In 2007, two music biographical films will definitely change the direction of this type of film. One is now called "Control", and the other is "I'm Not There" which shows Bob Dylan's life in a new way. It will be interesting to compare the two movies a little bit. "I'm Not There" split Bob Dylan into several different characters, each of which symbolizes an aspect of his character or life history: this "real" Dylan is a complex and multi-faceted image; and "Control "Although we still use more traditional methods to make a new actor play Ian (and his performance has reached an amazing level!), but after watching this film, we (at least it is me, of course, I understand that he is a lonely People, but which so-called artist is not alone?) It is still impossible to understand what kind of person Ian is.
This is not to say that "Control" refused us to enter Ian's heart. There are a lot of static and long shots in the film, which seem to be a way of denying us to enter the hearts of the characters; but the film also has many close-ups and front and back shots. Therefore, I personally feel that the purpose of the director's approach is to tell us that the reason why we cannot enter Ian's heart is precisely because he himself cannot enter his own heart. As far as Ian can go on the road to knowing himself, we can only go as far. Here, director Anton Corbijn’s respect for the characters is commendable. He did not try to explain the characters’ weird behaviors, and did not intend to provide the audience with some logical explanations. The black and white coarse-grained images record Ian’s daily life like a documentary. The trivial details in the book, but do not use any psychoanalytic or psychoanalytic methods to complete this unsatisfactory story and character.
As a biographical film, "Control" is even more rare in that it does not think of a "story" form to accommodate the character's life's attempts. In other words, it does not want to tell a story with a beginning, a climax and an end. It does not want to make up a character. Growth and decline. "Control" is an anti-plot and anti-climax movie. All we can see is the cause and result of an important event, but we cannot see this truly important moment. There is not even a moment in the film that makes the emotions explode and the plot reverts sharply. The exception is of course the details that show Ian's stage limbs. But still, we cannot capture the link between daily life and the stage. This is a movie that presents a break.
Speaking of breaks, maybe as a photographer, many of Anton Corbijn's shots in this film look like a still picture at first. In these shots, time seems to have been taken away; suddenly, the slight movements of the characters broke the silence, and I also believe that the reason why this movie is so powerful is precisely because of these static and moving images, and The break between them.
Ian in daily life, Ian on the stage, and Ian constantly traveling. Traveling is a crucial plot for "Control". The film shows the band traveling together in the car countless times. They are either on the way to the show or on the way home, but this road never ends.
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