{"id":7214,"date":"2025-08-27T09:00:00","date_gmt":"2025-08-27T07:00:00","guid":{"rendered":"https:\/\/riffsandbeats.com\/non-categorise\/control\/"},"modified":"2026-11-09T07:14:44","modified_gmt":"2026-11-09T06:14:44","slug":"control","status":"publish","type":"post","link":"https:\/\/riffsandbeats.com\/fr\/chroniques\/films\/control\/","title":{"rendered":"Control"},"content":{"rendered":"

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Joy Division film\u00e9 par quelqu\u2019un qui \u00e9tait l\u00e0<\/h3>\n

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Control<\/em> suit Ian Curtis des pi\u00e8ces de Macclesfield \u00e0 la br\u00e8ve vie publique de Joy Division. Le film d\u2019Anton Corbijn (2007) garde la cam\u00e9ra sur la pression : le travail, la maladie, la tension \u00e0 la maison. Tourn\u00e9 surtout en noir et blanc, il traite l\u2019ascension du groupe comme un travail document\u00e9 : r\u00e9p\u00e9titions, trajets en van, passages TV, le poids de l\u2019\u00e9pilepsie, un mariage sous tension. Sam Riley joue Curtis sans gadgets d\u2019imitation. La ressemblance suffit ; le film reste sur la routine et sur ce qui casse.<\/p>\n

Corbijn avait photographi\u00e9 Joy Division \u00e0 la fin des ann\u00e9es soixante-dix, donc les images viennent de ces ann\u00e9es-l\u00e0, pas d\u2019une nostalgie fabriqu\u00e9e plus tard. Factory Records, Tony Wilson et le circuit mancunien apparaissent comme des lieux de travail, pas des d\u00e9cors de sanctuaire. Le film s\u2019appuie largement sur les m\u00e9moires de Deborah Curtis, Touching from a Distance<\/em>, ce qui veut dire que la vie domestique n\u2019est pas une sous-intrigue coll\u00e9e apr\u00e8s les concerts. Maison et sc\u00e8ne se tirent l\u2019une l\u2019autre. Aucune des deux ne finit par \u00eatre s\u00fbre.<\/p>\n

La musique est au centre sans transformer le film en jukebox. La bande-son puise dans le catalogue de Joy Division et dans des interpr\u00e9tations proches des disques : la ligne de basse de Transmission<\/em>, la pouss\u00e9e froide de She\u2019s Lost Control<\/em>, la voix nue de Love Will Tear Us Apart<\/em>. Corbijn laisse les chansons arriver comme un travail que le groupe apprend encore \u00e0 porter en public. Quand le groupe joue, on entend pourquoi ces titres comptaient sur de petites sc\u00e8nes avant de devenir des posters. La guitare de Bernard Sumner, la basse haute de Peter Hook et la batterie de Stephen Morris restent audibles comme une unit\u00e9, pas comme un costume pour le visage de Riley. Les performances ne sont pas des monuments karaok\u00e9 ; c\u2019est le son d\u2019un jeune groupe qui trouve une forme d\u00e9j\u00e0 trop lourde pour la salle.<\/p>\n

Voil\u00e0 ce que raconte vraiment le film une fois le r\u00e9cit du chanteur tragique mis de c\u00f4t\u00e9. Control<\/em> regarde comment un chanteur, un label et une petite sc\u00e8ne du Nord ont produit des chansons encore reprises, pendant que le co\u00fbt priv\u00e9 de cette production reste visible. Les crises interrompent la tourn\u00e9e. Les lettres et les silences interrompent l\u2019amour. Le d\u00e9clin n\u2019est pas adouci pour les besoins du drame. Ceux qui cherchent une hagiographie pure repartent d\u00e9\u00e7us ; ceux qui veulent une chronologie claire de la fa\u00e7on dont Joy Division travaillait en obtiennent une.<\/p>\n

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\n

Certains visitent le pass\u00e9 pour des raisons sentimentales et d\u2019autres pour mieux comprendre le pr\u00e9sent.<\/p>\n<\/blockquote>\n

(Anton Corbijn, 2007)<\/em><\/p>\n

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Pour un auditeur, Control<\/em> est souvent le premier film sur Joy Division pour une g\u00e9n\u00e9ration qui n\u2019a jamais vu le groupe en live. Il se place \u00e0 c\u00f4t\u00e9 des disques plut\u00f4t que de les remplacer. Apr\u00e8s le film, Unknown Pleasures<\/em> et Closer<\/em> sonnent moins comme des monuments lointains que comme des documents faits sous d\u00e9lais, maladie et lumi\u00e8re limit\u00e9e. La carte post-punk de Manchester devient concr\u00e8te : la Factory de Wilson comme lieu de travail, le passage TV comme risque, les derniers mois comme un calendrier plut\u00f4t qu\u2019une l\u00e9gende.<\/p>\n

Comme biopic rock, il garde le m\u00e9tier en vue. La fin est connue ; le travail du film est de montrer le travail qui y m\u00e8ne et de laisser les chansons assez intactes pour qu\u2019on les veuille encore \u00e0 la fin du g\u00e9n\u00e9rique. On le revoit pour une raison simple : il montre comment ces chansons ont \u00e9t\u00e9 v\u00e9cues avant de devenir de l\u2019histoire et il laisse le catalogue \u00e0 sa place.<\/p>\n

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