CONCLAVE (2024)

October 24, 2024

Greetings again from the darkness. It feels like it’s been a while since we had a good old fashioned serious-minded, tension-packed, “big” drama film featuring big movie stars. Well, that’s exactly what director Edward Berger, fresh off his Oscar-winning ALL QUIET ON THE WESTERN FRONT (2022), serves up with his latest. Writer Peter Straughan (TINKER TAILOR SOLDIER SPY, 2011) has adapted the 2016 Robert Harris novel, and the result is a welcome crowd-pleaser that may garner some Oscar consideration.

Ralph Fiennes delivers what may be his best performance yet. And that’s saying something for the much-respected actor who has previously excelled in such films as SCHINDLER’S LIST (1993), THE CONSTANT GARDENER (2005), IN BRUGES (2008), A BIGGER SPLASH (2018), and THE MENU (2022). His impressive career is only enhanced by this most recent role of Cardinal Lawrence, saddled with the heavy burden of facilitating the titular Conclave charged with electing the new Pope. As the film opens, the beloved Pope has just passed … and as they say, “let the games begin”. Of course, these games are all about political maneuverings and power struggles and backroom promises. Director Berger opts to show us very little of the actual negotiations, and instead puts the various iterations of loyalty on display during each successive secret (of course) vote.

Within the confined walls of Vatican City and the Sistine Chapel, Cardinal Lawrence’s time is mostly spent investigating tips, scolding others for their behavior, and dealing with the immense egos of the few being considered (including himself). Stanley Tucci plays Cardinal Bellini, who pretends to not want the job while campaigning as the ‘progressive’ voice the church needs now. John Lithgow is Cardinal Tremblay, one of the most assertively ambitious who may or may not have purposefully undermined the work of another. Either way, Lucian Msamati’s Cardinal Adivemi is the victim of Tremblay’s actions. Cardinal Tedesco, portrayed by Sergio Castellitto, is the most outspoken in his desire to return the church to the old ways (Latin masses forever!), what he sees as proper. Bryan F O’Byrne plays O’Malley, assistant to Lawrence, and yet, despite all of these men, it’s Isabella Rossellini as Sister Agnes who manages to shoot (figurative) fire from her eyes, while maintaining her ‘place’ and significantly impacting the process. She is stunning and memorable in her limited role.

Early on, a big surprise arrives in the form of Cardinal Benitez (Carlos Diehz) of Kabul, who was the most recent appointee by the previous Pope, and unknown to the others. As a novel, this may be a real page-turner, and yet the movie never rushes from one moment to the next. Tension builds with each revelation and tarnished robe and secretive plot. Although the film barely skims the years-long sexual abuse scandal in the church, there is a stream of twists and turns that keep us on our toes as the Cardinals are sequestered. It’s fascinating to see how cinematographer Stephane Fontaine keeps things visually interesting in an enclosed environment filled with characters who aren’t allowed to go anywhere else. Another aspect I truly appreciated was the unusual musical score composed by Oscar winner Volker Bertelmann. This is the type of movie which often features overbearing music to ‘enhance’ tension, yet Bertelmann’s notes are effective jabs at just the right times.

Power plays, corruption, and political stunts are all present as these Men of God bungle the process of picking their next leader. Importance of the mission and tradition pale in comparison to ego and self-interest. The symmetry to U.S. politics is unmistakable and surely a purposeful approach by Berger. The final twist may be a bit out of proverbial left field, but in a room filled with secrets, perhaps that’s as it should be. To balance the tension and seriousness, anyone paying attention will appreciate the subtle humor, especially as it plays out as these relics muddle through modern day situations (technology, social progressiveness, terrorism). This is certainly not a film created for Catholics only, although for a brief moment, I worried we might have one that could be subtitled, “The Catholic Crying Game”. Fortunately, it’s one with a tension-filled story, terrific visual shots, a perfect score, and superb acting … a fun movie to watch.

Opening in theaters on October 25, 2024

WATCH THE TRAILER

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Posted by David Ferguson

AMMONITE (2020)

November 12, 2020

 Greetings again from the darkness. “Peanuts” creator Charles Schulz injected “It’s the Great Pumpkin, Charlie Brown” (1966) with downtrodden Charlie repeating the line, “I got a rock” after each house on the trick or treat trail. It was funny because no one would rather have a rock than candy, right? Well, maybe no one except Mary Anning, the 19th century English fossil collector and paleontologist whose story is at the core of writer-director Francis Lee’s (GOD’S OWN COUNTRY, 2017) new film. His latest film has received some backlash due to the fictionalized approach it takes with her personal life.

Oscar winner (plus 6 other nominations) Kate Winslet stars as Mary Anning, and we first find with her living a quiet life of near solitude in Lyme Regis, a sea side town in West Dorset, England. Having never received her deserved recognition from the scientific community for her discoveries, Mary cares for her mother (Gemma Jones, who also played Winslet’s mother in SENSE AND SENSIBILITY, 1995), an elderly woman burdened with having watched 8 of her 10 children die before her. They eke out a living peddling the stones Mary finds and polishes to tourists. Mary rarely speaks and her face shows the wear and tear of a mostly joyless life.

