Fiennes is cardinal flying high in thrilling ‘Conclave’
The similarities between electing a pope and selecting a Speaker of the House are astonishing: backroom deals, incessant lobbying, underhanded tricks, oversized personalities and the vitriol-filled showdown between liberals and conservatives that produce gridlocked votes and irreparably wounded egos.
It’s the must-see of the Holy See, thrillingly brought to the screen in “Conclave,” director Edward Berger’s follow-up to his extraordinary adaptation of “All Quiet on the Western Front.” Not only is it one of the most educational entries into this year’s Oscar sweepstakes, it’s also among the most thrilling, as you sit on pins and needles awaiting the outcome of an election that could dramatically shift the direction of the Catholic Church.
Appropriately, Berger takes us to school by embedding us with the College of Cardinals, the 120-ish members whose main function is to fill a papal vacancy. And that’s exactly what they’ve been summoned to the Vatican to do in the wake of the reigning pope’s untimely death. Even if we’re not of the faith, the basics of this sacred rite are familiar, from the cardinals sequestering inside the Sistine Chapel to the eagerly anticipated puff of white smoke signifying their selection of the man who will preside over the world’s roughly 1.3 billion Catholics.
What you’ve not been privy to is the shameless campaigning transpiring between the cloistered dignitaries as they participate in one of the oldest traditions in organized religion. It’s pretty much ethics out the window as the play for votes grows increasingly ruthless. There are points when the politicking is so intense that you feel deeply for the College’s dean, Cardinal Lawrence (Ralph Fiennes), who isn’t so much a leader as he is a referee. The only accessory missing from his elaborate robes is a whistle to blow at the discovery of each new, even more shocking infraction.
For the film’s purposes, there are a number of these heinous rule violations, ranging from literally buying votes to frame-ups and humiliating aspersions cast upon rivals. If that weren’t bad enough, Lawrence is also in the throes of doubt: of himself, his purpose and the state of the Catholic Church at a time when its reputation is at a historic low.
You’d swear the role was custom-made for Fiennes, who may well be subjected to a vote of his own, not by the College of Cardinals but the Academy of Motion Picture Arts and Sciences. And I’d rate him the clear favorite after witnessing his multi-dimensional portrayal of Cardinal Lawrence, a theologian of immense pride and dignity who cannot believe what he’s watching unfold among his peers as vote after vote fails to produce a candidate capable of garnering the minimum 75 ayes.
He’s sworn not to play favorites, but he can’t help despising the two leading candidates, a pair of unabashed hucksters in cardinals Tremblay (John Lithgow) of Canada and Tedesco (Sergio Castellitto) of Italy who seek to undo many reforms the late pope instilled to bring the church more in line with the 21st century. Lawrence would much rather see his close friend, Cardinal Bellini (Stanley Tucci) of America, or the more unconventional choice, Cardinal Adeyemi (Lucian Msamati) of Africa, ascend to the papacy.
The intrigue doesn’t end there. No, not in the least, as scenarist Peter Straughan’s adaptation of Robert Harris’ 2016 novel raises more and more questions about the deceased pope himself and the mysterious circumstances surrounding his sudden passing. Of particular concern is the meeting the pontiff had with Cardinal Tremblay just prior to his fatal heart attack. Did he take the extremely rare action of booting Tremblay from the College, as rumors suggest?
Lawrence’s clandestine investigation opens up more and more dishonorable shenanigans that only add to his disillusionment and skepticism. It’s a bit disconcerting that Berger and Straughan present Lawrence’s snooping, including breaking into the late pope’s sacred quarters, like a police procedural. It somewhat taints the film’s quest for originality, playing down to its audience instead of challenging it. But I’m nitpicking.
As a whole, “Conclave” is a truly enlightening experience chock full of outstanding performances, including Isabella Rossellini as the always lurking Sister Agnes, head of the nuns summoned to the Casa Santa Marta to cook, clean and wait on the patriarchy. It’s subtle, but there’s no escaping the movie’s shaming of the Church’s relegation of women to second-class status.
The sexism becomes more of an issue as the story moves into its eventful third act when the newest member of the College, Cardinal Benitez (exciting newcomer Carlos Diehz) of Kabul, rises to the fore. It is more than enough reward overhearing his scolding of his brethren for their glasshouse opinions of other religions, particularly Islam, in the wake of a series of terrorist attacks just beyond the Vatican walls. But he saves his biggest surprise for last in setting up a jaw-dropping finale that has no business working as well as it does.
Then that’s Berger, a visionary director who never fails to locate humanity amid larger-than-life events that question not just our politics but also our morality. He’s clearly a master of artistry, ably abetted by Lisy Christl’s opulent costume designs, Stephane Fontaine’s resplendent cinematography, set designer Suzie Davies’ accurate recreations of the Sistine Chapel and Casa Santa Marta, and Volker Bertelmann’s ominous score.
It’s an unquestionable treat for the eyes and ears, not to mention an enlightening opportunity to understand a notoriously mysterious institution that at times seems to value secrecy and quaint traditions more than the wants and needs of its believers. Some may well fault “Conclave” for those criticisms, but I for one found them to be a means to make the hierarchy more appealing, simply by showing them to be what they are … mortal.
Movie review
Conclave
Rated: PG-13 for thematic material and smoking
Cast: Ralph Fiennes, Stanley Tucci, John Lithgow, Sergio Castellitto, Lucian Msamati and Isabella Rossellini
Director: Edward Berger
Writer: Peter Straughan
Runtime: 120 minutes
Where: In theaters now
Grade: A-
