Coming off its recent award wins, here I take a look at a title drawing eyes aplenty, as it takes on topics rather all-defining to much of humanity—namely, those of politics, and faith. It’s clear that humans need something to believe in—even if not actual gods and spirits, then it’s an ideology, or an individual, or something else. And yet, this all too often comes into clash with equally human needs of the self. With the all too appropriate example of the Roman Catholic Church, Robert Berger takes on this matter while adapting the book by Robert Harris—here’s my take on Conclave, and whether it deserves absolution or excommunication…
Whatever one can say about the Vatican, its place in 2000-odd years of history is impossible to ignore for good or for ill—with figures and pontiffs that have ranged from Borgias and Torquemadas to those who really did put it all on the line in the name of faith. And, as the film acknowledges, for the scandals of the current age, it remains something that draws the eye and attention of over a billion—meaning that its titular sequestering of cardinals remains for many as significant as any election in a great power.
Our focus is mainly Ralph Fiennes as Cardinal Lawrence, a senior church figure caught up in organizing conclave after the passing of a recent Pope—and while a relatively liberal figure, Lawrence finds himself caught in the scales of personal politics and pragmatism as the inevitable factions array themselves. Arrogant pseudo-traditionalists using faith as a cudgel arise like Cardinal Tedesco (Sergio Castellitto) to more wavering like Tremblay (John Lithgow)—and though Lawrence may seek someone truly worthy of the chair, it becomes apparent it’s nothing that simple.
For the general audience, it’s the performances that are the draw here—Fiennes is on point as always, taking command of a room all too effortlessly, and even Castellitto plays someone who while detestable pulls enough charisma that one can see why he might yet command a following. Even minor figures like Isabella Rossellini as a head caretaker nun have their moments of show-stealing, and all the personal drama and cattiness certainly has an appeal not unlike a soap opera!
Still, it’s also a nice illustration of how principle cannot always be found to acquiesce to reality—and why one might feel the need to sacrifice that even if for the least worse options. How far this must go, and where to draw lines—that’s a universal question here raised, and certainly Lawrence here feels like someone who’s willing to go all the way.
There’s all manner of twists and turns here that’ll certainly keep most folk watching—and if anything, my only real complaint is that the twists pile on maybe a little too fast near the end, as we lurch from one sudden development (that’s at least briefly foreshadowed) to one that isn’t, and as this comes when things are all getting wrapped up, at some point it feels like maybe a little more push on the brakes could’ve been added.
Still, it’s definitely watchable, and for older men in robes having a lot of arguing, Berger certainly shows how to make it interesting for all—it may not be completely sinless for me, but it gets my blessing nevertheless!
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