Edward Berger’s Conclave Is the Most Fun You Can Have in a Luxurious Fake Vatican

As a lifelong film enthusiast who spent my formative years steeped in the rich tapestry of Catholic iconography and tradition, I find Edward Berger’s “Conclave” to be an absolutely captivating journey through the labyrinthine corridors of Vatican politics. The film is a veritable feast for the eyes, with its opulent sets and regal costumes that transport you right into the heart of the world’s most storied religious institution.

It’s amusing and captivating to witness familiar actors treading dramatically across a set resembling the Vatican, donned in authentic cardinal attire, in Edward Berger’s papal drama, ‘Conclave’. This is just one of the many charms this production offers. Seeing Stanley Tucci sporting his red Zucchetto at an angle reminiscent of 30s newsboy style? I’m on board! Watching Ralph Fiennes suggest the immense responsibility he bears under his scarlet capelet is far greater than its actual weight? Count me in! ‘Conclave’, a tale about cardinals plotting and strategizing as they strive to select a new pope, is an enjoyable watch. Although it’s fictional, it skillfully portrays the Vatican’s allure – from the swinging gold ecclesiastical necklaces to the comfortable red leather slippers. However, beyond its stylish depiction, it delivers a larger, weightier message: the Catholic Church needs reform to avoid becoming as brittle as the remains of an ancient saint. (The screenplay was adapted from Robert Harris’s novel by Peter Straughan.)

Fiennes portrays Cardinal Lawrence, a high-ranking church official tasked with summoning all cardinals to the Vatican following the demise of the Pope, to elect his successor. This role leaves him discontented; he had previously sought relief from this prestigious position due to a spiritual crisis within the Church, not faith in God. However, his superior declined his request. Now, cardinals are flocking to the Vatican from around the globe. The film Conclave, primarily shot at Cinecittà Studios, boasts impressive replicas of the Vatican’s painted masterpieces and intricate marble structures.

The majority of the cardinals arrive modestly, solely focused on carrying out their duties with utmost responsibility. One such individual is Cardinal Benitez (Carlos Diehz), who hails from Mexico but has been dedicated to the Church in an unexpected location like Kabul—he’s so low-key that Lawrence hasn’t included him on the guest list. However, others are clearly vying for the position. The late pope’s confidant, Cardinal Tremblay portrayed by John Lithgow, seems confident of his chances, yet his intentions appear tainted as he covetously eyes the late pope’s ornaments. In contrast, Cardinal Bellini (Tucci) is more humble and progressive in his views. He denies any interest in the position, stating that no sane man would desire the papacy, although even he may not be as selfless as he appears. Lastly, there’s Cardinal Tedesco (Sergio Castellitto), who struts in like a VIP, using Latin as if it were still a spoken language today. He believes the Church has grown too liberal; he’s eager to roll back its progress by several decades, or even centuries. Additionally, he advocates for an Italian—like himself—to be the next pope. As Tedesco and Lawrence engage in casual conversation among cardinals, he scornfully points out Cardinal Adeyemi (Lucian Msamati), who is Black, insinuating that someone like him should not hold the position.

In this story, Lawrence and Bellini find themselves in a crucial situation as they prepare for the selection process, which unfolds within the hallowed walls of the Sistine Chapel. As white cards are dropped onto a golden plate by the solemnly gathered cardinals, it becomes clear that persuading their peers to make strategic voting decisions is imperative. The plot thickens with each passing scene, filled with scandals, questionable whistleblowers who may be influenced by alcohol, and even a shocking terrorist attack.

In Berger’s skillful direction, everything falls perfectly into place, even up to the unexpected twist in the movie’s finale. Berger, who won the Best Picture Oscar with “All Quiet on the Western Front” in 2022, deftly steers this film as well. If you were raised a Catholic, you’ll understand our fascination with grandeur. It’s hard to resist the allure of spiritual enigma and elaborate gold embellishments. The movie “Conclave” indulges us in these aspects, but it also carries a serious undertone. Ultimately, the film supports the Church, but only if it embraces change, welcoming those it has excluded, such as women and the LGBTQ community. In essence, it should embody the real Jesus more and resemble the movie’s Cardinal Tedesco less. Does “Conclave” live up to this ideal? You’ll have to decide for yourself. And remember, not all heroes wear capes… but sometimes they do.

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2024-10-25 23:07