A gripping portrayal of the drama that goes on when a new pope must be chosen, Conclave is sinfully entertaining as it points a finger at the hypocrisy of religion.
Conclave Review
I'll be the first to admit that a film about the Catholic Church electing a new pope was not something I was eager to see. I never thought it would be even remotely entertaining, let alone unintentionally funny and giddily damning of its subject matter. It doesn't attack faith, that inherent feeling many of us have as we think on the complexities of life. Rather it turns a scathing eye on religion– the institution of it all and how it breeds rules, politics, and unsavory behavior. Like the Robert Harris novel it's based on, Conclave moves like a page-turner. Despite lingering images of scowling faces and repeated prayers, it ends up pulling in its audience thanks to the mystery that Ralph Fiennes is forced to solve.
All Quiet on the Western Front’s Edward Berger is adept at turning a book into a gripping film. Knowing that, he was clearly the ideal director to handle a topic that could easily become dull in the hands of anyone else. Berger has put together something lean and biting, delivering something that becomes a political thriller as it takes us behind the closed doors and barred windows of the Catholic's most secretive process: electing a new pope. It’s funny at times and condemning at others as it points a finger at the hypocrisy of the people who use religion as justification to be awful. For something that is supposed to be incredibly serious and important, it ends up looking more like high schoolers voting for a class president. Everyone is petty, selfish, and spends most of their time gossiping about the other candidates.
When the sitting pope dies, cardinal Lawrence (Fiennes) is tasked with leading the conclave, the secret meeting of all cardinals where they decide on the next pope. Being a progressive man (although he struggles with his faith), he is supportive of US candidate Bellini (Stanley Tucci), a man whose liberalism has him fighting against traditionalism. They are up against the bigoted Italian Tedesco (Sergio Castellitto), another American named Tremblay (John Lithgow) who screams shady, Nigerian Adeyemi (Lucian Msamati), and the mysterious Benitez (Carlos Diehz). Each frontrunner's schemes become clearer with each unsuccessful vote. Not only that but their checkered pasts and dubious intentions equally come into play. Everyone that is except Benitez who seems almost too much of a good man to be true. Watching all these proceedings from the outskirts (because women aren't important to this church) is the scene-stealing Sister Agnes (Isabella Rossellini).
The rules are simple: a new pope is chosen by a majority of votes and everyone must remain isolated, with no information allowed in or out, until the proceedings are officially over. Lawrence, who we learn tried to resign to the old pope, is stuck handling this last mission before he once again tries to resign from his position at the Vatican. It should be business as usual but Lawrence is made aware of some unsavory things about several of the candidates. He is faced with a moral dilemma– follow the rules about not seeking information or learning what he can in order to determine fact from fiction. Unable to let it go, Lawrence becomes a robe wearing Hercule Poirot and sets out to find out the truth.
Again, it all might sound mind-numbing, especially if religious themed media is not your cup of tea, but Berger finds a way to pack each moment with suspense. Whether the cardinals are meeting secretly in a stairwell, scribbling their vote on a piece of paper, or casting side-eye at dinner time, there is a feeling that something is about to explode. Volker Bertelmann's score elevates it all, lending an air of mystery and levity to the proceedings. And as mentioned, it is unintentionally funny at times. Lithgow is particularly glib, chewing scenery as he does. You have zero doubt this cardinal is up to something but you still enjoy watching him try to worm his way out of speaking the truth.
Tucci is Tucci which never disappoints. (Somewhere Nigel is absolutely gagged that he's wearing that outfit.) Rossellini's Agnes spends most of her time on the outskirts of the conversation but nevertheless brings a force to each scene she appears in. This is a woman who has seen it all and still somehow remains faithful to her church, even if she looks like she wants to backhand several of the men around her. But it is Fiennes who carries the film on his hunched over back. He is phenomenal (as usual) as he navigates one crisis after the next. He is humble, quietly strong, and about as close to a “real” person who struggles with faith as you're going to get in this film.
Conclave works best when it is focusing on closed room dealings (open stairwells too) and Lawrence's turmoil about his own personal feelings towards faith and his job. It dips its toes into slightly heavier waters that question what church should look like in modern times. Is electing the first black pope really progressive when he himself hates the LGBTQ+ community? Will returning to more strict approaches “clean up” its congregations and priests? But ultimately, it never dives in too deeply. It still points an accusing finger at the hypocrites that hide behind the Bible (the greatest commandment is to love not be a self-righteous d*ck in case you forgot) but it isn't until the surprising third act twist that Conclave really has something to say.
Verdict
A gripping portrayal of the drama that goes on behind the sealed doors of the Vatican, Conclave is a classic whodunit set in the most unlikely of places. It is filled with intrigue, drama, and memorable performances, particularly by Fiennes. It's funny at times –even if the characters are not enjoying themselves– and damning at others with a twist that is sure to ruffle some feathers and inspire many think pieces both within and outside the church. It made me into a believer, of Berger's novel adaptation skills that is.
Conclave originally screened at the Toronto Film Festival and is releasing in US theaters October 25. It is rated PG for for thematic material and smoking with a runtime of 2 hours.
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