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Control (2007) More at IMDbPro »

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Control -- 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.

Overview

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Director:
Writers:
Deborah Curtis (book)
Matt Greenhalgh (screenplay)
Contact:
View company contact information for Control on IMDbPro.
Release Date:
12 September 2007 (Belgium) See more »
Genre:
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. Full summary » | Full synopsis »
Plot Keywords:
Awards:
Nominated for BAFTA Film Award. Another 29 wins & 26 nominations See more »
NewsDesk:
(9 articles)
Sam Riley Will Play Christopher Marlowe in ‘A Dead Man In Deptford’
 (From Slash Film. 13 September 2010, 2:15 PM, PDT)

Riley + Lara Engaged
 (From WENN. 13 January 2009, 11:06 PM, PST)

Oscar Brief: Many Predicting Oscar Will Go Slumming
 (From Rope Of Silicon. 30 November 2008, 11:29 PM, PST)

User Reviews:
Careers in a tightly controlled arc, where music biopic meets cinematic excellence See more (138 total) »

Cast

  (in credits order) (complete, awaiting verification)

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 ... Mr. Curtis - Ian's Father
Tanya Myers ... Ian's Mother
Martha Myers Lowe ... Ian's Sister (as Martha Myers-Lowe)

Matthew McNulty ... Nick
David Whittington ... Chemistry Teacher
Margaret Jackman ... Mrs. Brady
Mary Jo Randle ... Debbie's Mother (as Mary-Jo Randle)
Ben Naylor ... Martin Hannet
John Cooper Clarke ... Himself
James Fortune ... MC
Angus Addenbrooke ... Colin

Nicola Harrison ... Corrine
June Alliss ... Corrine's Mother

George Newton ... Studio Owner
Mark Jardine ... Other Band Manager

Herbert Grönemeyer ... Local GP
Paul Arlington ... Hospital Doctor

Tim Plester ... Earnest
Joanna Swain ... Maternity Nurse
Joseph Marshall ... Alan from Crispy Ambulance
Laura Chambers ... Claire

Eliot Otis Brown Walters ... Footballing Kid (as Elliot Brown-Walters)
Monica Axelsson ... Tony Wilson's Girlfriend
Lotti Closs ... Gillian Gilbert
Eady Williams ... Baby Natalie
rest of cast listed alphabetically:

Nigel Harris ... Tramp (uncredited)
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Directed by
Anton Corbijn 
 
Writing credits
Deborah Curtis (book "Touching from a Distance")

Matt Greenhalgh (screenplay)

Produced by
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
Peter Heslop .... line producer
Satoru Iseki .... co-producer
Akira Ishii .... executive producer
Korda Marshall .... executive producer
Orian Williams .... producer
Tony Wilson .... co-producer
 
Original Music by
New Order 
 
Cinematography by
Martin Ruhe 
 
Film Editing by
Andrew Hulme 
 
Casting by
Shaheen Baig 
 
Production Design by
Chris Roope 
 
Art Direction by
Philip Elton 
Tim Stevenson (additional art director)
 
Costume Design by
Julian Day 
 
Makeup Department
Barbara Taylor .... hairdresser
Barbara Taylor .... makeup assistant
Jeremy Woodhead .... hair designer
Jeremy Woodhead .... makeup designer
Andy Seston .... makeup daily (uncredited)
 
Production Management
Richard Lloyd .... post-production supervisor
 
Second Unit Director or Assistant Director
Andrew Foster .... second assistant director
Toni Staples .... first assistant director
Katy Stenson .... third assistant director
 
Art Department
Natalia Czuplak .... props
Rory Davis .... assistant props
Greyham Feehily .... carpenter
Josh Fifarek .... set designer
Peter Johnson .... carpenter
Cassie Leedham .... graphic designer
Simon Morrissey .... property master
Mike Osborne .... art department trainee (as Michael Osborne)
Sarah Jane Reichert .... art department trainee
Chris Richmond .... stand-by art director
Leedham Riff .... property master
Daz Spencer-Lovesey .... set dresser
John Steppings .... buyer (as John A. Steppings)
Tim Stevenson .... set constructor
Kip Walker .... supervising stand-by propman
Matt Wells .... props
 
