Cónclave

Ralph Fiennes is a consummate performer. Since his big screen debut as Heathcliffe in Peter Kosminsky's 'Wuthering Heights' in 1992, Fiennes has electrified audiences. Bringing depth and nuance to every role- from serial killers to rat catchers- he never seems anything less than perfectly cast. That ability to subtly embody diverse characters with precision and authenticity makes him, arguably, one of the most versatile actors working today.

In Edward Berger's 'Conclave,' Fiennes stars as British Cardinal-Dean Thomas Lawrence, the leader of the College of Cardinals. After the Pope dies, it is up to Lawrence to organise a papal conclave, through which his successor will be chosen. Thrust into a complex web of secrecy while navigating the hidden agendas of those vying for the papacy, the weight of Lawrence's decisions will alter the future of the church, while testing his faith and moral compass.

Based on the novel of the same name by Robert Harris, 'Conclave' is an intriguing mystery thriller that is not without its flaws. Initially, the film offers one a compelling peek behind the velvet curtain into the Vatican's Machiavellian world, where gossip flows like wine and ambition reigns supreme. The dialogue is consistently strong and acerbic, and Peter Straughan's characterisation is deft. Characters are clearly delineated, each with their own personality, political inclination and, more often than not, dark secrets.

For the majority of its runtime, Berger's film is a triumph, cleverly exploring the intersection of universal themes such as faith, doubt and personal ambition. Faith is portrayed not just as a religious conviction, but as a guiding force that shapes the moral and ethical choices of the individuals involved. Personal ambition, on the other hand, is depicted as a double-edged sword that can drive one to greatness or lead to one's downfall, depending on how it is wielded. Doubt, meanwhile, is represented as a powerful force just as important as faith, challenging characters to question their beliefs and actions.

Through this intricate interplay of themes, Berger crafts a thought-provoking narrative resonating on both an intellectual and emotional level. Unfortunately, however, he doesn't stick the landing. The ending feels both rushed and cursory, offering very little closure. The tension and intrigue that has slowly built up over the course of the film comes to an abrupt halt, leaving several plot threads unresolved and proceedings feeling somewhat underwhelming.

Despite the finale not quite delivering on its promising setup, the film's engaging narrative makes it a worthwhile watch, as do its stellar visuals. It is a stunning looking picture, with opulent production design from Suzie Davies, emphasising the elaborate richness of the Vatican and its inhabitants. Silver crosses glint and glisten, while bloody reds and crisp whites contrast sharply. The sets and costume design are incredibly detailed and accurate; all captured masterfully by cinematographer Stéphane Fontaine.

Fontaine's cinematography plays a crucial role in supporting the film's narrative themes. His stark approach emphasizes the solemn, austere atmosphere of the Vatican, juxtaposing the grandeur of its architecture with the intimate moments of the characters' internal struggles. His use of light and shadow is particularly effective in highlighting the dualities within the film- faith versus doubt, ambition versus humility.

Furthermore, his keen eye for detail ensures that each frame is meticulously composed, with a crisp clarity heightening the film's heady atmosphere. The stark, almost minimalist visuals create a sense of foreboding and tension, mirroring the high-stakes environment of the conclave. This visual style not only enhances the storytelling but also deepens one's engagement with the film's exploration of power, morality and personal conviction.

In addition, Volker Bertelmann- who did such impactful work on Berger's previous 'All Quiet on The Western Front'- crafts a sublime score, both eerie and austere, compounding the themes within. Bertelmann's compositions mirror the film's emotional landscape, using haunting melodies and sparse instrumentation to evoke a sense of unease. Additionally, incidental sounds- namely breathing- seem to have been exaggerated, heightening the immediacy of the narrative and amplifying its tension.

However, while Fontaine's cinematography and Bertelmann's score are undeniably powerful, it is the performances, especially that of Ralph Fiennes, that truly elevate the film. Fiennes masterfully captures the internal struggles of a man caught between his duties to the church and his personal convictions. His presence on screen is commanding, yet he infuses the role with a quiet vulnerability, making Lawrence both relatable and compelling. Although Fiennes has never given a subpar performance in his life; his exceptional work in 'Conclave' is definitely a highlight.

Alongside him, Stanley Tucci impresses greatly as the liberal Cardinal Bellini, a decent man surrounded by gossiping cads. John Lithgow does typically fine work as the highly ambitious Cardinal Tremblay, while Brían F. O'Byrne is similarly impactful as Lawrence's right-hand man and opposition researcher Monsignor O'Malley.

