Directed by Fernando Meirelles (City of God, The Constant Gardener) and wonderfully adapted by Anthony McCarten and Frank Cotrrell-Boyce from a play written by McCarten, The Two Popes is a moving and absorbing biographical drama about the relationship between Joseph Ratzinger/Pope Benedict XVI (Anthony Hopkins) and Cardinal Jorge Mario Bergoglio (Jonathan Pryce). Cardinal Jorge Mario Bergoglio, of course, goes on to become the future Pope Francis and the reformer of the Catholic Church that we know today.

Set mostly in 2012, the film is a loving study of the relationship between the men from opposing schools of thought. It is also about spirituality, forgiveness, and love.

Pope Benedict XVI, the traditionalist, defended conventional Catholic doctrine on homosexuality, inter-faith dialogue and birth control against growing secular views in Europe. He often ate by himself with only faith keeping him company. As a result, he was lonelier than he realised, especially when he felt that God had stopped responding to him. On the other hand, Bergoglio had far more modern views on such matters. He shunned displays of wealth, ate with and served the common man, and believed that religion must change with the times.

The Two Popes is a loving study of the relationship between the men from the Vatican from opposing schools of thought

In 2005, the two men crossed paths after the death of Pope John Paul II. Here, Joseph Ratzinger received the most votes while Bergoglio received the second most votes to replace him. Eventually, Joseph Ratzinger became Pope Benedict XVI.

Seven years later, the Catholic Church was rocked by the Vatican leaks scandal, where shocking allegations of blackmail, corruption, petty politics, and homosexual clergy came to the surface. These allegations were the final nail in the coffin for Bergoglio. Already disillusioned by the hardline views of the church, he submits his resignation as Archbishop, hoping to continue to serve God more privately.

After he doesn’t get a response, he flies down to Rome to personally get Pope Benedict XVI’s signature on his resignation letter. Immediately, there’s friction. The Pope is hurt by Bergoglio’s public criticism of the church. When Bergoglio explains that it’s not personal, the Pope claims that Bergoglio has compromised before. Bergoglio explains that he didn’t compromise, he changed. And he believes that religion must also change.

Over the next few days, the two spend time with each other and grow fond of each other’s company. The Pope has held a secret. He wanted to be the first Pope to resign since 1415, but has feared that Bergoglio will be voted his replacement.

Anthony Hopkins, an actor I grew up watching as one of the finest performers in cinema, steals scenes with his typically quiet yet captivating performance. Jonathan Pryce is simply sublime as the future Pope Francis.

Now, he realises that Bergoglio is exactly the man the world needs. But Bergoglio doesn’t want the job. Holding him back are choices he made during a violent revolution in Argentina decades back where his friends were tortured.

The Two Popes’ screenplay flows very smoothly. The 125-minute film is almost entirely based on the relationship and conversations between the two men, yet is over before you know it. The values about mistakes, growth, and spirituality make the film compelling.

However, the script has its flaws. It glosses over the failings of the church and the Vatican leaks scandal. Moreover, it is too forgiving of Pope Benedict XVI. The man simply didn’t do enough about the abuse of young boys. Certainly, Bergoglio rakes him over the coals for it, but it didn’t match the outrage I felt.

On the other hand, the performances are excellent. Anthony Hopkins, an actor I grew up watching as one of the finest performers in cinema, steals scenes with his typically quiet yet captivating performance. Jonathan Pryce is simply sublime as the future Pope Francis. He captures his humour, wit, and empathy perfectly. The two actors have the sort of rare chemistry that makes the film a must-watch.

Rated PG-13 for thematic content and some disturbing violent images

Published in Dawn, ICON, February 23rd, 2020