Conclave (Movie Review)
MOVIE REVIEW: CONCLAVE (2024)
“There is one sin which I have come to fear above all else ….. certainty.
It is the great enemy of unity. Certainty the deadly enemy of tolerance.”
— Cardinal Thomas Lawrence (played by actor Ralph Feinnes) in the movie, “Conclave”
Conclave purports to expose the backroom power struggles within the most powerful and yet secretive society on earth — the Catholic Church.
Based on the 2016 novel by British writer Robert Harris, this fictional story is an an absorbing behind-the-scenes revelation of how popes get chosen. Warning: If sausage-making is supposed to be nauseating, then pope-making is downright loathsome.
There’s nothing pious going on here. Advancement demands an unchecked ego, ambition, and backstabbing — all driven by the unquenchable thirst for power. Perhaps none of this is surprising. After all, we’ve seen many of the most influential faith leaders aren’t much different from prostitutes, pimps, and politicians. The accoutrements may be different. The gamesmanship is very much the same.
Since the 14th century, every pope has been selected by (and from within) the College of Cardinals. Since this supreme appointment is for life, that means popes may change only once in a generation. When a pope dies (or resigns, which is even more rare), soon thereafter, several dozen cardinals gather inside the Vatican. The conclave of cardinals are sequestered to bicker and banter and barter until one among them finally amasses a popular majority of secretly-cast ballots. Then, the white smoke is released representing a new era (or more likely–a continuation of the archaic one). It’s not a perfect system for picking popes, but hey — it sure beats the electoral college.
Conclave takes place over a week’s time. Within this changeover period there is a void of leadership and the church is in limbo. Such rare moments of transition provide a scarce opportunity, both for aspiring cardinals and those who seek to impose direction by papal decree upon the estimated 1.3 billion members of the faith.
Will the next Pope be an old-world traditionalist? A liberal? A progressive? A radical? Will the next Pope be from Europe? Or Africa? Or North or South America? After Polish, German, and Argentinian Popes, shouldn’t the next spiritual leader represent a return to the church’s roots and be an Italian? What does the next Pope think about other faiths, women’s role in the church, gay rights, contraception, economic inequality, high tech, war and terrorism? The Pope isn’t just a person with a title. The Pope is a symbol. There’s far more at stake here than which cardinal in a red robe gets to stand on the balcony wearing a funny hat overlooking Saint Peter’s Square.
The appeal of watching Conclave rests on a compelling cast of characters, though the portrait seems distorted through a heavily-Anglicized prism. We’re in Rome, but given who actually runs the holy see, this looks more like a royal court in London. Ralph Feinnes stars as a British liberal-leaning cardinal who is the least ambitious of any of his plotting colleagues, many plagued by rumors of scandal. In fact, Feinnes’ character has no overt desire to become pope and even confides to colleagues lingering doubts about his own faith in the church to which he’s dedicated his life. Confession: This is the best performance of Feinnes’ impressive, yet inconsistent, film career, aside from his chilling Oscar-worthy best-supporting actor portrayal as the sadistic SS officer in Schindler’s List. Playing the polar opposite extreme here, Feinnes’ introspective stares at no one in particular –while cocooned by the blanket of genuine humility– does provide a throughly-convincing moral compass for the movie audience.
Indeed, sometimes the most powerful thoughts are the unspoken ones. Those are certainly the most honest. Feinnes’ inner doubts and dilemma are our own. These uncertainties are juxtaposed against far more ambitious and ruthless rivals around him lusting for the ultimate power trip. Feinnes wants to do the right thing; The motives of his colleagues are far less certain.
The supporting cast includes Stanley Tucci, Isabella Rossellini, and John Lithgow. All are excellent (Side Note: Is there a more underrated actor alive, apart from Lithgow, who seems capable of playing any role at every stage of his lengthy career with compelling conviction?).
Directed by Edward Berger, best known for the 2022 remake of All Quiet on the Western Front (which I reviewed unfavorably), I expect Conclave to receive frequent mention when various annual awards nominations are announced for 2024. It will most certainly win a few well-deserved prizes, also.
The screen play is by Peter Straughan, who also wrote The Men Who Stare at Goats and Tinker Tailor Soldier Spy, for which he was nominated for the Academy Award. More recently, Straughan has adapted another period piece, Wolf Hall as a television series, which appears here in the U.S. weekly on PBS.
Every scene of this movie takes place within the hallowed high walls of the Vatican. Much of it was shot in darkened rooms. Most conversations are in whispers. By intent, the emotional effect is claustrophobic. Unaware, we’ve become intruders into a mysterious society where secrets remain sealed for centuries. And as much as we want break out of this confining place, scene by scene, quietly, unknowingly, we become slowly immersed in it ourselves. Never mind what’s happening in the world outside, what’s most important is — who will become the next Pope?
Conclave has a surprise ending which has stirred controversy. Political and social attitudes have undoubtedly factored into reviews. Audience reactions to this movie remain divided. Many have applauded the unexpected final outcome, while others dismiss it as an attack on religious institutions and traditions. Though polarized, both viewpoints have merit.
The ending might not even be plausible, especially given what we know of the church, its stifling history and structure, its patriarchal hierarchy, and the institutional authority it wields over all who are physically and emotionally canopied by its global influence. However, plausibility isn’t one of several central questions raised–with some answers provided. Religion is the canvass. However, much broader philosophical issues are at the tip of the brush.
Early in the film, Feinne’s delivers a homily to his fellow cardinals: “There is one sin which I have come to fear above all else ….. certainty. (It is) the great enemy of unity. Certainty the deadly enemy of tolerance,” he says. Little does Feinnes know his own principles about certainty will soon be put to the ultimate test. This is a universal question. Sure, it’s easy to speak of noblest virtues; it’s much harder to live and practice them.
This is the challenge for all people, of different faiths, or no religion at all. In that way, Conclave isn’t a movie about the church or religion, at all. It’s a story about all of us.
