Middleburg Review: ‘Conclave’

A bunch of old men in silly, garish robes discussing which 80-year-old man will be their new leader doesn’t sound like the setup for the most gripping potboiler. That’s fair, but what if those old men were locked away in the Vatican, sequestered from the rest of the world, and they were deciding who would be the next pope? All Quiet On the Western Front director Edward Berger leaves one grim battlefield to another, finding this one littered with the souls of pious yet conflicted clergy all eager to prove they are best equipped to serve God. With Conclave, Berger finds that tackling issues of faith, ego, and divine aspiration can be both humorous and a nifty little thriller without the weightiness that too often comes with religious films.

Ralph Fiennes leads the ensemble as Cardinal Thomas Lawrence, who we meet as he’s hurrying through the streets to be at the dying pope’s side. His heavy breathing suggests a man accustomed to less vigorous pursuits, which is probably the case for all of his fellow clergymen. We see this again moments later as another man struggles to remove the Piscatory Ring from the dead pope’s hand, grunting like he can’t open a ketchup bottle.  Lawrence is in charge of putting together a conclave, the gathering of cardinals who must decide on the new pope.

The process involves ancient traditions and customs, formal ceremonies, and so forth. But mainly it involves a vote, and men sequestered from the rest of the world. They’re all eager to claim the role for reasons both grandiose and petty. Some, like frontrunner Cardinal Bellini (Stanley Tucci), wish to further a progressive agenda. Others, like comically villainous, chain-vaping conservative Cardinal Tedesco (Sergio Castellitto) see this as a fight that the Church must win against secularism. There’s also the chance to move forward with the first Black pope, Cardinal Adeyemi (Lucian Misamati), or the mysterious Cardinal Benitez (Carlos Diehz) from Kabul who was appointed by the pope in secret. Another contender is the last man to meet with the pope, Cardinal Tremblay (John Lithgow), whose piety shadows a deeper intrigue.

But then, there are skeletons in a lot of closets, it seems. For those dubious of a talky melodrama about God, don’t fret. Conclave is endlessly suspenseful and darkly humorous. Every conversation moves quickly and is meaningful, revealing something crucial about the man beneath the robe. It turns out these men of God are shockingly human, with all of the frailties that come with it. There is no shortage of twists and turns that the film piles on at just the right moment for maximum effect, the only exception is in the final act with one revelation too many coming across as silly. You won’t be surprised to learn that within the Church there are indiscretions that come to light, betrayals, and even a threat of terrorist attack.

Speaking of which, Conclave finds most of its humor in the contrast between these old men of tradition in this centuries-old Vatican fumbling with modern technology. To prevent spying the building is fixed with Batcave-like armored shutters, making for a confounding image. You might see a Cardinal swiping through his smartphone between votes, which begs the question of whether he has an Insta account or, God help him, an Onlyfans. In past films you might see these pious men of god puffing on cigarettes but now a vape pen will do just as well, or a sip of coffee from a very expensive Espresso machine.

Boasting an evocative score by All Quiet On the Western Front composer Volker Bertelmann and stunning cinematography by Ammonite and Jackie DP Stéphane Fontaine, Conclave captures the opulence and the isolation of the Vatican in this crucial event in time. While Lawrence is the central figure, the film never really digs deep into the crisis of faith that drives him, content with focusing on the moral espionage of the moment. He favors Cardinal Bellini, whose opinion on the papal title ebbs and flows like the tides. Further, a subplot involving the sisterhood, led by Sister Agnes (the great Isabella Rossellini), and what they see in silence, could’ve played a much larger role than it does.

I’m not a religious man by any stretch, but I don’t think one needs to be to enjoy Conclave, just as you didn’t need to be to enjoy The Two Popes from a few years ago. Both films deal with the ascension of a new pope, and while both are shrouded in pomp and ceremony, the reason these films grab us is that they are ultimately about the men who dare shoulder such a holy burden.

Conclave opens in theaters on October 25th.