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"The Saints of Newark" illustrates the soprano rulers had no chance

Lovers of "The Sopranos" will recognize lots of little gestures to the familiar plots from the series.

Wonderful to see some of the familiar characters in their youth and discover the truth about the fate of Dickie Multicenti.

But "The Saints of Newark" is much more than a wink to the benefit of the fans, but an essential statement about tragic designations

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• The Saints of Newark - A Story from the Sopranos

• David Chase

• Alessandro Nibula

• Michael Gandolfini

• The Sopranos

Ido Yeshayahu

Sunday, September 26, 2021, 00:00

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Trailer for the movie "The Saints of Newark - A Story from the Sopranos" (Tulip)

The demand for more and more television content in recent years has, as is well known, led to a lot of revivals and well-known brands that have returned to the screen. It also allowed some of the greatest series in the history of the medium to tie ends after a hasty and unexpected ending ("Deadwood: The Movie"), or to do justice to a main character who was pushed to the margins ("El Camino: Breaking Bad - The Movie"). Now it's happening with another masterpiece series, in fact - the series that redefined television since it aired on HBO in 1999.

Unlike "Deadwood" or "Breaking Bad," "Newark's Saints - A Story from the Sopranos" is coming to theaters (and in the United States at the same time on the HBO Max streaming service, much to the chagrin of creator David Chase).

In contrast, the new film did not even come to close a circle that was necessary for the audience or the creator.

Nor is it a work dedicated solely to fans, but certainly stands on its own.

But while the latter will enjoy another aesthetically pleasing and well-made gangster story that stands on its own, viewers of "The Sopranos" will be exposed to something far more complex and satisfying.

Chase himself co-wrote the screenplay with his old friend Lawrence Conner, who was also one of the screenwriters for The Sopranos.

A heart attack prevented the creator from directing himself, so the craft was entrusted to Alan Taylor, also a regular director of the original series (as well as plenty of other HBO series as well as films like "Thor: The Dark World" and "Terminator: Genesis") .

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A human-shaped honey trap.

Alessandro Nibula as Dickie Multicenti, "The Saints of Newark" (Photo: Warner)

"The Saints of Newark" goes back in time to the late 1960s and early 1970s, when Tony Soprano was a boy and then a young boy (played by Michael Gandolfini, the son of the late series star). The film does not really focus on him but rather a multicenter (Alessandro Nibola, "Frontal Conflict"), Christopher's father and a character who was already among the dead for many years when the plot of the series began. For the first time we are exposed to Dickie not through Tony's stories to Christopher, and discover a charming, captivating, dangerous, murderous man, whose thread is not short but explodes with terrible violence when he is a bride. Just as would happen years later with Tony himself. Although Nibula has been active as an actor for 25 years, there is a sense that this is his breakout role. It embodies the complexity of Dickie with great and convincing magic, a honey trap in human form.

In the late Sixties, Dickie becomes the head of the family, at the same time as racial tension is rising and escalating in the city following police violence against an African-American taxi driver (a case that really happened in Newark in 1967, and in a film ironically and bitterly related to Dickie himself).

The events also lead to unrest among the blacks in the ranks of the organization, and specifically in Harold McBride (Leslie Odom Jr., "Hamilton").

Meanwhile, the married Dickie approaches Giuseppe (Michaela de Rossi), his father's new partner (Ray Lyuta) who came with him from a visit to Italy, regularly visits the father's twin brother (also played by Lyuta) in prison, and serves as Tony's father replacement We were told in his formative years.

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Fans will be delighted by the references.

"The Saints of Newark" (Photo: Warner)

Lovers of "The Sopranos", even those like me who have not watched it since it ended in 2007, will be immediately drawn to the familiar tone. The fusion of humor, family dilemmas, crooked morals, irony, fondness for the pop culture of the era and the random violence of the gut revolution. Fans will also be delighted by the masses of gestures and small mentions of familiar moments from the series. Wonderful to see some of the familiar characters in their youth, the actors really transcend them. Silvio's familiar papers with the clichéd hair, Polly's annoying defiance, the quiet pussy, the jealous junior in his honor (Corey Stoll in an excellent performance) and a priest and a priestess. In particular, it is wonderful to discover the truth about what happened to Dickie himself - such a soprano development.

But "The Saints of Newark" is much more than a wink for the benefit of the fans, but a work that comes to say something substantial about tragic designations and inevitable routes.

For example, the rigid and young Livia Soprano (Vera Permiga, "Hanging in the Air", "Bates Motel"): the cold way she treats her children is of course reminiscent of her horrible attitude towards Tony in the series, but echoes bigger things than that.

Her relationship with her husband Johnny (John Brantle, "The Punisher") conjures up the future ones of Tony and Carmela, and although the character of the two women could not be more different, the feeling of suffocation of the two undoubtedly put them both in the same corner, the women The frustrations of the crime family.

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The ultimate illustration that he had no chance.

Tony Soprano played by James Gandolfini, "The Sopranos" (Photo: AP)

These subtle nuances make "The Saints of Newark" a brilliant and penetrating work, and of course are most expressed in the character of the protagonist. The name of the film, originally called "The Many Saints of Newark", is a derivative of the family name Multicenti - "Many Saints" in Italian. Its use probably implies the character at the center of the film, but the word "many" suggests that it is also about those besides him. Although none of them is sacred, they all start as a smooth page and then are inevitably trapped in the gravity of the most powerful factor in their environment.

As a sequel to a series that dealt with the inability of human beings to change, the stubborn patterns of behavior and the cycles of violence - the film is an offshoot of precisely these motifs.

Despite the marked differences between the characters - Dickie is much more polished and meticulous, Tony compensates with a magnetizing charisma and Luke is terrified - one is nonetheless an incarnation of the other.

Many of the things that the hero of "The Sopranos" will do in due course, are first done by the hero of "The Saints of Newark".

Dickie has the same job, quite a few similar qualities, a good wife at home and a hot-tempered mistress.

Dickie's conversations with the imprisoned uncle are reminiscent of Tony's with Dr. Malfi, leading him to reflect on the choices of his life and the ways that led him to them.

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The "Uncle" and "The Nephew", a recurring circle.

Nibula with Michael Gandolfini as the young Tony, "The Saints of Newark" (Photo: Warner)

And of course, there's a connection between "Uncle" Dickie and Tony - an echo of what will be between older Tony and "nephew" Christopher. The latter is but a baby in the period described by the film, and later the one who narrates the whole story beyond the grave - one of the most exciting, and sometimes amusing, elements of the film. There is no real family connection between these three characters, but there is definitely a blood relationship, one that has run on asphalt and tiles. In one form or another, the young person's admiration for the adult always leads to its tragic end.

And so, although young Tony is a secondary character, "The Saints of Newark" is the ultimate illustration that he had no chance in the first place. While yes, "The Sopranos" has already provided an in-depth psychological examination of Tony. She rummaged through the depths of his soul, under the influence of his mother on him and even returned in flashbacks to some of the periods the film itself depicts. And yet, the early appearance of that violent cycle we will recognize later,The way she surrounds the young and potential-laden Tony until he is trapped in her - provides a sober, beautiful and sad insight.

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