Directed by Mona Fastvold
Certificate 15
130 minutes
Released 27 February

Few films accurately chronicle a specific, historical Christian sect, fewer still do so as a musical. I knew virtually nothing about the Shakers, before seeing The Testament of Ann Lee, which is based on a true story. | found much to admire in their religion, yet I was appalled by two aspects.

The Shakers, whose name is a contraction of ‘Shaking Quakers’, had their roots in mid-eighteenth century Manchester, where the eponymous Ann Lee (Amanda Seyfried), a working class woman fell in with what might have been described, had such terms existed at that time, as a charismatic house church. This was at the time of the Industrial Revolution when lives such as hers tended to be nasty, brutish and short.

Like many English people seeking a better life at this period of history, Ann, her husband, her brother Bill and a small group of likeminded believers emigrated to North America. After a brief period in New York, they moved out to establish a rural community, building what they intended to be a microcosm of the kingdom of heaven on earth.

The group practised what they preached: community, gender equality, hard work, and forsaking marriage in favour of celibacy as the only true path to godliness. Ann believed herself to be the second manifestation of Christ, which sounds distinctly dodgy, proclaiming herself Mother Ann Lee.

She saw sex as the manifestation of sin, even between husband and wife. She had undergone four difficult births, and none of her children survived, which may well have influenced her adverse views on human sexuality.

Medical science has advanced considerably in the intervening two and a half centuries, so her experience today would probably have been far less agonising, although miscarriage and bereavement are always possible and will always be traumatic.

Ann’s view of sex, as portrayed in the film, while true of the historical sect, is likely to alienate many viewers. Harrowing marital sex scenes centre around the mortification of the flesh, while unsuccessful birth scenes prove deeply disturbing. Eventually, unable to cope with permanent abstinence, her husband leaves her.

So much about the Shakers is admirable, yet the deification of their leader and their aversion to marriage and sex both seem beyond the pale.

Nevertheless, the film is beautifully put together, the worship (music and song and dance routines) remarkably scored, choreographed, and performed, while Amanda Seyfried gives her all in the title role.

Jeremy Clarke is a film critic. His website is jeremycprocessing.com