Anton Corbijn’s masterful homage to Ian Curtis in ‘Control’
“I struggle between what I know is right in my own mind, and some warped truthfulness as seen through other people’s eyes who have no heart, and can’t see the difference anyway”. Sam Riley’s portrayal of Ian Curtis in Control transcends mere surface-level excellence, venturing deep into the realm of human complexities. Based on the book Touching from a Distance authored by Curtis’ widow Deborah, the film gracefully navigates through the most pivotal moments of Curtis’ life with profound accuracy and sensitivity.
Anchoring this cinematic gem is the esteemed artistry and prowess of director Anton Corbijn. Corbijn’s ability to capture the gritty realism of the burgeoning underground rock scene in 1970s Manchester is remarkable to the point where it’s difficult to envision any other director possessing the same level of aptitude.
Perhaps integral to this visual achievement is the fact that he experienced these scenes first-hand: Corbijn regularly contributed his works to NME throughout the ‘70s, which often featured his photography on the front page. His roster is impressive, having worked alongside the likes of Bob Dylan, Led Zeppelin, Siouxsie and the Banshees, Morrissey, and of course, Joy Division.
When it comes to Joy Division, though, Corbijn is more than just a professional photographer. He was also a friend of the band and worked with them many times, including directing the music video for the 1988 release of ‘Atmosphere’. Their first meeting was a little awkward, though. “Within 40 days of arriving in England,’ Corbijn remembers. “I had tracked down Joy Division’s manager, Rob, and I met them at Lancaster Gate tube station. They were staying at a hotel nearby. That’s where we did the first photographs. Being a well brought up, good young Dutchman, I wanted to shake their hands, but nobody would shake my hand. After we had done the photographs, they shook my hand. We didn’t say much. I couldn’t say much. Not only was my English really poor but I had trouble with accents. I could just about make out good English. The Manchester accent didn’t make it easy. Also, I was in awe of them. It didn’t make for much conversation.”
Over the years, he became a trusted source of the band, and his film debut, Control, is ultimately as much an ode to the affection he developed as it is a demonstration of his artistic ability. In crafting the perfect Joy Division world, Corbijn paid meticulous attention to detail: his decision to shoot the film in colour and then later print it in black and white is powerful in its intentions to “reflect the mood of the era”. Through careful costumes, set design, framing, composition, and attention to lighting, he recreated the raw and gritty aesthetic synonymous with the band’s ‘look’ and live performances.
What’s more, Curtis himself is a tough person to imitate. But Riley does with impressive precision – becoming the man himself was much more than just imitating a singer. Curtis’ well-documented struggles with his worsening epilepsy, alongside his own mental health struggles like anxiety and depression, made for characterisation with countless layering, something that terrified Riley. “The concert scenes were insane,” Riley remembers, “In all my previous gigs, I had never had anyone in the audience look at me like that. The first time we were going to play ‘She’s Lost Control’, they had around 150 Joy Division fans as the crowd. I ran to my trailer and vomited”.
The closing scene of the film holds a poignant and reverential significance as it unfolds in the precise location where Curtis’ memorial stone rests in Macclesfield. With a deliberate and heartfelt touch, the camera pans out, unveiling the nearby crematorium, which stands as a solemn testament to the connection between the physical and emotional realms of Curtis’ life and legacy.
