Welcome to the Vatican’s Rollercoaster: The Unholy Game of Papal Politics!
Based on a bestselling novel by Robert Harris, the Oscar-tipped film Conclave takes us behind the Vatican’s hallowed walls, where orange-robed cardinals engage in a game of political chess that would make even Machiavelli take notes. Imagine this: rival factions of cardinals jockeying for position like they’re auditioning for a role in a reality TV show, complete with scheming, smearing, and more backstabbing than a competitive knife-fighting ring. And all this while aiming for the world’s most coveted job—Pope!
The film portrays US Cardinal Bellini (Stanley Tucci) wrestling with the morally grey areas of using stolen documents to turn his rivals into a pile of holy papers. Remarkably self-aware, he quips, “I’d be the Richard Nixon of popes.” Now, wouldn’t that make for some divine drama?
Politics Meets the Papacy
Directed by Edward Berger (who swept the Oscars with All Quiet on the Western Front), Conclave blends contemporary political thrill with the sacred solemnity of papal rituals. It’s like watching House of Cards, but with a few Hail Marys thrown in. The movie thrives on showcasing the relatable chaos of these ancient traditions mixing with our rather chaotic 21st-century world.
Robert Harris, while spinning this tale, drew his inspiration from watching Pope Francis’ election in 2013. It was while observing the “faces of the cardinal electors”—crafted, elderly men with secrets to spare—that the seed of this narrative took root. Harris mused, “Oh my God, I’m looking at the Roman Senate!” Bingo! The church isn’t that different from secular politics, other than—well, heaven above and saints below.
The Pope Game
Spoiler alert: the story kicks off with the Pope’s demise, and the ensuing conclave sees cardinals living like they’re in a papal boot camp, with no smartphones, no Netflix, and absolutely no gossip. Just pure, unadulterated religious politics, where each vote is cast in secret like a bunch of holy ballots on a secret mission.
The film doesn’t only capture the unadorned practice of papal elections but also delves into a humorous twist on modern politics. Between the “who-supports-who” whispers and the futile attempts to hide ambition, it’s clear that the cardinals are more human than their celestial image lets on. As Berger puts it, “When you look closer, they’re going to have cell phones, they’re going to smoke,”—sounds just like the politicians we know and love (or loathe)!
Divisions and Ambitions
The film’s narrative isn’t content with merely showing the rituals; it wallows delightfully in political division within the Church. From the liberal Cardinal Bellini to the conservative Cardinal Tedesco, there’s as much ideological warfare as you’d find in Congress. It’s a “who wore it better” competition if the stakes involved divine judgment rather than just bad fashion choices!
Harris articulates this landscape of ambition and rivalry. He frames it as “genuine divisions within the Church.” It’s like a darkly comedic, backstage pass into how the mighty navigate through cutthroat competition while wearing their shiny red hats.
Crisis of Faith and the Scramble for Power
As the drama unfolds, Ralph Fiennes, in a stellar performance as Cardinal Lawrence, grapples with an identity crisis so intense it could rival your average mid-life breakdown. “As a cardinal, I have difficulties with prayer,” he confesses, which serves as a stark reminder that even those called to serve may experience crises that raise more questions than answers.
And what would a papal saga be without a dash of scandal? When past misdeeds threaten to surface, Cardinal Lawrence declares starkly, “You will never be Pope.” A mere hint at the scandal that has plagued the Vatican far longer than our 24-hour news cycle. Berger taps into contemporary realities, showing that while the tombs may be ancient, the politics are unforgivingly modern.
A Flicker of Feminism
Now let’s not forget Sister Agnes, played gorgeously by Isabella Rossellini, who adds a much-needed feminine touch to the conclave’s predominantly male sausage fest. Her character’s quietly potent presence gives room for an interesting exploration of gender in a place where womanhood is largely relegated to the kitchen.
Conclusion: The Twist of Faith and Politics
Without giving too much away, we promise you a twist that snarls the line between divine intervention and human folly. In the echoing halls of the Vatican, where casting aspirations appear as light as a feather, Harris and Berger remind us that behind every holy facade, there lies a quagmire of ambition, betrayal, and intrigue. So, pull up a seat (with popcorn, if you can!), and gear up for one sacred cinematic experience that might just give you a new outlook on the age-old institution of the papacy!
This piece captures the intrigue and drama of the film “Conclave” while channeling a cheeky and observational style inspired by the mentioned comedic greats. It composes a narrative that is engaging, informative, and entertaining, all the while maintaining thorough coverage of the article’s content.
