Riley and the band excel, as Corbijn essays a mood both timeless and period-precise. He’s already immortalised in music now, 27 years after his death, this lost boy has a startling visual epitaph all his own.Īs touching a biopic as you'll see all year, Control is about the loss thereof. So what doomed Ian Curtis? Even if an unnecessary diversion into hypnotism erroneously hints at other influences, the message here is simple: the dual strangulation of expectation and epilepsy overwhelmed him. The singers professional, personal and romantic troubles slowly begin to eat away at him leading him to commit suicide at the age of 23. Some may find a few set-ups a bit staid, too perfectionist, but this is the work of a director reaching outside his comfort zone and creating a moving picture often as exquisite as any of his stills. Wanting to emulate his musical heroes, Ian Curtis joins a band, Joy Division. Will those only familiar with ‘Love…’ and at best ‘Atmosphere’ give two hoots? Definitely. When every shot is lensed strikingly enough to take pride of place on anyone’s wall, the whole film mesmerises. “It’s in my fuck-off pocket!”) and Corbijn’s photography… sorry, directing. Meanwhile, what stops Control from being a fandom-only tribute gig is a script packed with wry Brit-wit (“The 50 quid?” scorns Gretton.
Initially called Warsaw, the band soon become Joy Division landing themselves a record deal with Tony Wilson (Craig Parkinson, overshadowed by Steve Coogan’s 24 Hour imitation) and a manager in Rob Gretton (Dead Man’s Shoes’ Toby Kebbel, regularly stealing scenes). In a blur he’s nabbed his future missus Debbie (Samantha Morton), married her and joined a struggling combo consisting of Bernard Sumner (James Anthony Pearson, worried), Peter Hook ( Joe Anderson, lairy) and Stephen Morris (Harry Treadaway, quiet). Control delves deeper, picking out the one player (here played by Sam Riley, physically and vocally) who died in 1980 when his band were on the brink of breaking America.Ĭorbijn’s debut feature starts with a line from Joy Division’s ‘Heart And Soul’, Riley’s voiceover bleeding existential grief from “The past is now part of my future/The present is well out of hand” as the then-schoolboy strolls nonchalantly through the Macclesfield estate on which he lives, circa 1973. What to Watch on Netflix Top 10 Rankings on. Yet in Michael Winterbottom’s superb evocation of the seismic Mancunian music shift driven by Joy Division and New Order he was just another face in the Factory crowd. Meet the cast and learn more about the stars of Control with exclusive news, pictures, videos and more at . Photograph: Allstar Picture Library An incredibly bold portrait of Ian Curtis’s life, which manages to take his story away from mythology really convincingly. Back in 2002, 24 Hour Party People gave us the first screen Curtis (played by Sean Harris).
0 kommentar(er)
