The Testament of Ann Lee is a visually enticing, powerful, winding film chronicling the story of Ann Lee, a founder of the Shakers, an offshoot of the Quakers. Spanning from her birth in 1736 to her death in 1784 and across the Atlantic ocean from Manchester to New England, it details Ann’s discovery of the Shaker religion, how she, alongside a small group, preached and spread the religion. The film is a musical, with music written by Composer Daniel Blumberg, who drew from original Shaker hymns in order to produce the songs, and elaborate dance numbers, choreographed by Celia Rowlson-Hall.
The way choreographed dance was used throughout was what I was most initially struck by.. Is it corny to call it a spiritual experience? Yes probably, but seeing Amanda Seyfried fling herself around the screen, I felt so overjoyed by the way the dance moves were being used.
Obviously a film about the Shakers was going to have a large amount of movement in it, but the choice to have their “erratic movements” shown as choreographed large group numbers really spoke to me. Ann Lee’s struggle through much of the start of the film is her inability to understand why horrible things have happened to her and why she doesn’t connect to the methodist church. To present this as her finding the Shakers, where every step is choreographed and preplanned felt ingenious to me. Ann finds a place where she can express herself, she can throw her body around and feel that cathartic release, but at the same time there is order in the chaos. The dancers move in synchronicity, blending together, often working together to make especially beautiful moments – an early scene at the Wardley’s house is brought to mind, wherein Ann is lifted above the room by the ensemble. And yet, within these movements, each dancer and worshipper has their chance to express themselves through how they move, the emotions they wear on their faces, where they look throughout. Together, they make this beautiful cacophony of movement but each dancer plays it so personally and authentically, showing dance as a form of worship. It helps you to see what Ann sees – although the actual worship would’ve likely been more disjointed and fragmented, the film makes the choice to let you see how beautiful it would be from the inside as if you too are a believer.
It does, however, also lend itself to some of the more negative aspects of Ann’s religion. Each person must dance together, or the performance won’t work. Nancy, Ann’s niece, must abide by the strict rules surrounding celibacy and when she fails to do so, she is rejected from the community. She no longer fits into the dance. Similarly, Ann’s husband, Abraham, cannot stand by Ann whilst upholding these rules. Although these beautiful moments can be created, people’s actions cannot be choreographed at all times, and Ann struggles to embrace those in her life who do not follow the planned steps. And there is still a world going on outside of the performances, that can’t be controlled either. Ann cannot stop the Continental Army who disagree with their stance on the American Revolutionary War and she cannot stop the angry mob who attack the Shakers, killing her brother William.
I think it is a real shame that The Testament of Ann Lee, such a rich and detailed film, got such a small release in the UK that not too many people have managed to see it. However, I hope the overwhelmingly positive response is enough to allow a few more people to seek it out and get to appreciate it.
