'Control' - By Anton Corbijn

Enjoying it's U.K. Premiere at Edinburgh Film Festival and having won the title of Best European Film at the Cannes this year, 'Control' goes a good long way to separate the man from the myth and to bring to life the complex enigma that was Ian Curtis, the lead singer and songwriter of Joy Division who committed suicide at the age of 23. Providing a killer soundtrack for music-lovers and based on the book 'Touching From A Distance' by his wife Debbie Curtis, 'Control' grips with its accurate portrayal and evocation of the emergent band set to black and white cinematography that was the hallmark of Joy Division's imagery (no colour shots exist of the band) - furnishing broody tones to the post-industrial wasteland that provided the backdrop to their post-punk music. In this, Film Director Anton Corbjin has staged a triumph in framing iconic shots which in themselves could exist as still photography - he was the photographer for U2's 'The Joshua Tree' cover after all.

Played superbly and sympathetically by Sam Riley as Ian Curtis and Samantha Morton as the put-upon wife Deborah Curtis, we trace Curtis's life from withdrawn, self-absorbed adolescent and meeting with his young future wife Debbie, a Sex Pistols gig gives context to his anger, frustrations and energy -  we see a man with deep musings quoting what would become 'Heart and Soul' "...existence, well what does it matter/ I exist on the best terms I can..." as well as a penchant for Wordsworth's 'The Rainbow' "...the child is the father of the man..." and a bookshelf with the counter-cultural bigwigs - J.G. Ballard, William Burroughs and Ginsberg's 'Howl'. Time-line is given with Curtis off to work with a coat and 'Hate' emblazoned across its back and fuck you in his stride, our protagonist cutting a mean streak as he goes to  work at the employment agency as John Cooper Clarke's Manc punk rant 'Evidently Chickentown' - "...the bloody pubs are bloody full..." shoulders the charge.

Forming of the band is matter of fact as Curtis falls in with some players in need of a lead singer, a fact he hears with indifference. In '24 Hour Party People' we had a ballsy and difficult Curtis meeting Tony Wilson for the first time, and again here we are - "you're a twat you are", whilst difficulties in the marriage prove grist for the mill and 'She's Lost Control'.

A notable performance from Toby Krebell as the manager Rob Gretton is gifted some of the best lines - staging a coup by off-loading the present dimwit manager - "How you going to cut deals and sort gigs if you haven't got a phone you daft c**t, no offence...". Tony Wilson's determined to sign Joy Division to his new Factory label - "We both fly the flag for Manchester. I'll even sign a contract in my own blood if it makes you happy" - which they hold him to, all cut up fingers - "Tony this is missing an 'S' - it's not very professional to leave an 'S' off the drummer" - T.W. all plastered fingers and fainting away. The punky sensibility and disregard is in evidence from their first TV appearance on Tony Wilson's show - with the band establishing what can and cannot be said on air - "What about big dogs cock - can you say that?" before launching into the apt 'Transmission'.