The Many Saints of Newark

Set in Newark during a period of upheaval, the film follows a teenage Tony Soprano as the city frays from civil unrest and rival gang tensions. His uncle Dickie Moltisanti looms large in those years, a magnetic figure whose choices and codes shape how the boy sees the world. As the DiMeo crime family flexes its power, Tony absorbs lessons about loyalty, ambition, and danger that hint at the man he might become. The narrative blends personal longing with the grim realities of an evolving underworld, painting a coming of age framed by family, fear, and the cost of violence. The film respects the era with its music, cars, and street slang, letting viewers sense how a city fuels both ambition and fear.

Directed by Alan Taylor from a screenplay by David Chase and Lawrence Konner, the film expands the Sopranos universe as a period crime drama set in Newark from the late 1960s into the 1970s. It pairs a grounded ensemble with lavish production design that recreates neighborhoods, clubs, and radio music of the era, aiming for a classic mob epic vibe rather than a glossy remake.

The production carried a 50 million budget and grossed about 13,037,403 worldwide, reflecting a modest return for a prestige spin on the Soprano legacy.

Critics were mixed, with praise directed at performances from Alessandro Nivola and Michael Gandolfini, as well as the film mood and period detail. Some reviewers found the pacing uneven, but the story does wrestle with themes like legacy, loyalty, and the seductive pull of power.

As a prequel to The Sopranos it offered fans a bridge to the world of the show and sparked conversations about period settings, character arcs, and how Newark mob era is remembered on screen. It also drew attention to a younger generation stepping into classic roles.