Amanda Seyfried's musical turn in 'The Testament of Ann Lee' is a revelation, one that sees her trading in her iconic roles for the role of Shaker spiritual leader in Daniel Blumberg's biopic. As she takes to the stage alongside an eight-piece ensemble comprised of avant-garde jazz musicians, it becomes clear that this is no Hollywood production – instead, Seyfried has found herself immersed in a world of free-form improvisation, where traditional notions of harmony and melody are thrown out the window.
Blumberg, the film's composer, drew parallels between Shaker worship and the unbridled energy of jazz musicianship. For him, the similarities were too striking to ignore: both demanded an intense, almost ecstatic devotion from their adherents; both allowed for moments of raw, unadulterated release that defied convention. In 'The Testament of Ann Lee', these parallels are put into stark relief as Blumberg's score – featuring hymns sung by Seyfried herself in a voice that is equal parts angelic and Appalachian-honed – gives way to the sonic mayhem of Minton, Nicols, and their ilk.
When Phil Minton takes to his mic, it's like witnessing a force of nature unleashed. The young 85-year-old unleashes a maelstrom of gasps, retches, howls, and animalistic whinnies that leave Seyfried – and the audience – breathless. Maggie Nicols adds her own brand of sonic chaos, yelping, shrieking, and shrieking like a banshee at moments that are equal parts beautiful and terrifying.
For those attuned to the raw energy of jazz improvisation, this is a moment of triumph. It's about embracing the unknown, allowing beauty to be bruised rather than polished. Seyfried, once an interloper in these unfamiliar waters, now finds herself fully embedded within the scene, refusing to back down as Blumberg's sonic sabotage tears apart her carefully constructed hymns.
The result is exhilarating – and wildly disorienting. The film may only stretch for 45 minutes, but what it lacks in length makes up for in sheer intensity. As Seyfried holds ground amidst the chaotic din of Minton and Nicols, one can't help but feel a sense of awe at this transformation from Hollywood starlet to free-form jazz wild child. In 'The Testament of Ann Lee', beauty is not sanitized – it's bruised, and it's glorious.
Blumberg, the film's composer, drew parallels between Shaker worship and the unbridled energy of jazz musicianship. For him, the similarities were too striking to ignore: both demanded an intense, almost ecstatic devotion from their adherents; both allowed for moments of raw, unadulterated release that defied convention. In 'The Testament of Ann Lee', these parallels are put into stark relief as Blumberg's score – featuring hymns sung by Seyfried herself in a voice that is equal parts angelic and Appalachian-honed – gives way to the sonic mayhem of Minton, Nicols, and their ilk.
When Phil Minton takes to his mic, it's like witnessing a force of nature unleashed. The young 85-year-old unleashes a maelstrom of gasps, retches, howls, and animalistic whinnies that leave Seyfried – and the audience – breathless. Maggie Nicols adds her own brand of sonic chaos, yelping, shrieking, and shrieking like a banshee at moments that are equal parts beautiful and terrifying.
For those attuned to the raw energy of jazz improvisation, this is a moment of triumph. It's about embracing the unknown, allowing beauty to be bruised rather than polished. Seyfried, once an interloper in these unfamiliar waters, now finds herself fully embedded within the scene, refusing to back down as Blumberg's sonic sabotage tears apart her carefully constructed hymns.
The result is exhilarating – and wildly disorienting. The film may only stretch for 45 minutes, but what it lacks in length makes up for in sheer intensity. As Seyfried holds ground amidst the chaotic din of Minton and Nicols, one can't help but feel a sense of awe at this transformation from Hollywood starlet to free-form jazz wild child. In 'The Testament of Ann Lee', beauty is not sanitized – it's bruised, and it's glorious.
! It's amazing how she just dives headfirst into this world of free-form jazz and makes it work. The energy of the film is electric, it's like you're right there with her and these wild musicians on stage 
And I love how she refuses to back down even when things get crazy - that takes a lot of guts! But yeah, sometimes beauty can be messy and raw, not some polished product...
. have u seen the actual Shakers? they were all about simplicity and hard work, not gasping and whinnying on stage 
. and what's with the music being just "sonic chaos"? can someone pls provide some evidence that this is actually inspired by actual shaker spirituality or is it just a bunch of creative liberties 
?
Also, what's with the score featuring hymns sung by Seyfried herself? Is it a serious attempt at capturing the Shaker spiritual vibe or is it more of a gimmick? 
And isn't Phil Minton's vocal style a bit... unsettling? Is that supposed to be some sort of avant-garde thing or just plain weird? 
. And the music, oh man... Phil Minton and Maggie Nicols are like a force of nature on stage, it's wild 
! But what really gets me is how Seyfried just owns that space, you know? She's no longer just an actress, she's fully immersed in this world of free-form jazz improvisation. It's like she's embracing the unknown and letting beauty be bruised, rather than polished 
The way Phil Minton takes over the mic is just wild, like he's channeling some kind of ancient spirit or something 
I'm not sure if I've ever felt so alive watching a performance – it was like my whole body was vibrating with energy 
Can't wait to see what she does next!
It's like watching a force of nature, just like Phil Minton's mic work is insane 
And Maggie Nicols' sonic chaos had me on the edge of my seat - it's like beauty and terror walked into the same room and got all up in each other's business 
The way Blumberg's score weaves together traditional notions with jazz improvisation is pure genius 
. The way she blends her vocals with Phil Minton and Maggie Nicols' wild sonic chaos is pure magic 
. The result is pure exhilaration and disorientation - I need more of this in my life! 
. Amanda Seyfried takes a huge risk by jumping into this jazz scene, but she owns it 
. She's not just an actress anymore; she's a wild child with music running through her veins 
. And let me tell you, Seyfried's transformation is no joke 
.
. Life is gonna get messy, but it's also what makes it beautiful 
.