In its heyday, there was an ad campaign for “The Sopranos” that acted in a clear but irresistible way, omitting the word “family.” The show was about Tony Soprano and his exciting suburban family, and it was definitely about that other family: the Mafia as well. When it comes to television, though, there is always an extra meaning for the family. For anyone addicted to drama or comedy series – be it a Jersey mob soldier, low office worker, or astronomer Gix – the show seems to be a regular family and they become Yours Family.
“The Sopranos”, although it was the most dangerous family we’ve ever seen on television, had that quality. Every Sunday night, we saw an episode comparable to Martin Scorsese of “Goodfellas”, but we had to hang out with Tony and his crew: the bad boy socialite Protagonist Christopher, Paulie “Walnut” with his psycho yogi Berar – the liners, the sieve With Squint and the rest. No, these were not teddy bears; On occasion, the possibility is optimistic that one of them may even be hit. Yet for all the homicidal temperament and aboriginal backstabbing, Tony and his motley meat crew had ruthlessly ridiculous, ridiculous, and entertaining qualities. For six seasons, “The Sopranos” was a skillful mob psychodrama that was also a hair trigger underworld jersey party.
In “The Many Saints of Newark”, David Chase, creator of the legend and exhibitor of “The Sopranos”, presents us with a dramatic feature that tries to be nothing less than the original story of “The Sopranos”. It is set in the late 60s and early 70s in the racially torn jersey town of Newark, when Tony was just a teenager, and the show-like movie presents a crew of our middle-class hoodlums who occupy the lower part an Italian Crime family. The protagonist is Dickie Moltisanti (Alessandro Nivola), Christopher’s father and Tony’s “uncle” (although they are not blood relatives – Dickie is the cousin of the future Carmela Soprano), and he is the center of gravity in the film: Tony’s equivalent series. Nivola makes him a smooth speaker, a card-from-the-West player, and a good neighbor with a nice smile, especially when it comes to advising Tony যদিও although Dickie also has his own spontaneous hothead way that people send him angry , Even when they are close to him.
Other members of the crew include the retelling Corrado “Jr.” Soprano (Corey Stall), a very recognizable version of the same ruthless, bald, shiny-glasses hard-assed 30 years ago (he signed the conversation with the phrase “your sister’s c – t!”). There’s a way; Dickie’s unprecedented, pebble-voiced sadist father, “Hollywood Dick” Moltisanti (Ray Leota), who has just brought his sexy new Italian bride Guisepina (Michela de Rossi) back from the old country; and Tony’s father, “Johnny Boy. “Soprano (John Barnethal), who is a snipping patriarchal blowhard tyrant who hears his bitterness, we fully understand how Tony’s mother Libya (Vera Fermiga) became a vengeful domestic Medusa.
If you are a fan of “Sopranos” (and who isn’t?), The few basic things you want from “The Many Saints of Newark” start with a movie that is compellingly authentic and worth watching. . Co-written by Chase and Lawrence Corner and directed by Alan Taylor, a regular in the series, “The Manny Saints” more or less meets that bill. It is a sharp, lively and captivating film, providing an interesting moving commentary on how a “The Sopranos” world came into existence.
Yet we can’t help but notice the difference in tone. These characters are properly holding back door mobs who gather in the private room of the restaurant to eat huge chops of cooked meat, but they are not. Fun In the same way. They are like a club of ragaholics. (They don’t think they’re family. You don’t want to hang out with them in six asons.) “The Sopranos” was, among other things, a play on psychotherapy, and in “The Many Saints of Newark” you can tell that David Chase is on the couch in his entire series. Puts. He wants to show us the ineffective dark roots of Tony’s violent behavior, and he does so by removing the last hint of glamor. As James Gandolphini played him (with Brando’s merits), Tony was a great antihiro. We have his horrible sculb charisma, his helpless weakness, even his bullying anger, and as horribly as we have been rooted for him. “The Manny Saints of Newark”, narrated from the tomb of Christopher Moltisanti, looks at the world with the material vision of a much colder eye than it shows us.
That said, how about watching a “Sopranos” movie? Not so different from the show, which was already like a movie (which made it revolutionary). “The Many Saints of Newark” fills the big screen, though the broad panorama of its somewhat-but-saint character is felt somewhat harshly in the two-hour format. It opened during the summer of love in 1967, which looks like a summer of hatred, orthodoxy and burning in Newark. The movie’s Newark riot image tries to turn that catastrophe into a drama of social sympathy, especially when it introduces the character of Harold McBreyer (Leslie Odom Jr.), an aspiring black criminal who is tired of picking up numbers for Italians. . He wants to launch his own number bank, maybe his own empire; For that he will need Moxie, a main supporter and a desire to kill the right people. Oddam embodies him with a smooth punch that makes you wish he had more screen time – especially when Harold appears in bed with an important character and we think, “How did this happen?” Riot for the initial screening of all large sizes (“Look, we’re making a movie like ‘Detroit’!”), Boil down to a plot device that enables the disposal of a body.
It’s Dickie’s snaky exploits that keep you busy. When he takes a glimpse to his father’s new bride, it creates a hidden love triangle that is resolved in a dazzling way. Guisepina, with her dream of starting a beauty parlor, became Dickie’s caveman, creating all the compartmentalized erotic romance and bottled annoyance that is stimulated. Dickie, as much as he can request, has a way of violence against those closest to him, including his fellow crew members. He receives advice from his father’s brother, who is in prison for hurting a man-made man এবং and, in a gambit, it’s not as believable as it is enjoyable, Leota also played, now distributing the Italian version of Buddhist jazz-nuts. Seen through, but the movie sinks into the arrogance of all of us. “The Manny Saints of Newark” has some Machiavellian mob-war stuff, but the characters are likely to be frustrated by the insults felt.
And then, of course, there’s young Tony. He played Michael Gandalfini, the late son of James, who was reunited with his actor father when the film was shot at the age of 20, in a way that is unusual and dramatically touching. The front teeth that protrude slightly, creating a strange lip, the look of amazement on the face of the moon: we look at this long haired but still wide-eyed child, who is like an Edgie John Cusack, and he imagined exactly what Tony Soprano might have you. That he would be caught between his painfully dysfunctional family and the culture of rock ‘n’ roll freedom as a New Jersey criminal. But even though Dickie Gangster became his second father (a much better one than his own), by the time the film reached its early 70s (Rolling Stones “needle”), Tony’s worst job was to hijack a Mr. Soft truck. Michael Gandolphini’s performance makes it clear that Tony wants to be good যেতে to go to college, to be a loyal member of the high school football team (which he is). When Livia, already in her paranoid rage, accuses him of smoking dope, all the blame stays in her head. And when Dickie steals some giant stereo speakers for him, Tony speaks louder than them to the ambiguous speaker. Those speakers also end.
We want “The Many Saints of Newark” to cut a good thread, and in most cases it does. But the thing we want most from this movie, which comes 1 year after the end of “The Sopranos”, is the feeling of expression. We want to show how Tony Soprano, growing up as a “normal” Italian-American teenager, slips down the street that will lead him to become a gangster sociopath. We should see him take the first step. The movie may have convinced itself that it shows you. But sadly, seeing “The Many Saints of Newark”, this “sopranos” fan finds Tony’s “evolution” less credible than turning it into the dark side of Anath Skywalker’s “evolution” towards the dark side. “In the end, I felt like we needed a second prequel, or maybe just that essential TV thing: another episode.