CONTROL 2007 - (R)

by Suzanne Baran
15 November 2007

Dean Pollock has worked as a freelance coordinator in film and TV production. Recently he completed a Masters in screen studies through Griffith University in Brisbane Australia. His studies emphasized Australian screen images, co-productions, and popular music in film. He wrote this review and I inserted some comments after his review.

Lately I’ve been reading reviews for the film CONTROL (ANTON CORBIJN, 2007), which I had the absolute fortune to see at the Brisbane International Film Festival earlier this year. Reviewers tend to enjoy writing about the performance of Sam Riley, which was incredible, but rarely do they remark on the actual film.

When Suzanne Baran reviews a new album she does not focus on the frontman or its producers, but on the entirety of the disc. Film journalists/critics should follow suit when reviewing films.

Control takes place in the UK and follows the quick rise and devastating fall of JOY DIVISION’s IAN CURTIS. The film carries an innumerable amount of soul. One of the most incredible aspects of the film is the attention paid to providing context to songs Joy Division fans enjoy today.

“Love Will Tear Us Apart” always puts an ear-to-ear grin on my face despite my fluctuating moods. From the moment the first guitar strums to the introduction of core-grabbing synthesizers, it hooks me. And it has since the first time I heard it back in 1980-whatever. The film’s soundtrack echoes these sentiments. It provides insight into the emotional circumstances of the protagonists, and acts as a character of equal importance to the films subjects – albeit audio, not visual.

I’ve read myriad times that the black and white photography represented music photojournalism at the time. If you were not a huge selling mega-band of the late 1970s early 1980s, your publicity photos were typically processed in black and white. Staying true to this tradition, the photography adds a hauntingly delicate edge to the film that maintains a certain amount of integrity and balance. This is demonstrated throughout the film, but it was especially exquisite in a number of scenes.

As the camera follows Ian Curtis’s character walking down the street to “No Love Lost” blaring in the background, the viewer starts to understand the conflicts facing our tormented hero. As the camera pulls back, we learn he’s going to work and the word “hate” is etched on the back of his jacket. It’s assumed that Ian is battling between the conformist life of a traditional 9-to-5-er and the occupation he chose.

The soundtrack provides a sense of ambivalence, and this contradiction between responsibility and self carries forward throughout the narrative. It’s a significant testimony to Riley’s depiction of Ian Curtis.

In a later scene it’s evident how detached the character has become. When his daughter is born, we see Ian distance himself — he sits on the stoop of his house and inhales a cigarette. Internalized anguish resonates throughout his persona, but he remains seated in slow motion, contrasting the high-speed action behind him.

It is these moments of cinematic excellence that invite audiences into the prevalent withdrawal and pressure. One of the things that is absolutely beautiful about the film is the ‘family affair’ aspect. Control is based on DEBORAH CURTIS’s book, and the soundtrack features songs by NEW ORDER. Director Anton Corbijn was with Joy Division since their early stages, taking photos and shooting videos. This is true intimate authenticity.

The amount of heart this film has resonates long after the curtains close. As I was leaving the screening with my professor-turned-friend, it was astounding – I couldn’t see many dry eyes.

There really is no way to avoid discussion about quality of acting. SAM RILEY was exceptionally well casted. But I question whether he would have pulled it off without the inclusion of such an amazing cast. SAMANTHA MORTON equally deserves a large dose of recognition for her portrayal of Deborah. She added that perfect sense of yin to Sam Riley’s yang.

Another honorable mention is HARRY TREADAWAY. I realize that his role was quite insignificant, but for those of you who have seen Brothers of the Head remember the incredible performance of the Treadways as the conjoined glam-punk superstar twins? If you haven’t seen it, check it out.

I feel very confident saying Control is one of the year’s best films, and I wouldn’t be surprised if a whole new generation of Joy Division fans were born in the same way new BOB DYLAN fans popped up after Don’t Look Back, or the fresh crop of BEATLES fans who emerged post- Hard Days Night.

Let’s not forget the mushrooming of new ROLLING STONES followers after the release of Gimme Shelter. Long live the memory and music of Ian Curtis and Joy Division and many thanks to the production team of Control, and to The Big Takeover collaborating with Suzanne Baran.

Suzanne: Roughly two years ago I was with the producer of the film, my friend ORIAN WILLIAMS. He was watching old DEPECHE MODE videos and decided Anton Corbijn was the right man to direct the film. He told me he bought the rights to Deborah Curtis’ book, Touching from a Distance, with the last of his savings. In his words: “I want to leave something behind after I die one day. Something that will affect people.”

Filed under indie drama