Control (2007)

Regisseur:

Anton Corbijn

Drehbuchautoren:

Deborah Curtis (autobiography "Touching from a Distance")
Matt Greenhalgh (writer)

Premierendatum:

12. September 2007 (Belgium)

Genre:

Biographie | Drama | Musik

Plot:

A profile of Ian Curtis, the enigmatic singer of Joy Division whose personal, professional, and romantic troubles led him to commit suicide at the age of 23.

Plot Keywords:

Singer | Rock And Roll | England | Hanging | New Wave Music

Filmpreise:

Nominated for 2 BAFTA Film Awards. Another 25 wins & 19 nominations

Nutzerkommentare:

Careers in a tightly controlled arc, where music biopic meets cinematic excellence

Besetzung

Samantha Morton	...	Deborah Curtis
Sam Riley	...	Ian Curtis
Alexandra Maria Lara	...	Annik Honoré
Joe Anderson	...	Peter Hook
Toby Kebbell	...	Rob Gretton
Craig Parkinson	...	Tony Wilson
James Anthony Pearson	...	Bernard Sumner
Harry Treadaway	...	Stephen Morris
Andrew Sheridan	...	Terry Mason
Robert Shelly	...	Twinny
Matthew McNulty	...	Nick Jackson
Ben Naylor	...	Martin Hannett
übrige Besetzung in alphabetischer Reihenfolge:
Angus Addenbrooke	...	Colin
June Alliss	...	Corrine's mother
Paul Arlington	...	Hospital doctor
Monica Axelsson	...	Tony Wilson's girlfriend
Richard Bremmer	...	Ian's father
Eliot Otis Brown Walters	...	Footballing kid
Laura Chambers	...	Claire
John Cooper Clarke	...	Himself
Lotti Closs	...	Gillian Gilbert
James Fortune	...	MC
Herbert Grönemeyer	...	Public GP
Nigel Harris	...	Tramp
Nicola Harrison	...	Corrine Lewis
Margaret Jackman	...	Mrs. Brady
Mark Jardine	...	Other band manager
Joseph Marshall	...	Alan from Crispy Ambulance
Martha Myers Lowe	...	Ian's sister
Tanya Myers	...	Ian's mother
George Newton	...	Studio owner
Tim Plester	...	Earnest Richards
Mary Jo Randle	...	Debbie's mother
Joanna Swain	...	Maternity nurse
David Whittington	...	Chemistry teacher
Eady Williams	...	Baby Natalie

Regie
Anton Corbijn

Buch (In alphabetischer Reihenfolge)
Deborah Curtis		autobiography "Touching from a Distance"
Matt Greenhalgh		writer

Produktion
Iain Canning	....	executive producer
Anton Corbijn	....	producer
Deborah Curtis	....	co-producer
Todd Eckert	....	producer
Lizzie Francke	....	executive producer
Megumi Fukasawa	....	co-producer
Peter Heslop	....	co-producer
Satoru Iseki	....	co-producer
Akira Ishii	....	executive producer
Korda Marshall	....	executive producer
Orian Williams	....	producer
Tony Wilson	....	co-producer

Originalmusik
Joy Division
New Order

Kamera
Martin Ruhe

Schnitt
Andrew Hulme

Casting
Shaheen Baig

Szenenbild
Chris Roope

Bauten/Dekorationsbau (art directors)
Philip Elton

Kostüme
Julian Day

Maske/Frisuren
Barbara Taylor	....	hair assistant
Barbara Taylor	....	makeup assistant
Jeremy Woodhead	....	hair designer
Jeremy Woodhead	....	makeup designer
Andy Seston	....	makeup daily (uncredited)

Regieassistenten
Andrew Foster	....	second assistant director
Toni Staples	....	first assistant director
Katy Stenson	....	third assistant director

Ausstattung (Stab)
Cassie Leedham	....	graphic designer
Chris Richmond	....	stand-by art director
Tim Stevenson	....	set constructor

Ton Stab
Iain Anderson	....	adr recordist
Nick Baldock	....	assistant sound editor
Peter Baldock	....	supervising sound editor: UK
Ben Carr	....	adr recordist
Daniel Crowley	....	boom operator
Carl Edström	....	sound effects editor
Adele Fletcher	....	adr editor
Thomas Huhn	....	sound re-recording mixer
Thomas Huhn	....	supervising sound editor
John Midgley	....	production sound mixer
Lucas Nilsson	....	foley artist
Jamie Roden	....	adr mixer
Jonas Jansson	....	sound effects editor (uncredited?)

