The Contemporary Cinema: The Many Saints of Newark (2021)
David Chase’s cinematic prequel to his series The Sopranos is at somewhat of a disadvantage. The series is of enormous significance, its compelling aesthetic reinventing how we react to television drama. No more relying on network programs with easy situations, The Sopranos was complex and brilliant at a level that could cause it to be considered the greatest series ever made for television.
After being able to deeply develop characters over six seasons and 86 episodes, to give these well drawn characters a compelling backstory within the limited paramters of a feature film is a bit of a challenge. The narrative centers on Dickie Moltisanti, a looming figure in the series, even in death, as Christopher’s deceased father. To add a bit of Sunset Boulevard chic, actor Michael Imperioli, who played Christopher in the series, narrates the film from beyond the grave. Dickie was referred to in the series as the catalyst for Tony’s life; a big brother and mentor. That doesn’t seem to be driven home very well in this prequel movie. They want to give Dickie so many traits, none of them are explored thoroughly enough. Alessandro Nivola’s performance is focused and committed, connecting strongly with the character’s ruthlessness, even among those he is supposed to love. It is he who is central to the film's narrative, and he is magnificent.
It was something of a tribute to the late James Gandolfini to hire his lookalike son Michael to play Tony Soprano as a teenager. Because of his natural connection to the iconic actor who played the role on the series, Michael’s nuanced reactions mirror his father’s with uncanny accuracy. He must teeter between the character’s genuine good heart, and legendary bad temper, which is a challenge for any actor. The younger Gandolfini pulls it off well, as did his father.
The movie also offers a tangential connection to what was going on in the African American culture during the late 60s and early 70s, making some parallels between the different perspectives on crime and violence that sometimes interconnect. Other reviews have considered this aspect of the film to be a distraction, but I thought it was an interesting comparison-contrast. Leslie Odam Jr stands out with a fine performance.
A special shout-out is deserved by Ray Liotta, who was once considered for the role of Tony Soprano on the series. Liotta’s performance as Dickie’s volatile father (and, interestingly, as his more relaxed prison-dwelling uncle) offers some of the veteran actor’s finest work. Jon Bernthal, Corey Stoll, Mchela De Rossi, and Vera Farmiga are also excellent.
Perhaps it wasn’t particularly necessary to explore what happened in the lives of the now iconic Sopranos characters earlier in life. The film doesn’t have 86 episodes to truly investigate and ultimately reveal anything genuinely substantial. But what we do have is the original series creator giving us some interesting backstory in a movie that is entertaining and well done within its parameters as a feature film. Sopranos fans should see it.