(670 The Score) In the pilot episode of the critically acclaimed series "The Sopranos," Tony Soprano (played by the late James Gandolfini) wondered if “the best was over” -- not only for himself but for the American identity. Now 22 years later, after the COVID-19 pandemic pushed back the initial theatrical release, "The Many Saints of Newark" is finally here to give Sopranos fans a taste of what it was like to enter David Chase’s world of family vs. family at the beginning.
I took a personal day from work last week to head to my local theater and watch Many Saints because watching The Sopranos has always been a bit of a personal experience for me. Over the years, I've cycled through the show in its entirety almost every year. Submerging myself in this world of crime, satire, comedy and existentialism has always been the fastest way to forgetting my own problems. Yet, as I get older, I realize that I identify more and more with any number of internal conflicts that drive many of the show’s characters. Over the past 16 months, apparently many binge watchers have felt the same. The Sopranos has seen a surge in popularity recently due to many of us spending more time at home, and a new generation of fans is now old enough to appreciate one of the greatest pieces of American pop culture.
Michael Gandolfini, who steps into the massive shoes of his father, was born at the same time the series was. The Sopranos faded to black more than 14 years ago, and now the young Gandolfini brings his light to one of the most anticipated prequels of all time. Gandolfini, with every glance, subtle lisp and mannerism, manages to pull off the unthinkable -- bringing Tony Soprano back into our lives. Young Anthony’s arc isn't the central focus of the film, though. However, it does provide great context to why viewers loved James Gandolfini’s warm and boisterous portrayal of a sociopath. The film is driven by several powerful performances, all of which carry their own subplot.
If there were a role on The Sopranos that could cast a bigger shadow than Tony’s, it would be the role of his mother, Livia. Nancy Marchand’s portrayal of Livia in the original series was the narcissistic, forbidding heartbeat of the show. Without the mother conflict, there would be no Tony Soprano as we know him. Young Livia is played brilliantly by Vera Farmiga ("The Departed," "Up in the Air," "The Conjuring"). Farmiga manages to capture the essence of Marchand while giving us an honest look at who Livia was before becoming the bane of her son’s existence. There are several moments along the way that are red meat for Sopranos fans, and Farmiga’s “Oh, poor you!’ alone is worth the price of your ticket.
One of the biggest swings a movie can take is having a narrator. For every "A Clockwork Orange," "Apocalypse Now" or "Goodfellas," there’s a film like "The Informant." Michael Imperioli, who portrayed Christopher Moltisanti in The Sopranos, immediately removes any speculation you may have about whether the film will re-establish the series' emotional tone with an opening posthumous narration from Christopher. Many Saints centers around Christopher’s father, Dickie, who we never actually saw in the original series.
It was a blank canvas for Alessandro Nivola to create a portrait of a sanctified mob associate. If you had never heard of Nivola, you’re not alone. That’s about to change.
Nivola’s vision of Dickie brings life to another character in The Sopranos universe that forbids us to look away even when committing the most despicable acts. Nivola’s choices in the role to live on the thin line by balancing magnetic gregariousness that masks a simmering rage show us why Dickie was Tony Soprano’s true male archetype. Don’t be surprised if an Oscar falls off a truck and into the hands of Alessandro Nivola come March. Many Saints of Newark may be set in 1967 in the midst of the Newark riots, but the social backdrop seems as relevant as ever. Leslie Odom Jr.
("Hamilton," "One Night in Miami") is another actor who may not be a household name, but his portrayal of Dimeo family associate Harold McBrayer is one of the film’s high points. Chasing down the American dream that may or may not exist while struggling to find respect under your own roof is a Sopranos theme that carries over well and an idea that transcends racial and cultural boundaries.
A late 1960s, early '70s period piece doesn’t need to travel far to become predictable with its song selection. However, as any Sopranos fan knows, music curation is what separates David Chase from his contemporaries. The soundtrack features an understated yet effective playlist of Frank Sinatra, Stevie Wonder, Dionne Warwick, Van Morrison and The Rolling Stones. Chase is as good as it gets with striking emotional chords with his song selection. The most powerful instance is Gil Scott-Heron’s “Your Soul and Mine” as Odom Jr.’s character and his city come to terms with a shared crisis at the height of the riots.
The Many Saints of Newark is densely packed with Easter eggs, references to characters and callbacks to the original series. Watching The Sopranos in its entirety isn't vital to enjoying Many Saints, but it would certainly allow you to appreciate the film on a different level. There are so many callbacks that I logged during my second viewing that I wish I could mention, but you will hopefully see them for yourself. If you like to “skip Dr. Melfi scenes” when watching the original series, you should probably wait in the car. Many Saints was more than just an excuse for Sopranos fans to "Remember When." There were several subtleties in the plot that could even change the way you feel about some of the characters and their motives from the original series.
This much is for sure: For two hours in October 2021, the best is not over.
The Many Saints of Newark is in theaters now and streaming ad-free on HBO Max until Oct. 31.
Chris Tannehill is the soundman of and can be heard on the Parkins & Spiegel Show on 670 The Score. Follow him on Twitter @ChrisTannehill and on
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