As a film enthusiast with over two decades of experience under my belt, I must say that “Conclave” is an absolute triumph in terms of visual storytelling and character development. The cinematography, reminiscent of James Wong Howe’s masterful work on Hud, creates a sense of vastness that perfectly encapsulates the intricate web of conspiracy and the weighty pressures always looming over Berger and Straughan’s characters.
One of the most tranquil scenes in Toy Story 2 features The Cleaner (Jonathan Harris) meticulously mending Woody (Tom Hanks), bringing the toy back to its original state. Watching this skilled craftsman carefully stitch Woody, restore his eyes, fix his boots, and add thoughtful finishing touches to a plaything of a child is like a calming balm for the mind. Seeing competent individuals create neatness is soul-soothing. It’s as if we’re receiving a comforting message that there are people out there who can bring order to life’s turmoil.
The opening scenes of “Conclave,” skillfully directed by Edward Berger, capture a sense of detail reminiscent of The Cleaner. The camera subtly focuses on individuals performing seemingly minor tasks throughout the Vatican. One cardinal carefully separates and divides a ring once worn by the pope. Wax is dripped onto ribbons and stamped to mark significant doors. Workers labor diligently laying out red carpets and repairing windows, readying for the arrival of countless cardinals and nuns. Watching this process unfold is surprisingly calming, and it’s just one example of the many unexpected joys that “Conclave” offers.
In Peter Straughan’s screenplay based on Robert Harris’ novel “Conclave,” the story opens with tragedy as a pope is reported to have died from a heart attack. The Cardinal-Dean, Thomas Lawrence (portrayed by Ralph Fiennes), is left reeling from this loss. However, he must swiftly regain his composure because it’s his responsibility to supervise the process of electing the new pope. Cardinals from around the globe will soon make their way to The Vatican for a secluded stay during which they will decide the fresh visage of the Catholic Church.
Among the contenders for this role are Lawrence’s friend Bellini (Stanley Tucci), the vocal conservative Tedesco (Sergio Castellitto) from Italy, and Tremblay (John Lithgow), who was one of the last individuals to see the late pope before his demise. This place of worship is teeming with intrigue. Each person seems to have a strategy aimed at gaining votes from fellow cardinals. More urgently, however, Lawrence’s impartial stance is tested by recurrent leaks of sensitive, damaging information regarding potential pope favorites. Here, everyone hides something. As one cardinal puts it, “We men live for an ideal, but we are not ideal ourselves.
In a surprising turn of events, one might initially assume that “Conclave,” given its posters and advertisements, would be a dull, somber affair much like Berger’s previous work, “All Quiet on the Western Front.” However, contrary to these expectations, “Conclave” is anything but. It’s a lively, vibrant film that exudes an unexpectedly energetic and gay-themed atmosphere. If you’re yearning for more than just “The Prom,” “Uncle Frank,” or “Dicks: The Musicals,” then “Conclave” might be the movie for you. It aligns with the high standards set by Todd Haynes and Shea Diamond fans, featuring a stellar cast playing some of the catty characters ever brought to life on screen. These characters are always backstabbing one another, all while being dressed in magnificent costumes, filmed with beautiful cinematography, and accompanied by an extravagant score. It seems that gay-friendly cinema is making a comeback!
Berger’s conviction in amplifying additional suspense from the setting of Conclave significantly contributes to its appeal. For instance, he and cinematographer Stéphane Fontaine choose to create elaborate scenes even for seemingly ordinary actions such as characters smoking cigarettes outside or conversing in a dimly lit auditorium. Although these activities may seem trivial to the characters within the story, they carry immense pressure and historical significance. The careful placement of characters and camera angles consistently underscores this importance. Characters like Lawrence or Bellini are frequently positioned in a grand manner, reminiscent of the arrangement of people in ancient paintings found throughout the Vatican walls and ceilings.
In discussing Lawrence and Bellini’s scenes in the movie “Conclave,” there’s a significant moment near the end where they converse outside. This conversation is presented initially with a broad shot, capturing them seated closely on the left side of the screen. Directors Berger and Fontaine maintain the camera’s focus on this expansive framing, which leaves a large expanse of empty space on the right side of the screen. Although it seems minor, this detail symbolizes the powerful visual style of “Conclave.” Placing these characters in such close proximity within a spacious image underscores their strong bond amidst a complex web of conspiracy. The emptiness signifies the constant pressures from the larger society and church that are always felt but unseen, even without depicting contentious reporters or adversaries like Tedesco. Similar to James Wong Howe’s brilliant cinematography in “Hud,” “Conclave” uses wide, sweeping shots to infuse profound meaning into even the most straightforward dialogues.
As a gamer, I can’t help but feel captivated by the sly agility demonstrated by Berger and Straughan as they peel back each layer of mystery and deceit hidden within the world of Conclave. There’s an impressive balance in the filmmaking that makes every fresh revelation of treachery resonate deeply. It feels like we’re watching real people, not just characters, carefully navigating a minefield of suppressed information.
The exceptional performance in this piece can be attributed to the talented cast of Conclave, led by veterans like Fiennes, Tucci, Lithgow, and Rossellini who are adept at both Shakespearean drama and captivating melodrama. They skillfully showcase these abilities in Conclave, with Rossellini delivering a particularly mesmerizing performance as Sister Agnes in a supporting role. This renowned actress masterfully exudes an air of wisdom and strength that immediately makes her the most formidable presence among the male cardinals. Despite being men of God, Lawrence, Todesco, Bellini, they cannot match Rossellini’s convincing portrayal of Sister Agnes, who seems to embody the power and awe of God herself.
It’s also nice to see Fiennes back in a deeply thoughtful leading role again after a few years in the wilderness headlining 2021’s worst movie (The King’s Man) and frustratingly defending J.K. Rowling’s transphobic rhetoric. The man behind M. Gustave is just as captivating as ever channeling Kermit the Frog in Conclave’s protagonist. Like that banjo-strumming amphibian, Fiennes portrays Lawrence as a man organizing a large event while being the calm counterpart to his outsized colleagues. Of course, like Kermit, Lawrence is prone to his own flights of flawed fancy. It’s a personality Fiennes inhabits so wonderfully. He’s a perfect anchor for Conclave.
The music composed by Volker Bertelmann for Fiennes and Rossellini’s work adds an enjoyable flair, with its distinct and bold tones. However, his previous collaboration with Berger on “Western Front” was less than satisfactory. The persistent leitmotif from that project, which resembled Hans Zimmer’s 2012 dubstep song intro, was particularly grating. Fortunately, Bertelmann creates a unique and entertaining collection of orchestral pieces for “Conclave”, characterized by unusual, imposing sounds and instrumentation. Just like the cinematography and acting, Bertelmann underscores the captivating theatrical aspects of “Conclave”. While it initially seems reminiscent of the most soothing sequence in “Toy Story 2”, “Conclave” soon transforms into something more grandiose and absorbing. Invite all your friends who identify as LGBTQ+ to join you for a fantastic night at the theater!
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2024-10-26 01:15