Conclave Review | Ralph Fiennes Leads a Riveting Religious Thriller

Conclave is a riveting suspense thriller about the Catholic Church’s most secretive election process. Where the College of Cardinals meets in a sequestered Vatican assembly to choose a new pope. Adapted from the 2016 novel by famed author Robert Harris, the film shines a damning spotlight on humanity’s worst traits as supposedly pious men (no women allowed, of course) resort to ruthless tactics in a shameless power grab. Ralph Fiennes headlines a superb ensemble cast of flawed characters embroiled in Machiavellian machinations. Conclave goes in truly unexpected directions while skewering the religious authority of those meant to be God-fearing and examples of righteous leadership.

Vatican Secrets & Cardinal Lies

Cardinal Thomas Lawrence (Fiennes) enters a hushed bedroom with a shocked countenance. The deceased Pope (Bruno Novelli) lies peacefully in his bed. Lawrence knew the Holy Father had health problems but was completely clueless about the severity of his illness. Monsignor O’Malley (Brían F. O’Byrne) weeps at the bedside as the weight of Lawrence’s duties becomes clear. As Dean of the College of Cardinals, he must order the world’s cardinals to the Vatican and begin the Conclave immediately. But first, Lawrence needs to find out exactly what happened.

Lawrence learns that Cardinal Tremblay (John Lithgow) and Archbishop Woźniak (Jacek Koman) were the last people to meet with the Pope before his death. Tremblay, a popular figure in the church and the most likely successor, had no inkling of what was about to transpire. Woźniak, a heavy drinker, already seems inebriated in his grief. Lawrence clears the room before sitting beside his beloved mentor. He finally allows himself to break down. Lawrence had struggled mightily in recent months with his faith. He confesses to his dear friend, Cardinal Bellini (Stanley Tucci), that the pope had refused his resignation several weeks prior.

Bellini warns Lawrence that the church was at a critical juncture. The pope was a liberal whose reforms infuriated a conservative faction of dissenters. Their leader, the Italian Cardinal Tedesco (Sergio Castellitto), must not be allowed to take control. He would set Catholicism back to the Dark Ages with archaic beliefs. A wary Lawrence understands Bellini’s concerns, but he must strictly adhere to the ritual’s process without showing preference. Lawrence gets another shocking surprise when O’Malley informs him the Pope had recently appointed a new cardinal in secret. The Archbishop of Kabul, Cardinal Benitez (Carlos Diehz), must also be invited to the Conclave.

Conclave Is an Elaborately Written and Designed Film

German director Edward Berger (All My Loving, All Quiet on the Western Front) gets top marks for establishing tension on multiple fronts. His masterful cast spins elaborate dialogue like a theatrical merry-go-round. But these conversations aren’t happening in the open for everyone to see. Berger places conspirators in stairways, hallways, and even bathrooms to concoct their plans in secret. He also uses angular close-ups to focus on hushed voices. We see pursed lips and deep frowns as suspicious motives take hold. Initial allies become backstabbers when virtue is questioned.

The film’s production design, banner score, and costumes are integral to Berger’s calculated exposition. The Catholic Church’s myriad of intricate processes and religious pageantry are displayed with a sharp violin accompaniment. There’s a sense of urgency and growing trepidation as Lawrence is methodically dressed to carry out his Herculean task. Each piece of Conclave’s cinematic puzzle is artfully assembled with anxious intent. Something rotten and duplicitous is at hand with every character as a potential suspect.

A Great Script Builds to a Doozy of an Ending

Peter Straughan, a brilliant screenwriter (The Debt, Tinker Tailor Soldier Spy, Wolf Hall), weaves ensemble dialogue like a tapestry masterclass. Conclave has numerous speaking roles but not a single second of wasted conversation. The characters have agendas and only beat around the bush as a tactic. The papacy is at stake and can’t be won by a direct frontal assault. There are subtle differences between cajoling, bargaining, and subtle insinuation. Challenging a competitor outright will be seen as arrogant. The victor must be viewed as meekly led to the throne. Thus giving the impression of an honorable call to service instead of cutthroat ambition.

Conclave makes a barbed point of spiritual hypocrisy. Cardinals aren’t above human frailty, immorality, and vice. They sin like everyone else and have the audacity to judge others as unworthy before God. The film is deeply critical of how the Catholic Church treats people who don’t adhere to its views and the lack of female participation in church policy. Those with conservative and rigid beliefs will find the astonishing climax heretical. It is quite a doozy and completely unexpected. But I do hope they understand its valid message. The lesson here is not to worship false prophets because of their perceived station or bestowed authority. Faith is proven through selflessness and positive action.

Conclave is a sophisticated film that requires patience. This isn’t ten pages of script and a bang to keep the audience hooked. But it’s also not boring and never drags over its taut two-hour runtime. The phenomenal cast holds your attention like an armed robber and should garner awards buzz.

Conclave is a production of FilmNation Entertainment and House Productions. It will be released theatrically on October 25th from Focus Features.