December 4, 2021

‘Sopranos’ Prequel ‘The Many Saints of Newark’ Is Dry Macaroni With No Gravy

5 min read


The Many Saints of Newark, David Chase’s return to the organized-crime world of his HBO mob epic The Sopranos, is a venture that was up in opposition to quite a few obstacles from the beginning. TV reveals hardly ever make a triumphant transition to the big-screen. The unique sequence was a wonderfully self-contained affair with an excellent (and hotly debated) finale. Star James Gandolfini unexpectedly handed away in 2013 on the age of 51, and his son Michael—right here embodying a youthful model of his father’s New Jersey mafioso Tony Soprano—is a largely unproven expertise. And doubtlessly most problematic of all: prequels hardly ever work, since they clarify that which wanted no rationalization, dramatize that which demanded no dramatization, and fill in narrative gaps that had been intriguing exactly as a result of they weren’t stuffed in.

It’s the final of these points that hampers The Many Saints of Newark, an origin story (and, at occasions, a pre-origin story) for Tony Soprano that boasts loads of its supply materials’s brutal violence however little of its psychological weight or dynamic interpersonal battle. Debuting in theaters and on HBO Max on October 1 (following its September 22 premiere on the inaugural Tribeca Fall Preview), the movie performs as an addendum marked by respectable performances that pay tribute to acquainted characters, some half-baked racial-strife undercurrents, and a cushty sense of its Sixties-into-early-Nineteen Seventies New Jersey milieu. It’s been designed for these determined to revisit the gangland that Chase so memorably evoked in his cable-TV behemoth. But there’s magic lacking from this encore effort, largely as a result of it by no means offers a urgent justification for its personal existence.

There’s a Gandolfini-sized gap within the heart of The Many Saints of Newark, and to compensate for this absence, Chase shifts his focus to probably the most influential particular person in younger Tony’s life: his uncle Dickie Moltisanti (Alessandro Nivola), a gangster whose surname provides the movie its title, and who’s launched welcoming house his father Aldo “Hollywood Dick” Moltisanti (Ray Liotta) from Italy. Accompanying Aldo is a ravishing old-country bride, Giuseppina (Michela De Rossi), for whom Dickie instantly has eyes. On the identical time, Dickie is attempting to handle Harold (Leslie Odom Jr.), a low-level Black hood who doesn’t have agency management of his turf, a lot to Dickie’s chagrin. Earlier than lengthy, Newark’s 1967 race riots erupt, though as with the remainder of what transpires in Chase and Lawrence Konner’s script, there’s no nice import to this occasion; slightly, it merely contributes to the heightened tensions between town’s white and Black communities, that are slowly integrating regardless of the objections of the prejudiced Italians.

That friction feels genuine however has scant bearing on the precise plot—not that there actually is one anyway. Dickie is envisioned as a person torn between noble and base impulses, such that one second he’s rashly murdering these closest to him, and the subsequent he’s attempting to do proper by Tony (who seems as much as him) by steering him away from the legal life, in addition to by atoning for his sins through visits to his imprisoned, long-shunned uncle (additionally Liotta), whose pointed questions power Dickie to reckon together with his twin nature. With a successful smile that may veer into a daunting grimace right away, Nivola captures Dickie’s swagger and attraction, his volatility and kindness. What he can’t do, sadly, is make Dickie greater than a generic wiseguy—a scenario compounded by the truth that the conditions he finds himself in are surprisingly routine.

There’s nothing pressing driving The Many Saints of Newark, which—as directed by sequence vet Alan Taylor—segues between home incidents, grotesque hits and stand-alone scenes that permit completed actors to do their finest pantomimes as well-known Sopranos figures. The best of that group are Vera Farmiga as Tony’s mom Livia, who even in center age is rarely joyful and nearly unattainable to please, adopted carefully by John Magaro as hunched-shouldered Silvio Dante, whose hair is a operating joke throughout his temporary appearances. Many others do equally stable mimicry, together with Corey Stoll because the bitter and treacherous Uncle Junior and Billy Magnussen because the ferocious Paulie Walnuts. All of them, although, are relegated to peripheral gamers, leaving the proceedings feeling like a seize bag of fleeting impressions.

Faring worse are Jon Bernthal and Leslie Odom Jr., the previous requested to be merely offended and difficult as Tony’s dad Johnny Boy, and the latter barely fleshed out because the bold Harold. The Many Saints of Newark doesn’t have any significant perception into these people or their period (soundtrack cuts from the likes of Van Morrison do the emotional heavy-lifting), and consequently, it solely actually shines in its smallest particulars, corresponding to Dickie’s behavior of asserting “Oh!” in the very same method that the grownup Tony does (thereby revealing that Tony picked it up from his uncle). These touches, nonetheless, are few and much between, they usually can’t compensate for the thinness of the screenplay, which makes passing reference to promising themes—just like the Buddhism-inspired concept that ache comes from wanting—with out ever critically delving into them.

These touches, nonetheless, are few and much between, they usually can’t compensate for the thinness of the screenplay, which makes passing reference to promising themes—just like the Buddhism-inspired concept that ache comes from wanting—with out ever critically delving into them.

Early from-beyond-the-grave narration from Michael Imperioli’s Christopher Moltisanti means that Chase intends The Many Saints of Newark to be an act of communing with the useless. But that thread is rapidly dropped in favor of by-the-books gangster motion punctuated by the occasional dialog about Tony, be it Dickie, Johnny Boy and Livia debating whether or not the high-schooler ought to proceed enjoying soccer, Livia and a steering counselor speaking about Tony’s intelligence, or Silvio counseling Dickie about treating Tony proper. These moments try to supply us with a deeper understanding of the long run godfather, however they arrive throughout as random notes which are solely loosely associated to his eventual hang-ups. Consigning Tony himself to the sidelines for a lot of this movie doesn’t assist in that regard, nor does Michael Gandolfini’s featureless flip.

A slightly abrupt ending implies that there’s extra to return from this prequel saga, and maybe in subsequent sequels, Chase may give us an actual sense of the formative catalysts that drove the troublemaking if good-at-heart Tony to completely embrace the household enterprise and, by extension, his extra ruthless facet. A minimum of in The Many Saints of Newark, nonetheless, all we get are faint glimpses of the person who can be king.

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