Review of Control (2007) by John A — 30 Oct 2008

Fame and fortune hits those who have never experienced it in weird and wonderful ways, but for lan Curtis, lead singer of late 70's post-punk band Joy Division, the limelight was tantamount to a curse; expectation and failure engulfed the working-class kid from Macclesfield, and on the eve of the band's American tour, as the final shard of his broken marriage snapped cleanly in two, Curtis saw no other way out. At just twenty-three life was already too heavy, full of burden and depression, and the acclaimed singer committed suicide.

'Control' is director Anton Corbijn's fascinating account of the singer's life, from his teenage marriage to young sweetheart Deborah (on whose autobiography the picture is based), his struggle to cope with depression and later, epilepsy and life on the road with his band and Belgian girlfriend. It seems a short summary, but Corbijn's unobtrusive direction doesn't glamorise or condemn any aspect of the musician's short life; instead the audience observe as things stretch, their importance to Ian's happiness gravitates and the seemingly workable becomes unsolvable, irreversible and lost.

An interesting, but perhaps not all that important attribute of 'Control' is Corbijn's decision to shoot in black-and-white instead of colour. It is noticeable, but I feel compelled to warn it isn't what makes the picture what it is. More like we have just stepped into some more comfortable shoes, put on the focused glasses that act as a window into how Curtis himself perceived the world; grim, dreary, and enclosed. Otherwise the cinematography is still decent; some of the director's distant shots really amplify moments of sadness or privacy, and we always feel intrusive, despite such unflashy work. Perhaps it is because Curtis' imposing demeanour would make us feel as if we're snooping. Which we are, really.

Newcomer Sam Riley's performance is a powerful tool in creating such a complex character in Curtis; I was struggling to determine him as empathetic or abrasive, self-loving or self-loathing. I never saw Riley as acting, simply channeling thoughts from his mannerisms and expressions so we can try to discern this thoughtful character. But we struggle to find a balance or connection, and empathise strongest with his wife, who suffers a similar plight; Morton is absoloutely mesmerising as Deborah Curtis, playing a girl who married to young, and never quite understood why she did. But she is enamoured with Ian from the off, and only after marriage asks him "Are you embarassed to be seen with me?". Just twenty years later it seems certain a girl finds that out before the wedding.

'Control' could easily be described as 'cool' and 'bleak', and while they are apt descriptors Corbijn at least offers profundity in there as well; he finds human comedy in the most hand-wringing snapshots of indescribable exasperation. He sees Curtis as a boy, all to keen to prove himself, all to prepared for failure. Riley is a force to be reckoned with, a character who has an impulsive need to fill that void the modern age packs into humanity. From the music, the performances, the understatement - 'Control' is so passionate a picture you don't even realise it until the haunting final scene hits you right in the gut.