Edward Berger’s Conclave is a pitch-perfect thriller. Based on the novel by Robert Harris, it depicts a fictional papal conclave at which seemingly everything that can go wrong does go wrong. As Cardinal Thomas Lawrence, the incomparable Ralph Fiennes matches the many other high-water marks of his career. Lawrence is tasked with leading the conclave, but try as he might to ensure the integrity of the election of the next Pope, he soon finds himself investigating a multi-layered scandal involving multiple candidates.
From the first scene to the last, Berger (director of the recent Oscar-winning remake of All Quiet On the Western Front) and legendary cinematographer Stéphane Fontaine make excellent visual choices which emphasize the isolation Lawrence feels in wrangling his fellow Cardinals. The biggest issue in terms of the event simply going smoothly is the factionalizing that occurs between them. Adapted from Harris’ novel by screenwriter Peter Straughan, the discussions regarding warring liberal and conservative views on Church doctrine, as well as those regarding divides between regions and nations, feel authentic and heightened at the same time. They’re heightened because we’re seeing them through Lawrence’s eyes; there isn’t a scene he’s not in. Seeing him deal with inner turmoil himself, we’re initially just hoping for peace for his sake. As time goes on, however, we start to have rooting interest in certain candidates, and they aren’t always the ones we might expect to be rooting for.
The rest of the cast is uniformly as excellent as Fiennes. As the Canadian Cardinal Tremblay, John Lithgow strikes a delicate balance between urbane friendliness and underlying menace. A more obvious villain from the start, Sergio Castellitto is a brilliant, egotistical foil as the eccentric but conservative Italian Cardinal Tedesco. We’re led to believe that the most obvious candidate is Stanley Tucci’s Cardinal Bellini, a man whose lack of outward ambition to the throne is all the more reason he should ascend to it. As Nigerian Cardinal Adeyemi, Lucian Msamati seems the most obvious candidate for a Best Supporting Actor nomination. The scandal Lawrence unravels begins when Adeyemi’s star is shining brightest, and Msamati delivers such layered and honest work in this section of the film. Like every other Cardinal, Adeyemi wants desperately to be considered for the best of himself, and despite his flaws, he’s somehow achingly relatable.
Screen legend Isabella Rossellini gets a somewhat thankless role as Sister Agnes, a nun who helps Lawrence uncover some of the mystery. However, even with a limited number of lines, she leaves an impression, especially with one of the funniest moments in the film. Humor may prove to be an underrated aspect of Conclave, but it shouldn’t be overlooked. There are so many moving parts to this story that it’s amazing how Straughan and Berger found the perfect spots for levity and releases of tension. One character who provides some of that levity is Cardinal Benítez (Carlos Diehz), but his is a more winking, world-weary comedy. Benítez is sort of the final puzzle piece, and as a priest in Kabul, his experience puts him on a bit of a different plane than much of the pettiness exhibited by his contemporaries.
Well-paced by Berger and editor Nick Emerson, the film uses its beautiful sets and camerawork to full effect. By the time we reach the end, so many shots resemble Renaissance paintings, and the gravity of the events we’ve seen totally supports that weight being given to each image. Anchored by Fiennes’ unparalleled ability to mix propriety with pathos, Conclave expands out from his performance to deliver a fully-realized world of intrigue which never feels forced, cheap, or insincere. Yes, there’s a slight bit of topical pulp in this thriller, but unlike the event it depicts, it moves incredibly smoothly. Such is the result of assured direction and one of the best ensemble casts of this or any year. | George Napper
