Since having achieved this mythical stature, it becomes hard to remember that Joy Division were simply four guys from Manchester England who had incredible chemistry together. Part of what makes this new documentary from The Miriam Collection titled simply “Joy Division” so wonderful is that it humanizes the band again.
This is a very even handed documentary that has successfully removed any hero-worship and instead focuses on the actual story of Joy Division, breaking down the whole into four separate parts or members. Of course the ghost of Ian Curtis weighs heavy on the film but it doesn’t consume it. None of the participants is maudlin or morose; in fact they seem to be celebrating the joy of the times they were in and their shared creativity as opposed to trying to pontificate on why the genius of Ian Curtis finally consumed him.
Director Grant Gee has no problem letting the film unfold slowly, giving it room to breathe and create an atmosphere that rivals Joy Division’s music. First Gee sets the scene with Manchester in the seventies, the sound, and the clubs, how the music brought some life back into it. From there we learn the origins of Joy Division through stories from surviving members Bernard Sumner, Peter Hook and Stephen Morris. The best part is that the stories aren’t these brooding melancholy gothic overtures but rather simple stories about four guys hanging out and trying to make original music.
It’s so cool to hear snippets of the more straight punk sounding work they did under their original name of Warsaw and to hear the band joke about how bad those songs were. The three surviving members are really interesting to watch, especially the odd split in their attitudes towards life. Sumner is serious and contemplative, Hook is boisterous and funny while Morris is an even-handed combination of his two peers. The combination of those personalities makes the telling of the band’s history so fascinating you can’t help but stay riveted through the entire thing.
Helping to round out this story are interviews with Tony Wilson (creator of Factory Records) as well as album cover designer Peter Saville, Joy Division biographer Paul Morley and a long overdue interview with Ian Curtis’s girlfriend Annik Honore. Conspicuously missing from this film is Deborah Curtis, Ian’s estranged wife though her presence is well represented through quotes layered throughout the movie. Gee has managed to tie in all the aspects of the band’s short existence from their music, to Curtis’s battle with epilepsy, and all the other triumphs and tragedies that made the band what it was. The film goes from funny to poignant when it needs to and never seems forced or heavy handed. Nobody involved in this movie is out to exploit the death of Ian Curtis, nor further the mythical image of Joy Division, if anything this film was made to break all of that down and destroy it.
Acting as the backdrop for this tale is the actual imagery of the film, which is beautiful and seamless. Gee doesn’t just splice together the various scenes, he weaves them together into a beautiful tapestry. It’s obvious that this movie was made by and for people who love Joy Division and for those of us who understand that their importance comes from who they were not from what people have made them out to be. Joy Division is clearly going to become the definitive look back at one of the greatest bands in the history of music.