Visual Effects
Mats Holmgren	....	digital colourist
Fredrik Nord	....	digital effects artist

Stunts
Riky Ash	....	stunt coordinator
Riky Ash	....	stunts

Kamera und Elektrik (Stab)
Tim Battersby	....	first assistant camera: "a" camera
Robert Binnall	....	camera operator
Andy Clarke	....	best boy rigging gaffer
Rachel Clark	....	camera trainee
Warwick Drucker	....	key grip
Brian Fawcett	....	electrician
Christopher Ross	....	camera operator
Barry Squires	....	camera assistant
Owen Tooth	....	video tape operator
Julian White	....	gaffer
Sophie Wilson	....	second assistant camera: "a" camera

Casting (Stab)
Brendan Donnison	....	adr voice casting
Benjamin Till	....	casting assistant

Schnitt (Stab)
Maria Dahlin	....	post-production coordinator
Barry Moen	....	first assistant editor

Musik (Stab)
Peter Clarke	....	music editor
Ian Neil	....	music supervisor

Transporte
Rod Patterson	....	transportation captain

Restlicher Stab
Lorraine Bagshaw	....	stand-in
Vicky Chapman	....	location assistant
Mel Churcher	....	dialect coach
Lee Clyne	....	unit medic
Helen de Winter	....	delivery coordinator
Zoe Flower	....	unit publicist
Dan Hodgett	....	location services
Rob Jones	....	location manager
Simon Jones	....	tranport coordinator: London
Hakan Kousetta	....	production legal advisor
Alastair Mackay	....	location assistant
Louise Melzack	....	additional floor runner
Keeley Naylor	....	unit publicist
Tina Pawlik	....	assistant production coordinator
Rachel Robey	....	production coordinator
Val White	....	script supervisor
Emma Yeomans	....	assistant location manager

Widmungen und Dankeschöns
Natalie Curtis	....	thanks
Martin Gore	....	special thanks (as Martin L. Gore)
Herbert Grönemeyer	....	thanks
Charles Hannah	....	special thanks
New Order	....	special thanks
Iggy Pop	....	thanks

Produktionsfirmen

• Becker Films
• Claraflora
• EM Media (executive production)
• NorthSee
• Three Dogs and a Pony
• Warner Music

Verleihfirmen

• Alliance (2007) (Canada) (theatrical)
• Atlantic Film (2008) (Sweden) (theatrical)
• Atlantic Film (2008) (Sweden) (DVD)
• Barbar Film (2008) (Turkey) (all media)
• Capelight Pictures (2007) (Germany) (theatrical)
• Cinema Without Frontiers (2008) (Russia) (theatrical)
• Daylight Films (2008) (Brazil) (all media)
• Future Film (2007) (Finland) (theatrical)
• La Fabrique de Films (2007) (France) (all media)
• Momentum Pictures (2007) (UK) (all media)
• Paradiso Entertainment (2007) (Netherlands) (theatrical)
• Paradiso Home Entertainment (2008) (Netherlands) (DVD)
• Style Jam (2008) (Japan) (theatrical)
• Weinstein Company, The (2007) (USA) (theatrical)
• Weinstein Company, The (2008) (Canada) (theatrical)
• Weinstein Company, The (2008) (USA) (DVD)

Spezialeffekte

• Chimney Pot, The

Weitere Firmen

• Arion Facilities  dailies telecine transfers
• Art4noise  ADR recording
• Art4noise  dialogue editing
• Art4noise  sound post-production
• Cinema Investment  funding
• Kodak  motion picture film supplied by
• Ljudligan  sound post-production
• Offline Editing Company, The  post-production facilities
• Panavision UK  camera equipment provided by
• Warner Bros. Records  soundtrack

MPAA:

Rated R for language and brief sexuality.

Länge:

122 Min

Produktionsland:

UK | USA | Australia | Japan

Sprache:

Englisch

Farbe:

Schwarzweiss

Seitenverhältnis:

2.35 : 1

Tonverfahren:

Dolby Digital

Altersfreigabe:

Switzerland:14 (canton of Vaud) | USA:R | Japan:PG-12 | Netherlands:6 | Switzerland:14 (canton of Geneva) | Australia:MA | Portugal:M/16 | Germany:12 | Singapore:M18 | Finland:K-13 | South Korea:15 | Sweden:7 | Ireland:15A | France:Unrated | Canada:14A

Drehorte:

Macclesfield, Cheshire, England, UK

Firma:

Becker Films

Dies und das:

James Anthony Pearson, who plays Bernard Sumner, learned to play guitar in two months for his role in the film.

Dialogzitate:

Ian Curtis: So this is permanence; love-shattered pride. What once was innocence, has turned on its side.

