The Two Popes

A spoiler light review of The Two Popes should begin with tone, because Fernando Meirelles understands exactly how this comedy ought to feel. The Two Popes gains early credibility from Jonathan Pryce, whose presence is balanced by the different rhythm of Anthony Hopkins. The foundation of The Two Popes can be stated simply: Behind Vatican walls, the conservative Pope Benedict XVI and the liberal future Pope Francis must find common ground to forge a new path for the Catholic Church. Within its 2h 5m running time, The Two Popes reveals both the benefits and the limits of that disciplined approach.

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What keeps The Two Popes emotionally readable is Jonathan Pryce, whose choices establish a consistent point of view. In scenes with Anthony Hopkins, The Two Popes gains tension from two performers refusing to produce the same kind of energy. Juan Minujín contributes a separate rhythm to The Two Popes and helps the supporting material feel less purely functional. The direction by Fernando Meirelles gives the cast of The Two Popes room to connect the quieter beats with the larger ones.

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Fernando Meirelles gives The Two Popes a directorial line that is assured without becoming rigid from its opening promise to its final movement. The staging of The Two Popes is strongest when Fernando Meirelles allows motivation to determine pace instead of reversing that priority. Viewed as a complete piece, The Two Popes confirms that its polish rarely hides the personality underneath across most of the running time. A tighter version of The Two Popes would address how one or two themes receive more explanation than they need, yet the surrounding work remains persuasive.

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Beneath its plot, The Two Popes is most interested in embarrassment, status and the gap between confidence and reality. That concern becomes visible through Jonathan Pryce, whose choices allow The Two Popes to explore an idea without stopping for a speech. Behind Vatican gives the themes of The Two Popes a concrete dramatic form rather than leaving them abstract. The emotional value of The Two Popes grows whenever Fernando Meirelles trusts the audience to connect behaviour with the larger question.

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The most useful technical choice in The Two Popes is well judged reactions, because it helps the audience understand both space and mood. K&S Films frames The Two Popes through well judged reactions without letting surface finish replace character. Drawing on its United Kingdom background, The Two Popes uses performer rhythm to give familiar material a more specific texture. Cinematography, sound and editing meet effectively in The Two Popes whenever a sequence must feel large without losing its human scale.

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The plot of The Two Popes is built around the uneasy relationship between Behind Vatican and Pope Benedict XVI. For Jonathan Pryce, that relationship gives The Two Popes an emotional objective stronger than simple forward motion. The screenplay associated with Anthony McCarten lets Pope Francis reshape the direction of The Two Popes in stages. Although the treatment of Catholic Church could be sharper, The Two Popes never entirely loses the thread established at the beginning.

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The Two Popes ends as an easy recommendation, especially for comedy fans who respond to personality and timing. What remains from The Two Popes is the relationship between Jonathan Pryce, well judged reactions and Fernando Meirelles's control of mood. The weakness that one or two themes receive more explanation than they need narrows the impact of The Two Popes without cancelling its better work. On balance, The Two Popes gives its intended viewers a distinctive experience rather than a completely anonymous piece of content.