The conclave and the cinema: when Vatican intrigues reach the screen
These days, after the death of Pope Francis and awaiting the start of a new conclave, many people are drawn to the atmosphere of mystery that the Vatican secret knows how to keep under lock and key. This, as the Spanish expression suggests, is something very closely guarded: a secret that arouses curiosity. The word "conclave," which since the Middle Ages comes from the Latin word "key," has never been more appropriately used because the cardinal electors remain locked away and incommunicado until they elect a successor to the Chair of Peter. At one point, they were even fed only bread and water by the people, so that they would decide to elect the new pope more quickly, even breaking with imperial interests and those of important Roman families. The pontiff could be elected from outside the College of Cardinals, nor was he necessarily a priest (such is the case, for example, of the hermit Celestine V, remembered in The Divine Comedy ). There's no doubt that, in both novels and films, every historical conclave arouses great interest. And with good reason.
If we turn to search engines or the networks, we will see that “problems of political interference in the papal election led to several reforms. In 1274, Pope Gregory X established that during a papal election, the cardinal electors were to be locked 'under lock and key' until a new pontiff was chosen.” Today, conclaves are held in the solemn Sistine Chapel , which never fails to impress cardinals with its Michelangelo figures and the Last Judgment. The electors are guests at the Hotel Santa Marta, where Bergoglio resided throughout his papacy, having renounced the papal apartments.
It wasn't until 1970 that Paul VI , the pope who masterfully continued the Second Vatican Council convened by John XXIII, excluded cardinals over 80 from voting rights. Benedict XVI introduced minor reforms in 2007 and 2013, establishing a two-thirds majority to elect the new pontiff. And precisely as a "bridge" between internal and external tensions, many are pointing to Cardinal Secretary of State Pietro Parolin, a moderate Veneto native with extensive diplomatic training. More in the pastoral style of Francis, others believe they are thinking of the current Archbishop of Bologna, Matteo Zuppi, from Rome. Both are highly commendable.
But let's move on to the cinematic treatment of the subject. One event that brought the conclave to the media was the film of that title and many others (films or series) that refer to Pope Francis or other popes, real or fictional.
Let's review: The Two Popes was a film that dealt with the imaginary relationship between Benedict XVI and Francis. Fernando Meirelles' work was not well received in Vatican circles. While it caused a stir among Netflix fans, it must be admitted that, beyond the two extraordinary performers (Jonathan Pryce and Anthony Hopkins), the narrative loses credibility with sequences such as the pizza, tango, and soccer matches, which are incapable of being taken seriously. Furthermore, the figure of Ratzinger does not correspond to reality, much less to the privileged relationship that these two popes had in reality, which is portrayed here in an unfounded way.
As Ghanaian Cardinal Peter Turkson, the most prominent of the Africans questioned at this conclave, noted, "The film took its stereotypes too far with its weak and superficial treatment." We agree, in this case, with the cardinal.
The Young Pope , a daring and unusual series directed by the Neapolitan creative Paolo Sorrentino, stars Jude Law and Diane Keaton, with Silvio Orlando as the most Italian and lovable cardinal of the Curia.
The film Conclave , currently back in vogue and currently showing in several theaters, directed by Edward Berger, is based on the novel of the same name by Robert Harris (2016). Beyond the notable success of the set design, it certainly features a pivotal performance by Ralph Fiennes . He is joined by actress Isabella Rossellini (daughter of the legendary Roberto Rossellini and Ingrid Bergaman) and actors such as New Yorker Stanley Tucci and Rome-born Sergio Castellitto.
The film's ending may disappoint many because of its resolution, which disregards the film's narrative logic and attempts to gain ground on a certain contemporary sensibility with the unexpected appearance of a cardinal whom no one knew except the late pope. Who is he referring to? A pope before Bergoglio, or himself? Probably no one. When, toward the end, the cardinal-elect confesses his mysterious secret, he resolves the conclave's vows.
There are many important films about the Pope and the Vatican, such as Francis Ford Coppola's The Godfather Part III , Costa-Gavras's Amen , or Wim Wenders ' Pope Francis: A Man of His Word , some interesting, others less so. There are also several documentaries about Pope Bergoglio (especially Argentinian ones), but perhaps not too significant.
There have been some great films in recent years about the election of a Roman pontiff. Perhaps the most memorable for its concept and direction is Habemus papam. by Nanni Moretti, always outstanding, although it can be widely debated. It reveals the hand of a great director, as well as his profound knowledge of the city of Rome and its deep historical ties to the papacy. French actor Michel Piccoli excels in the role of a cardinal who is elected despite his personal aspirations and subsequent doubts.
And if we are talking about films about the Pope, without forgetting the memorable The Shoes of the Fisherman (1968) with Anthony Quinn based on the novel by Morris West, it is worth choosing a work as unclassifiable as it is magnificent: Along Came a Man (1965) by Ermanno Olmi , the unforgettable Italian director, with Rod Steiger.
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