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Ray Pride

By Ray Pride Pride@moviecitynews.com

Control (DVD, 2007, ***)

control_box_5678.jpgCONTROL, ANTON CORBIJN’S EXQUISITE FEATURE DEBUT is restrained, melancholy and gorgeous, a matter-of-fact collection of the facts of the short life of 23-year-old Ian Curtis, frontman for the band Joy Division, who hanged himself in 1979. Sam Riley is the actor who plays Curtis, and it was one of the great, great performances of 2007. The fearful, vulnerable expressions that inhabit Riley’s face: the weight of two worlds, bourgeois and bohemian, resting upon his skinny shoulders, and atop that, the advancing symptoms of epilepsy (or the cocktail of drugs poured to stem them). It’s a performance of immense physicality: you can read these things into his expressions. But the musical performances, the numbers played live by the actors, are shocking in their simple, volatile shape. Riley’s Ian Curtis is a man who moves to shake the life, his essence, from himself. Not only does it convince as an embodiment of Curtis, but as the loss of control that performing artists sometimes seek. What is as transforming, as transcendent, as rising into a different physicality? (Some say now the saints and sages starved themselves to explore inner space.) Corbijn (best-known as a photographer) and cinematographer Martin Ruhe shoot in black and white widescreen, often in the very spaces and places where Curtis lived and worked and sang, and the pared-down decors suggest not only the poverty of the Manchester area in the 1970s, but offer objects the weight of icons: a Bowie poster, three binders on a desk—lyrics/stories/novels—a curtain in a window. Love tore him apart. Control brings him together again. The score, appropriately, is by New Order, who were members of Joy Division. Toby Kebell, as their manager, is a profane scene-stealer, alongside Samantha Morton as the salt-of-the-earth mother of Curtis’ daughter. The DVD (Miriam Collection, $29) includes commntary by Corbijn; Joy Division videos for “Transmission” and “Atmosphere,” as well as a making-of and interview with Corbijn. Below: a Dutch report on the filmmaker; a French trailer; and Joy Division playing “She’s Lost Control.” [Ray Pride.]






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“Ten years ago at Telluride, I said on a panel that theatrical distribution was dying. It seemed obvious to me. I was surprised how many in the audience violently objected: ‘People will always want to go to the movies!’ That’s true, but it’s also true that theatrical cinema as we once knew it has died. Theatrical cinema is now Event Cinema, just as theatrical plays and musical performances are Events. No one just goes to a movie. It’s a planned occasion. Four types of Event Cinema remain.
1. Spectacle (IMAX-style blockbusters)
2. Family (cartoon like features)
3. Horror (teen-driven), and
4. Film Club (formerly arthouse but now anything serious).

There are isolated pockets like black cinema, romcom, girl’s-night-out, seniors, teen gross-outs, but it’s primarily those four. Everything else is TV. Now I have to go back to episode five of ‘Looming Tower.'”
~ Paul Schrader

“Because of my relative candor on Twitter regarding why I quit my day job, my DMs have overflowed with similar stories from colleagues around the globe. These peeks behind the curtains of film festivals, venues, distributors and funding bodies weren’t pretty. Certain dismal patterns recurred (and resonated): Boards who don’t engage with or even understand their organization’s artistic mission and are insensitive to the diverse neighborhood in which their organization’s venue is located; incompetent founders and/or presidents who create only obstacles, never solutions; unduly empowered, Trumpian bean counters who chip away at the taste and experiences that make organizations’ cultural offerings special; expensive PR teams that don’t bring to the table a bare-minimum familiarity with the rich subcultural art form they’re half-heartedly peddling as “product”; nonprofit arts organizations for whom art now ranks as a distant-second goal behind profit.”
~ Eric Allen Hatch