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Conclave
A film of political intrigue dramatizes the tortuous process by which the cardinals of the Catholic Church choose a new Pope.
Selecting a new Pope seems a ripe subject for drama because of the air of secrecy surrounding it. It’s not that the mechanics of the procedure are secret, but that the conclave of cardinals that vote on the matter is a sequestered event—no press or public allowed, and for good reason. There’ve been a few films dramatizing this over the years, and now there’s a new one called Conclave.
Conclave begins with the death of the old Pope, who is not portrayed as an actual historical Pope, but only within the movie’s fictional world. An English cardinal in the Vatican, Cardinal Lawrence, played by Ralph Fiennes, was designated by the late pontiff to manage the conclave that will elect a successor. As cardinals all over the world gather in Rome for the conclave, we gradually discern some of the issues and power struggles within the Church. Stanley Tucci plays Cardinal Bellini, who is advocating for a liberalization of church doctrine and claims that he doesn’t want to be pope. He is, however, dead set against the ascension of the reactionary cardinal Tedesco, played by the great Sergio Castellito. Poised in the middle is Cardinal Tremblay, played by John Lithgow, who represents a kind of centrist compromise. But a lot of the non-Italian cardinals are in favor of electing for the first time, an African pope, Nigeria’s Cardinal Adeyemi, played by Lucian Msamati.
Ralph Fiennes’ character, Lawrence, must constantly contend with these factions making backroom deals and claiming that their rivals have committed secret misdeeds in the past. I don’t think you could ask for a better actor to play this part than Fiennes, who displays at all times Lawrence’s quiet struggles and doubts, his commitment to fairness, his idealism, but also a certain naïveté. It’s his performance that completely anchors the film.
The movie was adapted by Peter Straughan from a popular novel by Robert Harris, the kind of page turner you might buy at an airport. It’s not meant as a serious commentary on the Vatican, or as realism, or satire, for that matter. It’s a sophisticated entertainment about power and political intrigue.
From lesser books good films can often be made, and German director Edward Berger, whose version of All Quiet on the Western Front did so well last year, gives the story a propulsive rhythm and manages to make a bunch of priests talking with each other feel suspenseful. There’s nothing flashy or gimmicky here—Berger constructs a solid dramatic framework through which the twists and turns of the story can wind. It sometimes feels like a Hollywood movie from an earlier time, relying on well-drawn character and dialogue to sustain interest.
Catholic faith is treated seriously, not used as a mere pretense for a plot. The production design, the pacing, and the cinematography by Stéphane Fontaine, are first rate. There’s a stellar cast: Isabella Rossellini is also on hand as a stern nun who was a confidante of the old Pope, and she plays a significant role in the story. Finally, the surprise ending is surprising in a clever and delightful way. Conclave shows that there is still a place on our screens for well-made, intelligent drama.
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By Chris Dashiell
4.3
1111 ratings
A film of political intrigue dramatizes the tortuous process by which the cardinals of the Catholic Church choose a new Pope.
Selecting a new Pope seems a ripe subject for drama because of the air of secrecy surrounding it. It’s not that the mechanics of the procedure are secret, but that the conclave of cardinals that vote on the matter is a sequestered event—no press or public allowed, and for good reason. There’ve been a few films dramatizing this over the years, and now there’s a new one called Conclave.
Conclave begins with the death of the old Pope, who is not portrayed as an actual historical Pope, but only within the movie’s fictional world. An English cardinal in the Vatican, Cardinal Lawrence, played by Ralph Fiennes, was designated by the late pontiff to manage the conclave that will elect a successor. As cardinals all over the world gather in Rome for the conclave, we gradually discern some of the issues and power struggles within the Church. Stanley Tucci plays Cardinal Bellini, who is advocating for a liberalization of church doctrine and claims that he doesn’t want to be pope. He is, however, dead set against the ascension of the reactionary cardinal Tedesco, played by the great Sergio Castellito. Poised in the middle is Cardinal Tremblay, played by John Lithgow, who represents a kind of centrist compromise. But a lot of the non-Italian cardinals are in favor of electing for the first time, an African pope, Nigeria’s Cardinal Adeyemi, played by Lucian Msamati.
Ralph Fiennes’ character, Lawrence, must constantly contend with these factions making backroom deals and claiming that their rivals have committed secret misdeeds in the past. I don’t think you could ask for a better actor to play this part than Fiennes, who displays at all times Lawrence’s quiet struggles and doubts, his commitment to fairness, his idealism, but also a certain naïveté. It’s his performance that completely anchors the film.
The movie was adapted by Peter Straughan from a popular novel by Robert Harris, the kind of page turner you might buy at an airport. It’s not meant as a serious commentary on the Vatican, or as realism, or satire, for that matter. It’s a sophisticated entertainment about power and political intrigue.
From lesser books good films can often be made, and German director Edward Berger, whose version of All Quiet on the Western Front did so well last year, gives the story a propulsive rhythm and manages to make a bunch of priests talking with each other feel suspenseful. There’s nothing flashy or gimmicky here—Berger constructs a solid dramatic framework through which the twists and turns of the story can wind. It sometimes feels like a Hollywood movie from an earlier time, relying on well-drawn character and dialogue to sustain interest.
Catholic faith is treated seriously, not used as a mere pretense for a plot. The production design, the pacing, and the cinematography by Stéphane Fontaine, are first rate. There’s a stellar cast: Isabella Rossellini is also on hand as a stern nun who was a confidante of the old Pope, and she plays a significant role in the story. Finally, the surprise ending is surprising in a clever and delightful way. Conclave shows that there is still a place on our screens for well-made, intelligent drama.
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