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He's a ghost to his parents, spends time with elderly neighbors to raid their medicine cabinets for drugs and proposes to his girlfriend, Debbie, with an alarmingly distant look in his eyes. The singer is instead introduced as a poetic but mostly apathetic outcast teen in Macclesfield, England, where he's first seen holed up in his room listening to Bowie records. As the musical performances in "Control" make clear, Joy Division was a groundbreaking and influential band - and too big of a force to be relegated to the background in favor of more family drama.Ĭorbijn does get credit for torpedoing the heroic myth that surrounds Curtis, who hanged himself at 23, before Joy Division had found mainstream success. But Corbijn, a veteran rock photographer and music video director, seems determined not to let the music get in the way of the human story, and his fervor goes too far.ĭebbie Curtis (Samantha Morton) is a sympathetic character, but she's not especially interesting. Sam Riley is frighteningly accurate as Curtis, and director Anton Corbijn captures the feel of the era. Concert posters for David Bowie, Lou Reed and Iggy Pop are like shadows, always behind the singer, whose band served as a bridge between those artists and newer acts including Nine Inch Nails, the Cure and Radiohead.īut rock history is not the focus of "Control," which spends more time exploring Curtis' relationship with his wife, Deborah, whose book "Touching From a Distance" provided the source material for the screenplay.
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The influence of the early 1970s rock music scene on the post-punk movement is plastered across the walls in "Control," a new biopic about Joy Division's tragic front man Ian Curtis.