If there is anything to be learned from the popular culture of the 20th century, it is the fact that, for many artists, death in the flower of their youth is the shortest, quickest, and easiest path to immortality. The history of rock music is full of such examples, one of which is Ian Curtis, the singer of the cult British band Joy Division, who is the subject of the acclaimed 2007 biographical film Control.
Unlike many films, especially Hollywood ones, that seek to exploit the glamour of prematurely extinguished stars, this one represents an authentic homage, as it is the work of people who knew the protagonist firsthand. The screenplay is based on Touching from a Distance, a 1995 biographical book by Curtis’s widow Deborah Curtis, who also produced the film alongside the late Tony Wilson, Curtis's business associate, who died shortly after the film’s premiere. The director was renowned Dutch photographer Anton Corbijn, known for his album covers and for making numerous music videos; he is also a long-time fan of the band.
The film's authenticity cannot be disputed, both due to the locations used—including the one where Curtis died—and due to the grim atmosphere of industrial northern England created by Corbijn's black-and-white cinematography. The story begins in 1975 when Curtis (played by Sam Riley), a teenager, dreams of a career as a great writer and follows key events: meeting Deborah (played by Samantha Morton), another teenager, which leads to an early and unhappy marriage; attending a Sex Pistols concert that will lead to the formation of Joy Division; experiencing epileptic seizures; and meeting Belgian journalist Annik Honoré (Alexandra Maria Lara), which results in what many consider a fatal love affair.
A considerable amount of effort went into this film, including a fairly good cast. The 30-year-old Samantha Morton successfully portrays a confused and prematurely adult teenager with her undeniable talent, while Craig Parkinson is very good as Tony Wilson. Sam Riley, a young British actor who has dabbled in a rock music career himself, convincingly plays the traumatised singer, and the love scenes with Romanian-German actress Alexandra Maria Lara are believable even without considering that the two actors later married in real life.
However, all this effort is in vain if anyone who knows nothing about rock music history watches this film. No matter how authentic Curtis's life portrayal may be, too much has been omitted, and the ending—no matter how much Corbijn tries to make it “powerful” and “emotionally cathartic”—will be confusing. Therefore, the film will only be comprehensible to those viewers who have Joy Division's history and details about Curtis's life at their fingertips; these are undoubtedly the most dedicated fans.
Control looks even worse when compared to 24 Hour Party People, an unconventional and playful Tony Wilson biopic from 2002. In that film, Curtis's story is just one episode but certainly the most poignant and memorable one. Just as Stephen Coogan is unforgettable as Wilson in that film, Sean Harris far surpasses Riley in portraying the unfortunate Curtis.
On the other hand, fans of Curtis and Joy Division should not be too disappointed with this. The example of Kurt Cobain and Last Days shows that prematurely extinguished rock stars can fare much worse than Curtis and Control.
RATING: 4/10 (+)
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