In the film Conclave the name and nationality of the Dean pf the College of Cardinals, who was responsible for running the election of a new Pope, was changed from Jacobo Lemoli, an Italian in the Robert Harris novel, to Thomas Lawrence when Ralf Fiennes was cast in the role. The Dean’s post is one of the four senior Cardinals in the Vatican along with the secretary of State, the Chamberlain of The Holy See, and the Confessor in Chief.
Robert Harris is clear in his introduction to the novel that for the sake of authenticity he used these real titles throughout the novel, but the characters he created to fill these offices were not intended to bear any resemblance to their present day incumbents.
According to ‘Political Europe’ several Cardinals watched the film to understand the process of a Papal election.
For those who have seen the film it is worth saying that according to canon law Cardinal Benitez would not have been allowed to attend the Conclave, as appointments made ‘in pectore’ end with the current Pope’s death. The novel says that the late Pope changed this law, (p 74) though that is not mentioned in the film. With regard to other matters Harris ‘consulted Cardinal Cormac Murphy-O'Connor as part of his research for the book. He later gave Murphy-O'Connor a copy of the novel, and to his surprise, Murphy-O'Connor sent a letter praising its accuracy.’ Wiki.
‘My brothers and sisters, in the course of along life in the service of our Mother the Church, let me tell you that the one sin I have come to fear more than any other is certainty. Certainty is the deadly enemy of unity. Certainty is the deadly enemy of tolerance.Even Christ was not certain at the end. “Eli, Eli, lama sabachtani? He cried out in his agony at his ninth hour on the cross. “My God, my God, why have you forsaken me? Our faith is a living faith precisely because it walks hand in hand with doubt. If there was only certainty, and if there was no doubt, there would be no mystery, and therefore no need for faith.'
But the words of Cardinal Benitez, in his response to those of Cardinal Tedesco after the seventh ballot, were revised for the script, clearly by Robert Harris and Peter Straughan, and the last of his words ‘The Church is what we do next’ added.
For me as theologian these words carry deep meaning. What I hear there is that although we may acknowledge that a Church is not made of stone or bricks, but of the people of faith, it may be less commonly understood that the Church is not an organisation or institution. ‘The Body of Christ’ is not a bureaucracy, or even a hierarchy, so it is not defined by its physical presence or characteristics, but by its actions. The Church is what the Church does, and that activity keeps changing. The Church is not what it was in the past, or did in the past, but what it is and does now – and therefore by ‘what it does next’ in any given situation.
Cardinal Tedesco, in his fear and anger looked backwards for guidance and authenticity. Cardinal Benitez, in his faith (not hope, which is different), looked forward trusting in his Lord; the Lord whose body ended up nailed to a cross. So the Church should not fear even its own death. The survival of the institution of the Church should not be its major concern.
Peter Straughan, the scriptwriter, had previously adapted John le Carre’s novel ‘Tinker Tailor Soldier Spy’ for the screen, working with his wife, the late Bridget O’Connor, and later adapted Hilary Mantel’s three ‘Wolf Hall’ novels for the BBC. I do not think that would have been possible without a clear understanding of the theological background to those historical novels set at the time of the 16th century English Reformation. He was, by the way, brought up in a Catholic family.
His script for ‘Conclave’ won many awards including the Oscar.
