The Two Popes review: An Uneven, But Ultimately Successful Acting Showcase

The Two Popes doesn’t deliver what you’d expect from a biopic about some of the most powerful men in the Catholic Church. That much is clear from the moment ABBA’s Dancing Queen makes an appearance over the onset of the process to vote for the next Pope. It’s an almost surreal moment, and a hilarious one. It’s by far the most memorable part of the movie, and it’s one of my favorite moments from any movie this year. It’s a gutsy call, and it’s the kind of thing the movie does a lot. For the most part, it leans into being something of a comedy. For these parts, it’s glorious, a brilliant display of the power of its stars. Jonathan Pryce is in top form, and Anthony Hopkins is with him every step of the way (I can’t really say he’s in top form, because come on, he’s Anthony Hopkins). Yet on occasion, it forgets that it’s an offbeat comedy-drama and begins to take itself too seriously, in these segments it drags and threatens to fall apart completely. But overall, it works, if only barely.

The movie begins at a time of great sadness for the Catholic Church. Pope John Paul II has died, and the search for his replacement has come down to Cardinals Bergoglio (Pryce) and Ratzinger (Hopkins). Bergoglio is a progressive reformer, while Ratzinger is a conservative who is disgusted by Bergoglio’s ideas. Ratzinger is elected by the College of Cardinals in a spellbinding scene (that begins, as I said, with Dancing Queen), and proceeds to rule as Pope Benedict XVI. Benedict’s term is riddled with controversy, and causes the disillusionment of both himself and Bergoglio. Bergoglio has decided that he can’t effect change under the conservative leadership, and requests permission to retire to a career of a simple priest. Benedict has lost touch with God, and faces a crisis, questioning his position of leadership. He also proves unpopular, with his German origin serving as a jumping off point for his critics to label him a Nazi. He flies Bergoglio to his summer house, ostensibly to discuss his retirement. So begins the point of the film where Hopkins and Pryce interact. The two deliver some of the best performances of the year, playing off each other in an endlessly watchable way. Bergoglio seems determined to bring some sort of joy into Benedict’s life, while Benedict aspires to figure out what exactly makes Bergoglio tick. Pryce plays the role with contagious enthusiasm, while Hopkins is a supremely entertaining curmudgeon (think Al Pacino in The Irishman, with the bombast of that role substituted for the grumpy-old-man-ness of some of that film’s other characters). The film is shot with a handheld effect that feels unnecessary and at times distracting, but the cinematography also sometimes produces gorgeous results. As the two men spend more time together, they form a bond, an unlikely one given their polar opposite world views. The interplay between the two is delightful, both hilarious and a magnificent show of acting power. Then the film is transported to Rome due to a controversy that requires Benedict’s presence, and it becomes… interesting.

Benedict tells Bergoglio that he won’t permit his retirement. He cites the fact that it would look bad for the church, although it’s clear that he has ulterior motives. Bergoglio spends the night in Rome, heading into a sports bar to watch his Argentinian national soccer team play. After an Argentinian goal, Bergoglio begins a prayer that, although initially well received by the man besides him, is rejected once he gets to Benedict. The man says that Benedict is a Nazi, which causes melancholia in Bergoglio that makes him leave the bar (Pryce’s devastated line reading of “No” in response to the Nazi remark is one of the film’s most indelible moments). The next day, Bergoglio and Benedict have a long discussion in the Sistine Chapel, one that features both brilliant acting and the threat of demise of the film.

Benedict states his desire to resign from the Papacy, citing his physical state and the disarray of the Church under him. He tells Bergoglio he can’t resign because he wants him to become the next pope. Bergoglio tells him that he could never be. The two mull their options, including having them rule simultaneously, which is dismissed due to the sheer insanity and lack of precedent (I mean, there was a time where there were multiple Popes simultaneously and the film just kinda ignores this, but that’s because it didn’t go great and I don’t think that Church officials like talking about it). When pressed as to why he could never be pope, Bergoglio launches into some backstory. The film takes way too long here, for several reasons. The cardinal (pun intended) sin of this section is that it takes us away from Hopkins and Pryce. The flashback scene utilizes a far younger actor, (who is actually pretty good, but he’s no Pryce) and it uses him for too long. At this point, it forgets its lighthearted tone and launches into full-blown Oscar-bait-y historical drama, and it suuuuucks. The movie completely kills all its momentum, taking what feels like 45 minutes (I have no idea how long it actually was, I don’t care enough to go back and check) on a backstory that honestly doesn’t really seem to matter. Cutting it down to a fraction of its size would’ve helped the movie immensely, and in fact, nixing it entirely couldn’t have hurt. But it miraculously comes back from the dead, returning at long last to the main characters. The interplay is back as if nothing happened, and the film works again. Later, after Bergoglio’s return to Argentina, Benedict retires, and is called back to Rome to select the next Pope. He is chosen, and becomes Pope Francis. As Pope, he gets right to work doing what he sees as good, while Benedict watches on like a proud parent of sorts. As it reaches its conclusion, the film becomes cathartic, a depiction of the triumph that Francis not only achieved as Pope, but achieved in changing Benedict’s worldview. The film ends with the German Benedict (indifferent to sports) and Argentinian Francis (massive soccer fan) watch the FIFA World Cup Final between their two nations.

Overall, the film is shockingly close to a buddy comedy in tone, and it works (its biggest detour from this formula costs it dearly). Ultimately, despite the fact that the film is fun, odd, and refreshing overall, its unfortunate dip into historical biopic territory prevents it from being a truly great film. But the acting is some of the year’s best, and ultimately it saves it. Are there better things you could be doing with your time than watching The Two Popes? Of course, Netflix’s other two titanic originals The Irishman and Marriage Story are better films. But if you’ve seen those and are looking for something different, The Two Popes might just be your thing.

Rating: 4/5