Real to reel

Local observations from a movie, music buff

Legends and con men

Two great movies to catch: “Control” reveals the life of Joy Division’s Ian Curtis, and “Great World of Sound” reveals the price of song sharking

By Dan Ochwat

Troubled music legends will forever be fodder for documentaries and biopic films: Ray Charles and Johnny Cash recently spun off the overblown movies “Ray” and “Walk the Line,” while Roky Erikson and Daniel Johnston each played subject to a documentary over the same time frame. Go back further, and there are many more examples.

This year, Joe Strummer, Tom Petty, Pete Seeger, Scott Walker and Joy Division are being honored in documentary form, and the lead singer of Joy Division, Ian Curtis, is the basis of the biopic, “Control.” As a fan of the short-lived band Joy Division, I shamefully geeked over the release of this film and jumped on its screening at the Chicago International Film Festival (it was officially released 10/26 and is playing at the Music Box Theatre).

I say “shamefully,” because biopics are shameful: They’re incredibly entertaining (mainly thanks to the music) but incredibly frustrating as you get condensed, dramatized, quick takes on one man’s life. You blur through time and settle for the highlights.

That said, what makes “Control” better than your average biopic (ahem ... “Walk The Line,” “Ray”) is a modest approach. This isn’t a bombastic film shot in ice cold blue and yellow hues, pouring out the tale of a strung-out rocker. It’s more psychological, subtler and actually shot in black and white, which gives it a timeless feel.

For those unfamiliar with Curtis, he was the lead singer of Joy Division, a band in the late 1970s that only released two albums and an EP. He committed suicide just before the band was set to leave for its first U.S. tour. The remaining members of the band went on to form New Order, so you can imagine the talent of this band.

“Control” is about Curtis and not Joy Division. And I have to think the director, Anton Corbijn, purposefully avoided giving us any real insight into how the band developed its cult sound. Unfortunately, in some respect, that hurts the film because it leaves you with too many questions. All of these boyish geniuses in a room, and the band just sort of becomes popular? Perhaps it’s a statement about music itself, that it just kind of happens? Who knows, but this movie decided to focus on the depressed, charismatic singer, and it works.

What’s beautiful about “Control” is it portrays Curtis as a simple guy. He falls in love too easy and is always seeking approval. The movie bills Curtis as a sympathetic character. He married too young, which brings on guilt. He has a crippling fear of his epilepsy, and the drugs he’s taking to cure it could be adding to his depression.

At the same time, “Control” isn’t a downer. It celebrates Joy Division’s music, London and the post-punk scene. Fans of the band will surely get goose bumps during the concert sequences, and the brilliant soundtrack provides all the life the film needs. This is a cool film.

Joy Division songs and others are played over slick photography. My favorite sequence shows Curtis walking to work with “Hate” spelled out on his leather jacket. Another shows him owning up to his wife that he’s not in love with her anymore; they separate in the middle of the street. It doesn’t sound like much, but the shot, the music, it’s perfect.

“Control” does wrap up on an over-the-top note, but it’s a free pass for handling the rest of the film modestly. It’s under control, letting the music provide its emotional pulse.

 

The Great “Great World of Sound”
OK, up front, I’m demanding you contact Landmark Theatres or Magnolia Pictures to request they bring the film “Great World of Sound” to Chicago. For some reason, this wonderful indie isn’t going to play on the big screen in this market. And the DVD release date hasn’t been finalized yet, so it’s up to us to hit the phone lines.

I caught this gem at the Chicago International Film Festival, and it, too, is about music — the act of song sharking. Two desperate salesmen get caught up in a shady operation and take money from struggling artists, offering empty promises of music deals. Eventually, moral judgment takes over.

The brilliance of this low-budget wonder (only $80,000) is it shoots part of the film in a fake hotel room with hidden cameras, where the two lead characters/salesmen actually audition real-life, unsigned talent. First-time writer/director Craig Zobel actually ran ads in small town newspapers to audition wannabes.

The stars of the movie brilliantly improv the scenes, listening to the talent and then hounding them for money to begin production on a record, promising big returns for everyone in the end. It’s quite moving to see these people hitched to their dream, willing, wavering or unwilling to part with savings for the chance. The two salesmen are locally born actor Pat Healy, who plays a quiet Martin, and Kene Holliday, who plays a smooth-talking Clarence.

Not all of the auditions in the movie are “reality TV,” as some are scripted with actors, but it’s seamlessly blended. The high note of the film actually comes from a budding star named Gloria (played by Tricia Paoluccio), who auditions with a beautiful rendition of Joanna Newsom’s “Clam, Crab, Cockle, Cowrie.”

But I want to be clear: This film is not a gimmick. It’s an indie charmer, deftly constructed that it even drops in some smart, racial undertones. It’s a fabulous script, very funny and quietly wins you over. It’s an incredible surprise, and it would flat out suck if people didn’t make an effort to see this and be rewarded.

In Concert
To start off, my go-to show is pretty much a continuation of last month, only they’ve fluffed up the bill even more. Experimental Battles take on the Metro with the sweet sounds of Caribou on 11/8; however, catchy pop act Born Ruffians and groovy, soon-to-be-popular act White Williams have been added. Another show I’m really looking forward to is Vampire Weekend, 12/11 at Schubas. This interesting band mixes catchy pop stylings that are influenced by a touch of African music.

Also coming up, the intricate pop of the Annuals play Subterranean 11/6. French band Malajube plays the Empty Bottle 11/9. The next night, downtstate band Backyard Tire Fire plays the Double Door. Band of Horses just keep getting better and better live, and they play 11/11 and 11/12 at the Metro with The Drones.

Two excellent shows compete on 11/15 with the brilliant writing of The Mountain Goats headed to the Empty Bottle, and Menomena and Illinois pairing up at the Metro. Straight from the iPod commercial, Feist plays the Riviera on 11/17 and Spoon-sounding New York band Robbers on High Street play Schubas on 11/18 with female hip hop indie band Great Northern. The women also play the gorgeous Portage Theatre with twins Tegan & Sara (who seem to be blowing up) on 11/29. British girl group The Pipettes play the Double Door 11/21, while frisky female bamboo bangin’ act M.I.A. flanks Thanksgiving, playing the House of Blues 11/21 and the Vic 11/23.

On 11/21, unique rapper Buck 65 heads to Reggie’s Rock Club, while on the same night, the insanely underrated Cass McCombs plays the Empty Bottle. Modest Mouse plays an early show at the Congress Theatre on 12/2, and on 12/7, the mental New York band mixing dance with Balkan music, Balkan Beat Box, plays the Logan Square Auditorium. Finally, Canada’s The Most Serene Republic play songs off their popular newly released record at the Beat Kitchen on 12/8.

Keep sending me your music or anything else on your mind at danochwat@hotmail.com. I’ve also joined the MySpace army, so give The Real Chicago some love at http://www.myspace.com/danochwat

Click here for more Real to Reel