Control. Anton Corbijn | GB | min | OmU. Mit: Sam Riley, Samantha Morton, Alexandra Maria Lara. Ian Curtis ist 19 Jahre alt, als er Debbie kennenlernt. "Control" ist eine Dokumentation des Lebens von Ian Curtis, ein Sänger der britischen Joy Division-Band. Schon mit 23 Jahren nahm der Sänger sich das. Control jetzt legal online anschauen. Der Film ist aktuell bei Amazon, iTunes, freenet Video, Videobuster, videociety, Cineplex Home, maxdome verfügbar.
schon kultigControl. Anton Corbijn | GB | min | OmU. Mit: Sam Riley, Samantha Morton, Alexandra Maria Lara. Ian Curtis ist 19 Jahre alt, als er Debbie kennenlernt. Komplette Handlung und Informationen zu Control. Die Lebensgeschichte von Ian Curtis, Sänger der Band “Joy Division”, der sich selbst tötete. Der Film. Control jetzt legal online anschauen. Der Film ist aktuell bei Amazon, iTunes, freenet Video, Videobuster, videociety, Cineplex Home, maxdome verfügbar.
Control Film Navigation menu VideoControl (2007) - scene comparisons Des Weiteren sind James Pearson als Bernard Sumner, Harry Treadaway als Stephen Morris, Matthew McNulty als Nick Jackson Leprechaun 4 Stream German Herbert Grönemeyer als Arzt zu sehen. Filmtitel, zu denen es gleichlautende Musiktitel gibt von Colin Mcgregor. Ian Curtis ist 19 Jahre alt, als er Debbie kennenlernt. Wenig später heiraten sie und bekommen eine Tochter.
Ganz Control Film so muss Porno Icloud Speicher Teilen aussehen. - InhaltsverzeichnisÄhnliche Filme Bohemian Rhapsody Rush Radioactive The Doors The United States vs.
Alternate Versions. Rate This. 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 Director: Anton Corbijn.
Writers: Deborah Curtis book , Matt Greenhalgh screenplay. Available on Amazon. Added to Watchlist.
From metacritic. Sundance Stars in Unforgettable Early Roles. MUBI Watchlist: Movies. Good Low Budget Movies.
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Nominated for 1 BAFTA Film Award. Edit Cast Cast overview, first billed only: Sam Riley Ian Curtis Samantha Morton Debbie Curtis Alexandra Maria Lara Annik Honore Joe Anderson Peter Hook aka Hooky James Anthony Pearson Bernard Sumner Harry Treadaway Steve Morris Craig Parkinson Tony Wilson Toby Kebbell Rob Gretton Andrew Sheridan Terry Robert Shelly Twinny Richard Bremmer Ian's Father Tanya Myers Ian's Mother Martha Myers Lowe Ian's Sister as Martha Myers-Lowe Matthew McNulty Nick David Whittington Edit Storyline Ian Curtis is a quiet and rather sad lad who works for an employment agency and sings in a band called Warsaw.
September 5, Rating: 3. May 26, Full Review…. View All Critic Reviews Jul 19, Well, I reckon I figured out a way to make this film's title less bland and formulaic, though maybe this film should just stick with the title the filmmakers settled on, because Joy Division was only original in their being a post-punked-up version of The Doors, only, you know, a little duller "Oh, yeah, Jim Morrison made Mick Jagger look tedious, he was such an exciting frontman".
Well, at least Joy Division wasn't quite as obnoxious as Sex Pistols, and yet, plenty of people have kind of forgotten Joy Division Yeah, I'm not entirely sure on what Ian Curtis had control of, because it wasn't like he had all that tight of a grip on an attractive vocal style Jeez, Curtis just couldn't catch a break, so I reckon it's fitting that this film didn't catch too much of a break, so much so that it wasn't even as big of a success as a certain other experimental biopic of a popular musician in , and if you don't know what I'm talking about, well, that's exactly my point.
Well, "I'm Not There" wasn't too much more commercially successful that this film, but I still give it plenty of credit for being downright awesome, as opposed to this biopic.
That being said, this film is a decent one, even though it can't quite gain enough "control" on storytelling to do away with some flaws.
Pacing is nothing if not problematic in this film, with limp areas in momentum being the most recurring issue, but not without some company from hurried occasions, which can at least be found within expository areas of storytelling that are generally well-fleshed out, but have their share of glaring underdeveloped moments that could have easily been made up for if this film didn't pay so much attention to bloating storytelling with excess material that gets to be repetitious.
Perhaps repetition could have been obscured by dynamics within the kick of director Anton Corbijn's atmospheric storytelling, but I suppose we'll never know, because while Corbijn's storytelling has plenty of effective areas, limpness in plot structuring goes much too emphasized by atmospheric limpness that looms over the film all but throughout it, watering down kick so much that when you're not blandly disengaged, you're bored.