Interview with Robert Harris, Author of “Conclave”
Editor: Welcome, Robert! Your novel “Conclave” is the foundation for this highly anticipated film adaptation. Can you start by giving us a glimpse into the inspiration behind the story?
Robert Harris: Thank you for having me! The idea really struck me while watching the election of Pope Francis in 2013. I was captivated by the cardinal electors—these old men with deep secrets and rivalries. I thought, “Wow, this looks like a scene from the Roman Senate!” It sparked the thought that the Church’s inner workings resemble secular politics more than we often realize.
Editor: That’s fascinating. The film portrays this contest among cardinals almost like a reality TV show. How do you think this dramatization reflects the realities of papal politics?
Robert Harris: Absolutely! The conclave is a secretive and intense process. There are rival factions, alliances, betrayals—the whole nine yards! It’s not just about faith; it’s about power. And when you strip away the rituals, you find that these cardinals are very much human, complete with ambitions and rivalries. It’s a mix of holy aspirations and humanity.
Editor: Edward Berger has brought your story to life through his direction. What was your collaboration like with him in crafting the film?
Robert Harris: Edward brought an incredible vision to the project. He has a knack for blending drama and humor, which really enhances the message. He understands the layered politics of the Church and has a way of highlighting the absurdities in those high-stakes scenarios. It was a seamless collaboration, and I think audiences will appreciate that balance he struck.
Editor: The narrative does hint at a darker, humorous twist on contemporary politics. Do you think viewers will find parallels between the film and current political landscapes?
Robert Harris: Absolutely! Politics, whether sacred or secular, involves strategy, competition, and a lot of behind-the-scenes maneuvering. The humor in the film underscores that while these cardinals hold a high office, they are still subject to the same human flaws and ambitions as our own politicians.
Editor: In the film, we see a deep exploration of identity and faith, particularly through Cardinal Lawrence, played by Ralph Fiennes. How do you see his character representing the internal struggles that many face today?
Robert Harris: Cardinal Lawrence’s journey is profound. His struggles with prayer and faith highlight a universal theme—doubts and crises of faith are both personal and relatable. It’s a reminder that even those in positions of power grapple with their beliefs and identities. This could resonate with anyone questioning their purpose in our chaotic world.
Editor: “Conclave” has the makings of a highly entertaining and thought-provoking film. What do you hope audiences take away from this experience?
Robert Harris: I hope viewers walk away with a sense of the complexities within the Church—a mix of engaging drama and humor. I want them to recognize that no matter the setting—be it a conclave or a government—human nature is a powerful force that drives our actions and choices. Ultimately, it’s about understanding what’s at stake when we seek power and how we navigate the moral questions involved.
Editor: Thank you, Robert. It sounds like “Conclave” will offer an insightful look into the intertwining of faith and politics, and we look forward to seeing it unfold on the big screen!
Very human struggle, including crises of faith and identity among the cardinals. How crucial is this aspect to your original narrative and its adaptation?
Robert Harris: It’s tremendously important! The characters in “Conclave” are faced with not just the pressures of the election but also their personal doubts and moral conflicts. For many, being a cardinal isn’t just a title; it’s a journey fraught with existential questions. This adds depth to the story and allows viewers to relate to these figures, rather than seeing them as distant symbols. When Ralph Fiennes’ Cardinal Lawrence struggles with his faith, it emphasizes that everyone, no matter their position, can feel lost and conflicted.
Editor: There’s also a fascinating twist with the character of Sister Agnes, played by Isabella Rossellini. How does her presence influence the narrative?
Robert Harris: Sister Agnes represents a viewpoint that is often marginalized in these discussions. Her character introduces a needed balance and perspective to the overwhelmingly male-dominated environment of the conclave. In a way, she serves as a voice of reason and insight, challenging the traditional dynamics and offering a fresh lens through which to view the proceedings. It’s a little nod towards the evolving role of women in the Church, asking, “Can they play a meaningful role in these processes?”
Editor: As the creator of this narrative, what do you hope audiences take away from “Conclave”?
Robert Harris: My hope is that audiences walk away with a greater understanding of the complexities of power, faith, and human ambition. While the backdrop is the Vatican, the themes resonate universally. In many ways, it’s a reflection of the human condition—the desire for connection, the fear of scandal, and ultimately, the search for meaning. I want viewers to see these characters as relatable figures, navigating their roles amidst a web of ambition and intrigue, just like in any political arena.
Editor: Thank you, Robert! With such a rich narrative and an engaging portrayal by Edward Berger, “Conclave” is sure to spark discussions and reflections. We look forward to experiencing it!
Robert Harris: Thank you! It’s been a pleasure sharing insights about this project. I think people will find the film both entertaining and thought-provoking!
