Control
“Existence” is the first word uttered by Ian Curtis (Sam Riley) in this film. For a film that deals with the life and death of the young Joy Division lead singer, this is perhaps an apt hint of its tone and approach. Although ostensibly about an English rock band, the film has an existentialist atmosphere that betrays a heavy touch of Continental sensibility. It would be fair to say that, if you are horrified by all films European, then this is a film the reviewer does not recommend.
For the film buffs comfortable with a touch of the existential, however, this is certainly an interesting and engaging film to watch. Photographed entirely in black and white, the film paints a dreary picture of Manchester (not enough, go some Mancunians, but enough for this reviewer) and the lives of Ian and those around him. The doomed singer is played with a great deal of realism by Sam Riley. His wife Deborah (Samantha Morton) and lover Annik Honoré (Alexandra Maria Lara) are also portrayed realistically, although one suspects that Deborah seems to have been given a slightly less sympathetic treatment, a surprise when one learns that Deborah Curtis has writing and co-producing credits on this film. The dialogue is sparse, but the acting is, quite frankly, amazingly eloquent. The scene in which Ian first sees Annik, while she negotiates with Rob Gretton (Toby Kebbell) for an interview, is an example of where one can find the powerful acting that abounds in this film.
For this reviewer, Anton Corbijn's Control is a beautifully produced film that takes the sheen of glamour and mystique out of life in a rock band. We are, instead, reminded of how life actually is: brutish, ugly, and uninspiring. For those who would prefer a more inspiring cinematic experience, this is perhaps the greatest fault of the film. For others, though, this is arguably what makes for a powerful movie.
Rating: 4/5
Rongmin Lu
