Anyone know where I can see it? Maybe a link. What did anyone think of it...if it has been released...nevermind..godammm it.
why do they keep postponing things,
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Control Movie: How was it?
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According to the Internet Movie Database, the current release date is set for 26 September 07.
JonnyMac wrote: According to the Internet Movie Database, the current release date is set for 26 September 07.
Ah! Just in time for the 30th Anniversary of the time Debbie chided Ian for not properly washing his soiled undergarments.
excuse me, i haven't been on the net in a while and when i want to know about joy division or new order, i come here. this was not a pointless thread to everyone. thank you.
This is the only 'new' news I could find about Control in Cannes....
Palmed off So there are to be no British films in competition at Cannes. With Ken Loach winning the Palme d'Or last year, it feels a bit like winning the World Cup then not qualifying for the next one. But the news is not all bad. I learn that two very distinctive British works will be selected for the prestigious Director's Fortnight. The first is Control , the story of doom-laden rock group Joy Division and their lead singer, Ian Curtis. The film stars newcomer Sam Riley as Curtis and Samantha Morton as his wife Deborah, on whose book the film is based. (Morton should have a good Cannes - she also plays Marilyn Monroe in Harmony Korine's Mister Lonely which has been selected for the Un Certain Regard section.) Control marks the directing debut of celebrated photographer Anton Corbijn. The other British entry is Garage , directed by Ireland's Lenny Abrahamson and written by Mark O'Halloran, the team behind the excellent but little-seen Adam & Paul in 2004.
http://observer.guardian.co.uk/review/story/0,,2062655,00.html
*Animadversion* wrote: excuse me, i haven't been on the net in a while and when i want to know about joy division or new order, i come here. this was not a pointless thread to everyone. thank you.
excuse you??
why??
Cannes plans Curtis bash 'Control' opens Directors Fortnight By ALISON JAMES PARIS -- Bono, members of New Order and Depeche Mode will be among guests — and some of them might perform — at the opening night bash of the Cannes Film Festival sidebar Directors Fortnight on May 17, after a gala screening of the Ian Curtis biopic "Control."
Black-and-white film about the life and suicide at 23 of the lead singer of cult eighties band Joy Division is pop photographer and video director Anton Corbijn's helming debut, and was produced by Becker International.
It is based on "Touching From a Distance," a book by the musician's widow Deborah Curtis, played in the film by Samantha Morton, and recounts the love triangle that both she and his mistress believe drove him to take his life.
The Curtis story is one of the strands in Michael Winterbottom's "24 Hour Party People," the Factory Records faux docu that screened in competition in Cannes in 2002, but "Control" is a totally different film, said Directors Fortnight topper Olivier Pere.
"It is a surprising love story about someone who was very ordinary and very modest. It is very close to English cinema from the 60s and 70s, with a political and social backdrop," Pere said.
However it does feature concert scenes and a dozen Joy Division songs, as well as other pop music from the era.
To mark the 27th anniversary of Curtis' death — on May 18, 1981 — Corbijn has invited his pop star friends to attend the Directors Fortnight screening and party afterwards, when there will be a minute's silence to remember Curtis.
Some of them could well perform at the opening-night party alongside Sam Riley, the actor who plays Curtis and sings some of the songs in the film with his own rock band.
Gallic distribber La Fabrique de Films is hosting the party along with Warner Music, which will be releasing the soundtrack of the movie, and Becker International.
"We don't know exactly what is going to happen, but New Order haven't played together for years," said La Fabrique's topper Franck Ribiera on Wednesday.
More disturbed by his death in 1981 to be honest. Maybe the journo was one of these who refuses to accept NO without Gillian?
10p says they don't get on stage and play anything at Cannes though.
"We don't know exactly what is going to happen, but New Order haven't played together for years," said La Fabrique's topper Franck Ribiera on Wednesday.
So i've been conned watching a TRIBUTE band these last few gigs!DAMN
ROCKET MICK wrote: "We don't know exactly what is going to happen, but New Order haven't played together for years," said La Fabrique's topper Franck Ribiera on Wednesday.
So i've been conned watching a TRIBUTE band these last few gigs!DAMN
And pretty good they were too, nearly as good as the real thing 
oldmonkey wrote:
10p says they don't get on stage and play anything at Cannes though.
let's hope not, it might just put the general public off the film altogether 
hooky was on"96.2 the revolution" yesterday and said"it did my head in, its good though", well it would realy, seeing a film about yer best mate killing himself.
Haven't played together in years huh?
What's the hiring criteria for journalists anyway? Where do they find these idiots? Can they not be bothered to do a bit of research? Isn't that their fucking job??
I know I sound bitter but fuck! How many times do you read music articles that have such stupid inaccuracies?
