“Conclave” — directed by Edward Berger of “All Quiet on the Western Front” acclaim — adapts Robert Harris’s novel of the same name into a gripping political thriller.
Set in the modern-day Vatican, “Conclave” follows Cardinal Thomas Lawrence, played by Ralph Fiennes, who is tasked with leading the election for the late pope’s successor while undergoing his own crisis of faith. He soon finds himself in a political war for the papacy. Primary players include Cardinal Bellini (Stanley Tucci), a reluctant liberal and friend of Lawrence’s, and Cardinal Tedesco (Sergio Castellitto), a staunch conservative.
To secure the papacy, a cardinal must win a two-thirds supermajority from the College of Cardinals. Lawrence believes Bellini is the best choice because of his progressive goals and fears a Tedesco papacy would undo all the progress of the previous pope. But as Bellini struggles to build significant support, Lawrence must consider who he should support to stop Tedesco. In his search, Lawrence stumbles into multiple candidates’ secrets and long-buried pasts. As Lawrence investigates, cardinals are exposed and falter, all while Lawrence, much to his dismay, begins to gain supporters of his own.
The film is told almost entirely from Lawrence’s perspective, but Fiennes meets the challenge with a skillful portrayal of a lost priest faced with a tremendous burden. It is a reserved performance, but Fiennes sells the small moments of internal conflict — for instance, when debating whether or not he should do something highly taboo that could sway the vote. The rest of the cast also delivers strong performances, with Tucci and Diehz as particular highlights. Bellini’s bond with Lawrence provides witty banter. Tucci and Fiennes’s chemistry carries the film in its softer moments, smoking cigarettes in dark staircases while considering the Church’s future. The continuous refusal of Cardinal Benitez — a dark horse candidate and mysterious arrival from Kabul — to play the political game is both comical and heartfelt, becoming the emotional heart of the film.
For a political thriller, “Conclave” is rather tame. It establishes the ideologies of its characters effectively. These worldviews — the liberal, the conservative, the bigot and so on — lack complexities, but they nonetheless provide a strong basis for conflict. Yet it is disappointing that, beyond Lawrence, few cardinals truly get to politicking. Once a player’s secret is exposed, they are eliminated for good — never attempting to so much get back in the running, contrary to a norm in political thrillers. The film lacks the suspense of a character weaseling their way back into the race or bringing down a competitor.
Beyond that, for a film about the papacy, there is surprisingly little exploration of theology. Characters seldom debate religious philosophy, instead focusing on basic political stances, such as gay rights. The film’s commentary was so generic it could have worked in any political thriller involving an election. Some viewers may not see this as a negative, as its lack of theological debate makes it more applicable. I, however, felt there was a missed opportunity to explore the nature of the intersection between politics and religion.
On the topic of missed opportunities, Isabella Rossellini’s character, Sister Agnes, felt particularly underutilized. As a woman in a male-dominated field, Agnes is often relegated to the sidelines. With time, the film exposes numerous cardinals to be more concerned with power than faith, which Agnes herself critiques — and she generally seems ready to challenge the status quo of the Church’s patriarchal nature. Her few sentences, however, focus more on exposing a cardinal. Although this is a satisfying moment to see an antagonist fall, it feels like another missed chance to explore the complexities of the church’s policies.
On a positive note, Volker Bertelmann’s score is a highlight. Although the main theme is mostly a series of rapidly descending notes and steady percussion, it nonetheless creates a tense atmosphere for the film. It reappears in the most suspenseful moments and always manages to increase that thrill ever so slightly.
The film’s strongest aspect is the combination of its costume and production design, which creates elements for stunning cinematography. For much of the film, the cardinals are dressed in vivid red robes, while the locations tend to be more visually tame: marble architecture; the dimly lit, empty interior of the Sistine Chapel; a dark auditorium with blue seats. The contrast between these muted settings and red robes creates stunning compositions, bringing the cardinals to the forefront. This is especially beneficial for shots featuring Lawrence, as the cinematography intensifies his sense that all eyes are on him.
Despite not reaching its fullest potential, “Conclave” nonetheless ultimately delivers an entertaining package of politics and secrecy. Held up by solid performances and striking cinematography, “Conclave” solidifies itself as a compelling thriller.
“Conclave” releases in theaters on October 25, 2024.
Rating: ★ ★ ★ ★
