The Testament of Ann Lee Review
This little known story holds a lot of interest, and looks gorgeous, but the quirks can sometimes oscillate between being a strength and being a drag.
Ann Lee (Amanda Seyfried) searches for a religion that fits what she needs. She finds the an early group of what will become that religion, and after her own trials and tribulations, along with a healthy dose of a godly vision, she officially founds the religious sect the Shakers. She takes the group to America, and sets up a community founded on gender and social equality - only to see the Civil War take its toll on her group.
The Testament of Ann Lee isn’t your normal movie. Shot with seemingly a lot of natural light, and structured in some respects kind of like a musical - but with the musical elements being grounded in Shaker hymns and songs, and the music often being very atmospheric and diegetic rather than dominating the scene - the film feels like truly nothing else you’ve ever seen.
Amanda Seyfried is truly spectacular in the lead role, bringing a wealth of emotion and compelling complexity to the titular role. In particular, her grief at the loss of her children and its impact on her decision (and the faith’s decision) regarding celibacy is particularly compelling. And across the board, she’s ably supported by strong performances - from Lewis Pullman’s steadfast brother to Christopher Abbott’s dark and brooding husband. It’s a wealth of talent and nuanced performance.
The film is also absolutely beautifully shot. Shot in just 31 days, it seems like a lot of natural light has been used, and it reaps the rewards for sure. But it’s also the choreography, blocking and set/art decoration that really lends it such an incredible look. The introductory dance sequences, the shaking prayer sessions in the mansion eventually broken up by the maurauding police, and even the more intimate moments, are all structured in uniquely beautiful ways that are aided by the camera work and cinematography, but by no means beholden to it.
Mona Fastvold has such a clear and crisp command of the visual, that it really shows up in everything from the title design to the blocking and performance. But what is most interesting in this film is how she blends the shaking musicality of the religion and their songs with the story, with the score, and with the dialogue. It’s not a musical in the traditional sense, but then again it very much is. And the sounds of hands slapping, or Ann Lee huffing and puffing as part of the shaking, all weave together into gut punches that draw you in.
At the same time, the film has pacing issues. It’s a little slow, a little luxurious in its indulgence of its own self-importance, and unlike Fastvold’s other film (in a different role admittedly), The Brutalist, this one never feels like it justifies its runtime and indulgences through a greater sense of portent or importance. The eventual conclusion feels a little more hollow than that film, and a little less grandiose, but nevertheless fascinating.