And what the fuck is this then... Please, for the love of God, someone tell me what the fuck that's supposed to be - I've been dumbfounded by that thing for years. It's got a bandage covering most of his face and one arm going back and forth. It makes no sense.
FtotheDoubleOff wrote: Haven't played together in years huh?
And what the fuck is this then...
that's not a bandage, look closely: it's teeth! :D but then sideways 
Geri wrote:
FtotheDoubleOff wrote: Haven't played together in years huh?
And what the fuck is this then...
that's not a bandage, look closely: it's teeth! :D but then sideways
Right!! I just got it
FtotheDoubleOff wrote: Haven't played together in years huh?
What's the hiring criteria for journalists anyway? Where do they find these idiots? Can they not be bothered to do a bit of research? Isn't that their fucking job??
I know I sound bitter but fuck! How many times do you read music articles that have such stupid inaccuracies?
And what the fuck is this then...
you must like to swear as much as i do!!!
Good article from the Times yesterday:
Resurrected heroes rock the Croisette Two directors will expose British music icons at this year’s Cannes Film Festival
Stephen Dalton There will be few Union Jacks flying over the Croisette this year: the Cannes Film Festival is almost totally a British film-free zone – bar two notable exceptions, both focusing on rock gods. One is a biopic, the other a documentary.
Having its world premiere as the opening film of the prestigious Director’s Fortnight will be Anton Corbijn’s Control, the hotly anticipated screen biography of Ian Curtis, singer with Manchester postpunk legends Joy Division. Also showing in Cannes will be Julien Temple’s terrific documentary on the late Clash singer Joe Strummer, The Future is Unwritten.
After the recent celebrated biopics of Johnny Cash and Ray Charles the fast lives and early deaths of iconic rock stars clearly remain a perennial fascination for festival organisers and audiences alike. Strikingly, Curtis and Strummer were almost exact contemporaries and arguably the two most important British music figures of their times. One became an enduring symbol of psychic torment and unrealised potential, the other a rousing rebel-rock icon who retreated from the limelight, only to die on the brink of a major career revival. Both now enjoy worldwide reverence among music fans.
Similar in style to his groundbreaking eulogy to the Sex Pistols, The Filth and the Fury, in 2000, Temple’s portrait of Strummer is a remarkable collage of rare family footage, performance clips and late 1970s social context. In a smart sleight of hand it is narrated by Strummer himself in a loose audio narrative pieced together from archive interviews.
It also features a starry collection of first-hand testimonials from friends, musical partners and famous fans. Martin Scorsese, Bono, Johnny Depp and a cast of thousands all pay their respects to the former Clash singer’s everyman appeal.
“Joe retained a connection with his audience all around the world,” Temple says, “a big audience of people who felt they had a kind of closeness with him. He did insist on remaining human and flawed and contradictory and in touch with other people. A lot of famous musicians lose that, and it’s quite easy to do, the bigger you get. Joe was a very big star. He wrestled very deeply with it.”
The personality cult based on Curtis is distinct from most live-fast, die-young rock stories. An intense, charismatic figure assailed by depression and epilepsy, he retains a huge global following almost three decades after his death. Curtis committed suicide on the eve of Joy Division’s first American tour in May 1980. He was 23.
He scored his largest commercial success shortly after his death with the evergreen despair anthem Love Will Tear Us Apart, and the small canon of Joy Division songs he left behind defined the jagged, brutal, modernist aesthetic of postpunk. He informed many of the biggest rock bands of the 1980s and 1990s, and helped to inspire everyone from U2 to Nirvana, Moby to the Killers. When Kurt Cobain committed suicide in 1994 and Richey Edwards of the Manic Street Preachers ominously disappeared a year later, fans were quick to invoke Curtis as their dark forefather.
Control, filmed in monochrome, is based on Touching From a Distance, the 1997 memoir by the singer’s widow, Deborah Curtis. Ironically, this flagship for British talent at Cannes is directed by a Dutchman, Anton Corbijn, and produced by an American, Orian Williams.
It stars the virtually unknown Sam Riley as Curtis and Samantha Morton as Debbie, and was partly shot in the singer’s native Macclesfield. But Joy Division’s central Manchester rehearsal room, immortalised in the Love Will Tear Us Apart video, was recreated in a Nottingham warehouse. I was there last summer when Corbijn shot a key scene in which the band learn that they have been booked on the fateful American tour that apparently plunged Curtis into his final depression.
The London-based Corbijn, making his debut as a feature director, spent most of the 1980s as a photographer at the New Musical Express, where his instantly recognisable signature style of grainy textures and deep shadows earned him the nickname “the Dutch Master”. He then moved on to shooting videos, conceiving album sleeves and designing stage shows for numerous superstar bands.
