Film %u0107e stoga biti shvatljiv samo onim gledateljima koji detalje povijesti "Joy Divisiona" i Curtisovog %u017Eivota imaju u malom prstu, a to su, dakako, najokorjeliji fanovi.
Control (2007)
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Reviews Counted:104
Fresh:90
Rotten:14
Average Rating:7.4/10
Consensus: Control is a work of art, thanks to its evocative black and white cinematography and sensational performances from Sam Riley and Samantha Morton. Even those not familiar with Joy Division can still appreciate the beauty of the film.
Rated: R [See Full Rating] for language and brief sexuality.
Runtime: 2 hrs 2 mins
Genre: Musical & Performing Arts
Theatrical Release:Oct 10, 2007 Limited
Box Office: $801,112
Synopsis: Based on the memoir TOUCHING FROM A DISTANCE by Deborah Curtis, Anton Corbijn's CONTROL is as near perfect a filmic telling of the story of Joy Division and Ian Curtis as any fan could hope for.... Based on the memoir TOUCHING FROM A DISTANCE by Deborah Curtis, Anton Corbijn's CONTROL is as near perfect a filmic telling of the story of Joy Division and Ian Curtis as any fan could hope for. It's also a beautifully rendered piece of cinema about the crippling effects of love and regret, and the salvation we seek in art. Born out of England's post-Sex Pistols punk explosion, Joy Division played a dark, minimalist version of the nascent sound, and became cult heroes thanks in part to their brilliant yet disturbed frontman Ian Curtis (played by an eerily perfect Sam Riley). Corbijn does a wonderful job recreating the Manchester band's music and live show, cutting straight to the essence of Joy Division's unique appeal. Credit must also be given to the three actors who portray the rest of Joy Division. Playing all the instruments themselves, they perfectly capture the band's powerfully stoic presence, one that translates both live and on record into the sonic equivalent of an existential crisis. CONTROL, however, is ultimately about Curtis's tumultuous marriage with his wife, Deborah (Samantha Morton), and the way that Joy Division became an aesthetic manifestation of his pain--one that was both physical (Curtis was an epileptic) and emotional. Corbijn evokes Curtis's hurt and isolation with both honesty and subtlety: a photographer originally, he frames each shot to look like a stark black-and-white photo from an album the audience was never meant to see, making Curtis's pain palpable and his eventual suicide that much more tragic. The overtones to the later suicide of Kurt Cobain are hard to avoid, but where Cobain's suicide has always been discussed in terms of the pressure he felt as a rock star, Curtis's, as rendered by Corbijn, is a pain anyone could potentially be forced to suffer through. [More]
Starring: Samantha Morton, Sam Riley, Alexandra Maria Lara, Joe Anderson
Starring: Samantha Morton, Sam Riley, Alexandra Maria Lara, Joe Anderson, Toby Kebbell, Harry Treadaway
Director: Anton Corbijn
Director: Anton Corbijn
Screenwriter: Matt Greenhalgh
Producer: Orian Williams, Peter Heslop, Deborah Curtis
Composer: New Order
Studio: Weinstein Company
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Reviews for Control
Control does justice to Curtis' legacy but fails to make any further grasps for significance.
Um filme repleto de planos magnificamente compostos e que se tornam ainda mais impactantes graças à impecável fotografia em preto-e-branco de Martin Ruhe.
(Curtis) was such an unfortunate man - just a boy really - whose existence was snuffed out by a lifestyle he could not possibly avoid.
Positioning art as a necessary surrender to a creative force which removes the self dangerously from existence and society, Control intimately connects in tragic yet euphoric ways to the mixed blessing of the radically unleashed musical imagination.
Some of Riley's musical performances are electrifying. This would not be a bad movie at all, except for the infuriatingly romantic portrayal of suicide.
Ian's trapped between insurrection and guilt, and so is Corbijn's film which mires itself in the artist's bourgeoisie dramas without figuring out how they influenced his music.
Smashes the music biopic mold by portraying the star at its center not as a mythological creature, but as a real-life, messed-up kid in over his head.
More expressive than Gus Van Sant's "Last Days" about a tragic music figure, but incrementally so.
Tells me more than I care to know about the ill-fated singer with a personality like talcum powder and songs fit to make the depressed even more depressed.
Riley gives a great performance, and director Corbijn's direction is deceptively perceptive. One of the year's best.
The monochromatic palette suggests the kitchen-sink heyday of 1960s British cinema; fittingly, 'Control' is at its best when it concentrates on the quotidian.
Control humanizes Curtis while acknowledging that he could be remote and even cruel in his selfishness and despair.
Joy Division fans have already embraced Control, a film biography of short-lived lead singer Ian Curtis. Those of us who didn't follow the 1970s English band or the post-punk scene around it may feel less invested.
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December 14, 2007:
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The London Critics Circle has announced the nominees for its year-end awards, with Anton Corbijn's Control and Joe Wright's Atonement leading the pack at eight nominations apiece. More...
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