One day, Rodrick Murchison (James McArdle, MARY QUEEN OF SCOTS, 2018) drops into the shop. As a fellow scientist, he is aware of and interested in Mary’s work. He condescendingly introduces his wife Charlotte (4 time Oscar nominee Saoirse Ronan) as suffering from “melancholia”. When Charlotte falls ill, Rodrick asks Mary to look after her while he continues his travels. Dr. Lieberson (Alec Secareneau, AMULET, 2020) examines Charlotte and recommends rest and sea air. He also takes notice of Mary, an occurrence to which she pays little mind.

The contrast between Charlotte and Mary is not limited to age and class. They aren’t particularly fond of each other initially, though Mary slowly nurses her back to health. The two ladies finally connect over a heavy rock half-buried in sea wall sediment. The evolution of their relationship is slow, but thanks to the two outstanding actors, it’s quite something to watch. Ms. Winslet is particularly affecting as the woman beaten down by life and reluctant to allow any glimmer of hope. We see this in her interaction with neighbor Elizabeth Philpot (Fiona Shaw), a woman with whom there was a previous bond. The old saying goes, “opposites attract”, and here the two opposites, Mary and Charlotte, bring out the best in each other.

The skilled actors never allow the film to slide into melodrama, and instead offer two occasions where unbridled emotion jump off the screen. A passionate and liberating love scene is the first, and then a later re-connection provides the second. Mostly, Mary forces herself to conceal her rare happiness – we wonder if this is due to her belief it won’t last, or if it’s because she feels unworthy. Either way, it’s quite something to watch Ms. Winslet allows us to sense what’s she’s experiencing inside.

Music from Voker Bertelmann and Dustin O’Halloran never overpowers the moment, and the extremely talented cinematographer Stephane Fontaine works his magic. His previous work includes: JACKIE (2016), ELLE (2016), CAPTAIN FANTASTIC (2016), RUST AND BONE (2012), A PROPHET (2009), all beautifully filmed. Filmmaker Lee’s controversial dramatic license with the relationship is apparently done to better explain Mary Anning’s life, and it’s likely the first film where new acquaintances connect in a deep way thanks to the unearthing of a unique rock. Filming took place in Lyme Regis, the actual town where Mary Anning collected fossils in the 1800’s.

Watch the trailer

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Posted by David Ferguson

CAPTAIN FANTASTIC (2016)

July 15, 2016

capt fantastic Greetings again from the darkness. There seems to be no end to the theories on how to be an effective parent and raise kids who are productive, well-adjusted and successful.  Writer/director Matt Ross offers up a creative, entertaining and thought-provoking story of one family’s unconventional approach in a world that seems to expect and accept only the conventional.

We are first introduced to Ben (Viggo Mortensen) and his six kids as they are stalking a deer while deep in the Pacific Northwest forest … only this isn’t your buddy’s weekend deer hunting trip. Each family member is covered head-to-toe in mud and other means of camouflage, and the oldest son Bodevan (George MacKay) takes the lead with his knife in what is presented as a rite of passage into manhood.

The family carries out a daily ritual that includes extreme physical conditioning, lessons on survival and living off the land, and advanced education that includes reading such diverse material as Dostoevsky and Lolita. Each evening is capped off with an impromptu musical jam. It’s evident that self-sufficiency, intelligence and family loyalty are crucial to Ben’s approach … an approach that is challenged when circumstances require the family board their Partridge Family bus (named Steve) and take a cross-country road trip into a civilization that doesn’t know what to make of them (and vice-versa).

The film is jam-packed with social commentary on education, parenting, societal norms, societal influences, and even grief. Who gets to decide what is best for a family or what’s the best method for education? Sometimes the dysfunctional family isn’t so easy to identify. Director Ross proves this in a gem of a dinner table scene as Ben and the kids visit Kathryn Hahn, Steve Zahn and their two sons in suburbia.

In addition to the terrific performance by up-and-comer George MacKay, the other actors playing the kids are all very strong and believable: Samantha Isler as Kieyler, Annalise Basso as Vespyr, Nicholas Hamilton as Rellian, Shree Crooks as Zaja, and Charlie Shotwell as Nai. Screen vets Frank Langella and Ann Dowd bring presence to the role of their grandparents and provide the greatest contrast to the off-the-grid existence of the kids.

Viggo Mortensen truly shines here and gives a performance full of grace and depth as he displays many emotions (some of which aren’t so pleasant). He even goes full-Viggo for one of the film’s many humorous moments … though the comedy is balanced by plenty of full scale drama. His best work comes in the scenes when he begins to question that there may be some flaws in his plan … the moments of self-realization are stunning.

Many will note some similarities between this film and Little Miss Sunshine (2006), though this one carries quite a bit more heft. It’s beautifully photographed by cinematographer Stephane Fontaine (A Prophet, Rust and Bone) and captures the danger and solitude of the forest, while also capturing the more personal family dynamics. It’s a film that should generate plenty of discussion, and one of the questions is … will Noam Chomsky Day ever match Festivus in popularity?

watch the trailer:

 

 

2 Comments | Comedy, Drama | Tagged: , , , , , , , , , , , , | Permalink
Posted by David Ferguson