Conclave: A Review - Committing a Cinematic Cardinal Sin

****THIS IS A SPOILER FREE REVIEW!! THIS REVIEW CONTAINS ZERO SPOILERS!!****

My Rating: 2.5 out of 5 stars

My Recommendation: SKIP IT. A well-crafted and well-acted film that ultimately condemns itself to hell with an inexcusable plot twist that is so inane as to be infuriating.

Conclave, directed by Edward Berger and written by Peter Straughan (adapted from Robert Harris’ book of the same name), tells the story of Cardinal Lawrence, a man struggling with his faith who must navigate palace intrigue in the Vatican as the College of Cardinals assembles to elect a new pope.

On the surface, Conclave has a lot going for it. For example, it stars a cavalcade of top-notch actors, with Ralph Fiennes as Cardinal Lawrence, Stanley Tucci as Cardinal Bellini, John Lithgow as Cardinal Tremblay and Isabella Rossellini as Sister Agnes among the cast.

In addition, it is directed by Edward Berger, whose last film, All Quiet on the Western Front (2022), was a phenomenal, Academy Award nominated piece of work, my favorite of that year because it was so beautifully shot and masterfully executed.

On a personal note, as a Catholic myself (I’m not a good one…but I definitely am one) who has visited the Vatican on numerous occasions, I find the subject matter of a conclave in the wake of a Pope’s death, and the pomp and circumstance and politicization and jockeying for positioning that takes place, to be extraordinarily compelling.

And speaking of politics, in the wake of the US presidential election, Conclave is perfectly positioned to have something interesting to say about elections and liberals versus conservatives and the power of convictions and possibilities of backlash.

This is all to say that Conclave, which was released in the U.S. on October 25th and is still in theatres, had me in the palm of its hand even before I sat down in the theatre to watch it.

And yet…it failed to capitalize on all of its advantages and, in fact, alienated me in such a profound way with an excruciatingly egregious and inane plot twist, which I found to be a mortal moviemaking sin and entirely unforgivable.

In order to avoid spoilers, I will not reveal the specifics of the plot twist but will only say that it occurs in the final ten minutes or so of the film and is so contrived, bizarre, atrocious and appalling, and is such a grievous dramatic error, and so narratively unsound, that it ruined everything good about the film that led up to it and completely scuttled the good ship Conclave.

But besides that…how was the play Mrs. Lincoln? Truthfully, it was pretty good.

The film is well shot by cinematographer Stephane Fontaine, who uses a soft light and wonderful composition to often times create scenes reminiscent of Caravaggio’s great works.

Fontaine is aided by the spectacular work of the set and costume designers who masterfully recreate the distinct look and feel of the Vatican and the Cardinals’ outfits.

In addition, the entire cast all do tremendous work.

Ralph Fiennes in particular is outstanding. His Cardinal Lawrence is the Dean of the College of Cardinals and must wrangle the Cardinals to come together to vote for a pope and make sure everything is on the up and up…and it is never quite clear who the good guys are and who the bad guys are.

Fiennes is a supremely gifted technical actor whose skill is as good as anyone working today, and he brings all of those skills to bear as Cardinal Lawrence, a man who is struggling with his faith and his self.

An Oscar nomination, and even a win, could and should be in Fiennes future for his work in Conclave.

The supporting cast are also excellent.

Stanley Tucci is as reliable an actor as there is and he brings a subtle power to portrayal of liberal Cardinal Bellini that is enjoyable to behold. Tucci expertly embodies the illiberal liberal who is enthralled by himself more than humanity.

John Lithgow’s Cardinal Tremblay is a character that in lesser hands would’ve been forgettable, but here, Lithgow never breaks and lets the audience off the hook, so even after the film has ended, you’re still wondering if he’s a mistreated martyr or an exquisite liar.

And Isabella Rossellini has a small role as Sister Agnes, but every time she is on screen she crackles with an incandescent light and life that is undeniable.

But despite all of the magnificent artistry on display in the form of the acting, cinematography and costumes and set, Conclave commits too egregious a sin to ever be forgiven.

That sin, which is not venial sin but a mortal one, is the cheap, absurd and unearned plot twist that turns a compelling Catholic mystery and thriller into a pandering and pathetic cinematic exercise that feels like it deceived and betrayed you and stole two hours of your life.

For Catholics, Conclave will hold some appeal because it is a look behind the curtain of something familiar but still mysterious, namely the inner working of the Vatican and the conclave. In this way the film is compelling for Catholics…until the plot twist…which not just many, but I would say most, Catholics will find at best annoying, and at most infuriating (I’m in the infuriating camp).

Non-Catholics will find the majority of the film impenetrable for its disorienting maze of Catholic-ness. For example, I’m not even sure I can ask my podcast partner Barry, who is not Catholic, to watch this movie because he’s not going to know, or care, about all the Vatican and Catholic stuff that made at least the premise of the film interesting to me.

Regardless of all that, the bottom line is that I simply cannot, and will not, recommend Conclave to readers because the plot twist near the end eviscerates any artistic good the film achieved which led up to it.

If you’re interested in watching a challenging yet entertaining piece of Vatican/Pope artistry, I recommend you go back and watch The Young Pope (2014) series on HBO starring Jude Law. That overlooked, off-beat, exquisitely avant-garde series is very insightful and spiritually invigorating.

