As a cinephile with a penchant for international cinema and a soft spot for political thrillers, “Conclave” was a film that immediately piqued my interest. The all-star cast, led by the masterful Ralph Fiennes and the visionary Edward Berger, made it a must-watch for me.
I became eager to watch “Conclave” solely based on its impressive cast lineup. The presence of Ralph Fiennes, Stanley Tucci, John Lithgow, and Isabella Rossellini immediately caught my attention. However, what truly drew me in was the involvement of Edward Berger, the acclaimed director, co-writer, and producer of the 2022 Academy Award-winning film “All Quiet on the Western Front”. Given his previous masterpiece, I knew that whatever he would create next would be an immediate must-watch.
“Conclave” delivers a gripping and suspenseful experience, boasting strong performances throughout. The director skillfully steers the narrative until the last ten minutes, when an unexpected twist, seemingly out of nowhere, disrupts the near-flawless storyline that preceded it. This final twist feels more like a surprise pitch, rather than a well-crafted plot point, struggling to be thought-provoking but falling short, leaving audiences bewildered due to its lack of proper development and over-the-top nature.
As a movie enthusiast, I found myself captivated by the cinematic adaptation of “Conclave,” a screenplay penned by Peter Straughan based on Robert Harris’ 2016 best-selling novel of the same name. For most of its runtime, it feels like an exhilarating political thriller, shrouded in enigma with numerous shocking revelations, unanticipated turns, and a palpable air of suspicion that keeps you on the edge of your seat. This ecclesiastical page-turner unfolds within the sacred walls of the Vatican, drawing me in like no other.
The film begins by showing Cardinal Thomas Lawrence (portrayed by Ralph Fiennes) arriving at the Vatican upon hearing that the Pope has unexpectedly passed away. Following the necessary rituals, the vacancy of the throne is formally announced. Subsequently, Cardinal Lawrence is entrusted with managing the papal conclave – a meeting in Rome attended by Cardinals hailing from various parts of the world, where they convene to choose a fresh Pope.
Right from the start, it’s clear that Cardinal Lawrence feels less than enthusiastic about his duties. It turns out he’s been wrestling with a spiritual turmoil that’s led him to consider resigning and departing Rome. Yet, despite this internal conflict, he demonstrates an unparalleled aptitude and competence for the role. Fiennes delivers a captivating performance, striking a delicate balance between expressiveness and reserve. His tired, burdened expression offers us a glimpse into his exhausted and troubled inner self.
Following the seclusion of the cardinals, the selection process commences and four leading contenders surface. Among them, we have Cardinal Bellini, portrayed by Stanley Tucci, a liberal who feigns indifference yet harbors a strong aspiration for the papacy; Cardinal Tedesco, played by Sergio Castellitto, a conservative whose rigid views might hinder the church’s progress for decades; Cardinal Adeyemi, an archbishop from Nigeria who swiftly becomes the favorite; and Cardinal Tremblay, depicted by John Lithgow, a cunning American bishop whose actions are fueled by his ambition to ascend as the next pope.
If no candidate garners the necessary two-thirds majority, subsequent votes are held – a second, then a third, and potentially a fourth. As the contestants maneuver for advantageous positions, tensions escalate; some employ internal politics shrewdly, while others resort to underhanded tactics to undermine their opponents. Amidst this turmoil, Cardinal Lawrence must skillfully steer through accusations and scandals to preserve the process’s integrity. The entrance of Cardinal Benitez (Carlos Diehz), the archbishop of Kabul, who was covertly appointed by the deceased pope, adds another layer of intrigue to the situation.
In an effort to achieve authenticity, Berger meticulously constructs his film, from the intricate Vatican decor to the vivid priestly apparel. Simultaneously, Fontaine’s cinematography and Bertelmann’s score contribute depth, escalating tension as the plot unfolds. This setup promises a satisfying climax. However, “Conclave” disappointingly concludes with a weak ending, introducing an unexpected twist out of nowhere that lacks any prior development or connection to the preceding events.
For 110 minutes “Conclave” is hands-down one of the year’s best movies. Unfortunately its final 10 minutes turns it into one of the year’s most frustrating misfires. The ensemble is top-notch, the production design is stellar, the behind the scenes wrangling is riveting, and Berger’s direction is methodical and propulsive. It makes the film’s unraveling all the more discouraging. Rather than ending with a bang, “Conclave” is given a lazy, patronizing finish built more on sanctimonious intentions than good moviemaking judgements.
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2024-10-25 19:56