Sometimes a film just doesn't amount to more than the sum of its parts...
Words: Joey Shields
Ralph Fiennes is on top form in this film adaptation of the novel by Robert Harris of the same name. Conclave follows the aftermath of the Pope’s death by heart attack and the sequestering of the College of Cardinals whose duty it is to elect a new Pope. Perhaps some audience members would have found a short description of the Conclave process to be sign-posting but, for anyone watching who was unaware of the religious process, a little heads up in the opening titles for some clarity would have been appreciated.
Fiennes plays Cardinal Dean Thomas Lawrence who leads the Conclave. As a character who barely leaves the screen, several close ups help to highlight the internal tumult of a man who is duty-bound to lead such an auspicious event whilst experiencing doubts in his faith.
the film’s plot feels as though it never fully gets going and is thin at times
Stanley Tucci and John Lithgow are effortless, as always, in their supporting roles as two opposing Cardinals each looking to ascend to one of the most prolific jobs in the world. Isabella Rossellini, playing Sister Agnes, doesn’t enjoy much screen time but then, as she says in one of her few scenes, “I know we sisters are meant to be invisible”. Despite the competent performances however, the film’s plot feels as though it never fully gets going and is thin at times. Perhaps reading the story would have been more interesting than watching it.
There are snippets of humour and humanity here and there: a cohort of Cardinals having a crafty cigarette, one of them vaping, one on a smart phone in full religious dress. An aerial shot sees a hundred or so Cardinals walking in slow motion in their identical ruby red robes carrying dove white umbrellas across the forecourt of the Vatican: a wonderfully impressive visual spectacle.
a simmering and slow build which doesn’t ever bore but never fully engages
The score, by Volker Bertelmann, does a lot of heavy lifting by keeping up the pace as the Dean uncovers the secrets of his colleagues and friends during their isolation. At one point, a jump scare of sorts awakens the audience when an incident rocks the Vatican - the sounds of the film more instructive than the action.
When it appears that the story is neatly and sweetly tied up with the selection of a new Holy Father, a rather obscure final twist is thrown our way which hurls the new appointment into question. It seems an unusual last-minute curve ball, one hoping to afford the story more depth after a tame series of events up to that point.
Conclave is a simmering and slow build which doesn’t ever bore but never fully engages. However, it boasts some excellently crafted performances and creative cinematography, all within the divine walls of one of the world’s most iconic historical sites.
Conclave is showing now at Broadway.
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