Remember when "The Sopranos" took the television show to new narrative heights? Remember when each new episode was more anxiously awaited than any new movie? Remember when you wished more movies could be told as TV series or miniseries on HBO or Showtime, so that they could go into more detail, and take their time developing?
It is ironic that the show that surpassed film would then go back to that form, and all the more ironic that the resultant film doesn't hold a candle to the TV show. We hung on every moment of "Sopranos". People watch and re-watch scenes noticing tell-tale placement of actors in similar positions to where the actors were in prior scenes. They go over dialogue, building profiles of characters who never even appear on the show, but we get to know them better than most on-screen characters in other shows.
The legendary Dickie Moltisanti was oft mentioned on the show, and here we finally get to see him, played by one of the few Italian-American actors who isn't famous for mob roles, Alessandro Nivola. For such a revered figure, he turns out to be a dead end, not emerging with any discernible personality. That should be okay though, because of course this movie shows us younger versions of characters we all know and oddly love, such as Silvio Dante, Paulie Walnuts, Uncle Junior. Except - wait a minute. None of them say or do anything interesting here. The guy who plays Silvio particularly just seems to be trying as hard as he can to ape Steve Van Zandt. You can never take him seriously as the character. And how is Billy Magnussen's Paulie Walnuts so boring? He stole every scene on "The Sopranos". Here he does nothing.
"The Sopranos". So many great lines. So many great scenes. You can watch YouTubes of them for hours without getting bored. "The Many Saints of Newark" barely captured my interest at all. David Chase has gone on record saying that he had his doubts about whether a film based on his classic television series would have worked. He should have trusted this instinct.
It is ironic that the show that surpassed film would then go back to that form, and all the more ironic that the resultant film doesn't hold a candle to the TV show. We hung on every moment of "Sopranos". People watch and re-watch scenes noticing tell-tale placement of actors in similar positions to where the actors were in prior scenes. They go over dialogue, building profiles of characters who never even appear on the show, but we get to know them better than most on-screen characters in other shows.
The legendary Dickie Moltisanti was oft mentioned on the show, and here we finally get to see him, played by one of the few Italian-American actors who isn't famous for mob roles, Alessandro Nivola. For such a revered figure, he turns out to be a dead end, not emerging with any discernible personality. That should be okay though, because of course this movie shows us younger versions of characters we all know and oddly love, such as Silvio Dante, Paulie Walnuts, Uncle Junior. Except - wait a minute. None of them say or do anything interesting here. The guy who plays Silvio particularly just seems to be trying as hard as he can to ape Steve Van Zandt. You can never take him seriously as the character. And how is Billy Magnussen's Paulie Walnuts so boring? He stole every scene on "The Sopranos". Here he does nothing.
"The Sopranos". So many great lines. So many great scenes. You can watch YouTubes of them for hours without getting bored. "The Many Saints of Newark" barely captured my interest at all. David Chase has gone on record saying that he had his doubts about whether a film based on his classic television series would have worked. He should have trusted this instinct.