Sound Department
Iain Anderson .... adr recordist
Nick Baldock .... assistant sound editor
Peter Baldock .... dialogue editor
Peter Baldock .... supervising sound editor: UK
Grant Bridgeman .... sound assistant
Ben Carr .... assistant adr editor
Daniel Crowley .... sound maintenance (as Dan Crowley)
Anders Degerberg .... sound mastering
Carl Edström .... sound effects editor
Adele Fletcher .... adr editor
Linda Forsén .... sound coordinator
Anna Gideonsson .... foley trainee
Thomas Huhn .... sound re-recording mixer
Thomas Huhn .... supervising sound editor: Sweden
Jonas Jansson .... sound effects editor
John Midgley .... sound recordist
Lucas Nilsson .... foley artist
Gábor Pasztor .... sound re-recording mixer (as Gabor Pasztor)
Jamie Roden .... adr mixer
Gianni Pallotto .... re-recording mixer: italian dubbing (uncredited)
 
Visual Effects by
Iain Finlay .... visual effects camera operator
Mats Holmgren .... digital colourist
Jonas Jangvad .... digital intermediate scanner
Fredrik Nord .... digital effects artist
Peter Törnestam .... digital effects artist
 
Stunts
Riky Ash .... stunt coordinator
Riky Ash .... stunts
 
Camera and Electrical Department
Paul Alexander .... Steadicam operator
Paul Alexander .... camera operator: "b" camera
Peter Batten .... additional camera operator
Tim Battersby .... focus puller
Robert Binnall .... camera operator
Steve Campbell .... electrician
Rachel Clark .... camera trainee (as Rachel Clarke)
Andy Clarke .... rigging gaffer (as Andrew Clarke)
Warwick Drucker .... grip
Warwick Drucker .... key grip
Jonathan Earp .... focus puller: "b" camera
Tom Fabian .... crane operator
Brian Fawcett .... electrician
Mick Lord .... stand-by rigger
Howard Roe .... dayman
Dean Rogers .... still photographer
Christopher Ross .... camera operator
Basil Smith .... daily focus puller
Barry Squires .... camera assistant
Owen Tooth .... video playback assistant
Julian White .... gaffer
Jim Wilkinson .... crane operator
Micky Wilson .... generator operator (as Mick Wilson)
Sophie Wilson .... clapper loader
 
Casting Department
Vanessa Baker .... adr voice casting
Brendan Donnison .... adr voice casting
Benjamin Till .... casting assistant
 
Costume and Wardrobe Department
Shahida Day .... key costumer (as Shajda Day)
Simone Grace .... wardrobe assistant
Fiona MacKinnon .... costume assistant
 
Editorial Department
Maria Dahlin .... post-production coordinator
Helen de Winter .... delivery coordinator
Mats Holmgren .... colour grader
Richard Lloyd .... post production supervisor
Barry Moen .... first assistant editor
Patty Papageorgiou .... post-production assistant
 
Music Department
Rupert Christie .... music mixer: live music
Peter Clarke .... music editor
Maloy Liam .... band rehearsal coach
Roger Lyons .... score engineer
Roger Lyons .... score recordist
John Midgley .... music engineer: live music
John Midgley .... music recordist: live music
Ian Neil .... music supervisor
 
Transportation Department
Roy Osborn .... driver: camera truck
John Oxborough .... unit driver (as Honest John Oxborough)
Rod Patterson .... transportation captain
Will Petty .... driver: rushes
Mick Stanton .... driver
 
