me affirm two points: the photography is really beautiful! Director Anton Corbijn deserves to have 20 years of MV director experience, and the shots are handled beautifully.
In addition to the black-and-white image, the style of the film maintains a balance between nostalgia and avant-garde, and also gets rid of the sense of the times. The most important thing is that it is suitable for a maverick rock and roll man like Ian Curtis. The lack of color reduces the characteristics of the times, and the characters are out of fashion. Each scene seems to be applicable to the past, the present and the future at the same time, as if to tell a myth of Ian Curtis, more than 28 years ago.
The tranquility of the black-and-white images also expresses the characters' inner feelings vividly: depressed, depressed, monotonous, lack of vitality...so it is easy to be on the verge of distortion. Many ingenious compositions also conform to the character's character, blend in with the surrounding environment, and somewhat hint at emotions and destiny... Of course, these feelings were well constructed at the beginning of the film, but they were abandoned halfway.
The choice of actors is commendable. Except for the appearance of almost every one of them, they are trying to restore the appearance of Warsaw, Joy Division, New Order, Tony Wilson, Rob Gretton... I have to admit that the starring Sam Riley imitated Ian Curtis vividly. The performance is even more of a momentary trance~~~~ The low-key performance basically grasps the character's distressed state of mind. Almost Sam Riley's acting skills fulfilled the full value of this movie.
The director's narrow vision and loyal adaptation to the original basically ruined the second half of the film.
The first half of the film (about 50 minutes) uses a fragmented recording technique to deliberately bypass Ian Curtis's private life and inner activities, focusing on important moments and important performances in the journey of fame. This expression is very mature, simple and plain, with a light weight, and the combination of the image is almost perfect, and it is unavoidable to look forward to the next climax of the plot.
When dealing with those turning points in life, Anton Corbijn only used some meaningful lines to accurately prompt ~~~ For example, the first performance was well received, Ian Curtis hugged his wife, and was so excited that he wanted a baby. Nothing to say, simple and concise, just to explain the impulse and happiness of a big child. And the appearance of Tony Wilson, the "Blood Book", Rob Gretton's aggressiveness...These scenes are clean, clear, and worthy of praise... (It seems to borrow the style of "24 Hours Party Mania"?)... .
but about an hour of "band" the end of the plot development, began to explain the private life of Ian Curtis, appeared almost from the start of the Belgian woman, the whole story immediately turned 8:00 stalls soap opera, full of nauseating and boring lines, the plot completely Degenerate into a vulgar extramarital relationship.
The most disappointing thing is the ending. Under the tragic editing clues, Ian Curtis has become a triangle relationship between his wife and lover. Under the blow of the marriage is not smooth, an angry suicide stupidity...Orz
Even if Ian Curtis is only 23 years old, but a depressed for more than 20 years, admiring Jim Morrison, living in the shadow of epilepsy for a long time, the desperate "child" in the song is suffering to suicide just because of the sequelae of early marriage? ? ? ! Anton Corbijn's mind seems to have gone into the swimming pool... It is estimated that no JD fan can accept this ending.
I'm not a fan of JD, so I can't accept it. Because since you have created an Ian Curtis with a very complicated idea, you must not let him simply die! Most importantly, you cannot simply explain his death! !
The second half of the film is full of clichés we can imagine. In addition to the already discouraged Qiong Yao-style dialogue, plus a greasy monologue that never appeared in the first half, and even flashbacks inexplicably (first encounter with Debbie), there are also letters and lines, and a lot of hypnosis ( (Director) Self-righteous interpretive monologues... These expressions are already taboos in a documented film, but they are used by the director without warning to the point of flooding.
At this time, Joy Division's exquisite music has become the background music of soap operas, and those familiar songs have become accompaniments to the triangle relationship. Outrageous~~~
These wishful thinking about Ian Curtis ruined our "belief", not only did not restore a real rock genius, but insulted the feelings of Ian Curtis and the fans.
In addition, this failed adaptation (adapted from the memoirs of Ian Curtis’s wife, with obvious subjective tendencies, perhaps also because the adaptor Matt Greenhalgh’s inexperience) devoted a lot of time to Ian Curtis’s emotional life. A content that is the most difficult to elaborate and does not need to be detailed. It rarely explains the communication between Ian Curtis and JD band members, and leaves little room for Ian Curtis's attitude and awareness of music. This kind of directing attitude is also contemptuous. Ian Curtis and his music.
Although rock is full of uninhibited and chaotic, but in the punk hustle and bustle of the 70s, Ian Curtis is definitely a pioneer, an alternative, or even a lonely elite, worthy of serious commemoration. This Control is far from complete! ! !
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