Control: Review

Joy Division resides in place somewhere between fan admiration and cultish devotion. For a band that released only two proper albums (and a handful of singles), the Manchester quartet have become known as the purveyors of post punk doom and gloom, a band both before its time yet also oddly, an integral part of it. However, what Control , a biopic of JD lead singer Ian Curtis (Sam Riley) so efficiently and effectively delivers through a stark realism is a potent reminder that while their legend may have grown into something larger than their music, at their core, they were four regular guys just trying to make it through the music business as well as their everyday lives. Curtis may now be looked at as a prophet, of urban alienation and decay, but in reality, he was a greatly conflicted young man who was desperately searching for his place in life and unfortunately, was never able to find it. Based on the memoir Touching from a Distance of Deborah Curtis, Ian's wife, Control is the best biopic to come along in a long while, an invigorating and enlightening look at the struggles of a pioneering band and artist.

Directed by Anton Corbijn, who is better known for his photography and music videos, Control is assured and evocative, mysterious yet humane. It takes place in northern England (Manchester and the like) over the course of ten or so years, a decade of music that would become arguably the most important span of music in British (and world) history. At its heart is Ian Curtis, who begins the film as an everyday teenager who spends his afternoons in his bedroom, smoking and listening to Bowie. Before long, he meets Debbie (Samantha Morton) and as the two quickly embark on a whirlwind romance that ends with their marriage prior to them hitting 20 years of age.

It must be noted that Riley and Morton are nothing short of astounding. For those lucky enough to have seen footage of Curtis will quickly recognize the clarity and precision of Riley's performance. He seemingly mimics Curtis' every step without missing a beat. The nuance and subtlety of Riley's work is tremendous as he captures Curtis' persona perfectly. Considering this is Riley's feature length debut in a starring role, his performance is an announcement of a new talent that electrifies the screen. In fact, Riley's intensity and screen presence reminds me of another export from the British Isles, Cillian Murphy. Like Murphy, who has the star power to match his acting chops, Riley fully embodies his role with a breathtaking effectiveness.

Meanwhile, Morton, who has been consistently excellent in her roles, is every bit his match as his wife, Debbie. As the film continues on and their marriage begins to disintegrate, both performers bring a depth of emotional pain and suffering that jumps off the screen, enriching the overall film in ways that cannot be quantified. If these performances had been any less than spectacular, the film would have had trouble escaping a cult audience. However, with Riley and Morton providing wonderful leads, there is potential for this to reach a wider group of people. You can't take your eyes off their riveting and explosive performances, no matter how pained they might be.

The rest of the cast is wonderful as well. Alexandra Maria Lara and Toby Kebbell particularly stand out as Belgian journalist Annik Honore, with whom Ian embarks on an affair with and Joy Division manager, Rob Gretton, respectively. Kebbell often acts as the film's comedic relief, a necessary addition given the darker nature of the material. His performance is a combination of business smarts and real concern for the band members. Never once does it dip into parody, instead relying on a quick wit and biting sarcasm to provide some laughs while the world seems to be crumbling around. Lara, who can also be seen in Francis Ford Coppola's upcoming Youth Without Youth) is perfect as Curtis' foil and outlet. She allows him entrance into a world that Debbie doesn't and his inability to choose between the two quickly becomes one of the film's main conflicts. Lara brilliantly portrays the pain and concern of Honore, who must deal with a man who she loves, crumbling before her eyes.

Curtis' life takes a dramatic turn (for the better or worse is entirely up to the audience's own perceptions) when he joins the small band Warsaw, which would quickly become known as Joy Division. As the band experiences a quick rise from obscurity to cult following, Curtis is thrown through a variety of emotions. As his marriage crumbles, he embarks on an affair with a Belgian journalist (Alexandra Maria Lara) and battles an epileptic condition that continues to worsen with the increasing stress of his life. The film never once passes judgment on Curtis, allowing its audiences to make their own decisions on his struggles. Without this, the film would feel manipulative. However, Corbijn keeps his subjects at arm's length, allowing the story to play out to its inevitable end (which is fairly common knowledge to those who are familiar with JD, for those who aren't I won't spoil it). Even the final act of the film is left unresolved and unexplained, leaving the audience with the same questions as the characters. What happens is often inexplicable; a painful conclusion that leaves issues open.

Corbijn's direction in his feature film debut is incredible. The black and white cinematography by Martin Ruhe gives the film a realistic look, a natural feel that allows the characters and settings to feel lived in. Corbijn obviously has considerable experience in framing pictures and shots but as a culmination of all his skills, Control is a massive success. The clarity of his vision is striking in its assured completeness. Never once does the film feel like work of someone trying to piece together their first feature. Admittedly, I was worried that a first time director would mishandle a story that needs a delicate touch but Corbijn proves all my doubts wrong. He was completely up to the task, creating a biopic that is enthralling and emotionally devastating. From the opening shots to the heartbreaking conclusion, Corbijn is in complete control (no pun intended) of what is on the screen.

A biopic revolving around a musical figure plain doesn't work without good music, which completely unsurprisingly, Control has in droves. Joy Division was unequivocally one of the most innovative and important bands of the 20th century, taking the raw energy of punk and harnessing it into a carefully measured emotional shell. Joy Division was a band that pushed the envelope constantly, through Curtis' lyrics and the bands pulsing, hypnotic yet abrasive grooves. At the time, no one else quite sounded like them and the film captures that initial excitement, both of the band and audience, perfectly. The soundtrack features many of the band's best songs, perfectly utilized throughout the narrative. Rounding off the music of the film are JD's key contemporaries and influences: Bowie, Iggy Pop, the Sex Pistols and the Buzzcocks. This all adds up to a perfect way to enter the decidedly difficult sounds of post-punk's origins. For those interested in bands such as The Killers, Bloc Party and the like, this music will sound fresh and otherworldly, tunes crafted by men that were working on a different plane than those around them. Now, my opinion may be slightly skewed, due to my familiarity with the bands work but I have no qualms in saying that this film is a complete triumph, regardless of your views on the band. As a cinematic work, it is nearly flawless in its depiction of Curtis and his struggles. As a supplement to the band's work, it exists as a document for all of us who were never lucky enough to see this tremendous band in person. It doesn't offer answers, only questions. It doesn't offer Curtis salvation or martyrdom. It doesn't even offer him forgiveness. What it does offer is a chance for his story to be told, no matter how otherworldly it might be. Thankfully for Anton Corbijn and the rest of his collaborators, Curtis' otherworldly story and work get an otherworldly film to match, a moving portrait of a man who could not escape his demons, which took him before he could fully show the world what he was capable of.

*****