Although best known today as image-maker in chief to U2 and Depeche Mode, Corbijn’s connection to Joy Division is an obsession spanning 30 years. It was the cult Manchester quartet who caused him to move to England permanently in the late 1970s.
“My theory is that music really mattered here in people’s lives,” Corbijn says. “People are so poor that it was a way out, a matter of living or dying almost, whereas in Holland it always seemed like a subsidised hobby. When Joy Division came out it was so fantastic. I just had to go to England, to be where that music comes from.”
Within weeks of arriving, he persuaded Joy Division to grant him a photo shoot, producing some iconic monochrome shots that would later immortalise the band’s stark and gloomy image. But it was only after the singer’s suicide that these early portraits were hailed for their eerie, prophetic intensity.
“Nobody would publish it,” Corbijn recalls, “but the band liked it. When Ian died, NME suddenly wanted to put the picture on the front. It was like a premonition.”
Both Deborah Curtis and her daughter Natalie, who was just 1 when her father committed suicide, visited the set and gave their blessing to Control. Even so, the film-makers had to tread carefully in covering the singer’s darker side, notably his adulterous affair with Annik Honoré, a Belgian fan, that spanned the eight tormented months leading to his suicide.
“The one thing we told Debbie early on is we want to tell the truth, as best as we can,” says Williams. “We want to tell Ian’s story, not Debbie’s specific story. Even though it starts from the book we want the band’s input, we want Annik’s input. Debbie and her never met, and probably never will.”
Williams and the screenwriter Matt Greenhalgh met Honoré while researching the film. Curtis was still strong in her memory. “Ian wrote letters to her constantly,” Williams says. “I’ve seen those letters and they were sad, beautiful, lonely. It was a huge deal. He loved Annik and I know she loved him.”
Reborn as New Order after Curtis hanged himself, the surviving members of Joy Division have approved the script and supplied sound-track music. However, the bass player Peter Hook lambasted Corbijn for his hands-on methods last year. “We don’t tell him how to direct, why is he telling us how to make music?” Hook protested. “The band are supportive of Anton, period,” Williams insists. “We met with New Order several times. They read the script, they’re aware of the story we are telling. They know Debbie’s book.”
Control was shot on a tight budget of less than £3 million. Williams initially showed the idea to some Hollywood studio executives, but the box-office appeal of a black-and-white film about a long-dead cult singer eluded them.
“Various people said, ‘Get an Alist actor! Make it big!’” Williams laughs. “ ‘Black and white? No one sees black and white . . . Anton who?’ A couple of them even said, ‘What if you told it from the perspective of if he were still alive, looking back on his life . . .?’ So stupid.”
The Joy Division story has already been told on screen before, as one subplot of Michael Winterbottom’s irreverent Factory Records postmortem 24 Hour Party People. The Factory founder Tony Wilson has a producer credit on both films, although the two are very different in tone and focus.
As part of his research for playing Curtis, Riley visited the Epilepsy Society in London to study the effects of the seizures that, he feels, contributed to the singer’s suicidal depression. “The side-effects of the medication could be pretty soul-destroying,” Riley says. “Being in love with two women, the fear that comes along with epilepsy, the future and the unknown . . . I think it was just a massive combination. It was all too much for him.”
If Corbijn’s Control and Temple’s The Future is Unwritten share any common ground it is that both were made by directors who knew and loved their subjects. The difference between Strummer and Curtis, argues Temple, is that “Joe was a tough, survivor kind of guy”. His film doesn’t flinch from showing contradictory sides of the Clash frontman, who was loved and hated at the same time. And while the Joy Division singer wore his psychic trauma or all to see, the Clash singer internalised his.
“Joe had a dark, introverted aspect which he normally didn’t show that much,” says Temple. “But it was there. I didn’t want to wash a lot of dirty linen in public but I did want to make a film that would be useful to people who didn’t know him. I’ve always felt that he was a kind of philosopher.”
The 60th Cannes Film Festival runs May 16-27 (www.festival-cannes.fr ).
Two different worlds tore them apart
Kevin Cummins, photographer and close friend of Ian Curtis:
The film’s not going to offer me a huge insight into Ian’s life. It’s loosely based on [Curtis’s widow] Deborah’s book, but I think the film’s been taken out of her hands a bit.
They’ve made Ian’s affair with Annik more central, apparently. Ian and Deborah were just kids when they got married and the book isn’t about living with a rock star and the marriage falling apart; it’s about two kids who got married too young and then drifted apart because their worlds changed.
They should just rerelease the first two albums. That’s far more biographical than any film made by people who didn’t know him that well.
Ian’s lyrics were pretty dark and onstage he’d get lost in that darkness sometimes. Being close to him, either onstage or in front of the stage, was quite dangerous. You didn’t know what was going to happen.
