Telling a story based around strictly dialogue is challenging. Netflix’s “The Two Popes” is a strong, if unbalanced, look at the Catholic Church.
The writing and delivery need to have the energy to keep the audience’s attention. It helps when the characters have the gravitas to support issues addressed in the dialogue, and the subject has grand implications. A lot of these types of films are adapted from stage plays, like Frost/Nixon or Glengarry Glen Ross, both of which have engaging, well-developed characters and stimulating dialogue to match. Likewise, The Two Popes, an adaptation of Anthony McCarten’s play The Pope, works as a compelling battle of ideas. Coupling McCarten’s writing with the fiery direction of Fernando Merallis, director of City of God, The Two Popes maintains its cinematic flair with stimulating dialogue and excellent performances.
As impressive as Merallis’ direction is, this is very much Anthony McCarten’s film. Much like his previous films, The Theory of Everything and Darkest Hour, McCarten knows how to keep his audience’s attention through his words. He recognizes the importance of the characters he’s working with and understands how to tie his characters’ conversations or speeches to a broader theme or history, without sacrificing character or diving heavily into exposition. Merallis moreover gives the film a massive scale through his direction. He knows how to match the energy of the dialogue when directing his actors while also using the setting of the Sistine Chapel to show the grandeur of the Catholic Church’s history and influence. The debate itself is given more importance when it’s tied to such a lush tapestry of history.
The film’s leads, Anthony Hopkins, as Pope Benedict XVI and Jonathan Pryce, as Pope Francis, excellently carry the film with their verbal sparring. The standout between the two is Jonathan Pryce, who is unrecognizable as Pope Francis. His humility and kindness appear very naturally while balancing wisdom stemming heavily from lived experience. The lyrical pacing of the debates gives both actors moments to shine while providing both Pope Francis and Benedict opportunities to showcase their humanity, keeping them from feeling like lecturers or talking heads. The best scenes in the movie are when the characters are allowed to breathe, such as when Pope Francis talks about soccer or Pope Benedict plays the piano. These moments break these figures down from being physical embodiments of ideas and allow them to come off more like regular people, making their perspectives more relatable and engaging.
The film also focuses on Pope Francis’ journey, his transition from Jorge Mario Bergoglio in Argentina into becoming the new Pope. Juan Minujín does an excellent job playing the younger Pope Francis with grace and charisma. These scenes excellently build on his character while establishing his progressive perspective. I would have wanted to see Pope Benedict’s backstory in the same way, or at least have his past explored more. While lip-service is given to his past as a Hitler youth, his past isn’t used to inform his more conservative outlook on the Catholic Church. As a result, the film does feel unbalanced at times, focusing more on Pope Francis than Pope Benedict.
Despite this flaw, The Two Popes is still an engrossing film, featuring spirited debate and gorgeous production design. Breaking the characters down from cultural figureheads and delving into them as regular people make their varying views more engaging. The luscious set design and energized direction elevate the film beyond its well-written dialogue.
The film is currently playing in select theaters and will be available on Netflix on December 20th.
