Now streaming and on DVD: 'Conclave' fires up the quest for a pope

The College of Cardinals works a bit like Congress. Before a new pope can be named, there’s a lot of lobbying.

Certain candidates have their supporters but then there are also detractors who work to derail the process.

In “Conclave,” director Edward Berger provides plenty of pomp, but also a few circumstances. To provide order, there’s the dean of Cardinals. Lawrence (Ralph Fiennes insists he doesn’t want to be pope but has the ability to force the hands of his colleagues.

Little by little, we see ambition peek through. Could he be the next pope? Or is this Salieri thwarted on the biggest stage of them all?

Based on Robert Harris’s thriller, “Conclave” unfolds like a real potboiler, particularly since there are questions about the late pope’s death and the backgrounds of those likely to ascend. As the mighty assemble (looking like characters from “A Handmaid’s Tale” in all those overhead shots), it’s clear this is just as political as any American presidential race.

Lawrence tries to keep order, of course, but has plenty of conversations with those who have doubts about the men leading the pack. A particularly good underling (expertly played by Bryan F. O’Byrne) constantly delivers intel about the candidates’ fitness and ability to serve. One by one, the mighty fall. During those protracted voting scenes, Berger makes his biggest moves, letting slight gestures tell plenty.

Stanley Tucci, John Lithgow and Sergio Castellitto are three in the running – three with motives, three with “problems.” And then, there’s a cardinal they didn’t even know was in their company. Could Cardinal Benitez (a touching Carlos Diehz) be the swing voter?

Very theatrical in its structure (this would make a great play), “Conclave” shows how human frailties can figure into picking superhuman leaders.

Back to homepage

Subscriber Login

Keep reading with a digital access subscription.

Subscribe now

Tucci gets an upper hand or two, then opens his door to Fiennes and discovers his intentions.

Naturally, a film like this can’t end with an easy solution, so there are ancillary factors (including an important piece of information from Isabella Rossellini’s Sister Agnes) that keep bumping the vote.

When the cardinals do reach some kind of consensus, there’s yet another hurdle to cross. While it’s a bit contrived coming at the film’s end, it does speak to the uncertainty that plagues those charged with making such a decision.

“Conclave” moves faster than a Sunday Mass, has plenty of humor and boasts the kind of performances that could fill an Oscar slate.

Tucci, Lithgow and Castellitto could easily stake claims to a Best Supporting Actor prize. But Fiennes is one who should strongly be considered for Best Actor. As subtle as his performance may be, it exhibits plenty of nuance and all the detail you’d want in someone who earns the title.

He galvanizes “Conclave” and makes it an important film – for now and forever.