The Young Pope – first look review | Little White Lies

Festivals

The Young Pope – first look review

03 Sep 2016

Words by Ed Gibbs

A man wearing ornate red and gold robes and a collar, standing in a grand, ornately decorated room, surrounded by people.
A man wearing ornate red and gold robes and a collar, standing in a grand, ornately decorated room, surrounded by people.
Pao­lo Sor­renti­no tran­si­tions to the small screen (with a Jude Law assist) and comes up trumps.

Eng­lish may not be his native tongue, but Italy’s Paulo Sor­renti­no has now mas­tered the lan­guage on his own terms with this extra­or­di­nary small-screen debut for Sky, Canal+ and HBO. Prepped and shot like a fea­ture film, the 10-part series (two episodes have just pre­miered at Venice) has Sor­renti­no (The Great Beau­ty, Youth) again pay­ing homage to Rome, with his mis­chie­vous humour deli­cious­ly intact.

It beings with what appears to be a botched coup. The self-styled Pius XIII (Jude Law) finds him­self in the unlike­ly posi­tion of becom­ing the first Amer­i­can pope, after the plans of his Machi­avel­lian men­tor (James Cromwell) go awry. Oth­er­wise known as Lenny Belar­do, the brash Amer­i­can Pon­tiff imme­di­ate­ly lifts a smok­ing ban in the Vat­i­can (for him­self only) and sets about reset­ting the bal­ance of power.

He begins by unseat­ing the ambi­tious Car­di­nal Voiel­lo (Sil­vio Orlan­do), who had designs on being gate­keep­er and chief string-puller to this new, unortho­dox papal fig­ure. Lenny’s adopt­ed moth­er (Diane Keaton, sport­ing a nun’s habit, no less) is simul­ta­ne­ous­ly recalled to assist with the new admin­is­tra­tion, although even she soon over-extends her reach. The prob­lem being, the new Cher­ry Coke Zero-drink­ing Pon­tiff doesn’t want to face the crowds in St Peter’s Square with his cus­tom­ary address.

Instead, he spends his time chain-smok­ing around the tiny inde­pen­dent state, dis­miss­ing most (though not all) sug­ges­tions from his schem­ing car­di­nals, most of whom have some­thing to hide. Jude Law is in his ele­ment here as the smart, smug new Pon­tiff with noth­ing to lose, look­ing like the cat who ate all the cream, but with a curi­ous­ly ultra-con­ser­v­a­tive bent lying just beneath his sur­face-lev­el charm. To the Cardinal’s dis­may, there appears to be no dirt on him what­so­ev­er – although that could well change at the series devel­ops. Although the obvi­ous crimes of the church are not ignored, the series goes deep­er to explore the inner work­ings of an insti­tu­tion that appears to be unable to help itself.

Sor­renti­no has retained his cin­e­mat­ic style palette for this sump­tu­ous­ly mount­ed romp. There are sur­re­al set pieces galore (the film begins with Law crawl­ing from under a sea of babies in full papal robes) with plen­ty of wit­ty flour­ish­es thrown in for good mea­sure. Noth­ing is quite as it seems. As is his want, Sor­renti­no is full of mis­chie­vous surprises.

His lead star has admit­ted that inhab­it­ing the role was a major under­tak­ing. It’s cer­tain­ly one that he pulls off with style and flair – and is one of the bold­est parts Law has agreed to do in quite some time. It will be inter­est­ing to see how his char­ac­ter devel­ops dur­ing the rest of the series. In an age where tele­vi­sion is king, Sorrentino’s high-end small-screen debut is a fear­less­ly inquis­i­tive, per­fect­ly timed piece that mines the depths of dai­ly life in the Vat­i­can, with a tongue firm­ly in its cheek, while nev­er ignor­ing the director’s affec­tion for his sub­ject. High­ly rec­om­mend­ed viewing.

You might like