was satisfying to watch. This created a Frodo scenario of sorts. A normal person starting his extraordinary adventure and becoming the well-known figure as we know him today. Sam Riley, from the word GO, had his role in complete check. It was a highly detailed performance with impressive attention to the subtlest of the movements. And I think he nailed the dead-fly dance. Every time he stood behind the mic, it was always a hypnotizing effect.

Story-wise and directing-wise the film is absolutely top-notch. Anton Cobijn has some seriously cool directing skills and he should direct more music-biographies, especially on 80's Rock bands, if can manage that.

Performance-wise, all of the main cast were amazing, with Sam Riley being the ultimate. Samantha Morton as Deborah Curtis, Ian's wife, was awesome in her role. Since she was the only "big name" among the relatively unknown cast, she bought a lot of professionalism and integrity in her role. I also enjoyed Tony Krebbel as Rob Gretton, their manager. It was a great performance and fun to watch. Craig Parkinson as Tony Wilson wasn't bad either. It's too bad he wasn't given more screen-time as he definitely had me impressed by his short screen-time performance. All of the cast were top-notch in their respective roles from start to finish.

In all, Control is a cool film and should not be missed. Fan or no fan, you must watch it!

9.0/10

Biografie legendarnych muzyków to istne samograje - muzyka, choroby, seks, narkotyki, alkohol i powrót do formy, czyli życiowa sinusoida w pełnej krasie. W tego typu gatunek można "wcisnąć" i ostre sceny odjazdów po różnorakich używkach i egzystencjalną pustkę nadwrażliwej jednostki. Proporcje, wydawałoby się, idealne dla publiki, fanów i krytyki. "Control" Antona Corbijna to jednak przykład na to, że bez reżyserskiej charyzmy w kinie "samograjów" nie ma i nawet atrakcyjny temat może zostać rozmieniony na drobne.

Ian Curtis, lider grupy Joy Division, jak większość wybitnych muzyków popularność zdobył tak młodo jak młodo odszedł. Samobójcza śmierć z miejsca otoczyła kultem jego twórczość, a on sam stał się legendą. Wpływ Joy Division na rozwój muzyki rockowej był (i jest) nieprzeceniony - na wskroś pesymistyczne teksty piosenek, obrazujące wewnętrzne rozdarcie człowieka, absurd dokonywanych wyborów i marność doczesności były tematami dość nietypowymi, a w połączeniu z genialną formą i hipnotycznym głosem wokalisty, dawał innowacyjną mieszankę słów i dźwięków, od której nie sposób było się oderwać.

Zestawiając bogactwo tych tekstów z większością monologów i scen z udziałem głównego bohatera odczuć można wielki zawód. Sceny te sprowadzają się (dosłownie lub w kontekstach) do nieszczęśliwego małżeństwa i miłości do innej kobiety; ewentualnie oscylując wokół przytłaczających oczekiwań ze strony publiki i producentów. Jakkolwiek by te kwestie odczytywać, nie są to rozterki egzystencjalne spowodowane niemożnością odnalezienia swojego miejsca w świecie, a konsekwencje wcześniejszych decyzji. Ta nieudolna próba oddania depresji i zniechęcenia otaczającym światem ciągnie się i ciągnie, nie dając w zamian żadnego satysfakcjonującego rozwinięcia. Role aktorów są bardzo dobre, powściągliwe i przemyślane (Sam Riley dodatkowo ma świetny głos), ale na drodze, co rusz staje nieszczęsny scenariusz.

Zamiast ożywionej legendy powstała standardowa biografia próbująca ukryć się za szafarzem filmu niezależnego. Bo w sumie "Control" mógłby być zrealizowany przez wielkie studio, za wielkie pieniądze z równie wielkimi ambicjami i spektakularną porażką artystyczną, bo symultanicznie do półproduktów z Hollywood brak mu jakiejkolwiek indywidualności (mając za muzę taką postać!) - okrywa go scenariuszowa apatia i reżyserska impotencja.

Nawet sporadyczne głosy z offu Iana, jego małżonki lub kolegów z zespołu to błahe i jednoznaczne komentarze do danej sytuacji nijak niezgłębiające żadnej z tych postaci. Muzyka obroni się sama, lecz poza nią pozostanie bezgraniczna pustka, bo wszystko, co twórcy tego filmu mieli do powiedzenia o liderze Joy Division, zawiera się w tytule. Ian Curtis wskutek stresu, niezadowolenia i wyczerpania traci kontrolę nad związkiem z kobietą, własną karierą i życiem. I jeśli na papierze można próbować odczytać to jako porażkę wybitnej jednostki, potrafiącej zgłębiać naturę człowieka, a przegrywającej z prozą codzienności, to na ekranie widać tylko potraktowane po łebkach składowe, wyczytane z książki Deborah Curtis. Ot, cała wnikliwość.

Ian Curtis was the enigmatic singer of Joy Division. His personal, professional and romantic troubles led him to commit suicide at the age of 23.

