Control (2007)

Calificación de los usuarios:

7.8/10   

Director:

Anton Corbijn

Escritores:

Deborah Curtis (autobiography "Touching from a Distance")
Matt Greenhalgh (writer)

Fecha de Lanzamiento:

12 septiembre 2007 (Belgium)

Género:

Biografía | Drama | Música

Plot:

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.

Plot Keywords:

Band | Singer | Suicide | Musician | Kitchen Sink Realism

Premios:

Nominated for 2 BAFTA Film Awards. Another 25 wins & 20 nominations

Comentarios de los usuarios:

Style and Romance

Reparto

Sam Riley	...	Ian Curtis
Samantha Morton	...	Deborah Curtis
Alexandra Maria Lara	...	Annik Honoré
Joe Anderson	...	Peter Hook
James Anthony Pearson	...	Bernard Sumner
Harry Treadaway	...	Stephen Morris
Craig Parkinson	...	Tony Wilson
Toby Kebbell	...	Rob Gretton
Andrew Sheridan	...	Terry Mason
Robert Shelly	...	Twinny
Richard Bremmer	...	Ian's Father
Tanya Myers	...	Ian's Mother
Martha Myers Lowe	...	Ian's Sister (as Martha Myers-Lowe)
Matthew McNulty	...	Nick Jackson
David Whittington	...	Chemistry Teacher

MPAA:

Rated R for language and brief sexuality.

Duración:

122 min

País:

UK | USA | Australia | Japan

Idioma:

Inglés

Color:

Negro y Blanco

Relación de Aspecto:

2.35 : 1

Sonido:

Dolby Digital

Clasificación:

Ireland:15A | Canada:14A | USA:R | Netherlands:6 | France:Unrated | Australia:MA | Portugal:M/16 | Finland:K-13 | Germany:12 | Sweden:7 | Japan:PG-12 | Singapore:M18 | South Korea:15 | Switzerland:14 (canton of Vaud) | Switzerland:14 (canton of Geneva) | Norway:15 (TV rating)

Locaciones de Filmación:

Macclesfield, Cheshire, England, UK

Compañía:

3 Dogs and a Pony

Trivialidades:

The scene showing Tony Wilson talking to Ian Curtis in the empty Derby Hall in Bury after the April 1980 riot features a large equipment case on which the number "501" prominently appears. When Tony Wilson was buried in August, 2007, his coffin was marked with the number 501, the last number in the Factory Records catalog.

Errores:

Anacronismos: In a song performance scene the guitarist is using Marshall Speaker Cabinets (model 1960A and 1960B). The speaker cabinets were not introduced until several years after Ian's death.

Citas:

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

Conexiones de Película:

Apareció en "Siskel & Ebert & the Movies: (2007-10-27)" (2007)

Banda de Sonido:

Warszawa

Style and Romance

I saw this film last night then I went home and read a lot of the comments here. I think some things have been missed between the glowing reviews and the bitter disappointments.

First, it is a truly beautiful film and I found the acting uniformly excellent. That has already been said plenty of times.

More interesting to me are the comments about this not being an accurate or fair portrait of Ian Curtis and those around him. I've read plenty of accounts that characterize Ian and his band-mates as relentless practical jokers -- the book Torn Apart by Mick Middles and Lindsay Reade is full of these anecdotes. But I also think it's naive to expect a film like this to be anything close to a fair and objective telling of anyone's life. This is a dramatic interpretation, not a documentary.

In addition to the multiple meanings the title has for the characters in the film, this film is itself an exercise in CONTROL: Deborah Curtis's control over her husband's legacy; the surviving band members' control over the public image of Joy Division.

No, the film does not show the laughs and good times the band had, but this is in keeping with all of Joy Division's work. Their entire output as a living band was highly stylized. Almost everything they issued was in stark black and white; their imagery was overwhelmingly bleak and funereal; and they certainly courted controversy with their name and imagery. All of which was very consciously and tightly CONTROLLED by the band and the people at Factory. They gave few interviews and preferred to let the work speak for itself.

My point is that this film simply continues that project. It is yet another highly stylized piece of work in the Joy Division canon. To paraphrase the Tony Wilson remark that has been cited elsewhere in these comments -- when you have the choice between the legend and the facts, go with the legend. Their work has always had an epic, legendary quality. This movie is absolutely in keeping with that aesthetic.

I think it's also worth noting that Corbijn was a participant in shaping the Joy Division legacy from the very start -- his photographs of the band helped shape their image and his video for "Atmosphere" set the tone for how their legacy would be preserved. CONTROL is simply another collaboration with the band and their music. An extension of that original project.

I think that ultimately this film is an excellent piece of work. Just as Joy Division produced music of astonishing beauty and resonance out of the misery of life in post-industrial England, this film turns personal pain and loss into a powerful piece of art.