Part 2 here.

Looks a lot like a famous (but slightly more dangerous) blast through a quiet city: C’était un rendez-vous, filmed in 1976 in Paris by Claude Lelouch. Non? Oui?

Related post: Destroyer Slays Me

So don’t miss out: support your local cinema (“Hullo, is that the local cinema?” – “Well, it depends where you’re calling from”) and see these tales of.. my heroes. Then come back and tell me what I’m missing, you ‘orrible lot.

Great that Andy Serkis, well known in these here parts, of course, got the Ian Dury gig.

What really terrifies you at the cinema? The Exorcist? The Blair Witch Project? Showgirls? Jim Carrey being Jim Carrey again and again?

I can handle those, no problem, no sweat. However, the sense of creeping dread I get from this black and white classic of the genre made over sixty (count em) years ago (when I can part my fingers long enough to watch it, that is) is immense. The film has a cunning narrative that leads from sequence to sequence, each character has a macabre story to tell and it’s all linked together by.. aw, but I’m telling you the plot!

Sure, the supposed centerpiece of the Ealing Studios Dead Of Night (1945) is a little over-hysterical, but if you don’t like ventriloquist’s dummies, it’ll throw a few wobblies into you just the same.

But the classic vignette that has me wishing I was young enough to hide behind the back of the sofa is the ‘mirror’ sequence, starring Googie Withers and Ralph Michael.

So here it is. Make sure it’s night time, turn the lights down. I’ll.. er.. just pop out to make a cup of tea while you watch. Gulp.

If you’re ready for Part 2, here it is. Happy Halloween!

Very fortunate indeed last night to pay a visit to The Civic in Auckland for a screening of the new Ian Curtis bio-pic ‘Control‘.

Carefully crafted in black and white by Dutch photographer turned director Anton Corbijn (he filmed the Joy Division video for ‘Atmosphere’, and his photos of U2, Beefheart and others were an important part of my NME-obsessed youth) to “reflect the mood of the era” it’s an unsettling but strangely familiar experience for those of us who grew up in the North of England.

Based on Deborah Curtis’ book ‘Touching From A Distance‘ and co-produced by Factory Records supremo Tony Wilson, it’s constructed by those perhaps best placed to give us an insight into Curtis’ world.. but it’s their view, Curtis not being here to defend himself.

Not that he would or could.. Sam Riley plays it perfectly, the troubled young man simply not having either the life experience or the support he needed to work his way out of danger. Too much taken on too soon in his personal life, too many demands in his professional one, something had to give. Add to that fear of dying.. medical advice for his epilepsy being ‘here are some drugs, try them all until we find one that works’, compounded by the death of an epileptic of Curtis’ acquaintance.. that sword hung over his head too. You watch, and beg for someone to sit down and talk to him, work things out, and it doesn’t happen.

Someone told me he wasn’t a very likeable person. The compassion shown as he went about his day job, the childlike innocence and tenderness with which he approached his early relationship with Deborah would bely that. He just didn’t have the vocabulary, the nous, to look at his own life from the outside, he internalised it all.. until it was too late. Seeking solace in a doomed relationship with Annik Honore (played by Alexandra Maria Lara) and comforted by her presence, he nevertheless couldn’t explain his feelings even to her.

Samantha Morton‘s Deborah is an extraordinary portrayal: extraordinary in showing us the ordinary.. unsophisticated, simple, loving even when things are collapsing all around her, but again so young to have to cope with all the trials of both their lives.

It’s moving and bleak, Corbijn tampering with the focus and contrast to wash over the screen when the plot requires it.. it’s genuinely thrilling in the performance sequences, and it has those infrequent but golden moments of Manchester humour: the ebullient Toby Kebbell as manager Rob Gretton almost steals the film. But it’s Riley’s show.

Go see it. Here’s the director (YouTube).