A look at the formative years of New Jersey gangster Tony Soprano.
Chuck says:
Did we need a prequel to David Chase’s seminal television series “The Sopranos?” I didn’t think so until seeing “The Many Saints of Newark,” a sumptuous, gripping tale about the generation of Jersey mobsters that came before Tony Soprano, the character popping up here as a teen played by the late James Gandolfini’s son Michael. And while much of the promotion surrounding the film suggests this is an origin story for the gangster, he’s really a peripheral character who only becomes prominent in the third act.
That he is not the focus of the film doesn’t prevent it from becoming a fascinating study of mob culture, one in which regard for the law is never a consideration and the world is seen as nothing but a larder to be taken from, by hook or by crook. Great acting, an intelligent script and spot-on period details makes for a rich film that’s not so much about gangsters, but about the price we pay for making deals with the devil.
The protagonist here is Dickie Moltisanti (Alessandro Nivola), a decent enough fella for a wise guy who ultimately serves as Tony’s mentor while his old man does a five year-stretch. Happily married and content to enjoy the spoils of mob life, fate throws him a curveball when his father (a great Ray Liotta) returns from Italy with a new young wife (Gabriella Piazza). A mutual attraction develops between them which leads to many bad decisions and a great deal of guilt.
As this domestic drama plays out, we’re introduced to series regulars, Junior Soprano (Cory Stall), Tony’s mother and sister, Livia (Vera Farmiga) and Janice (Alexandra Intrator), as well as Silvio (John Magaro), Paulie (Billy Magnussen) and Sal (Samson Moeakiola). Each of these performers have obviously studied the actors who’ve portrayed their characters from the series and their mannerisms and speech patterns can’t help but bring a smile to the faces of series devotees, these echoes recalling events that are yet to be.
Whether you’ve seen “The Sopranos” or not, the film is accessible and engaging from frame one, as director Alan Taylor immediately immerses us in 1960’s New Jersey and the franchise’s touchstone locations. The production details are layered and meticulous, resulting in a visually sumptuous film. Series creator David Chase’s writing remains smart and gripping, the script populated with colorful characters, pithy dialogue, and plenty of surprises, including one out of nowhere, gasp-inducing moment.
Atonement and redemption are the overarching themes, Dickie desperately seeking both. His sins are significant, both within the family and without, the friendship with Harold McBrayer (Leslie Odom Jr.), a particularly thorny situation. Working as a collector for the local boss, the fact that he’s black rubs many of Dickie’s associates the wrong way, a situation that causes not only a great deal of tension but actions that haunt him. His reaching out to young Tony is an effort to achieve a sense of grace, yet another gesture that backfires.
Chase’s dialogue handled by this skilled cast is a delight to hear and behold, the conversations, at times volatile, touch upon our most primal emotions, fears and desires. Dickie realizes far too late that he’s his own worst enemy, his final sin being the inability to pass on this wisdom to Tony. “Saints” proves to be one of the year’s best films, not simply an opportunistic off-shoot but a deeper dive into the souls of those too foolish to see the potential consequences of their actions.
4 Stars
