See David Baird’s review of The Two Popes: Two Popes but not two Churches.
In the hectic social whirl of the Christmas season, after getting past the usual “Which Mass did you go to?” and “What did Santa bring you?” conversation inevitably turns to “What movies have you seen?”
It appears nearly everyone has seen The Two Popes, usually on Netflix. What is surprising is that most – Catholic, lapsed Catholic, and non-believer alike – are reacting positively to the film. This is in some ways surprising although an understandable reaction to one of the most beguiling films of 2019.
The Two Popes is a highly fictionalized portrayal of a meeting between Pope Benedict, about to retire from the papacy, and Cardinal Jorge Bergoglio, who wants to retire from his cardinalate, but who is about to be elected Pope.
That so much of the film consists of dialogue between the two men, rather than the action and spectacle that marks most popular movies, could have worked against the film’s popularity. However, the reason the film has such widespread appeal is that it over-simplifies the two men, portraying them as yet another entertaining “odd couple” who somehow manage to relate to each other in a positive way, not to mention in a manner to which most people can easily relate.
The film is an unlikely invention, although thanks to some fanciful imaginations on the part of writer Andrew McCarten it proves entertaining as the two protagonists investigate their differences, often in a humourous manner.
The film is decidedly biased. Benedict is shown as dull, isolated, and a failure in dealing with any of the crises of the Church; Francis is shown as human, social, and the ideal man to tackle the problems of the Church. Such an over-simplification is fair to neither man, but it does prove to be thoroughly entertaining.
In large measure, this is because of the production values of the film. The two actors, Jonathan Pryce as Pope Francis and Anthony Hopkins as Pope Benedict, act brilliantly off each other in Oscar-worthy performances. The film also stages events against impressive settings: Castel Gandolfo, the Pope’s summer residence, and a recreation of the Sistine Chapel. In the latter, staged scenes of the two conclaves that resulted in the elections of the two men are given such compelling treatment that there is danger of viewing them as historically authentic, although the film’s biased portrayal of Benedict as cunningly manipulative in his quest for the papacy pushes the limits of fairness.
For all its lack of authenticity, the film retains elements of Christian merit. Its main themes of compromise and forgiveness are indeed conveyed in a salutary way, and so, while the film fails to do justice to Pope Benedict and oversimplifies – even idealizes – the merits of Pope Francis, it ultimately presents a human and relatable view of the popes. This is perhaps why the film has been received so well. The two men are portrayed as human beings with faults and frailties as well as strengths and virtues. In the end, one is asked to like both of them as men faced with the enormity of a difficult job.
The Two Popes presents an overly-simplified view of the Catholic Church, one in which conservative elements of the Church are completely wrong while the progressives are totally right. Although such a distorted approach toward Christianity is both divisive and unhelpful, it presents a timely reminder of the need for tolerance and understanding.
This is certainly the film’s greatest merit. Its message, wrapped up in an attractive and entertaining package, conveys the need to bridge differences in a world becoming ever more divided, making it a timely holiday entertainment. It is no mystery why it is so popular.