And if you’re just looking for a great story of Catholicism and Catholic priests, I highly recommend you check out Xavier Beavois’ 2010 film Of Gods and Men. It is a extraordinarily moving and spiritually insightful piece of work.

Both The Young Pope and Of Gods and Men are everything Conclave should be but ultimately isn’t. Go watch them, and skip Conclave…I certainly wish I had.

©2024

It's a Miracle...Hollywood Finds Religion!

Estimated Reading Time: 3 minutes 38 seconds

Hollywood is Allowing Catholics Who Are Not Corrupt or Pedophiles to Appear on Screen Again

Hollywood is currently making some surprisingly good Catholic entertainment with a refreshingly traditionalist bent.

As a practicing Catholic and a devout cinephile, I am constantly frustrated that Hollywood rarely gets religion right. Films and tv shows that touch upon Catholic and religious themes are often reduced to being either saccharine adoration in the hands of believing “conservatives” or vacuous vilification in the hands of agnostic “liberals”.

Considering there are 1.2 billion Roman Catholics in the world, and 84% of all people believe in one religion or another, it would seem a wise choice for Hollywood to explore Catholic and religious themed stories with much more regularity, artistic integrity and sincerity.

Hollywood and the Catholic Church need not be adversaries, as they have a lot more in common than one might think. For instance, they both have gobs of money and their hierarchies are littered with perverts and pedophiles. I’M KIDDING! As I said, I’m a practicing Catholic…and as my Catholic gallows humor shows…I definitely need more practice because I’m not very good at it.

Truth be told, now is actually a great time to be a Catholic cinephile because that den of iniquity, Hollywood, has recently shaken off its allergy to organized religion and turned its storytelling eye toward Catholicism with a striking spiritual seriousness and cinematic verve.

Tinsel Town’s recent mini-Catholic renaissance began in late November when it dipped its toe into the holy water font with the Netflix film The Two Popes. The movie, which features two compelling performances from Anthony Hopkins and Jonathan Pryce as Pope Benedict XVI and Pope Francis respectively, is visually uneven but surprisingly philosophically vibrant.

This was followed in short order by Terrence Malick’s artistically gorgeous and profound film, A Hidden Life, which hit art house theatres in late December and told the story of Franz Jagerstatter, a Catholic Austrian farmer turned saint for his conscientious objection to Hitler and the Nazi war machine.

Then in January, HBO premiered The New Pope, which is a continuation of the network’s highly stylized 2016 drama The Young Pope, a fictional account of Vatican intrigue starring Jude Law as an enigmatic Pontiff. The Young Pope and its new iteration The New Pope, are cinematically lush and quite theologically robust shows.

Considering that Hollywood is so reflexively liberal, especially in cultural matters, what makes these three projects so striking, beyond their simply being about religion, is that they shine an unabashedly positive light on traditional Catholic ideology.

For instance, I’m not conservative but even I was reticent to watch The Young Pope when it first aired in 2016 because I assumed it was going to be an intellectually lazy and predictably liberal spin on church matters. Much to my cinephile delight the show has consistently defied expectations, with Jude Law’s character Pope Pius XIII being a brazen crusader for old world traditionalism as an antidote to the menace of new world moral relativity and meaninglessness.

The Young Pope is certainly not reverential toward the Church, and this along with the show’s narrative audacity and occasional racy nature is maybe why some conservative Catholics find it blasphemous. But conservatives who dislike The Young Pope/The New Pope are missing the forest for the trees, as the show is a mature meditation on faith and is extremely respectful to Catholic teachings and belief in God.

The truth is that if conservative Catholics were cinematically literate and culturally sophisticated enough they would understand that The Young Pope/The New Pope is a beacon for potential religious traditionalists converts lost in the storm of pop cultural vacuity and idolatry.

The same is true of The Two Popes, which treats Catholicism, its adherents and God with the utmost seriousness. The debates in the film between Pope Benedict and Pope Francis perfectly encapsulate the present Catholic conundrum and the film goes to great lengths to respectfully highlight both men’s arguments as well as their personal failings.

 A Hidden Life furthers the traditional Catholic cause by showing the faith in action. Protagonist Franz Jagerstatter is the living embodiment of the commitment to Catholic faith and while his story certainly isn’t a happy one, for serious Catholics, it is ultimately a spiritually joyous one.

The entertainment industry acknowledging and exploring Catholicism is remarkable, bordering on the miraculous, as religion is usually either ignored, ridiculed or vilified in Hollywood productions.

This is why I find The Two Popes, A Hidden Life and The Young Pope/The New Pope to be such a breath of fresh air. Religion, particularly Catholicism with its hierarchical structure and global nature, is a veritable gold mine of dramatic potential, and it does my Catholic cinephile heart good to see it being so exquisitely utilized in artistically and spiritually satisfying ways.

Art and cinema are about asking difficult questions and potentially opening hearts and changing minds, and it seems we are currently in a cultural moment where the madness of the world has become so disorienting that even Hollywood is considering the unthinkable, that traditional religion might be of value in trying to make sense of it all.

I am sure, soon enough, Hollywood will revert back to its relentlessly diabolical ways and this glorious mini-Catholic artistic renaissance will be but a faded, distant memory…but for now…I am going to enjoy it in all its glory while it lasts.

A version of this article was originally published at RT.

©2020