HABEMUS PAPAM (WE HAVE A POPE)
Italy, 2011, 102 minutes, Colour.
Michel Piccoli, Jerzy Stuhr, Nanni Moretti, Marghereta Buy.
Directed by Nanni Moretti.
‘Habemus Papam’ are the words that announce, from the balcony of St Peter’s, the election of a new Pope. Catholic audiences may have wondered about a film on a conclave and Pope in 2011. So might audiences not interested in or hostile to the Catholic Church. Nothing to fear for anyone. This is a genial look at the Church, at its rituals and pomps, at its authority structures and reliance on the Holy Spirit and on human choices, on the burden of the Papacy and what this might do to an ageing Cardinal thrust into the limelight who suddenly realises he is not able to carry out what is being asked of him.
Nanni Moretti has always had a wry sense of humour in such films as Caro Diario/Dear Diary as well as a strong sense of pathos with The Son’s Room. His previous film might have given Church authorities pause and cause for alarm on hearing of this project. It was Il Camaino, a quite blatant satire on Silvio Berlusconi.
This film is beautifully made, the Vatican apartments, courtyards, Sistine Chapel vividly re-created. There are plenty of scenes in the ordinariness of Rome as well. The decor, rituals and robes of prelates are meticulously presented.
And, in the middle of it is Moretti himself, a non-believer, playing a non-believing psychiatrist to attend to the new Pope. It is surprising how nice he makes most things, especially the Cardinals, each of whom is shown praying that he not be elected and how unworthy he is of the task. No ambition in sight or earshot. And, after the election, when they remain in the Vatican, they are generally pleasant and friendly, playing cards, reading and allowing themselves to be organised into a volleyball tournament by the psychiatrist. This gives the audience plenty of time to reflect on and gauge their responses to these glimpses of hierarchy.
Central to it all is the French Cardinal Melville who, after hesitating, says yes to the election but just after ‘Habemus Papam is proclaimed, suffers a panic attack and can’t go through with his presentation to the waiting crowds (plenty of St Peter’s square stock footage here giving authenticity as well). When the shrewd PR official (Jerzy Stuhr) allows the Pope to visit another psychiatrist (Margharita Buy), his holiness eludes his adviser and disappears into the crowds.
Actually, this theme is not new. Pope Kiril (Anthony Quinn) did it in The Shoes of the Fisherman. Pope Leo (Tom Conti) did it in the delightful Saving Grace. This time, the Pope (who has not yet chosen a name) is played most persuasively by 85 year old veteran of decades of French and other movies, Michel Piccoli. We believe his breakdown – we are made to realise just how heavy this task must be on anyone – and follow his trying to cope as he travels in a bus, goes to a small hotel, encounters a group of actors who are rehearsing Chekhov’s The Seagull which he knows well as he wanted to be an actor but his sister was accepted into drama school when he was not.
So, the action keeps veering between the wandering and soul-searching Pope, the devices the PR man gets up to by planting a Swiss Guard in the papal apartments to give the impression the Pope is still there and in prayer, and the doings of the Cardinals.
Not sure whether the rescue sequence is quite credible, but it is all make-believe (more or less), so it really doesn’t matter so much.
What remains is a look at the Papacy, a questioning look from the point of view of the psychiatrist (who finds Psalm texts which indicate the author describing a depressed state of mind – an interesting sidelight), a challenging look for the faithful to appreciate what the Papacy requires, and a gentle reflection on the Catholic Church, its old (and eccentric) traditions as well as its belief in God and mediating God’s love and the potential of its core spirit to make the world better.
1. How serious a film? How comic? The blend? The work of Nanni Moretti? Satire? Respect?
2. The impact of the film for Catholics, for general interest? Italian audiences?
3. The detailed recreation of the Vatican, The Sistine Chapel, the Conclave? The rooms for the cardinals? St Peter’s? St Peter’s Square? An authentic feel? The musical score?
4. Rome, the ordinary aspects of the city, the trip to the psychiatrist? The pope wandering, walking, buses, the hotel, the theatre?
5. The plausibility of the plot, the pope and his panic attack, the office and its responsibilities? Personal confidence? Ability to cope? The pope’s behaviour?
6. The scenes of the death of the previous pope, the introduction to the theme? Audience knowledge of Vatican rituals?
7. The procession to the Conclave, the orders, the cardinals praying that they would not be elected? The blackout? The ballots? The discussions, the favourite cardinals, the black smoke? Cardinal Melville? The decision to elect him? The screenplay not giving the reasons why he would be nominated?
8. The crowds of people, the newsreel footage, the black smoke, the white smoke? The television comments? The Italian commentary, world commentary?
9. Cardinal Melville, his age, his reaction, his tentative response, saying yes? His vesting, his tight neck, the advice that he was given, the build-up to the announcing of his election, his scream of panic, the cardinal backing down?
10. The cardinals and their reaction? The cardinals as a group, the variety of individuals, Gregori and his seeming to be the favourite? Cardinal Brummer and his awkwardness? The Australian cardinals wanting to go out, to the gallery and have a cup of coffee? The cardinals having to stay? Going to their rooms? The variety of activities, eating, drinking, playing cards, sleeping?
11. The PR man and his handling the situation, his going to the media, the press conference, his calling in the psychiatrist? The planning of the visit to the psychiatrist’s wife? His work with the pope, the phone calls, his decisions, getting the Swiss Guard to be a presence in the papal rooms? His orders? The cardinals’ reactions, believing him? Their waving to the pope, playing the music so that he could hear?
12. The Swiss Guard, his commission, eating in the papal rooms, watching the television, listening to the music, watching the cardinals and the volleyball match?
13. The pope, his discussions with the psychiatrist, the talk, his bewilderment? Cardinal Gregori and the discussions about the soul and the subconscious and faith?
14. The psychiatrist, his family, his ex-wife, his praise of her? His having to stay, concerned about his children? His reading the Psalms, the quotes about depression in the Psalms? His lack of belief? Organising the cardinals, the teams for the volleyball tournament, the games? His disappointment when it was called off?
15. The pope, travelling with the PR man, the discussions with the psychiatrist, about family, his parents, reminiscing, his not knowing much about his past life, his wanting to be an actor, his sister becoming an actress? Listening to the words of the psychiatrist – and his later return to her, and her being busy with the children?
16. The pope wandering the city, hiding, the bus rides, talking to himself, going to the hotel and checking in, the issue of money? The range of actors in the hotel, Chekhov and his knowing the lines, the breakdown of one of the actors, the ambulance? His going to the theatre, his offering to act? His telling the truth to the psychiatrist?
17. The phone call, the public relations man and his telling the truth to the cardinals?
18. The plan to go to the theatre, how credible? The performance, the cardinals going to the theatre, taking the pope back to the Vatican?
19. The pope’s return, accepting his role, gaining self-confidence, prepared to accept the burden?
20. The genial atmosphere of the film, the spoof but not critical of the cardinals and of the church? The issue of the papacy, the election, an old man? The burdens and responsibility, human capacities, humility?
