A couple of years ago it took everyone a few minutes to realize that Edward Berger’s “All Quiet on the Western Front” was actually the Best Picture of the year.
Now Berger arrives with “Conclave,” based on a novel by British author Robert Harris. The story concerns a 72 hour lockdown at the Vatican as the Pope dies and a new one is selected. This is filmmaking at its best, and will only be more admired and praised as the season proceeds.
Ralph Fiennes stars as the Cardinal who leads the selection committee and must vet all the potential replacements including priests played by John Lithgow and Stanley Tucci working as usual at the top of their respective games. There’s also a lovely star turn by Isabella Rossellini, whose observant nun is a linchpin in the plot.
Fiennes — nominated twice in his career for Oscars — may finally be ready to accept his statue. His work is so subtle, and he wears the role of Cardinal Lawrence with magnificent depth as he goes on his investigations with empathy and grace. It’s not unlike the work of Anthony Hopkins and Jonathan Pryce a few years ago in “The Two Popes.”
Of course, some of the priests vying for Pope have secrets, and Lawrence will uncover them. But one secret — bigger than the one in “The Crying Game” — must be preserved just so you can hear the audience gasp when it’s revealed and processed. Never tell anyone this spoiler.
Berger shows a real mastery of his craft with screenwriter Peter Straughan and cinematographer Stéphane Fontaine. “Conclave” starts very quietly as a reverent, hushed story. And then it builds to several well produced shocks. But the filmmakers never embellish or turn the story into melodrama. Berger keeps it all taut, and the film clocks in at a very economic two hours.
“Conclave” is the most satisfying film I’ve seen in Toronto so far other than Pedro Almodovar’s stunning “The Room Next Door.” Bravo! “Conclave” opens only in theaters from Focus Features on November 1st.