The film gets to be a bit dull, as well as repetitious at times, yet dragging is also emphasized by a certain other aspect, and that is unevenness, for although I give this film a lot of credit for having the guts to tackle most every key aspects within the brief life of Ian Curtis, and often doing this subject matter justice through effective areas in resonance, storytelling has a tendency to, for too long of a time, intensely meditate upon one layer of this intricate character study, - whether it be Curtis' career, or relationships, or internal conflicts - rather than organically bond the layers, thus making the eventual shifts in layers to prove jarring and ultimately detrimental to your investment within any aspect of this story.
Focus isn't exactly all over the place, but it is incoherent, and before you know it, storytelling begins to lose a sense of progression and devolves into aimlessness, even though it's not too hard to figure out what stands at the end of this meandered path, thanks to the familiarity of the path that even those who are unaware of the story of Ian Curtis will find.
The film isn't quite as formulaic as I feared, but Curtis' story is one that has been experienced time and again by many other musicians, and this film interpretation of such a story fails to do as much as it probably should to grace this narrative with something refreshing, shamelessly succumbing to conventions and tropes that can't even be fully compensated for by the aforementioned and relatively distinct storytelling flaws.
Some of your more unconventional areas to storytelling are the flaws, and even then, we've seen uneven pacing and focus in all kinds of films of this type, thus they go emphasized by the conventionalism, leaving the final product to ultimately find itself with too little steam of sustain genuine reward value.
Still, there is admittedly enough steam to the final product for it to secure genuine decency, and do so pretty handsomely. I'm not saying that the film is "Schindler's List" good-looking, but intentional black-and-white cinematography in this day and age has to be really hard to do very well, and that makes Martin Ruhe's efforts all the more commendable, because even though the lack of visual color does what degree of liveliness there is within this film's all too often dried up atmosphere no favors, stunningly clever plays with lighting and framing emphasize the sparseness of this film's color palette in way that captures this drama's brooding, yet tasteful tone, sometimes with haunting beauty.
For an experiment with colorfully limited visual style, this film looks really good, and places its good looks into the context of its atmosphere with a thoughtfulness that gives you a feel for the isolation faced by the center of this intimate character drama's focus, even if it also adds a bit to the atmospheric sobriety that blands things up by giving you a chance to meditate upon the many shortcomings in storytelling.
Of course, I must admit, the steadiness of this slow drama also gives you a chance to meditate upon what is done right in Matt Greenhalgh's and Ian Curtis widow Deborah Curtis' script, which does, in fact, have its share of strengths to offer alongside weaknesses, such as some sharp, if a bit inorganically incorporated comic relief, and genuinely effective areas in expository depth that draw a layered story.
Sure, there is quite a bit of underdevelopment to plenty of areas, and the layers of this narrative are all too often unevenly handled, but this script's courage to extensively tackle as many areas of the tragic story of a flawed artist as it can within two hours is commendable enough to be endearing, and when the highlights of Greenhalgh's and Curtis' screenplay go well-executed by Anton Corbijn, the result is pretty effective.
Corbijn approaches the telling of this story very steadily and meditatively, and in plenty of ways, underwhelmingness wouldn't be as firmly secured as it ultimately is without the dulling atmospheric dryness, yet when Corbijn's efforts work, you're left to not only meditate upon the pacing problems on paper, but upon the depths of this narrative that give you a sense of progression while you observe the evolution in a man as he comes of age from an ambitious and quiet teenager into a well-recognized and rather well-intentioned man whose flaws will mean his destruction.
Uneven writing holds back Riley's impact, but Riley still transforms into Curtis and proves to be instrumental in selling the effective areas in this extensive character drama, and while that's not enough to carry the final product out of underwhelmingness, the Riley's performance is just one of a fair deal of highlight that keep you going, even if you do still walk away wishing for more.
When the "new dawn fades" Cameron J Super Reviewer. May 10, The profile of Ian Curtis of Joy Division is gripping. You will recall that I'm not a huge fan of rock biopics but Anton Corbijn does an excellent job of profiling the genius and madness of Curtis.
John B Super Reviewer. Jan 20, Control tells the story of Ian Curtis' rise to fame from humble beginnings in Macclesfield through to his tragically young demise.
The movie is slow throughout, but never boring. Sam Riley was excellent as Curtis. I found it a fascinating portrayal.
Before watching the film I wasn't aware of the whole story, but was a fan of Joy Division. You could easily be fooled into thinking that some of the scenes were actually the real thing.
Riley has an uncanny to Curtis and his voice, looks and movements are all utterly believable. Considering the uncomfortable, jagged and stretched motions and expressions this is quite a feat.
One thing that impressed me about Control is that it is such an honest portrayal. Nothing is added to be clever or spice the situation up.
Nothing is taken away to avoid looking pathetic or limited. We see Curtis' talented, genius, pathetic and self destructive, fragmented character in all its glory.