Since I kept hearing some good things about this flick, I was really eager to check it out but, eventually, it turned out to be even better than I expectecd. To be honest, it must be one of the most depressing movies I have ever seen but it was still very good anyway. Indeed, the directing by Anton Corbijn was kind of mesmerizing which is even more impressive when you take into account that it was his directing debut and the main actor (Sam Riley) provided a great performance as well. It’s interesting that, for both of them, Corbijn and Riley, I had some great expectations after such an impressing debut but, unfortunately, their career didn’t really deliver the goods after that. Anyway, coming back to our main feature, the whole thing was very efficient in providing the feeling of that period and a feeling of the punk movement. You could also almost feel Ian Curtis's malaise. The best thing about this flick is that I didn’t really like Joy Division’s music, to be honest, but this biopic was still quite mesmerizing nonetheless. To conclude, I thought it was a really impressive picture and it is definitely worth a look, especially if you are interested in Joy Division.

''When you look at your life, in a strange new room, maybe drowning soon, is this the start of it all?''

A profile of Ian Curtis, the enigmatic singer of Joy Division whose personal, professional, and romantic troubles led him to commit suicide at the age of 23.

Sam Riley: Ian Curtis

Director of Control Anton Corbijn has finally joined the ranks of his contemporaries Spike Jonze, Michel Gondry, and Mark Romanek in directing his first full-length feature. No one could have been a better choice than this still photographer and music video director of cutting edge bands like Depeche Mode, Echo and the Bunnyman, and, of course, Joy Division themselves with the video for Atmosphere albeit eight years after the death of frontman Ian Curtis. Corbijn has the sensibilities to craft a gorgeous biographical study of a man on the verge of newly found greatness and the humanity of his soul, which keeps him from taking that next evolution beyond. The cinematography is glorious in its stark, high contrast, black and white, the performance scenes feel realistic and genuine, and he captures divine performances from every cast member.

Joy Division's lead singer, as portrayed here: I will admit to knowing next to nothing about the band before viewing, possibly enhancing my pleasure as there were no trace of annoyance when something didn't mesh to reality—was not your run-of-the-mill rockstar. Ian Curtis was an everyman like you and me, a fallible creature, both confused and naive in his young age. Marrying so early in life, Curtis had a child, a day job, and a gig fronting one of the hottest bands of the time. What started as a way for expression, however, soon becomes another slice of trouble in his already crumbling life. When diagnosed with epilepsy, a condition for which he once tried to help afflicted gain employment, he begins a regiment of medication concoctions, hoping to find a combination to alleviate the suffering. Mixed with his late night shows and high alcohol consumption, both frowned upon by his doctor, Curtis maybe the only star I know to have fallen into his psychological descent from prescribed drug use. Ever more depressed as his love blossomed between his wife, child, and mistress, Curtis could never find the balance to deal with the fame and the fans. After all he gave in life and on-stage, they just had one answer for him…We want more.

''I wish I were a Warhol silk screen hanging on the wall. Or little Joe or maybe Lou. I'd love to be them all. All New York's broken hearts and secrets would be mine. I'd put you on a movie reel, and that would be just fine.''

Truthfully, Sam Riley is quite a find. Whether his talent is real or just catered perfectly to this role—I'd like to believe the former—he is amazing. Totally embodying Curtis, Riley's face is never shown with a shred of "acting" noticeable. His blank stares, the weak smiles, the crying, and the pain of his seizures all come across as though we are viewing a documentary. Complete with Curtis' unique dance style, it is like watching history as it happens. Credit the rest of his bandmates for adding to the realism in each performance sequence, as well as the supporting cast. I was a bit unimpressed at first with Samantha Morton as his wife Debbie, but that feeling quickly went away. What appeared juvenile and trying too hard to play 20 years old eventually came together as a pretty solid piece of work. Always great, Morton shines when the world begins dissolving around her, but her love for her husband never wavers behind the tears and anger. Besides her, mention also needs to be made for Toby Kebbell as manager Rob Gretton. Starting as comic relief, his character plays a tremendous role in Curtis' life. While the band seemed to be unable to deal with their singer's affliction, Kebbell stays by his side throughout, doing what he can to try and keep him together.

The greatest praise I can give additionally to this film, above even the great performances from the cast, is that it feels like it was really made in the early 80s. It has a BBC2 clunky-kitchen-sink quality ('Come to bed Ian'), that I think may be accidental, but to someone like me who lived in the UK at the time, is more redolent of the era than the twin-tub, pay-phones, and Andrew's Liver Salts in the medicine cupboard combined. It took me to another era of film-going altogether.
More plaudits for letting the actors perform the music themselves, adding authenticity to their roles and an evenness to the musical performances. Even more plaudits for having 'Love Will Tear Us Apart' as the only exception to this. Listening to Ian Curtis sing the words he wrote about the situation unfolding on screen before us in the sharpest of focus brings the pain he felt cutting clearly and directly into the hearts of everyone who watches this perfectly melancholy film.

