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Fear that his disease will only get worse hounds him, and the fits go on. He's not strong enough to decide between the two women. On the road he meets a Belgian part-time journalist, Annik Honoré (Alexandra Maria Lara), and they fall uneasily in love. Ian had gotten married to Deborah (Samantha Morton) early-too early.
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It doesn't seem that the English doctors knew very well how to treat him, and he was so busy performing he didn't take the time to go to specialists and have more extensive tests. How faithfully he takes the pills is unclear but he suffers from their side effects in various ways, while late nights and booze are essentials of his existence. He's given a fistful of pills to take every day and told to have early nights and stay off the booze. Doctors tell him he has a form of epilepsy. He has an attack in their car as the band returns from a gig. The film is excellent at showing Ian's dilemmas. When he says the public doesn't know how much of himself he puts into his performances, we know what he means. The cast actually plays the Joy Division music live, and Sam Riley, who plays Ian Curtis, not only closely resembles him, but is a riveting and intense, almost at times scary, performer. And besides the images and the restraint, the film is worth seeing for the concert sequences.
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In the English style, it's offhand and avoids huge dramatic crescendos.
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'Control's' strength is a certain recessiveness. Joy Division formed in 1976.) This film (there's a documentary just coming out on the band too) is loosely based on a memoir of her marriage by Deborah Curtis, lead singer Ian Curtis' young wife, who had a baby girl by him and then tragically found him after he'd hanged himself in 1980, two months short of his twenty-fourth birthday, just as the band was to tour America for the first time. (The boys came from the outskirts of Manchester. He knows how to get the remorselessly grim feel of the north of England in the late Seventies. As a still photographer first-time director Anton Corbijn photographed Joy Division in black and white during their short existence. The first thing that strikes you about 'Control' is its silence, and the chilly beauty of its black and white images.