The most important thing in Dennis Lim's 10.7 N.Y. Times article about two Joy Division movies that the Weinstein Co. is distributing -- Anton Corbijn's Control, a feature film, and Grant Gee's Joy Division, a documentary -- is a line that sums up Corbijn's film very neatly. It says that Control "largely resists the temptation to assign blame or explanations."

To me, that's the all of it. In a very stark and disciplined way, Control is a "this happens, and then this happens" telling of a true-life story that does more than just relate events. Corbijn's stripped-down, no-dramatic-emphasis approach (along with the film's exquisite widescreen black-and-white photography) lends a certain bleak distinction, and this is what stays with you days and weeks after.
Posted by Jeffrey Wells on October 6, 2007 at 4:25 PM
comment #1
renorambler
says ...
This is possibly my most anticipated film whenever it makes its way to Reno. Bonus that Samantha Morton is in it.
Posted by renorambler
at October 6, 2007 9:44 PM
comment #2
Dan Revill
says ...
I saw it last weekend at the VIFF, and it was fantastic. Definitely one of the best films of the year. I think both Riley and Morton deserve Oscar nods. Hopefully it happens.
Posted by Dan Revill
at October 7, 2007 12:58 AM
comment #3
Dan Revill
says ...
Also, seeing a still from the film in colour is somewhat disconcerting. Why not B&W?
Posted by Dan Revill
at October 7, 2007 1:01 AM
comment #4
EDouglas
says ...
I was wondering the same thing... why and where did they get a color still from?
Posted by EDouglas
at October 7, 2007 6:08 AM
comment #5
gruver1
says ...
Wells to Aladdin Sane, Ed Douglas: I chose the color shot, which was taken by Ian Curtis's daughter during a set visit (and initially published by the Guardian a couple of weeks ago), precisely because it contrasts -- argues -- with each and every still from the film that's been published since it opened last May in Cannes.
Posted by gruver1
at October 7, 2007 7:34 AM