Habemus Papam

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Habemus Papam, latin for “We have a Pope” is Nanni Moretti’s last work and my first encounter with his.
It opens on an atmosphere of expectation appropriately registered in the grandeur of wide-angles. With this kind of movies the frame of discussion is delicate, not because the subject matter is inaccessible, but because of the context it carries, and all the symbolism it is laden with, tinting each person’s perspective in significantly varying manners.
Having said that, the scene that follows the procession of the marching cardinals admonishing, to a succession of saints’ names, to “pray for us”is quite funny and disturbing to me. I hope the comical part is universally shared, though it is the apparent futility of such recitals, that presages the succeeding events.
This extended scene of the cardinals in procession to the Conclave to elect the Pope is splendidly cinematographic; it is one of those techniques that perfectly befits movies. To assist to this “Saint X, pray for us”for one minute,  and then as an alternating echo fading in and out over a journalist’s commentary for around 4 minutes, is captivating and I hope would not elicit a “fhemna” or “uff” from my fellow compadres. I love such long, focused, sequences (wish I knew the technical term); though they do appear extended, in fact they feel compact, for they carry a lot; those static images compel us to think and ask questions in a matter of minutes, that, in a novel for instance, would require hundreds of pages and digressions, and so, I hope to see more of them in current films.
As anyone who was brought up in the Christian faith or in a Christian environment, at one point, we have certainly asked ourselves the purpose of such repetitions. For the annoyingly inquisitive, I am almost certain, such questions induce some skepticism. There are quite a few esoteric numbers in the Christian faith: 3, for obvious reasons, 5 (on average) the number of times one must repeat “Our Father” and “Ave Maria”after repenting, 7, the number of Churches one must visit on the Thursday of the Holy Week, 9, the Neuvaine, and, last, 10 times reciting “Ave Maria” for one part of the Rosary (imagine that a full one will require 50 “Ave Maria”!).
What adds humor to this scene, though it could pass unnoticed, is when the orator recites: “All the saints and the prophets”and the procession to echo in unison: “pray for us”and then the saints’ names are recited again! This is typical in a Catholic or a Catholic-affiliated mass or ceremony.
This persistence in prayer bothers me; it is a material ritualization of an abstraction. It solidifies a parasitic relation between an earthly institution and its mortal members; and I insist on this term, mortal, for the Church, in turning the faithfuls to parroting machinists, cares only about their mortal facet.
Why would a faithful incessantly, monotonously, and meaninglessly recite to a Creator whom the Church teaches is all ears and love for His creation? Why would a faithful invoke so many mediators, when the faithful has an open line with the Creator?
Should a Christian, or more precisely, a Catholic, go back to the Source, the Scriptures, one need only pray “Our Father”and that is it. It is clearly stated.
This interminable repetitiveness from a mass of people to the cries of an orator confirms a cultural colonialism Christendom is responsible of; it clearly reflects the pagan infiltrations to the Christian prayers, turned rituals, that helped spread the new religion, increase its base, establish a hierarchy, thereby metamorphosing what should have been a metaphysical religion into an earthly institution.  As such, it is not without intent that the opening scenes of the film unfold to a succession of wide-angle shots of the Vatican and the Conclave.
To conclude, I go back to the movie, to which I’m grateful for this digression in thought, without it being restricted to the initiated, “Habemus Papam” has its own twists,  is rich in symbolism (I think of the elected Pope in the train), does not take the cheap turn of parody or irony, and delivers a powerful message, accentuated, in my opinion, before the end credits.