As someone who has spent a good chunk of my life navigating the labyrinthine corridors of religious institutions, I found “Conclave” to be a riveting and thought-provoking exploration of power dynamics within the Catholic Church. The film’s portrayal of the inner workings of the Vatican during the selection of a new pope is reminiscent of the political intrigue that unfolds in the hallowed halls of Congress or the White House.
If you find the American presidential election hard to predict, just wait until you see the unexpected turns at the Vatican during a “Conclave,” when cardinals gather to elect a new pope. After tackling the heavy drama of “All Quiet on the Western Front,” director Edward Berger takes on a fresh challenge with this intelligent, suspenseful story that resembles a murder mystery. The action unfolds within the confines of the Domus Sanctae Marthae, where the College of Cardinals are secluded, yet there’s no suspicion of foul play in the death of the previous pope. Instead, political intrigue and personal ambitions come to light as they navigate the complexities of choosing a new spiritual leader.
Nevertheless, speculation continues as potential successors, or the frontrunners, such as Ralph Fiennes, Stanley Tucci, and John Lithgow, maneuver furtively in an attempt to secure their positions. However, “Conclave” appears to agree with Plato’s saying, “Only those who do not desire power can truly possess it,” presenting a cast of candidates displaying modest British humility, along with others who scheme to undermine their competitors.
When you believe you understand the storyline perfectly, “Conclave” delivers an unexpected yet rewarding turn, a move that might rekindle trust (though perhaps not for all, but definitely for those who had lost hope). Generally, films focusing on living popes, such as those by Gianfranco Rosi, Wim Wenders, and Evgeny Afineevsky about Pope Francis in recent times, are aimed at devoted followers. On the other hand, movies depicting the transition of papal power resonate more widely, particularly with those seeking confirmation of their suspicions regarding the curia’s petty and corrupt nature.
Historically, the Catholic Church has a track record of choosing questionable figures as popes, and it’s not surprising that some candidates in this story might be corrupt, immoral, or racist. All of them are male, reflecting the church’s persistent sexism, despite other religions welcoming female leaders. This gender imbalance is acknowledged in the narrative by characters like Harris, Berger, and screenwriter Peter Straughan (known for adapting “Tinker Tailor Soldier Spy”). The movie “Conclave” attempts to rectify this issue by featuring Isabella Rossellini as Sister Agnes, a character who maintains silence for most of the film but knows when to speak up.
In this story, it’s Fiennes’ character, Cardinal Lawrence, who finds himself burdened with the challenging duty of gathering these determined men for a crucial vote. As the dean of the proceedings, he does so reluctantly, looking forward to being moved away from the Vatican soon, where he currently serves as the Cardinal. Fiennes delivers a subtle yet intense portrayal of Lawrence’s inner turmoil, torn between loyalty and uncertainty. In secret talks with Cardinal Bellini (Tucci), who is seen as a possible pope and for whom he continually votes, he confesses his personal crisis of faith. He discovers that even the late pope had doubts, but these were about the church’s future instead.
Despite being reminiscent of a thriller with its disorienting cuts and intense string music, what truly captivates viewers is the series’ exploration of the complex institution, which has been led by individuals such as Pope Benedict XVI, a former member of the Hitler Youth, and Pope John Paul II, who were involved in covering up sexual abuse cases. Straughan’s script acknowledges these issues and, although it may not provide the deep philosophical discourse found in “The Two Popes” previously, it does express – using no less than four languages, including Latin – how the church needs to adapt to stay relevant in a rapidly changing world. Benitez (Carlos Diehz), a humble cardinal from Kabul, serves as a beacon of enlightenment for the other characters.
One unique movie, “Conclave”, skillfully keeps viewers engaged while incorporating subtle surprises, such as a character’s steady rise with each vote count. However, we can’t help but wonder where this character’s backing originates. The film mainly centers around the heated debates between the liberal and conservative wings of the church, during which Lawrence grapples with his moral compass. Some of his colleagues cast their votes for Lawrence, who humbly rejects his worthiness. Yet, he urges the cardinals to choose a person who acknowledges their mistakes and seeks forgiveness, rather than one who pretends to be flawless.
Berger appears captivated by the grandeur and tradition surrounding the voting process, which takes place within the Sistine Chapel or an authentic-looking replica constructed on Cinecitta’s stages. The director pays great attention to detail, showing how votes are written, folded, and solemnly placed into a large silver urn before being tallied, bound, and burned. A crowd (who remain unseen) watches from outside the walls, focusing their gaze on the chimney above the Sistine Chapel. Dark smoke signifies that the cardinals have not yet reached a consensus. Conversely, when the smoke turns white, it signals a new pope has been selected.
At this imaginary gathering within the Vatican, the cardinals gaze outside through their windows to witness smoke billowing in the city streets – a disturbing deviation from the usual solemnity. It turns out that terrorists are detonating cars in the square outside, emphasizing the gravity of the cardinals’ decision. Given Berger’s nationality, it is likely he contemplated the implications of “Conclave” on American politics at this juncture. In this situation, the cardinals find themselves surrounded by discord and are faced with the choice between fostering unity or retaliating with hatred. Despite Fiennes’ character’s occasional despondency, the unforeseen events that unfold seem almost predestined, like a prayer being answered.
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2024-08-31 09:16