James Berardinelli review - *** out of ****

https://www.reelviews.net/reelviews/conclave

As a dramatic exploration of the political wrangling that occurs behind-the-scenes when the College of Cardinals meets to elect a new pope, Conclave is compelling and intriguing. As an opportunity for a group of top-notch actors to showcase their abilities, it stands well above most films. But as a thriller, it comes across as far-fetched and even a little silly with a mystery that is less-than-mysterious and a distinct lack of tension or suspense. The resolution is problematic, although it might have worked if Conclave had been positioned as a period piece set decades or centuries in the past.

Outside of those who have participated in the election of a pope, no one really knows what transpires in the Sistine Chapel during the period when the world’s 118 cardinals are sequestered, so much of what occurs in Edward Berger’s film (a mostly faithful adaptation of Robert Harris’ 2016 novel) is speculative. It feels credible, however, with politics and philosophical differences resulting in unconventional alliances. From ballot-to-ballot, behind-the-scenes wrangling can result in an ebb and flow in support for various candidates until one finally achieves the necessary 2/3 majority (79 votes) to win. Conclave does its job of presenting a version of what could be, concerned only that it seems believable (not that it necessarily reflects reality). Although the film’s pacing is unhurried, I was never bored.

The acting elevates the material. All the A-list actors bring their A-games. Ralph Fiennes gives a sympathetic portrayal of British Cardinal Thomas Lawrence, the Dean of the College of Cardinals who organizes and runs the conclave. Fiennes’ performance is understated, revealing a man who struggles with his faith and his position in the election. Stanley Tucci and John Lithgow are standouts, with additional strong support being provided by Isabella Rossellini and several lesser-known actors (Sergio Castellitto, Lucian Msamati, and Carlos Diaz).

There are four major contenders for the papacy. Aldo Bellini (Tucci) is a pragmatist representing the liberal wing; if elected, he would continue the reforms implemented by his predecessor. He is most directly opposed by Goffredo Tedesco (Castellitto), a reactionary Italian whose homophobic, racist views hearken back to the Church as it was before Vatican II. In between are Joseph Tremblay (Lithgow), a mainstream conservative, and Nigerian Loshua Adeyami (Lucian Msamati), whose skin color would make him a trailblazer but whose beliefs are closer to Tedesco than Bellini. Two dark horses also emerge: an obscure cardinal from Kabul, Vincent Benitez (Diaz), and Lawrence himself, who appeals to liberals not enamored with Bellini. Initially, none of the contenders has close to the number of votes but, as the conclave drags on, gradual shifts occur. In his role as organizer, Lawrence investigates unsavory rumors that emerge about several candidates, becoming the equivalent of the movie’s Hercule Poirot.

Berger, who is perhaps best-known for his acclaimed 2022 version of All Quiet on the Western Front, matches a peerless visual style (co-credit cinematographer Stephane Fontaine) to go along with the film’s other assets. He opts for a low-key approach to proceedings, at least until events during the third act ratchet up the melodrama. And, although there doesn’t seem to be much doubt about who ultimately will end up with the 79+ votes (the Law of Conservation of Characters determining this), the various twists and turns along the way are sufficient to keep the average viewer engaged. As for questions left unanswered (chiefly surrounding Tremblay), I’m not sure whether these ambiguities are intentional or represent plot holes.

Perhaps because of the religious trappings and the impeccable credentials of the cast, the movie may seem more serious and important than it is. Although it pays lip service to the doctrinal schisms within the Catholic Church, Conclave’s sympathies lie with the liberal wing. The movie is at its best when it feels like a Vatican riff on 12 Angry Men, a concept that is enough to keep things flowing smoothly until the frustratingly “Hollywood” events of the final 20 minutes.