Bezüge zu anderen Titeln:

Verweist auf/spielt an auf/erwähnt The Sound of Music (1965)

Soundtrack:

Atmosphere

Careers in a tightly controlled arc, where music biopic meets cinematic excellence

Control, a biopic about a band from Manchester, is getting serious attention from around the world. Starting with an award in Cannes. That's maybe more than you might expect. Joy Division, a respected band of the 70s, are hardly a name on everyone's lips. And films made by ex music video directors about yet another load of rockers rarely raise eyebrows. So why is this different? Joy Division, for non-initiates, were a post-punk Manchester band of throbbing guitars and dark, doom-laden lyrics. Recognition in the music biz (especially by other musicians) was perhaps even greater after the death of lead singer, Ian Curtis. Control covers a period from his schooldays to his end in 1980 (aged 23). It is based on the biography of his widow.

Control uses Curtis' love of poetry, as well as the more familiar songs-that-tell-a-story device, to provide at least scant insight into the music. "I wish I were a Warhol silkscreen, hanging on the wall," he muses. But what is dealt with in much more detail is his growing sense of isolation, coping with epilepsy as the pressures of touring build up, and the distraught domestic relations he is embroiled in with wife Debbie (Samantha Morton) and romantic-interest-from-afar Annik (Alexandra Maria Lara). "It's like it's not happening to me but someone pretending to be me. Someone dressed in my skin," he says.

In a telling scene when he is under hypnosis, the camera revolves around his head as we hear voices speaking to him. "Ian, let me in, love," says his wife, "there's room to talk." Responsibilities as husband and father. A mistress who is also in love with him. A band and fan following who want more than he can give. From warholian, carefree screen-dream of youth, he has arrived at a place where he doesn't want to be. Drugs and their side-effects no longer a schoolboy's recreational laugh. Prescription bottles grip with morbid fascination. And the knowledge that doctors don't have a cure.

The film carries viewers away with blistering intensity. Relative newcomer Sam Riley plays Curtis with alarming energy. With Samantha Morton, it's not what she says but what you see going through her mind. She contains her expressiveness for the camera to pick up (rather than thrusting it on us). We want to cry inside for her character. As a feat of interiorisation, Control puts her as a contender in the shoes of Meryl Streep.

Supporting cast members come through with believability and sincerity, sparkling with well-honed contrasts. Toby Kebbell, fast-talking manager Rob, lifts us out of the depressive mood with wisecracks enough to make legless monkeys jump. "Where's my £20?" asks a hapless stand-in as Rob deals with an emergency. "In my f*ck-off pocket!" he barks back. Craig Parkinson is record producer and late TV presenter Tony Wilson (to whom the opening screening at the Edinburgh International Film Festival was dedicated). He demonstrates fine shades of teeth-gritting tolerance, explaining to the band, seconds before their first live TV show: yes, 'large dog's c*ck' counts as swearing, and would mean the broadcast is pulled. Established Romanian actress, Alexandra Maria Lara, succeeds in making Annik far more than the two-dimensional bit-of-fluff that would have been an easy course. As potential home-breaker, it is tempting to hate her, yet her character is shown with the intellectual appreciation and chemistry that Debbie can no longer offer.

Morton, in the Q&A after the Edinburgh premiere, links the film to Saturday Night and Sunday Morning. It is the kitchen-sink, downtrodden existence that her Debbie inhabits. Cinematography is also reminiscent of this period, with its careful black-and-white observation of working class streets. I watched it a second time, enjoying careful compositions and suggestive mise-en-scene. But director Anton Corbijn is typically modest. "I really wanted you to look at the actors on the screen and only afterwards at the look of the film." While Ian, in Debbie's eyes, might be the licentious and 'angry young man' of social realism drama, the Control scenes from which she is tormentedly absent show another side: the world experienced by her husband (a reference in the film likens his isolation to Brando's character in Apocalypse Now).

"And we would go on as though nothing was wrong. And hide from these days we remained all alone."

Riley takes on manic expressions as if marching away from an impending epileptic fit while singing Transmission. It is such a potent, almost frightening feat, that we have to shake ourselves to remember he only got the part when he was stuck for a job. "Not a lot was going on in my life before this, so I was appreciative – for the work and the money," he tells the opening night audience. "I imagine this will have opened doors for you," I had said to him earlier; he smiled like a man who still can't believe his good luck. But the 'luck' is very well deserved. His 'Ian' is physically and mentally complex. When I had managed to stop him on the Red Carpet long enough to congratulate him, Mr Riley explains that he had a friend who was an epileptic. "I witnessed an attack often enough to be able to copy it."

Although the film has a driving energy that takes our breath away, it drifts a little towards the tragic conclusion. We know the ending and it is a case of waiting for it to happen. And although it features plenty of excellent Joy Division tracks, any music biopic will never be good enough or accurate enough for some fans.

Fortunately this is not just for music fans but for serious film fans as well. It careers in a tightly controlled arc, where music biopic meets cinematic excellence. Why should you see it? "Some people visit the past for sentimental reasons," says Corbijn. "Some people visit the past to understand the present better." Control is not in the sentimental exercise category.