October 24, 2024
FILM: CONCLAVE
DIRECTED BY: EDWARD BERGER
STARRING: RALPH FIENNES, STANLEY TUCCI, JOHN LITHGOW
RATING: 3 ½ out of 4 stars
By Dan Pal
At the start of Conclave, a somber tone permeates the atmosphere as Cardinals in Rome must deal with death of their Pope. He appeared to have passed away rather suddenly and mysteriously and talks begin as to who should be elected to replace him. This subject matter might initially appear off-putting for some, especially for those who question the Church’s ethical decision-making. Yet as the film progresses, deeper layers of the goings-on behind the election of a new Pope give viewers an enlightening new perspective filled with scandals, alliances, and diversity concerns. This is a fictional account of the process but much of it will certainly resonate with those who are willing to accept the human and questionable decisions that are made in Rome and in any election around the world.
The film is directed by Edward Berger, who last scored with his Oscar-winning remake of All Quiet on the Western Front. Ralph Fiennes plays Cardinal Lawrence who as Dean must oversee the election. His main confidant and the potential new Pope is Cardinal Bellini, played by Stanley Tucci. Neither is particularly interested in the new position but they want to maintain their more liberal “platforms” with ally Cardinal Tremblay, played by John Lithgow. When questions arise as to Tremblay’s last meeting with the now deceased Pope, the men begin to scramble and attempt to hold on to their power and influence.
What is perhaps most interesting is how the film tackles a number of issues that not only are pertinent to the Church but also to governments and elections everywhere. One of these is diversity. It is noted that the pretty diverse group of global Cardinals have their own agendas. Should the Pope be Italian? Should he reflect the concerns of African and Latino populations? There is even a mysterious new Cardinal that arrives for the election who leads followers in Kabul, Afghanistan. As such, some refer to the process as a religious war, and perhaps that’s what director Berger is saying it is. There’s no doubt that their perspectives reflect liberal vs. conservative values. Thus, the election of a new Pope doesn’t stray too far from what we are currently experiencing with a big election on the horizon.
There is also a breaking down of the true “holiness” many may assume these leaders possess. Lawrence, in particular, has questions and doubts. He feels strongly that people should question rather than embrace certainty. There are cardinals who smoke, drink, and, in one case, have a morally compromised past. The film seems to be taking the side that there is no pure innocence within this organization of Cardinals, and therefore, the Church. Secrets abound, making the Cardinals much more like human-like than God-like.
The performances are quite good. Fiennes is toned down and subtle compared to roles he’s played in other recent films, such as his work with Wes Anderson. He’s highly effective as the doubting Lawrence. Tucci is also especially good a Bellini. His is a character that knows who he is and who he isn’t and Tucci expresses this with strength and courage.
Kudos must also be given to the entire creative team here. Composer Volker Bertelmann, who won an Oscar for Berger’s last film, is back with a haunting new score. Suzie Davies’ production design is stellar. Shots are filled with stark reds and blacks and exquisitely designed sets. The film was shot at Rome’s historical Cinecitta Studios and Director of Photography Stephane Fontaine brilliantly captures the large scale interior spaces which reflect order and authority for the Church.
Generally, the script offers much for viewers to meditate on. The few holes that exist come in the form of the various changing votes among the Cardinals. In some cases, we know why their allegiances turn but in others we’re never given their thought processes. The vast majority of these characters do not have an opportunity to express their feelings about the choices they have in front of them. A simple vote is recorded.
This is likely to be one of the more thought -provoking and Oscar-worthy films of the year – with some surprising plot turns.
After playing at a number of festivals, including the Chicago International Film Festival, Conclave opens in theaters today.
FILM: CONCLAVE
DIRECTED BY: EDWARD BERGER
STARRING: RALPH FIENNES, STANLEY TUCCI, JOHN LITHGOW
RATING: 3 ½ out of 4 stars
By Dan Pal
At the start of Conclave, a somber tone permeates the atmosphere as Cardinals in Rome must deal with death of their Pope. He appeared to have passed away rather suddenly and mysteriously and talks begin as to who should be elected to replace him. This subject matter might initially appear off-putting for some, especially for those who question the Church’s ethical decision-making. Yet as the film progresses, deeper layers of the goings-on behind the election of a new Pope give viewers an enlightening new perspective filled with scandals, alliances, and diversity concerns. This is a fictional account of the process but much of it will certainly resonate with those who are willing to accept the human and questionable decisions that are made in Rome and in any election around the world.
The film is directed by Edward Berger, who last scored with his Oscar-winning remake of All Quiet on the Western Front. Ralph Fiennes plays Cardinal Lawrence who as Dean must oversee the election. His main confidant and the potential new Pope is Cardinal Bellini, played by Stanley Tucci. Neither is particularly interested in the new position but they want to maintain their more liberal “platforms” with ally Cardinal Tremblay, played by John Lithgow. When questions arise as to Tremblay’s last meeting with the now deceased Pope, the men begin to scramble and attempt to hold on to their power and influence.
What is perhaps most interesting is how the film tackles a number of issues that not only are pertinent to the Church but also to governments and elections everywhere. One of these is diversity. It is noted that the pretty diverse group of global Cardinals have their own agendas. Should the Pope be Italian? Should he reflect the concerns of African and Latino populations? There is even a mysterious new Cardinal that arrives for the election who leads followers in Kabul, Afghanistan. As such, some refer to the process as a religious war, and perhaps that’s what director Berger is saying it is. There’s no doubt that their perspectives reflect liberal vs. conservative values. Thus, the election of a new Pope doesn’t stray too far from what we are currently experiencing with a big election on the horizon.
There is also a breaking down of the true “holiness” many may assume these leaders possess. Lawrence, in particular, has questions and doubts. He feels strongly that people should question rather than embrace certainty. There are cardinals who smoke, drink, and, in one case, have a morally compromised past. The film seems to be taking the side that there is no pure innocence within this organization of Cardinals, and therefore, the Church. Secrets abound, making the Cardinals much more like human-like than God-like.
The performances are quite good. Fiennes is toned down and subtle compared to roles he’s played in other recent films, such as his work with Wes Anderson. He’s highly effective as the doubting Lawrence. Tucci is also especially good a Bellini. His is a character that knows who he is and who he isn’t and Tucci expresses this with strength and courage.
Kudos must also be given to the entire creative team here. Composer Volker Bertelmann, who won an Oscar for Berger’s last film, is back with a haunting new score. Suzie Davies’ production design is stellar. Shots are filled with stark reds and blacks and exquisitely designed sets. The film was shot at Rome’s historical Cinecitta Studios and Director of Photography Stephane Fontaine brilliantly captures the large scale interior spaces which reflect order and authority for the Church.
Generally, the script offers much for viewers to meditate on. The few holes that exist come in the form of the various changing votes among the Cardinals. In some cases, we know why their allegiances turn but in others we’re never given their thought processes. The vast majority of these characters do not have an opportunity to express their feelings about the choices they have in front of them. A simple vote is recorded.
This is likely to be one of the more thought -provoking and Oscar-worthy films of the year – with some surprising plot turns.
After playing at a number of festivals, including the Chicago International Film Festival, Conclave opens in theaters today.