It shows his needs for things he doesn't want, and wanting things he doesn't need - medication, love, having a baby, etc. Although his biography, that the movie has connections with, is called Touching From A Distance, Anton Corbijn has chosen to go with Control for his version of the tale.
I feel it's a great title for this story. No control of his epileptic condition. No control of his feelings. Nor his fame. Nor what was expected of him.
Nor what performing on stage took out of him. His life is as out of control as his dancing and music. In what he could control, he was super talented, which in itself is an achievement not to be overlooked considering his origins.
I found the film genuinely affecting. Maybe because it is quite close to home and personal to me. I have listened to the songs featured in the film many times, albeit in my car now, or on my "boom-box" as a teen.
I felt a connection with the character as I too am epileptic, suffer from depression and many flaws in his character I see in my own.
Deborah Curtis , Ian Curtis' widow, is a co-producer, along with music mogul Tony Wilson , who died months before the film's release.
It had been Wilson who had given Joy Division their TV break on the local magazine programme Granada Reports , and he also founded Factory Records , which released most of Joy Division's work.
After the script for the film was finished in May , the film was shot at the former Carlton studios in Nottingham , and on location in Nottingham , Manchester and Macclesfield , England , as well as other European venues.
Filming began on 3 July and lasted for seven weeks. Filming in and around Barton Street where Curtis lived and died , Macclesfield took place on 11 and 12 July Ian Curtis' daughter, Natalie, was in the crowd as an extra for the Derby Hall gig.
The final scene of the film is shot in the exact position where Ian Curtis's memorial stone is located in Macclesfield with the camera panning out to reveal the crematorium which can be seen directly from his memorial.
The Weinstein Company secured the rights to release the film in North America after its success at Cannes. Peter Bradshaw , the chief film reviewer for The Guardian , described Control as "the best film of the year: a tender, bleakly funny and superbly acted biopic of Curtis".
The website's consensus reads, " 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. However, some reviewers have disagreed and commented on the film negatively.
Ray Bennett from Reuters remarked Control to be a "disappointment" and said the film "features lots of music from that time and has decent performances, but it fails to make the case for its fallen star".
Peter Hook and Stephen Morris , two of the founding members of Joy Division, generally praised the film. However, Morris has disputed its accuracy, saying "None of it's true really" but acknowledged the need to bend facts because "the truth is too boring.
It would've been nice to have a dignified silence. Hook also remarked that " Control is a hell of a lot more accurate than 24 Hour Party People.
You can tell that Anton knew us, and he knew us well and he took the original script, which was very English and quite subtly he made it deeper and have a broader appeal so that it would not just make sense to an English audience but to an international audience.
After viewing the film at Cannes, Hook said he "knew it was a great film and that it would be very well received because, even though it's two hours long, only two people went to the toilet the whole time.
In fact, one of them was Bernard [Sumner]. The other one was a year-old woman. The Killers cover the Joy Division song " Shadowplay " on the soundtrack.
The actors contribute a cover of an original Joy Division song " Transmission " to the soundtrack. Incidental tracks by s artists including David Bowie , Kraftwerk and Buzzcocks are the original recordings.
New Order provided the original incidental music for the soundtrack. From Wikipedia, the free encyclopedia. Theatrical release poster.
Sam Riley Samantha Morton Alexandra Maria Lara. Release date. Running time. The Numbers. Nash Information Services, LLC. Retrieved 18 March Retrieved 5 October BBC News.
Retrieved 17 May The Hollywood Reporter. Archived from the original on 1 October Retrieved 27 May British Independent Film Awards.
Archived from the original on 26 November Retrieved 1 December Lee Ray Oliver grew up from abused kid to sociopath, inevitably condemned to death, but wakes up in the morgue after the 'lethal' injection.
Michael Copeland offers him a choice: the real killer drug or 'volunteering' as life-long test person for his pharmaceutic experiment, Anagress, meant to suppress violent tendencies but side-effects unknown.
After vicious escape attempts, Lee Ray finally develops genuine remorse and tries to make-up with Gary Caputo, who Lee shot in the head, leaving him mentally a child.
Brother Bill Caputo's hate for ruining both of their lives is however redoubled, with tragic consequences. Written by KGF Vissers.
The sociopath killer Lee Ray Oliver Ray Liotta is sentenced to death by lethal injection. Michael Copeland Willem Dafoe offers him the chance to be a test subject of an experimental drug intended to reduce the aggressive behavior of the patient.
Lee accepts the terms and after a successful treatment in the laboratory, gets a new identity and chance in life. However, his past haunts him.
The attractive cast has names such as Willem Dafoe, Ray Liotta, Michelle Rodriguez, Stephen Rea and Polly Walker.
I really expected an excellent film, after watching the first part of this film, but unfortunately, after the last plot point, the screenplay has a horrible conclusion.
My vote is seven. Title Brazil : "Control". All Titles TV Episodes Celebs Companies Keywords Advanced Search. Sign In.
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