Arriving a little late to ride the flagging momentum of the nation’s half-fiftieth anniversary, and a little early for Christmas, the patriotic musical “Drummer Boy” should nonetheless strike a chord with Christian audiences. It’s the first multi-collaborator feature film since 2024’s “Unsung Hero,” one of the biggest “religious entertainment” hits in recent years, though that story set at the start of the Revolutionary War is a considerably different endeavor. “Hamilton” is not. Still, for those looking for a more sentimental and serious take on early American history with a more vanilla contemporary pop sound, Angel Studios’ latest release offers a confident, and mostly enjoyable, return to the original musicals of old.
“Drummer Boy” will largely appeal to pre-existing fans of the Grammy-winning Christian music group For King + Country, comprised of brothers Luke and Joel David Smallbone, the latter of whom plays and co-leads with Smallbone’s third brother, Ben. Viewers preferring entirely secular entertainment may find this a bit cheesy, but should understand that the religious messages here are relatively subdued in favor of a more generalized plea for societal “forgiveness and reconciliation” — something arguably well-timed in the immediate wake of a contentious midterm election.
A 1762 prologue shows two families sailing from England to its colonies across the Atlantic. Their children are about the same age, but otherwise the groups are quite different: the Clems (led by Nathaniel, Ioan Guffudd’s father) are humble people who hope to “be truly free” in a new country, hopefully free of class and other divisions. While Lord Balfour (Charles Esten), a widower, hopes to perpetuate the aristocratic traditions of his country abroad, with an apparent black slave for his haughty young daughter. Once finally in sight of land, the ship was attacked (by the French, as was the case during the French and Indian War), with the consequences falling hardest on the Clems.
Twelve years later, both clans settled in Kingston, New York, the eventual first capital of that state. The Clems established a grist mill, operated by mother Rachel (Melora Hardin) with her now-adult sons Jeremiah (Joel David Smallbone) and Benjamin (Lucas Leach) – the latter still lame from their fateful ocean crossing. Far above them in terms of social status are the Balfours, who wield considerable political influence from their stately home.
There, the princess’s only daughter Elisabeth, aka Lizzie (Beth Easdown), weighs her options as the area’s most sought-after debutante, accompanied by handmaidens including Emmaline (India Brown) and older Margaret (Beverley Knight). The latter hope to one day purchase their freedom, with Emmaline also pinning romantic hopes on Jeremiah, who once secretly taught her to read and write. But for now, he only has eyes for the pretty and fickle Lizzie. (An early scene in which she is the belle of a small ball provides the film’s only major dancing opportunity.)
Soon, they all have more pressing concerns, as the excessive taxation and other colonialist abuses of distant England spark the War of Independence. The citizens are bitterly divided and Ben’s big mouth, favorable to the rebels, causes the Clems to be described as “traitors” by those loyal to the Crown. Fearing it would kill the family business, Jeremiah made amends by enlisting as a redcoat in the British Army under the command of Lord Balfour. They are soon sent into battle and, thrown into anger, Ben also leaves home and quickly lands in the company of Patriot Colonial forces led by Scottish Major Ambrose (Iain Glen). He was initially rejected due to disability, then proved his worth with an impromptu drum solo. At the time, drummers gave the “charge command” and other signals to troops on command.
Thus a central, somewhat cheesy, “brother versus brother” conflict is set up, culminating as it should in the instances where the Clem brothers must face each other on the battlefield. Meanwhile, back in town, Emmaline plays Cyrano – writing letters to Jeremiah that he assumes are from Lizzie, who in fact has already more or less forgotten him. This secret communication will lead to problems, exacerbating racial inequality, even if Lord Balfour ends up foolishly bringing the war to his own doorstep.
“Drummer Boy” avoids setting up large-scale battles, although its eventful skirmishes in forests and the like are probably a fairly accurate reflection of how the war was actually won. (The more formal, rule-bound British style of fighting was ignored and undermined by Yankee guerrilla tactics.) But this isn’t exactly a wildly realistic flashback, nor one terribly preoccupied with the minutiae of the historical timeline.
Indeed, the 18th century seems very clean and pretty here, with Cathal Watters’ beautiful widescreen cinematography at times reminiscent of the more idealized landscape painters of the 19th century. Never mind that these particular landscapes are sometimes obviously Ireland rather than upstate New York. (Angel Studios’ recent “Young Washington” was also filmed in Ireland, where the past is better preserved.) Nadine Powell’s costumes and Chad Krowchuk’s production design also provide useful period fidelity while suggesting that our nation’s birth came very freshly washed.
The dramas are also terribly polished, but they work quite well in a language of teen-friendly romance and apolitical conflict. (It’s almost suggested at the end here that the Revolutionary War ended because both sides realized the war was not pleasant.) This is a musical in a very traditional pop mode of lithe but almost youthful voices singing trite lyrics over catchy melodies with rather bombastic production. There are attractive elements of small string ensembles in the arrangements of For King + Country songs and accompanying music by Garrett P. Tyler and Danny Lopez.
But otherwise, “Drummer Boy” doesn’t attempt to sound “period,” and the anachronism grates because the emotions evoked are also very millennial and beyond, with these songs primarily expressing “Dear Diary”-type internal monologue feelings of personal longing and nostalgia. Even the major theme of interracial love is treated with such fictionalized discretion that neither race nor slavery are ever mentioned. As for religious content, it stands to reason that everyone here is Christian, but Richard L. Ramsey’s effective screenplay treats the central conflicts as questions of human morality (or lack thereof), rather than tests of faith.
The young protagonists make engaging impressions within the simple confines of the storyline and ten songs (which include a few adaptations of traditional hymns), although one might wish that the two brothers’ soldier sidekicks had more to do – a subplot or two wouldn’t have hurt. The older performers are largely wasted in one-dimensional roles, Glen fares best among them.
It’s a tribute to the sincerity and polish of the co-directors that a snowy, heavily contrived Christmas battlefield climax stretches credulity to the breaking point, but somehow that doesn’t matter much. Not a film for cynics, “Drummer Boy” won’t convert anyone who isn’t already inclined toward releases from Angel Studios or For King + Country. But those who have already been converted should be very satisfied, and everyone will probably find this flashback enjoyable, even if a little harmless.
Gn entert