Isabella Rossellini, meanwhile, elevates the comparatively small role of Sister Agnes, the cardinals' head caterer and housekeeper, into one of the most interesting in the film. In addition, Sergio Castellitto is superbly sinister as the far-right traditionalist Cardinal Tedesco, while Carlos Diehz and Lucian Msamati also shine as Cardinals Benitez and Adeyemi, respectfully.

In conclusion, Edward Berger's 'Conclave' is an entertaining, visually striking film exploring the complexities of faith, ambition and morality within the hallowed halls of the Vatican. Boasting strong performances from all in the cast- especially that of star Ralph Fiennes- as well as stunning production design and cinematography and a stirring score, it is gripping and thought-provoking. Despite the fact that the ending is something of a let-down, 'Conclave' is a papal pleasure.

This is a political thriller. With a bit of tweaking this sort of vaguely labyrinthine plotting goes on wherever there is a quest for power and control.

The main actors - Fiennes, Tucci, Lithgow, Rossellini and Msamati, deliver powerful performances, and the film is worth seeing for these alone.

The script is well written, although cliched in some parts, but does provide tension, momentum and intrigue.

The settings equally play their part and, given the scale, add gravitas and authenticity, not just a backdrop.

Having said all of that, and without giving away anything away, the ending felt added on, and didn't properly integrate with the rest of the film. Whilst the message was well intentioned, to an extent, it undermined the build up in the rest of the film - it felt simplistic and a la mode - unnecessarily. A pity, because if as much attention had been given to this part of the film as the rest, it would have been a better film.

So many reviews are blaming Hollywood and thinking this movie is somehow pointing fingers at Pope Francis. It isn't. It is a movie based on a book of the same name written by Robert Harris. The book was released in 2016, way before the pope got sick. It just so happens that the current events coincide with the recent release of the movie to stream on Prime. People's emotions are heightened because of the death of Pope Francis and are forgetting this is just a work of fiction. One review says the movie should have some respect as the pope has just died! Please remember the movie was first released in the Telluride Film Festival in August 2024!

Conclave is a fine movie with excellent performances by all the actors involved. The ending of the film was telegraphed early on, so there was not so much of a surprise by the final selection of the next Pope. However, the final twist seemed unnecessary. There did not seem to be a sufficient build-up to it, that made it feel like a genuine twist, but was more of an add-on. Beyond that, the drama between all the main candidates was compelling, though I thought the conservative Italian was more of a caricature for them to use as a foil, rather than a standout on his own. There are some interesting visuals and uses of color that I did not expect. I'm sure this will be an Oscar contender, but I'm not sure it has the depth to actually win anything.

And now...a film for adults.

Based on Robert Harris' 2016 novel, CONCLAVE takes the viewers inside the Vatican during the College of Cardinals' process of selecting the new Pope...filled with Political in-fighting, twists, turns and surprises galore.

And...if the average age of the folks in the Movie Theater I attended a showing is any indication..."Grown-Ups" are flocking to this film.

As Directed by Edward Berger (ALL QUIET ON THE WESTERN FRONT), CONCLAVE moves along sprightly, unraveling a mystery - not a "whodunnit" but rather a "who's gonna get it" - and it gets surprisingly tense.

This is thanks, in part, to the fine, fine actors that have been cast in this film. Ralph Fiennes (Voldemort in the HARRY POTTER films) anchors the events as the "Dean" of Cardinals who is tasked with leading the disparate group of Cardinals to a consensus pick of the next Pope. He acts as much as a Detective as a Facilitator as he battles his own conscious of faith...and ambition...all while uncovering schemes and plots of some of the "humble servants" vying for the top job.

Ably assisting is John Lithgow, Isabella Rosellini and quite a few others (mostly unknown) who battle for the "pole position" in the race to be the next Pope. Special notice should be made to GREAT Stanley Tucci for his supporting turn as one of the contenders who's platform seems to be "I don't want this" but who, underneath, really, really wants it.

Don't be surprised if both Fiennes and Tucci (as well as Director Berger) are mentioned come Oscar nomination time (they are that good).

As stated above, this film has twists and turns galore and it is a fun ride to roll with these turns, but if I am being honest, I felt that this film went "one twist too far" and should have/could have ended 10 minutes before it ended (without the one last twist). Now, some would say that this final twist is the point of the film, but...I would have been fine without that point being made.

You be the judge...and join other "adults" in the movie theater.

Letter Grade: A-

8 stars (out of 10) and you can take that to the Bank(ofMarquis)