Based on the 2016 novel “Conclave” by Robert Harris
Narrative
Based on the 2016 novel “Conclave” by Robert Harris. Sister Agnes: Although we sisters are supposed to be invisible, God has nevertheless given us eyes and ears. LIKESTO ENJOYRealism (to varying degrees)Some dramatic interventionClever dialogueMystery to a certain degreeInvolvement of most of the charactersCinematographySummary: A legend like Ralph Fiennes is a good start for my tastes, as the man takes much of his English heritage and integrates it into the head of the Conclave. Elegant, cunning, poised, but never hesitant to get emotional when necessary, Fiennes’ balancing abilities continue to impress me with how invested he is in creating a good character.
The tones are calmer
Tucci gets a bit more theatrical, his character being the voice of the “liberal” side while his aggressions and passions are artfully delivered in a stage-appropriate manner to compensate for Fiennes’ flaws. Lithgow, on the other hand, is almost a mix of the two extremes, playing his usual supporting role that keeps so many of the protagonists on their toes and providing perhaps most of the engaging mystery element in the search for the truth. All of the cast excels in this film, each vying for the seat, making contributions and performances adequate to present these ideas. I’ll take this moment to also say that I’m impressed with how well Conclave keeps all of the actors introduced at the beginning of the film grounded in the story.
Finally, the best part of this film is the cinematography for viewers like me
Conclave is all about the interactions and connections that each cardinal must have in order to win the throne, and Berger’s team has kept them all engaged in this very complex story. And with such clever dialogue, the characters and performers have plenty of material to bring this realistic tale to life and give the feeling of being involved in such an established tradition. When the drama is brought in to spice things up, the realism doesn’t lose much merit, resulting in a nice balance that plays well with the character development and the traditions of the office. Strong camerawork adds so much emotional support to the film, with impressive coordination of shots, each schematized to give you the best visual display.
The film is slow, with other points feeling slower than others, as they do their best to move toward the election of the Pope
During my viewing, I had wide shots of the church that depicted the majestic expanse of the historic architecture, close-ups that gave the intensity of a character’s gaze as they ponder the latest information, and panning shots that gave fleeting shots of someone walking while trying to make things happen. Bright lighting and filters accompany these shots and add even more of that dramatic flair, but they rarely distract from seeing what’s happening in the shot. For all the visual and acting chops in this film, Conclave falls short on a few other elements that take away from the splendor suggested in the trailers. Mainly in conversational banter and repetitive sequences in the same rooms, the film sometimes gets lost in this sequential discovery of facts and, without the help of more exciting film elements, becomes funny outside of drama lovers.
A mystery is somewhat established early on, but this quickly fades and begins to become more of a political drama than the mystery thriller I thought it would be
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