Likewise, the expensive, multicoloured light-shows favoured by the era's heavy metal, glam- and prog-rockers were replaced in the industrial bands' shows by stark white lighting, collaged black-and-white film backdrops, and sometimes strobe lights. Why would we shoot in colour when it would cost us twice as much and nobody would use it?" "There are very few photographs of them, and they are all black and white, and the reason is that nobody published in colour back then.
"Peter Hook says he always thinks of Joy Division as a black and white band," says photographer Kevin Cummins, who photographed the band several times. Visually, they shunned colour to match the bleak tone of their environment and their attitude - although this was also partly a matter of economics. They were among the earliest groups to employ primitive drum machines, which both anchored their sometimes abstract compositions to decisive, untiring rhythms, and - following Kraftwerk's lead - offered an implicit condemnation of the robotising effect of industrial labour. They shared certain values, most notably an attitude that prized aesthetic over commercial success and a belief that their music should reflect the grim post-industrial wastelands in which it was created: just as The Beach Boys hymned California's sun 'n' surf culture in glorious, soaring harmonies, so did the industrial bands incorporate machine noise and discordancy into their dark, brooding pieces, as sonic signifiers of what Marxists claimed was the alienating effect of industrial culture. In the immediate post-punk years, Joy Division were part of an emerging new-wave strain of music sometimes known as "industrial" rock, whose leading lights also included Throbbing Gristle, Cabaret Voltaire and the American band Pere Ubu. Indeed, in an earlier era, Ian Curtis would have been played by the young Tom Courtenay rather than Sam Riley, the newcomer who takes the role in Control. In it, Curtis was a serious, somewhat scary presence, at odds with the otherwise genial, amused tone but this time, if Corbijn's distinctive monochrome rock photography is anything to go by (he created The Joshua Tree image for U2), the film is shot in stark black and white, in keeping with both the mood of the band's music, the sense of alienation in Curtis's lyrics and the bleak Northern backdrop of 1970s England, which in those pre-Playstation, pre-internet, pre-postmodern times still had the dour post-war tone of the kitchen-sink dramas of the 1960s.
#Control ian curtis online subtitulada movie
This week, the photographer Anton Corbijn's film about the late Joy Division frontman, Control: The Ian Curtis Film, will be premiered at the Cannes Film Festival on the 27th anniversary of the singer's suicide.Ĭo-produced by his former label boss Tony Wilson and the singer's widow Deborah Curtis, with a screenplay based on her account of their life together, Touching From A Distance, it represents the most comprehensive attempt so far to provide some insight into the troubled life of a gifted young man who has become an icon for successive generations of fans.Īlready the subject of several biographies and a bottomless well of internet sites, forums and message boards, this is the second time in recent years that Curtis and Joy Division have been featured in a movie - although this one is likely to be rather more sombre than Michael Winterbottom's Tony Wilson biopic, 24 Hour Party People, a light-hearted romp through two decades of the Manchester music scene.
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