Other crew
Tonino Accolla .... italian dialogue/dubbing manager: italian dubbing
Monica Axelsson .... assistant to director
Lorraine Bagshaw .... stand-in
Joanna Bates .... assistant production accountant
Kellie Belle .... product placement and clearances
Katie Bleakley .... production runner
Andrew Brand .... floor runner
Lesley Broderick .... post-production accountant
Lesley Broderick .... production accountant
Paul Brown .... executive: warner bros. music
Neil Calder .... completion guarantor: Film Finances Inc.
Vicky Chapman .... location assistant
Mel Churcher .... dialogue coach
Lee Clyne .... unit medic
Paul Dray .... laboratory contact
Zoe Flower .... unit publicist
Gezi Grakwsi .... executive: warner bros. music
Dan Hodgett .... location services
Ruth Hodgson .... completion guarantor: film finances
Sally Hodgson .... communications executive: EM Media
Christophe Ingrand .... french adaptation: original version with subtitles
Rob Jones .... location manager
Simon Jones .... tranport coordinator: London
Hakan Kousetta .... production legal advisor
Emily Lappin .... head of communications: EM Media
Anna Lindqvist .... title designer: main and end titles
Al Mackay .... location assistant (as Alastair Mackay)
Andrew Mackie .... production executive
Louise Melzack .... additional floor runner
Tessa Mendelsson .... assistant production legal advisor
Nick Miller .... assistant production legal advisor
Keeley Naylor .... unit publicist: EM Foundation
Jonathan Page .... finance and operations manager
Tina Pawlik .... assistant production coordinator
Richard Payten .... general manager: Dendy Films
Rachel Robey .... production coordinator
Peter Saville .... titles consultant
Alexandra Shipp .... product placement and clearances
Nic Smith .... location services
Masazumi Watanabe .... business affairs: IFF/CINV
Val White .... script supervisor
Christina Withers .... assistant: Samantha Morton
Ali Yap .... sales and events coordinator
Emma Yeomans .... location scout
Fabrice Allard .... press attache: france (uncredited)
Sophie Bataille .... press attache: france (uncredited)
Roberta Schiavoni .... assistant dubbing manager: italian post-synchronized version (uncredited)
 
Thanks
Monica Axelsson .... special thanks
Rebecca Boulton .... special thanks
David Bowie .... special thanks
Bart Chabot .... special thanks
Doreen Curtis .... special thanks
Natalie Curtis .... special thanks
Paul Dray .... special thanks
Caroline Elleray .... special thanks
Steve Ellis .... special thanks
Josh Fifarek .... special thanks
Brandon Flowers .... special thanks
Martin Gore .... special thanks (as Martin L. Gore)
Chris Grayes .... special thanks
Herbert Grönemeyer .... special thanks
Charles Hannah .... special thanks
Doug Hart .... special thanks
Annik Honoré .... special thanks
Laura Kanerick .... special thanks
Henric Larsson .... special thanks
Steve Levy .... special thanks
Martina Martin .... special thanks
Alexandra McGuinness .... special thanks
Clare Moak .... special thanks
Paul Morley .... special thanks
New Order .... special thanks
Kate Ogborn .... special thanks
Iggy Pop .... special thanks
Mark Price .... special thanks
Tracey Pryor .... special thanks
Ian Ramage .... special thanks
Lou Reed .... special thanks
Mark Reeder .... special thanks
Andrew Robinson .... special thanks
Mick Rock .... special thanks
Jackie Rowden .... special thanks: Lee Lighting
Peter Saville .... special thanks
John Seymour .... special thanks
Siouxsie and the Banshees .... special thanks
Torben Smith .... special thanks (as Dr. Torben Smith)
David Sultan .... special thanks
Robert Walak .... special thanks
Graham Ward .... special thanks
 

Production CompaniesDistributorsSpecial EffectsOther Companies
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Additional Details

Also Known As:
MPAA:
Rated R for language and brief sexuality
Runtime:
122 min
Country:
Language:
Aspect Ratio:
2.35 : 1 See more »
Sound Mix:

Did You Know?

Trivia:
The black-and-white film was actually shot in color, then transferred to black and white because, according to the director, the black and white film "was so grainy it looked like Super-8 even in 35 millimeter."See more »
Goofs:
Anachronisms: In a song performance scene the guitarist is using Marshall Speaker Cabinets (model 1960A and 1960B). The speaker cabinets were not introduced until several years after Ian's death.See more »
Quotes:
Bernard Sumner:I believe in pure... sex.See more »
Movie Connections:
Features Shadowplay (2007) (V)See more »
Soundtrack:
DigitalSee more »

FAQ

Why was Tony Nuttall's name (from the book) changed to Nick Jackson for the film?
How much sex, violence, and profanity are in this movie?
Any recommendations for other band biopics similar to Control?
See more »
146 out of 177 people found the following review useful.
Careers in a tightly controlled arc, where music biopic meets cinematic excellence, 17 August 2007
Author: Chris_Docker from United Kingdom

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.

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I'm a big Joy Division fan but... gnosischris
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Song in the end cof-sana
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