The Testament of Ann Lee
Because so many film musicals are adapted from Broadway productions, the ones that are not- and are original to the screen- tend to follow the same formula, and as such, we can tell when a musical number is coming. One of the exceptional things about “The Testament of Ann Lee” is that there’s a spontaneity to when the musical and dance sequences arrive to where, even when we know it’s a musical, we’re caught off guard when they happen. There’s a sense of emotional release to the sequences that fits within the parameters of the genre, and also with the film’s story of faith and religious fervor.
Though I do not subscribe to a particular religion, I’m always fascinated when filmmakers approach the idea of faith and religion when it’s from Hollywood filmmakers and studios. I’ve spoken before on issues with faith-based cinema in terms of the “Left Behinds” and PureFlix variety- and will again soon. Mona Fastvold’s film benefits from not following traditional biopic norms, as well as striking performances by Amanda Seyfried as Ann Lee- one of the founders of the Shakers movement- and Lewis Pullman as her brother, William. Yes, we get narration to help establish time and place, but it doesn’t feel like the typically dry variety of exposition, but a fundamental part of how Fastvold- who co-wrote the script with Brady Corbet- bring us into Lee’s story.
The score for “The Testament of Ann Lee” is composed by Daniel Blumberg, who just won an Oscar for “The Brutalist” last year. For his follow-up, he has chosen to be bold and compelling. The music is a combination of songs and instrumentals that get to the emotions of each scene, and assist Fastvold in giving the film a distinctive feel. This isn’t about big Hollywood musical moments but evangelical explosions of faith and emotion. The choreography, cinematography and editing of these sequences are primal and come from a place of release. We are watching actors bring a narrative to life, but the way Fastvold has made this film, we do feel like we’re watching a life unfold before our eyes. Their emotional expression through song and dance is just the way they’ve chosen to reveal themselves.
Why do people, in the 18th Century- first in England, later in the American colonies- follow a woman as a religious leader? Certainly none of the larger sects were doing so. For her believers, Ann is the Second Coming of Christ, as well as someone who- despite having a husband- abstains for carnal relations. It’s an enticing combination for people, and- in the latter- an understandable one for Ann, who lost four children. The way the Shaker movement forms, and is seen as something bold- and certainly controversial- is one of the most fascinating aspects of the film, and as anchored by Seyfried’s fantastic performance, the film is raw, and riveting, as we watch a woman lead a movement, and stay true to the faith that drove her, all the way to the end. This is a riveting film.
