Two Popes: A Model for Discourse

The following article contains minor spoilers about the general themes and plot for The Two Popes.

On January 13, the Oscar nominees for 2019 were released. One movie received considerable attention from the Academy and Catholics alike: Netflix’s The Two Popes. The film is nominated for best adapted screenplay, and actors Jonathan Pryce and Anthony Hopkins are nominated for their portrayals of Pope Francis and Pope Benedict XVI, respectively. However, since the movie claims to be inspired by true events, people have examined how the movie’s portrayal of the encounters between these men differs from reality.

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Produced by Brazilian director Fernando Meirelles, the movie begins in the aftermath of the death of Pope Saint John Paul II in 2005, reproducing the session of Papal conclave concluding with election of Joseph Ratzinger as Pope. Jorge Bergoglio, however, is the clear protagonist. He spends his time in Argentina preaching among the people and calling for reform. He does not want to be elected pope at all, and after the 2005 election, he makes plans to resign. Joseph Ratzinger, meanwhile, is portrayed as a conservative figure who desires the papacy. Seven years later, Pope Benedict calls Bergoglio to his summer estate. Bergoglio thinks this meeting is to accept his resignation. The two then have heated discussions about the Church, theology, music, and sports. Slowly, the two progress from diametric opposition to friendly interaction, with Bergoglio taking over as Pope Francis.  

There are many historical inaccuracies and artistic liberties in the movie. For example, it is highly unlikely Bergoglio actually visited the papal summer home to discuss his retirement, let alone that he taught his predecessor how to dance. Although exploring these inconsistencies would prove tedious, and is unproductive for understanding the film, its message almost entirely derives from its depiction of Jorge Bergoglio and Pope Benedict XVI as characters.

The film is perhaps best understood as a clash of two ideals embodied by the main characters. Benedict represents a traditionalist, conservative, doctrinal position on spirituality and church procedure. Bergoglio represents a reformist perspective that wants to make the church more grounded in the people it serves. Benedict is characterized as decrepit yet intellectual and extremely sharp. Bergoglio embodies a humble, emotional, sometimes even naïve, paradigm. The meeting of these two philosophies presents the tension that drives the movie.

When they first meet, the discussions are intense. Benedict and Bergoglio battle about priestly celibacy, theology, Vatican politics, and even fashion. Bergoglio is quick to point out Benedicts stiffness, and Benedict is ready to challenge Bergoglio’s vagueness. Benedict never understands or cares for a single joke Bergoglio tells. They listen only to tear down the other and assert their own view.

There is a slow shift throughout the movie however. The two figures begin to find common ground in music. Then, the two begin to discuss how God has worked in their lives. Benedict is depicted as amidst a period of deep spiritual desolation, while Bergoglio is ready to tell how God has spoken to him through important people he has encountered. This sparks an expression hope in Benedict, and Bergoglio is prompted to pray for him. They tell stories from their lives, and learn that both of them have experienced the pain of scandal, the absence of God, and joy of living for Christ.

In one of the film’s more salient moments, each cleric hears the other’s confession. Both approach the other with vulnerability, and are accepted with love. Despite the differences they maintain at the conclusion of their meeting, they learn from each other. Benedict begins to see how Bergoglio’s looser views may be beneficial and that reform is necessary, while Bergoglio feels a greater compassion for the Pope and values his rich experience. They don’t end on the same side of all issues facing the Church, but they learn to look past these differences and see each other as a human beings.

Unfortunately, the film does indeed display  a clear bias towards Bergoglio’s ideals. It seems that the two are not presented on an even playing field and Bergoglio’s principles seem to “win” by the end of the movie. Nonetheless, the movie presents a portrayal of a formation of personal friendship, even among fierce ideological opponents. It illustrates a model for how we should see those who have different views from ours. By focusing on common ground, deep personal experience, shared vulnerability, and forgiveness, two people divided by a chasm of ideology might just find God together in fellowship.

Featured image courtesy of Malacañang Photo Bureau via WikiMedia Commons

Patrick Stallwood
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