****
Ever since I was lucky enough to snag a ticket to the world premiere of The Testament of Ann Lee in Venice last September, I have been anticipating its release in Irish cinemas.
Rarely have I been as spellbound by a film as when the credits rolled, and the standing ovation for the cast and crew began. It was a well-deserved ovation.
Directed by Mona Fastvold, co-writer of last year’s similarly arresting period drama, The Brutalist, the film follows Ann Lee in her devoutly religious upbringing in 18th century Manchester, and discovering the Shaker movement. The “Shakers” believed in Godly worship through ecstatic movement. By way of tragedy and despair, Ann has a moment of spiritual enlightenment, convincing her followers that she is the second coming of the Messiah.
With the long wait between premiere and eventual wide release, I was curious if the film would match my initial reaction. Despite its unusual, quasi-musical approach, and striking dance choreography, the film went under the radar this awards season, completely ignored for its technical brilliance, and Amanda Seyfried’s career-best central performance.
From its opening frame and ethereal narration, the film instantly impresses upon its audience that this will not be a conventional biopic. The cuts are bracing, and the cinematography plants you firmly in the 18th century setting.
Although a biopic, there is a refreshing artfulness to how the story is told. With the narration and detached perspective, it feels as though we are watching a fable or fairytale. The lilting musical score compliments this nicely.
With any religious faction whose beliefs and methods differ from the conventional, there can be a tendency to disparage or fear cult-like structure. This film doesn’t exploit the Shakers as an oddity to gawk at. Rather, it treats them as a community; sincere about what they believe, but full of compassion and acceptance for each other.
As Ann, Amanda Seyfried ensures this titular religious leader has enough dimension that we can empathise with her, not simply pity her. She is stern and steadfast in what she preaches, but Seyfried also exudes the maternal qualities that endear Ann to the sect’s subjects.
What cannot go unmentioned is the extraordinary, hypnotic musical sequences. The songs, which are inspired from Shaker hymns, are oddly entrancing, and combined with the dizzyingly kinetic camerawork, make for some exhilarating cinematic moments. This is an incredibly well executed combination of sound and visuals. I found one set-piece in particular to be quite moving, providing the film with a powerfully cathartic moment.
It is not a perfect film. Although comparison is not necessary, it is hard not to weigh it against The Brutalist, as they share the same creative team. Both films also manage to work miracles within a limited budget.
Fastvold’s film could have benefitted from The Brutalist’s 210 minute running time to flesh out Ann’s inner circle, or explore the minutiae of the religion itself. Not everyone would agree with a three-and-a-half-hour film, but I noticed on rewatch that there is something about the presentation and non-judgmental, empathetic story approach that I found very comforting. I would have gladly spent more time learning about them.
It is a fascinating, unsensationalised story with a bold approach that deserved more recognition than it received.
4 / 5 stars
In Galway cinemas now
