Plus, Curtis’ tonal role in the two ?lms is strikingly different. Smith in 24 Hour Party People, as referenced in a deliciously subtle inside joke in Control) is a double-take inducing ringer for Curtis, so some of the sting of the comparison is de?ected. Visually, though, Control’s Sam Riley (who played Fall singer Mark E.
Beyond that, Sean Harris’ brilliant, glancing portrayal of Curtis in 24 Hour Party People seemed de?nitive despite a dearth of screen time. Rock biopics, even good ones, tend to either reduce their subjects to clichés or oversimplify their stories in the service of narrative coherence. It’s hard not to approach this ?lm with a certain amount of trepidation. Drawing from wife Deborah Curtis’ autobiography Touching From A Distance, director Anton Corbijn seeks to do something of the sort in Control.
While, musically, Joy Division is widely recognized as the brooding omnipresence behind the evolution of English post-punk, the mystery of Curtis has never been untangled. It’s beautiful, unforgettable and it draws you to try to learn more about the creature that uttered it. Even before you know he committed suicide, there’s something morbidly otherworldly about his low echoing moan. His voice claws out for you with surgical precision and a claustrophobic sense of desperation. Unlike, say, Morrissey, who ?oors you on ?rst impression with stylistic choices, Curtis lands on a different point in the psyche. Trans?xed by its cold angularity, its hectoring ?atness, I couldn’t help but shudder. The ?rst time I ever heard Ian Curtis’ voice was when “Transmission” popped up on a compilation. Starring: Sam Riley, Samantha Morton, Alexandra Maria Lara Writer: Deborah Curtis and Matt Greenhalgh
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