It’s a movie sure to stir up controversy despite much caution, with Catholics and atheists alike liable to find all manner of problems herein, and yet there’s also no doubt that Hopkins and Pryce are godsends, helping us believe that these troubled men are human despite all the holiness.
We first see Pryce’s Cardinal Jorge Mario Bergoglio
(later Pope Francis), the Archbishop of Buenos Aires, preaching to an
appreciative crowd in a rundown part of town back in 2005 before he’s summoned
to Vatican City after the death of Pope John Paul II (whose corpse we
surprisingly see in a real news report). Bergoglio thinks he might be appointed
the new pope, and it makes him uneasy, although the frontrunner is evidently
German Cardinal Joseph Ratzinger, whom Hopkins plays with a stoop, that
characteristic sneer and a short temper we didn’t really see in public.
Bergoglio and Ratzinger briefly meet in the lavish
mens room as the former hums ABBA’s Dancing Queen, which is then
repeated in an instrumental version over recreated footage of the archaic
pope-voting process, as some sneaky humour intrudes and, just perhaps,
religious types will start being needlessly offended.
Ratzinger, who’s branded a “Nazi” in genuine vox pops
from the time, becomes Pope Benedict and, seven years later, is the centre of
huge scandals involving the ‘Vatican leaks’ and all those endless pedophile
priests, and we see Bergoglio back home trying to resign his role in quiet
disgust. When he receives a letter requesting his presence at Benedict’s summer
residence (the Palace of Castel Gandolfo), he thinks it’s to discuss his
imminent departure, but instead, at first, it seems that Benedict wants to
attack him for his criticism of the Church and his supposedly overly
progressive views on the whole God thing.
This sets into play the most theatrical section of the
film as these two men argue, debate, reminisce, laugh, forgive and bond, with
Benedict eventually announcing what we know is coming (his impending
resignation from the papacy) before a haunting series of flashbacks where
Bergoglio painfully recalls what happened during Argentina’s military
dictatorship and ‘Dirty War’. It’s one of Pryce’s greatest, most moving moments
onscreen, and far from his best-known roles as spineless, villainous or loopy
sorts.
Carefully shot in and around Rome and Cinecittà
Studios, with views of the Vatican and beyond to make you think the actors are
actually inside (spoiler: they’re not), this is too long and shows its stage
roots once too often, no matter how hard director Meirelles (of City Of God,
The Constant Gardener and Blindness) tries to open it out for the
screen. And yet Pryce and Hopkins ensure we can mostly see past those issues
and enjoy a tale that might well be, it must be said, three-quarters-or-so
fictional.
Praise be!
The Two Popes (M) is now streaming on Netflix
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