by Finnlay Dall
Worth: $15.80
FilmInk rates movies out of $20 — the score indicates the amount we believe a ticket to the movie to be worth
Cast:
Ralph Fiennes, Stanley Tucci, John Lithgow, Isabella Rossellini, Lucian Msamati, Sergio Castellitto, Carlos Diehz, Jacek Koman
Intro:
Fiennes brings a commanding presence to his role ...
The selection of a new pope has always been marred in secrecy. Its ceremonies have been plenty publicised, but once voting begins, the papal conclave might as well be a black box. Robert Harris’ 2016 novel, Conclave, allowed us to imagine its contents, providing a well-researched – if dramatised – reenactment of the proceedings. Edward Berger’s 2024 adaptation meanwhile, invites us to finally take a peek inside.
When the Pope dies of heart failure, cardinals from around the world gather to mourn his loss. However, Cardinal-Dean Thomas Lawrence (Ralph Fiennes) is keenly aware of the alliances already taking shape around the dead man’s bedside. Although he dreads the responsibility, his duty as the holy “manager” of the church requires him to oversee selection for a successor.
With all members confined to the walls of the Vatican, their phones, tablets and computers confiscated, a quick vote seems all but certain. But as rumours spread and inconveniences arise, hours turn into days, s Cardinals Aldo Bellini (Stanley Tucci), Joshua Adeyemi (Lucian Msamati), Joseph Tremblay (John Lithgow) and Goffredo Tedesco (Sergio Castellitto) all fight for a majority vote. And when Lawrence learns of Vincent Benitez (Carlos Diehz), whose appointment as Cardinal of Kabul was kept hidden by the Pope, it’s clear not even those inside the Church are safe from secrets. As pressure mounts, Lawrence has no other option but to involve himself in the political struggle, even if it means playing dirty.
Fiennes brings a commanding presence to his role that audiences are no doubt familiar with. In Lawrence however, he finds a reserve that is excitingly refreshing. Furrowing his brow and slightly hunching next to his co-stars, the actor provides a physicality that, quite literally, puts the weight of the Catholic Church on his shoulders. Even his prayers and silent walks are broken by heavy breathing. He instils a level of tension that never stops bubbling under the surface of the film.
Composer Volker Bertelmann supports Fiennes with a string heavy score that stabs through the temples. Fast moving and accented, his traditional orchestra provides a soundtrack that is as much political thriller as it is classical opera. He turns what should be a mournful ceremony, into a mad dash for power. Meanwhile, cinematographer Stéphane Fontaine boxes actors in door frames to make them feel trapped or looks down on whole ensembles from up high, creating the sense that Lawrence and the other Cardinals are constantly being watched by God.
Berger and his crew wanted to create a version of the Domus Sanctae Marthae that felt more like a prison than a place of God. Nuns make ready-made meals and check the walls for wiretaps, and toiletries are provided in clear sealed bags. Cardinals are treated as inmates, either cooped up in small hotel rooms, smoking cigarettes in the courtyard, or forming gangs in a sterile cafeteria. All these routines are filmed with meticulous detail and prime the audience for characters that aren’t as pious as they first appear. While Lawrence might be considered a warden, with his appointment as Dean, he is very much a prisoner as well. He has the same room, curfew, and most importantly, voting rights as the other cardinals. While he has access to an assistant, there are files that are confidential even to him.
Conclave isn’t shy about its parallel to U.S politics; evident in the election’s four favourites. Bellini is a liberal American who is stubborn in his progressive views, Tremblay is a centrist Canadian who pays his way out of trouble, while Tedesco and Adeyemi both have traditionally conservative views. Lawrence’s desperate push for anyone but the extremist Tedesco no doubt mirrors the sentiment of progressive Americans post-election – both for the novel in 2016, and now this 2024 adaptation.
For the most part, it succeeds; offering perspectives that may not be nuanced, but are far more insightful about world politics than something like this year’s Rumours. What’s more, the role of gender in both Church and State is wonderfully realised in Sister Agnes (Isabella Rossellini), whose wits, cunning, and loyalty to the previous Pope’s wishes match Lawrence in every way. It’s a shame then that she is used so sparingly by the plot. Certainly, she’s present in key moments, but her role in this game of politics is all too fleeting.
Conclave is a pious political thriller which manages to leave you guessing right up until a new Pope is sworn in. With confined spaces, underhanded behaviour and an elegant score, it’s a worthwhile look behind one of history’s most coveted positions. Yet, the film’s mystery seems in conflict with its desire to tell all.
