This is not to advocate for graphic child abuse on screen, but rather that through exposition, a more accurate, less romantic depiction of childhood - especially for the mob’s daughters - in a criminal family could and should be portrayed instead. This persistent pop culture trope glamorizes organized crime and is a far cry from the brutally violent reality I endured as a child. “The Many Saints of Newark” - Credit: Warner Bros.īoth “The Many Saints of Newark” and “The Sopranos” introduce their audience to “likable” antihero gangster parents who are inherently flawed, but trying the best they know how. But the way the children of the DiMeo crime family are depicted in both “The Sopranos” and “The Many Saints of Newark” offers a dangerous romanticization of a reality far more terrifying than either the film or beloved HBO series that inspired it. Persistently popular, mobster movies are a genre that often espouse a complicated dichotomy: that the American dream is possible with both the right connections and a healthy dose of corruption. Christopher Moltisanti may be the film’s omniscient narrator, but we see this world through the admiring eyes of young Tony. Like most gangster movies, the film is gritty, but is still cloaked in an air of glamour.
Like “The Sopranos” before it, “The Many Saints of Newark” follows the fraught premise of a mafia family in which children are often protected from a culture of violence waged principally among adults. How That 'Many Saints' Narration Twist Redefines the Relationship at the Heart of 'The Sopranos' Should 'Many Saints' Have Been a TV Series? And Other Burning Questions About the 'Sopranos' Prequel Film Young girls and daughters experience this misogyny twofold, and “The Many Saints of Newark” carries on “The Sopranos” tradition of rendering young girls all but invisible, forgetting about daughters. Women of “The Sopranos” tend to be preternaturally voiceless, silenced, beaten, or all three, at least when they are not seducing men or complaining. Nearly all of the stories in “ The Sopranos” universe are told by men and boys: The newest is even narrated by a male ghost. And the disembodied voice of Christopher describes how, 40 years from now, this grinning kid, his very own Uncle Tony, will murder him. The piercing cry of three seagulls sweeps across the pier. Young Tony skips through the sharply dressed ‘60s-era crowd, play-fighting with his Uncle Dickie.
In the opening scenes of Alan Taylor’s “ The Many Saints of Newark,” Christopher Moltisanti’s ghost rises from the concrete of Pier 49 to follow his father, Dickie Moltisanti (Alessandro Nivola), and eight-year-old Tony Soprano (William Ludwig).
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