Control is a remarkable achievement that succeeds by adhering to the one aspect I like in biopics, keeping it simple. We are only shown a few years in his life, the meeting of his wife and bandmates and the short-lived tenure of what was Joy Division. This capsule in time is allowed to evolve and flesh out all the emotions and turmoil that went on. From the highs to the lows, the comradery to the adultery, Curtis is always portrayed as the tragic hero he was. Everything his music did for its listeners, all the power and hope it instilled in the fans, came at a steep price. Draining himself of life and confidence and love, Curtis was never going to be able to keep the ride going into the US. Corbijn gets every moment correct, straight through to the inevitable conclusion. Never trying to shock us, he treats the ending with immense compassion and love. Subdued and heart-breaking, Curtis' demise is allowed to be as beautifully touching as the rest of his shortly spanning time among us, a candle blown out too early, too soon.

''So this is permanence; love-shattered pride. What once was innocence, has turned on its side.''

"Joy Division, you cunt!"

The band Joy Division managed to generate an astronomical fan base when they helped change the face of music during the 1970s. Control is a poignant, moving, emotive accolade to the life of an ill-fated rock-star named Ian Curtis (Riley) who was the lead singer of Joy Division.

Control is a film that delves deep down into the profoundly troubled life of Ian; a man who died far too young. Ian had a sincere fondness for rock-stars like David Bowie and Iggy Pop. The film's hypnotic opening scene introduces us to a 17-year-old Ian Curtis who is on his way home from school. Control traces the circumstances that initiated his career. He felt that youthfulness meant that he could do whatever he wanted. In this case he married at a tender young age and gained a daughter. When Ian joins a band made up of his mates they call themselves Joy Division. The band quickly becomes increasingly more successful. Ian is soon distracted from family commitments by a new love and the growing expectations of his band. This severe strain manifests itself in his physical condition. With epilepsy adding to his guilt and dejection, despondency holds a firm grip. Conceding to the burden on his shoulders, Ian's tortured soul consumes him.

Control is the feature debut of director Anton Corbijn who was obviously very committed and passionate about making a wholly accurate film. The cinematography was especially effective. People who grew up during that period will tell you that life was black & white. This was the atmosphere director Anton wanted to create, hence shooting the film in evocative, hypnotic black & white photography. The film's ambiance is captivating and mesmerising. The directing in particular never made the film seem like a staged production.

The title itself refers to Ian's troubled existence. The film is absolutely heart-wrenching as Ian believes he failed his wife as his marriage draws to a close, failed his daughter because he was never a good father, failed his band because his health condition forbid him to perform well, but most of all failed himself for destroying his fragile spirit - Ian lost control.

Sam Riley is a little known actor who proved accomplished with his display of acting skills portraying the principal character. He let the audience believe that he is actually this tragic iconic singer whose life was plagued with piles of concerns. Riley was especially haunting during the more tragic scenes. When he collapses on stage the audience's heart also collapses at the catastrophic sight. Riley is amazing. Samantha Morton plays the part of Ian's young wife Debbie. She held a strong love for Ian despite the things he did to jeopardise their marriage. During scenes that required tears and a realistic break down, both Sam Riley and Samantha Morton are exhilarating.

The soundtrack is quite electrifying at times. I thought the music was used sparingly, and it was a very wise choice on the part of the filmmakers. When some of the more poignant scenes are without music it creates an even more devastating impact on the viewer.

Control is a depressingly beautiful production. Although far too short, it is a tribute to the talented, enigmatic Ian Curtis and a fitting portrait for such a man. Ian used so much of his extraordinary ability during his fairly short life. The filmmakers sensitively approached the source material. No-one ever strikes a false note in this stimulating, stunning, incredibly heart-breaking experience. Control cannot be missed at any cost.

The chances of a poet living into their 30's must only be 50%. And a punk singers chances must also only be 50%. Since Ian Curtis was a poet who turned to punk music his chances of living to a ripe old age were zero. And this movie follows his brief time as an adult. And a good movie it is. The director frequently lets the scene tell the story, rather than having the characters narrate their every move. And the acting was excellent. And Sam Riley was hynotizingly watchable. I was not a fan of the black and white... it gave the movie a very 60's feel to the movie, and it took place in the 70's. And there was nothing B/W about the 70's! But still an excellent movie.

I had the highest possible expectations for this one, being a Joy Division fan, and it let me down a little. Control has a huge hype behind it, and it's partially true: it's a beautiful, sensitive movie with superb acting. If you're a fan of the post-punk musical genre (or Joy Division, for that matter), you simply MUST watch this - if you aren't, here's a chance to be a fan, or be annoyed. If not the best piopic of 2007, it's second only to La Môme (Edith Piaf's).

Well written and directed biopic about Ian Curtis, lead singer of Joy Division. Riley does a good job of portraying the young and quiet but enigmatic vocalist and his troubles throughout his short career in music leading up to 1980, while Corbijn's direction lends a very authentic feel to the action onscreen, not least the choice to shoot in black and white. While not the best music biopic of the 21st century thus far (that accolade probably goes to Walk the Line), Control certainly rates among the better ones.