Best Supporting Actor 2019: Anthony Hopkins in The Two Popes

Anthony Hopkins received his fifth Oscar nomination for portraying Pope Benedict XVI in The Two Popes.

Anthony Hopkins returns from his long Oscar nomination drought to return in the role of the retiring conservative Pope Benedict in this film built around conversations between himself and the next Pope Francis, a progressive reformer. Hopkins's role is secondary throughout the film though the film is built around both characters making him inherently lead. It does detour enough away from Benedict to focus on more personal scenes for Francis to say that this isn't the most egregious category placement, though I would say Hopkins is co-lead here if pressed. Hopkins while less well cast as Jonathan Pryce as Francis, though that would be hard to compare to, seems the right fit the elder statesman type. Hopkins also helping out the appearance difference himself, by personally offering the furrowed left brow himself rather than threw makeup. The real question though isn't any fun tricks Hopkins can perform, like a little bit of Latin, German, playing Clair Du Lune (once again after Westworld, which I get it Sir Anthony, I also love playing that song on the piano)  what have you, but rather what does he deliver on the role. Well not a German accent for one, but nor does he attempt, nor do I really care, as Hopkins instead seems to seek to deliver on the man's presence, particularly in the way that it differs towards Pryce's portrayal of Francis.

His initial appearance in the film is just before he becomes Pope, in turn technically becoming Benedict, and here though is a scene that Hopkins does make use of in portraying Benedict seemingly in his element as the politician attempting to secure votes. This Hopkins portrays not as this overt charisma but rather this consistent priestly command of a man of faith in his repeated statement. Hopkins delivers on this sort of sly conviction, and while the scene is brief, Hopkins does use it well to suggest a different side of the man, very much seeking the position for the moment as the elder statesman fulfilling this expectation. The film then jumps to the end of his "reign" as he has a conference with the soon to be Francis. A conversation with Benedict's intention being to talk Francis from resigning from his position, though this seemingly positive point in fact becoming more of this confrontation of the two men's conflicting ideals. Hopkins's performance is in contrast to his initial scene as he effectively portrays the change in years from the burden of his power. This in part physically as Hopkins very much emphasizes the personal fragility that realizes itself with this certain cold demeanor, of a withdrawn man, who of course only chooses the most careful of movements. The greater truths of the man come out within his words though as Francis and he begin to speak to one another about their differences in view.

When Hopkins and Pryce are together, just talking, the film is at its best, and actually works quite well at times. Although I'd love the conversations to go deeper, more than anything it allows chances for the two seasoned actors just to work together. This begins with the most confrontational scene where the two are very much standing for their separated ideas about how the catholic church should exist within the modern world. One should not take Hopkins's work for granted, because he is terrific here, even if to be expected in delivering in this conversation. Where Francis is purposefully more straight forward, Benedict has a greater complexity that Hopkins is able to realize in this conversation. This as when speaking strictly on his views Hopkins delivers his words with a critical conviction, not based on his own passion towards them, but rather how he lies against Francis's ideas. He balances this in a fascinating way though in the attempts at cordiality, as he tips into moments of venom as Hopkins speaks lines, and pulls back, showing a man attempting the grace of his position though struggling to maintain it. He also captures in his reactions to Francis this physical anxiety and internalized frustration at every critical word towards his views. This that Hopkins's depicts in this weight of this responsibility of position that he conveys in these moments. This as Hopkins shows a man struggling to maintain what is the expectation of his position now, in the face of scrutiny. A reaction Hopkins never simplifies, showing as much frustration, as exasperation of a man attempting to maintain the convictions expected of him as Pope.

These scenes of ideology though are typically separated by one of two scenes, either flashbacks that degrade the pacing of the film as the film does work when it is left to Hopkins and Pryce, or more interpersonal scenes of the two popes just being two men. Hopkins thrives within these scenes as well by presenting a different struggle in the man, who by nature isn't overly personable. Hopkins brings this certain shortness initially in his casual conversations with Francis, of a man unsure how to share other's passions naturally. Hopkins doesn't portray this as an overt coldness but rather effectively portrays this as an introversion. This is shown in Hopkins as when he describes his own interests, whether it be playing piano or talking about a Austrian cop dog show, Hopkins brings a quiet warmth and a greater energy. This as even in his early scene of playing the piano to Francis, we do not just see a cold authoritarian within Hopkins in the moment. This showing a genuine passion within the man that does exist, it is just harder for him to share it with others, and share the passion of others right away. Hopkins plays these moments of a calm revealing of his more affable qualities, that are true but hidden within the self-imposed constrictions of the man. These conversations also give the chance for Pryce and Hopkins just to play around a bit together, and the two do have a wonderful bit of chemistry that makes these scenes work to a degree, even if what they speak isn't of always some great importance. This is though as the two begin to naturally weave the conversation tones together as the men speak between, ideals, hobbies and faith in their confrontation of sorts.

There are essential moments for Hopkins when Benedict speaks not on the Pope's faith but his personal faith. These words that Hopkins delivers very quietly, and withdraws himself. This portraying another burden, though not frustration towards others but this quiet shame towards one self. He finds a poignancy of the man not living to the expectation of this faith, this burden. These frustrations revealing itself naturally to the man who wishes to retire from his position. Hopkins finds the complexity of this and does so without even being the central focus within the story. The interaction climaxes as both men essentially act as a priest to listen to a confession for the other. This is as Francis reveals what to be his own great sin, Hopkins's reveals the care of a priest in his words and eyes of the man attempting to comfort Francis over his perceived fault. Hopkins's own confession is the best scene of the film by virtue of Hopkins's performance. This as he begins the scene with almost a comic attitude of going through the motions of explaining away his venial sins. This is as he continues Hopkins reveals this weight within his face of the greater sins the man has let slip by him and allowed himself to commit. He delivers a quiet sorrow within the man, and pain of this failure to do his duties therefore live up to his faith. When Francis insists he face it more specifically on a human level, Hopkins is exceptional in revealing the growing anger of the man not at Francis, but towards himself as a faithful man no longer experiencing a divine presence he always had in his youth. Although this film may seem the most obvious form of Oscar, perhaps it is, this is a genuinely strong performance from Anthony Hopkins. Yes it seems easy from him, that only speaks to his talent, in finding the complexity of his character, even beyond his somewhat simplistic script.