Disney / Buena Vista
Directed by Mona Fastvold and co-written by Fastvold and Brady Corbet, The Testament of Ann Lee focuses on the life of Ann Lee (Amanda Seyfried), centering particularly around how she founded the Shakers religious sect, and the visions that cemented her faith and inspired her to spread her gospel according to the visions she experienced.
Detailing her life from cradle to grave, we follow Ann as she finds her spiritual awakening in 1700s Manchester, and how, with her devoted younger brother William (Lewis Pullman) always in tow, she finds her way to New England, her trials and tribulations following her throughout both her physical and spiritual journey.
The film can be seen as a companion piece of sorts to Fastvold’s creative and private partner Corbet’s The Brutalist, as the pair worked closely together on both titles, making the two films an unlikely yet bold pairing of the rhyming visions of two filmmakers’ works.
The decision to make The Testament of Ann Lee a musical is a double-edged sword, as it on the one hand helps elevate the material in a compelling manner with an unusual yet often beautiful musical element, but on the other hand, the emphasis on the musical set pieces also somewhat divorces the storyline from the true nature of Ann’s life and legacy, elegantly cushioning the harsh reality of Ann’s fate a little too much at times, thereby robbing it of earnestly portraying just how harrowing her ordeal was.
In turn, the emphasis on the musical element also leaves the surrounding narrative feeling somewhat formulaic and derivative, loaded with cliches that leave the film feeling mundane in terms of the storytelling in-between the compelling musical numbers.
That being said, where The Brutalist at times went overboard with showcasing the harshness of László’s ordeal, hamfistedly driving its points home with excessive and borderline exploitative scenes of violence, both films would likely have been better served by finding a different middleground, which would mean not overdoing the brutalization of its subject in the case of The Brutalist, and also not overly softening the impact of the main character’s story in the case of The Testament of Ann Lee.
Where the impact of the narrative strokes and creative choices may vary from viewer to viewer, it is indisputable that Seyfried delivers a masterful performance, showcasing her range in a manner like never before, her commanding and fearlessly vulnerable presence being reason enough alone to watch the film.
Pullman also deserves praise for his performance, as he is stalwart and pensive while also mirroring Seyfried’s vulnerability, making the dynamic between the two siblings work exceedingly well, serving as an emotional anchor for the film.
The Testament of Ann Lee is beautifully filmed and realized with a remarkable central performance, and those who found The Brutalist too emotionally draining may find a better balance with Fastvold’s musical, whereas others in turn may find the more traditional narrative structure and storytelling style of The Brutalist more compelling, as a musical about a religious sect may be a bit too farfetched for their liking.
Includes featurette.
Verdict: 7 out of 10.
