Who is Tony Soprano (Michael Gandolfini/William Ludwig)? To fans of the famed Home Box Office hit The Sopranos, he is the loving father and husband who dabbles in the sadistic criminal gang life. He’s a person that New Jerseyans and New Yorkers alike both respect and fear. And he’s the charismatic and funny, but equally intimidating capo that runs the DiMeo organized crime family. But, how did Tony end up the way that he did? The Many Saints of Newark tells the tale of Soprano during his formative years and the many events that shaped his life. This is his story, and it’s one of a kind.
I’ve never seen a second of the aforementioned The Sopranos, and I know nothing other than the fact that James Gandolfini led the show on a journey toward massive success (and, of course, that the show took place primarily in New Jersey). I had no expectations going into this film, as I knew next to nothing about the characters or their stories, but with a cast this good, how can anyone expect anything but spectacular acting? Alessandro Nivola (Dickie Moltisanti), Jon Bernthal (Johnny Soprano), Leslie Odom Jr. (Harold McBrayer), and Vera Farmiga (Livia Soprano) lead an all-star cast on a journey through the streets of Newark, New Jersey, and not a moment passes that the acting is anything less than perfect--with the exception of John Magaro (Silvio Dante), who ruined every scene he was in. However, even as wonderful as the acting is throughout the course of the film, there is something missing from each of the characters. The Many Saints of Newark is obviously geared toward individuals who have seen the series, and while that makes sense, a large group of viewers are neglected throughout the film. I’m part of that group as I don’t necessarily understand the gravity of the scenarios present in the film, or the characters and their stories. It seems that the majority of the film operates under the impression that viewers have a genuine understanding of the characters in question, but for viewers like me, it leaves us high and dry, with missing pieces to the puzzle. I suppose this is technically my fault, but the reality is that director Alan Taylor and writers David Chase and Lawrence Konner need to take everyone into consideration here--not even necessarily for the viewers, but to ensure their film success.
The Many Saints of Newark is dark. Sure, the themes present throughout the film are dark, but I’m talking about it being physically dark. With the exception of the scenes that take place outside during the day (and not even all of them) the film is gloomy. Dark tones, dark hues, and a dark storyline drive The Many Saints of Newark home. While some viewers are seemingly left out throughout portions of the film, the darkness that exists throughout welcomes those viewers. Anyone with a brain can figure out the fact that this mob-affiliated family leads a dangerous life, but the decision to make everything so incredibly dark makes it clear that everything occurring throughout The Many Saints of Newark is of grave importance and possesses the ability to be dangerous. This pulls in viewers and ironically removes them from the dark.
Filled with blood and gore and raunchy, potentially offensive language The Many Saints of Newark will certainly not appeal to all. But what Taylor, Chase, and Konner create with these obscenities aren’t out of place, and they occur organically. Even if the blood or the foul language offend you, know that they serve a purpose, and that purpose is more than to simply entertain. These aspects of the film elevate the content and allow everything to feel more real, further inviting viewers into the story and allowing the film to remain honest. Dialogue plays a significant role in the reception of The Many Saints of Newark, and, like many other aspects of the film, it’s brilliant.
There was a good chance that, due to me never having seen The Sopranos, and knowing very little (almost nothing at all) about the show, I would dislike The Many Saints of Newark. That, however, was not the case. I wish that individuals who were less familiar with the HBO series would have been considered throughout the production of this film, however, the film is made for fans of the show, meaning there’s no reason to consider the rest other than for financial gain (but, seriously, be smart about the money situation). What it all boils down to is that The Many Saints of Newark is brilliant in terms of cinematography, acting, and tone, making the film accessible to most--even if the nods to the show do go over some viewers’ heads. I’m impressed by what everyone brought to the table in this highly-anticipated prequel film, as The Many Saints of Newark is incredibly well done.
Directed by Alan Taylor.
Written by David Chase & Lawrence Konner.
Starring Alessandro Nivola, Leslie Odom Jr., Jon Bernthal, Vera Farmiga, Corey Stoll, Ray Liotta, Michela De Rossi, Michael Gandolfini, Billy Magnussen, John Magaro, Michael Imperioli, etc.
⭐⭐⭐⭐⭐⭐⭐⭐½/10
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