Conclave (2024) Review
Ralph Fiennes is a consummate performer. Since his big screen debut as Heathcliffe in Peter Kosminsky’s ‘Wuthering Heights’ in 1992, Fiennes has electrified audiences. Bringing depth and nuance to every role- from serial killers to rat catchers- he never seems anything less than perfectly cast. That ability to subtly embody diverse characters with precision and authenticity makes him, arguably, one of the most versatile actors working today.
In Edward Berger’s ‘Conclave,’ Fiennes stars as British Cardinal-Dean Thomas Lawrence, the leader of the College of Cardinals. After the Pope dies, it is up to Lawrence to organise a papal conclave, through which his successor will be chosen. Thrust into a complex web of secrecy while navigating the hidden agendas of those vying for the papacy, the weight of Lawrence’s decisions will alter the future of the church, while testing his faith and moral compass.
Based on the novel of the same name by Robert Harris, ‘Conclave’ is an intriguing mystery thriller that is not without its flaws. Initially, the film offers one a compelling peek behind the velvet curtain into the Vatican’s Machiavellian world, where gossip flows like wine and ambition reigns supreme. The dialogue is consistently strong and acerbic, and Peter Straughan’s characterisation is deft. Characters are clearly delineated, each with their own personality, political inclination and, more often than not, dark secrets.
For the majority of its runtime, Berger’s film is a triumph, cleverly exploring the intersection of universal themes such as faith, doubt and personal ambition. Faith is portrayed not just as a religious conviction, but as a guiding force that shapes the moral and ethical choices of the individuals involved. Personal ambition, on the other hand, is depicted as a double-edged sword that can drive one to greatness or lead to one's downfall, depending on how it is wielded. Doubt, meanwhile, is represented as a powerful force just as important as faith, challenging characters to question their beliefs and actions.
Through this intricate interplay of themes, Berger crafts a thought-provoking narrative resonating on both an intellectual and emotional level. Unfortunately, however, he doesn’t stick the landing. The ending feels both rushed and cursory, offering very little closure. The tension and intrigue that has slowly built up over the course of the film comes to an abrupt halt, leaving several plot threads unresolved and proceedings feeling somewhat underwhelming.
Despite the finale not quite delivering on its promising setup, the film's engaging narrative makes it a worthwhile watch, as do its stellar visuals. It is a stunning looking picture, with opulent production design from Suzie Davies, emphasising the elaborate richness of the Vatican and its inhabitants. Silver crosses glint and glisten, while bloody reds and crisp whites contrast sharply. The sets and costume design are incredibly detailed and accurate; all captured masterfully by cinematographer Stéphane Fontaine.
Fontaine’s cinematography plays a crucial role in supporting the film's narrative themes. His stark approach emphasizes the solemn, austere atmosphere of the Vatican, juxtaposing the grandeur of its architecture with the intimate moments of the characters' internal struggles. His use of light and shadow is particularly effective in highlighting the dualities within the film- faith versus doubt, ambition versus humility.
Furthermore, his keen eye for detail ensures that each frame is meticulously composed, with a crisp clarity heightening the film’s heady atmosphere. The stark, almost minimalist visuals create a sense of foreboding and tension, mirroring the high-stakes environment of the conclave. This visual style not only enhances the storytelling but also deepens one’s engagement with the film's exploration of power, morality and personal conviction.
In addition, Volker Bertelmann- who did such impactful work on Berger’s previous ‘All Quiet on The Western Front’- crafts a sublime score, both eerie and austere, compounding the themes within. Bertelmann’s compositions mirror the film's emotional landscape, using haunting melodies and sparse instrumentation to evoke a sense of unease. Additionally, incidental sounds- namely breathing- seem to have been exaggerated, heightening the immediacy of the narrative and amplifying its tension.
However, while Fontaine’s cinematography and Bertelmann’s score are undeniably powerful, it is the performances, especially that of Ralph Fiennes, that truly elevate the film. Fiennes masterfully captures the internal struggles of a man caught between his duties to the church and his personal convictions. His presence on screen is commanding, yet he infuses the role with a quiet vulnerability, making Lawrence both relatable and compelling. Although Fiennes has never given a subpar performance in his life; his exceptional work in ‘Conclave’ is definitely a highlight.
Alongside him, Stanley Tucci impresses greatly as the liberal Cardinal Bellini, a decent man surrounded by gossiping cads. John Lithgow does typically fine work as the highly ambitious Cardinal Tremblay, while Brían F. O'Byrne is similarly impactful as Lawrence’s right-hand man and opposition researcher Monsignor O’Malley.
Isabella Rossellini, meanwhile, elevates the comparatively small role of Sister Agnes, the cardinals' head caterer and housekeeper, into one of the most interesting in the film. In addition, Sergio Castellitto is superbly sinister as the far-right traditionalist Cardinal Tedesco, while Carlos Diehz and Lucian Msamati also shine as Cardinals Benitez and Adeyemi, respectfully.
In conclusion, Edward Berger’s ‘Conclave’ is an entertaining, visually striking film exploring the complexities of faith, ambition and morality within the hallowed halls of the Vatican. Boasting strong performances from all in the cast- especially that of star Ralph Fiennes- as well as stunning production design and cinematography and a stirring score, it is gripping and thought-provoking. Despite the fact that the ending is something of a let-down, ‘Conclave’ is a papal pleasure.