{"id":7217,"date":"2025-08-27T09:00:00","date_gmt":"2025-08-27T07:00:00","guid":{"rendered":"https:\/\/riffsandbeats.com\/sin-categoria\/control\/"},"modified":"2026-11-09T07:14:44","modified_gmt":"2026-11-09T06:14:44","slug":"control","status":"publish","type":"post","link":"https:\/\/riffsandbeats.com\/es\/criticas\/peliculas\/control\/","title":{"rendered":"Control"},"content":{"rendered":"<section class=\"wpb-content-wrapper\"><p>[vc_row][vc_column][vc_column_text]<\/p>\n<h3 class=\"subtitle\">Joy Division filmado por alguien que estuvo all\u00ed<\/h3>\n<p>[\/vc_column_text][vc_empty_space][vc_column_text]<\/p>\n<p style=\"text-align: justify;\"><em>Control<\/em> sigue a Ian Curtis desde habitaciones de Macclesfield hasta la breve vida p\u00fablica de Joy Division. La pel\u00edcula de Anton Corbijn (2007) mantiene la c\u00e1mara en la presi\u00f3n: el trabajo, la enfermedad, la tensi\u00f3n en casa. Rodada en gran parte en blanco y negro, trata el ascenso de la banda como trabajo documentado: ensayos, viajes en furgoneta, apariciones en televisi\u00f3n, el peso de la epilepsia y un matrimonio bajo tensi\u00f3n. Sam Riley interpreta a Curtis sin trucos de imitaci\u00f3n. El parecido basta; la pel\u00edcula se queda en la rutina y en lo que se rompe.<\/p>\n<p style=\"text-align: justify;\">Corbijn hab\u00eda fotografiado a Joy Division a finales de los setenta, as\u00ed que las im\u00e1genes vienen de esos a\u00f1os, no de una nostalgia armada despu\u00e9s. Factory Records, Tony Wilson y el circuito de Manchester aparecen como lugares de trabajo, no como atrezzo de santuario. La pel\u00edcula se apoya en gran parte en las memorias de Deborah Curtis, <em>Touching from a Distance<\/em>, lo que significa que la vida dom\u00e9stica no es una subtrama pegada despu\u00e9s de los conciertos. Casa y escenario se tiran el uno al otro. Ninguno de los dos termina sinti\u00e9ndose seguro.<\/p>\n<p style=\"text-align: justify;\">La m\u00fasica est\u00e1 en el centro sin convertir la pel\u00edcula en un jukebox. La banda sonora bebe del cat\u00e1logo de Joy Division y de interpretaciones cercanas a los discos: la l\u00ednea de bajo de <em>Transmission<\/em>, el impulso fr\u00edo de <em>She\u2019s Lost Control<\/em>, la voz desnuda de <em>Love Will Tear Us Apart<\/em>. Corbijn deja que las canciones lleguen como un trabajo que la banda a\u00fan aprende a llevar en p\u00fablico. Cuando el grupo toca, se oye por qu\u00e9 esos temas importaban en escenarios peque\u00f1os antes de volverse p\u00f3sters. La guitarra de Bernard Sumner, el bajo alto de Peter Hook y la bater\u00eda de Stephen Morris se oyen como una unidad, no como un disfraz para la cara de Riley. Las actuaciones no son monumentos de karaoke; son el sonido de una banda joven que encuentra una forma ya demasiado pesada para la sala.<\/p>\n<p style=\"text-align: justify;\">Eso es lo que la pel\u00edcula cuenta de verdad una vez apartado el relato del cantante tr\u00e1gico. <em>Control<\/em> observa c\u00f3mo un cantante, un sello y una peque\u00f1a escena del norte produjeron canciones que a\u00fan se versionan, mientras el coste privado de esa producci\u00f3n sigue a la vista. Los ataques interrumpen la gira. Las cartas y los silencios interrumpen el amor. El declive no se suaviza para el drama. Quien busca hagiograf\u00eda pura se va decepcionado; quien quiere una cronolog\u00eda clara de c\u00f3mo trabajaba Joy Division la obtiene.<\/p>\n<p>[\/vc_column_text][\/vc_column][\/vc_row][vc_row css=\u00bb.vc_custom_1453719644035{padding-top: 30px !important;padding-bottom: 30px !important;}\u00bb][vc_column][vc_column_text]<\/p>\n<blockquote>\n<p style=\"text-align: justify;\">Algunas personas visitan el pasado por razones sentimentales y otras para entender mejor el presente.<\/p>\n<\/blockquote>\n<p style=\"text-align: right;\"><em>(Anton Corbijn, 2007)<\/em><\/p>\n<p>[\/vc_column_text][\/vc_column][\/vc_row][vc_row css=\u00bb.vc_custom_1453719649507{padding-top: 25px !important;padding-bottom: 33px !important;}\u00bb][vc_column][vc_column_text]<\/p>\n<p style=\"text-align: justify;\">Para un oyente, <em>Control<\/em> es a menudo la primera pel\u00edcula sobre Joy Division para una generaci\u00f3n que nunca vio a la banda en directo. Se sienta junto a los discos en lugar de sustituirlos. Tras la pel\u00edcula, <em>Unknown Pleasures<\/em> y <em>Closer<\/em> suenan menos como monumentos remotos y m\u00e1s como documentos hechos bajo plazos, enfermedad y poca luz. El mapa post-punk de Manchester se vuelve concreto: la Factory de Wilson como lugar de trabajo, la aparici\u00f3n en TV como riesgo, los \u00faltimos meses como calendario m\u00e1s que como leyenda.<\/p>\n<p style=\"text-align: justify;\">Como biopic de rock mantiene el oficio a la vista. El final se conoce; el trabajo de la pel\u00edcula es mostrar el trabajo que llev\u00f3 hasta all\u00ed, y dejar las canciones lo bastante intactas para que las quieras otra vez al terminar los cr\u00e9ditos. Se sigue viendo por una raz\u00f3n simple: muestra c\u00f3mo se vivieron esas canciones antes de volverse historia, y deja el cat\u00e1logo en su sitio.<\/p>\n<p>[\/vc_column_text][\/vc_column][\/vc_row]<\/p>\n<\/section>","protected":false},"excerpt":{"rendered":"<p>El Control de Anton Corbijn sigue a Ian Curtis en la corta vida p\u00fablica de Joy Division, con la c\u00e1mara puesta en el trabajo, la presi\u00f3n y las canciones.<\/p>\n","protected":false},"author":1,"featured_media":7211,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"video","meta":{"footnotes":""},"categories":[299,303],"tags":[313,650],"class_list":["post-7217","post","type-post","status-publish","format-video","has-post-thumbnail","hentry","category-criticas","category-peliculas","tag-alternative-indie-punk-es","tag-joy-division-es","post_format-post-format-video"],"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v28.8 - https:\/\/yoast.com\/product\/yoast-seo-wordpress\/ -->\n<title>Control - 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