Power Struggle: How Sinful Men Confront One Another To Exert Divine Authority
DIRECTED BY EDWARD BERGER/2024
The Roman Catholic Church has long made an intriguing topic for storytellers.
A new spin on this genre hit theaters Oct. 25. Conclave combines exceptional acting with a compelling narrative to contrast servant leadership with the lust for power.
Following the death of the pope, cardinals gather at the Vatican to elect their new Vicar of Christ. The movie was directed by Edward Berger (director of 2022’s All Quiet on the Western Front) with the screenplay written by Peter Straughan.
The film stars Ralph Fiennes, John Lithgow, Lucian Msamati, Stanley Tucci, Isabella Rossellini, Carlos Diehz and Sergio Castellitto. It focuses on the backroom wheeling and dealing that goes on during the conclave, a process where the cardinals are sequestered until the next pontiff is chosen. The principals attempt to reveal some secrets while burying others as they jockey for position.
Conclave does a superb job of imagining how people veer into questionable behavior to strengthen their standing within a group. They tell themselves that they represent the best interests of their supporters, but in many cases they’re only serving their egos. While this account is fictional (the movie is based on the 2016 novel of the same name by Robert Harris), it grew out of the realities of life inside Vatican City.
Throughout history, the Catholic Church has wielded tremendous influence across the globe. From factory workers to business executives to prime ministers, the church holds sway over millions of lives.
The church wrestles with a dichotomy at its foundation.
Its size and outreach ensure it maintains a strong voice on the world stage. There is no doubt that it possesses extraordinary power.
Yet its mission is to represent those whose voices are often overwhelmed by louder and well-connected individuals. The church sees its purpose as speaking truth to power — God’s truth as revealed in Jesus’s teachings.
The Catholic Church feels it necessary to cling to its immense power so it may serve the powerless. Guided by the Christian gospels and long-standing traditions, the church will go to great lengths to maintain its institutional prestige.
And this is where the contradictions occur. Can such a powerful institution truly minister to the meek and lowly at all times? Do shepherds periodically need to neglect the sheep so they can prop up their public image?
Is it okay to do things that are bad so the church may continue to carry out things that are good? At what point will churchmen abandon their constituents to maintain a façade of benevolence?
Cardinal Thomas Lawrence (Fiennes) serves as the dean of the College of Cardinals. It’s his job to oversee the conclave according to the church’s rules. It’s fascinating to see the Catholic rituals involved in preserving the memory of a deceased pope and in choosing a new one.
Lawrence is torn because he struggles with increasing doubt about his faith. He’s not certain that he can maintain his position at the Vatican.
However, the pope’s death leaves him no alternative. He must trudge forward dragging his personal baggage.
Cardinals Aldo Bellini (Tucci), Joseph Tremblay (Lithgow), Goffredo Tedesco (Castellitto) and Joshua Adeyemi (Msamati) are the main contenders to become the next pope. They reflect the varying viewpoints that exist among different ideological factions within the Catholic Church.
Bellini, an American cleric, and Tedesco, an Italian cardinal, serve as polar opposites of one another. Bellini is committed to seeing the church continue to implement progressive policies. On the other hand, Tedesco opposes many changes made within the church since the Vatican II era. For example, he wants to return to offering the Mass in Latin only.
Sister Agnes (Rossellini) offers the perspective of the nuns who work at the Vatican. This serves as a reminder that women are a critical part of the church’s operations, yet they have little voice in how affairs are settled.
Cardinal Vincent Benitez (Diehz), who has served in perilous regions of the world, shows up to the conclave unexpected. Traveling from his current assignment in Kabul, Afghanistan, he presses his fellow cardinals to prioritize the church’s mission of serving the poor rather than trying to enrich themselves.
The strengths and weaknesses of each papal contender’s case is chronicled in the ongoing rounds of voting. A successful candidate must receive at least two-thirds of the ballots to become the new pope.
How well each leading cardinal is doing at any given moment is reflected in the vote total announced after each round. These are often followed by more electioneering behind the scenes to drum up additional support.
Conclave shows how men committed to carrying out the church’s mission compromise their ethics to serve specific purposes. They rationalize this by pointing out the risks of seeing their rivals gain the upper hand. But we can see that they eventually feel the weight of their own failings.
This film provides a masterclass in outstanding cinematic performances, particular by its older cast members. It’s a pleasure to see veteran actors display their talents honed by years of experience.
Conclave offers compelling drama without the need for violence or perpetual action. It shows how human dynamics play out among people with such different personalities.
Through dialogue and scenes offering glimpses into a private world, the movie showcases efforts to do God’s work as well as the costs of succumbing to personal ambitions. In trying to uphold the image of this institution as force and good, these characters expose the manipulations that often stain the church’s reputation.