It’s a delight in the day of humongous blockbusters and teensy independent films to get a good ol’ fashioned, 90s-esque, mid-budget thriller for adults. Edward Berger (All Quiet on the Western Front) took this adaptation of Robert Harris’s novel deadly serious, turning out a wildly entertaining “dudes talking in rooms” movie that’s as fun as it is riveting.
Lining up a wall of character actors is often a good way to lend credence to a film, relieving it of a ton of inherent silliness. Conclave makes no bones about the pettiness of men in power, vying for position and moving chess pieces in a world where piety and ego are kindred. Hell, the cardinals don’t even let the body cool before they begin to maneuver into position. And poor Joseph Cardinal Lawrence (Ralph Fiennes), stuck in the middle as he tries to coordinate them in their sequestered hideaway. The shifting, the tension, the clashing politics, and the ever-present reminder that these supposed conduits to God are mere humans with their own agendas make for one of the better popcorn movies we’ve had in a while (no, I did not watch this while eating popcorn out of the Venom bucket).
And oh, what a time Cardinal Lawrence truly has wrangling these guys. Four frontrunners emerge quickly. Cardinal Bellini (Stanley Tucci), a liberal like the dead pope, wants the church to continue moving forward. Cardinal Adeyemi (Lucian Msamati), social conservative and economic progressive, appears from Nigeria and brings quite a bit of down the middle support. Cardinal Tremblay (John Lithgow) is all sniveling and conniving, a Canadian conservative that seeks light regression. And then there’s Cardinal Tedesco (Sergio Castellitto), a regressive Italian candidate that is pretty excited about the potential to bring back aggressive religious punishment.
Oh, and then some surprise cardinal from Kabul named Benitez (Carlos Diehz). He’s the new guy, but he gets to know the gang pretty quickly.
This is a wonderful bunch to toss together. Tucci does what he does best and he does it while lookin’ like a robed snack. He’s got a nervous energy to him that sheds his usual confidence for a quiet intelligence, jittery and full of business. He’s a fun buddy to pair with Fiennes, who seems disappointed and exasperated from moment one. Lithgow hops on it with his squirrely vibe, hiding and lying and confident he’s moving chess pieces despite the side-eye from his fellow Cardinals. Msamati is just a steady-hand, a common role for him to take. His dignified screen presence carries multiple scenes which require that presence, not unlike Fiennes steering this ship with a weary determination. It’s just a blast to watch all of these guys onscreen together. I forgot how much I liked older robed men having serious discussions.
Gorgeously designed, Conclave makes a meal of its set design and scenery even as its cast chews it all to bits. A massive shoutout to Lisy Christl, the costumer designer that Berger carried over from his previous effort. Catholic garb is something that’s woven itself into the history of cinema and Christl holds herself to the high standard, donning these gents in a variety of robes and rosaries. It’s such a gorgeous look, particularly with guys that know how to work them. The entire film is just a visual delight.
It’s time for me to let go of my anger at Volker Bertelmann for winning Best Original Score over Babylon. His work for Conclave is such a strange mixture of strings, all of them abused by rough bowing and excessive plucking (and I think at one point just dropping one is part of the score?). Berger and Bertelmann know when to weaponize silence and when to instill creeping dread, utilizing these upsetting sounds to add an element of danger into a world of conversations and conniving. It’s a unique score beneath its quick themes and groaning instruments, incorporating the crackling of kindling and inhalation that wouldn’t feel out of place in a horror film.
I loved Conclave. “Dudes talking in rooms” is a genre I’ve long loved, from 12 Angry Men to Christopher Nolan’s Oppenheimer. Berger’s latest is a trashy airport novel of a film, thrilling throughout and startling to the finish. When someone can make a movie full of older men having deep conversations in hushed tones this riveting it’s worth your time.
Conclave is currently in theatres.
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