Cardinal Lawrence played by Ralph Fiennes (Courtesy of Focus Features)
This piece is from the CU Independent’s opinion section. Any opinions or views do not represent the CU Independent.
In “Conclave,” a marvelously crafted Vatican Thriller, every frame radiates the solemn grandeur of its setting. Fresh off of winning an Oscar for “All Quiet on the Western Front,” director Edward Berger brought a picturesque view to the inner sanctum of the Catholic Church when he traded mud and trenches for marble halls and crimson vestments. Under detailed recreations of the Sistine Chapel’s famous frescoes, robed cardinals move like figures in a Renaissance tableau illuminated by shafts of low light. The visual color palette of rich reds, gold candlelight and deep shadows delights the eye and emphasizes the heavy, sacred atmosphere surrounding the election of a new Pope. “Conclave” is a stunning Vatican thriller, elevated by breathtaking cinematography and masterful performances that immerse viewers in the magnificence of the papal election.
Berger’s direction creates an intentional and thoroughly engaging pace that underscores the importance of the decision being made behind closed doors. The slow-burn approach is advantageous, as the film unfolds at a measured, seemingly meditative tempo. We pause in silent corridors and hold gazes. We can feel the clock tick as the world waits in anticipation for white smoke. The intentional rhythm pulls us in more profoundly, intensifying our anticipation of each vote cast and each secret whisper rather than dragging on. Berger’s confident storytelling of the drama, composed mostly of conversations and ballots, sustains the film’s tension.
At the center of “Conclave’s” impressive ensemble is Ralph Fiennes, delivering a commanding lead performance as Cardinal Lawrence, the Dean presiding over the papal election. For decades, Fiennes has been known for his domination of the screen, and here, he embodies Cardinal Lawrence with a solemn dignity and an underlying vulnerability that makes him a captivating anchor for the story. His portrayal is one of calculated restraint interrupted by moments of fiery conviction. Fiennes enthralls during his compelling monologues, delivered in hushed tones that echo through the blessed halls. His gripping monologues heighten the film’s dramatic moments, whether softly imploring divine guidance in Latin or sternly scolding his fellow cardinals for their earthly schemes. Bussing with award speculation, this performance–both theatrical and deeply human–is one of Fiennes’ finest in recent years.
The supporting cast is equally loaded with talent, and each actor makes the most of their time on screen. Veteran actors Stanley Tucci and John Lithgow stand out as two of Lawrence’s illustrious colleagues, bringing contrasting energies that help reveal the “Conclave’s” factual divide. Tucci’s Cardinal Bellini is more progressive and covertly charismatic, voicing modernized ideas with a hint of idealism. At the same time, Lithgow’s Cardinal Tremblay is striking and deliberate, a church traditionalist with a daunting presence. Their exchanges reflect the implication of an old friendship turned political rivalry. Meanwhile, the great Isabella Rossellini plays Sister Agnes, the nun supervising the logistics of the conclave. Rossellini’s elegant performance subtly conveys the weight of history and exclusion.
“Conclave,” adapted from Robert Harris’ novel, pulls back the curtain on the inner workings of the most secretive process at the Vatican with a nearly obscene fascination. The screenplay by Peter Straughan cleverly balances high regard for the traditions of the Catholic Church and an unwavering look at the highly human politics beneath the surface. We see the complex political maneuvering that corresponds with prayer. Campaigns rise and fall through clever alliance-building, strategic deal-making and divine providence. In candlelit corners, quiet side conversations forge alliances and trade promises. Some cardinals persistently push for a like-minded candidate who can execute their vision for the Church, while others attempt to block those they see as too radical or too conservative. The film displays the competing factions of reformers versus traditionalists and places us directly in the middle of their subtle tug of war.
As the ballots accumulate, “Conclave” reveals that even amongst apparent holiness, personal ambitions and moral dilemmas are abundant. The question arises: How far will they go in pursuing what they believe is right? One cardinal quietly partakes in covert tactics, and rumors spread of votes being bought and sold, a sin known as simony, which overshadows his piety. Another cardinal discovers confidential reports, and misconduct begins circulating, with each revelation designed to take out a rival. One by one, candidates are knocked out by scandals, transforming the holy election into an ecclesiastical enigma.
Straughan’s script intelligently distributes these twists – just as a frontrunner gains momentum, an ugly secret or past imprudence is revealed, dramatically narrowing the field. The film constantly changes our expectations as it shifts the loyalties of the cardinals, ensuring that the outcome is anything but a predictable result. The screenplay initiates a shocking external bombshell that mirrors the internal divisions. At a crucial moment, an explosion outside the chapel shakes the Vatican and everything inside. An engrossing sequence follows as the blast throws dust and debris into the sacred space, launching the proceedings into disorder and fear. While a symbolic explosion introduces brief chaos and metaphorical weight, it feels abrupt and underexplored, slightly disrupting the film’s otherwise steady rhythm.
The final voting scene builds to a suspenseful peak, aided by Volker Bertelmann’s stirring score. Though a late twist tied to Cardinal Benitez lacks full emotional impact, it closes the thematic loop. Despite minor flaws, “Conclave” remains a compelling drama, balancing intellectual depth with visual splendor–an engrossing portrayal of power, faith and human frailty within the Church’s inner sanctum.
Contact Guest Writer Kaitlyn Jung at kaitlyn.jung@colorado.edu
