By definition, cemeteries are quiet places.

But if you listen carefully, or if you have a lively imagination, you may hear a murmur that propagates from tombstone to tombstone.

The great epic of untold stories begins here, because the dead still have something to say.

In Alan Taylor's film “The Many Saints of Newark” we pick up a few scraps of testimonies at the beginning that could also be of interest in a sequel.

But it gets really exciting with a grave that bears a well-known name: Christopher Moltisanti (1969 to 2007). He is familiar from one of the greatest television series of recent times. In "The Sopranos" Christopher was the "nephew" of the central character Tony Soprano, a mafia godfather in New Jersey. The word "nephew" was less an expression for ancestry than for election in Christopher. Had he been better suited for it, he had a chance of succeeding the throne. Instead, he met an early death, as it is said very clearly in "The Many Saints of Newark" for those who have never watched, or who do not remember so well. The gaze falls on a not very slim boy, and from the grave comes the half-loving idea: "the little fat kid is my uncle". Antonio "Tony" Soprano in 1967."He killed me, but that was much later."

What came later in this world was earlier for global audiences. “The Many Saints of Newark”, a prequel, is dedicated to the enjoyment that arises from it. David Chase, the inventor of the Sopranos, wrote the script with Lawrence Konner, who was also involved in the gangster saga "Boardwalk Empire". "The Sopranos" ran from 1999 over six seasons with 86 episodes. Her universe is correspondingly large and rich in detail: original characters like Paulie "Walnuts" Gualtieri, multi-layered women like Tony's older sister Janice, rambling plots of revenge or even bourgeois ambitions. For “The Many Saints of Newark” this universe is the constant reference point, everything has to run on it without exhausting itself in poor linearity. The first smart move is tothat the Moltisantis are in the center, while the Sopranos are viewed from the side. The title of the film makes this clear right away: the Moltisantis are the “many saints”, in a literal translation of the Italian name. The thoroughly Oedipal principle of the generational novel is at the beginning: Richard “Dickie” Moltisanti (Alessandro Nivola) picks up his father at the port. He comes from Italy with his young bride Giuseppina, he wants to start a second family with children who would then be as old as Dickie's, who, however, has none with his wife Joanne. Instead, he's fine with little Antonio, who is looking for some authority outside of the family, as his father, Junior, is a ridiculous figure.The title of the film makes this clear right away: the Moltisantis are the “many saints”, in a literal translation of the Italian name. The thoroughly Oedipal principle of the generational novel is at the beginning: Richard “Dickie” Moltisanti (Alessandro Nivola) picks up his father at the port. He comes from Italy with his young bride Giuseppina, he wants to start a second family with children who would then be as old as Dickie's, who, however, has none with his wife Joanne. Instead, he's fine with little Antonio, who is looking for some authority outside of the family, as his father, Junior, is a ridiculous figure.The title of the film makes this clear right away: the Moltisantis are the “many saints”, in a literal translation of the Italian name. The thoroughly Oedipal principle of the generational novel is at the beginning: Richard “Dickie” Moltisanti (Alessandro Nivola) picks up his father at the port. He comes from Italy with his young bride Giuseppina, he wants to start a second family with children who would then be as old as Dickie's, who, however, has none with his wife Joanne. Instead, he's fine with little Antonio, who is looking for some authority outside of the family, as his father, Junior, is a ridiculous figure.The thoroughly Oedipal principle of the generational novel is at the beginning: Richard “Dickie” Moltisanti (Alessandro Nivola) picks up his father at the port. He comes from Italy with his young bride Giuseppina, he wants to start a second family with children who would then be as old as Dickie's, who, however, has none with his wife Joanne. Instead, he's fine with little Antonio, who is looking for some authority outside of the family, as his father, Junior, is a ridiculous figure.The thoroughly Oedipal principle of the generational novel is at the beginning: Richard “Dickie” Moltisanti (Alessandro Nivola) picks up his father at the port. He comes from Italy with his young bride Giuseppina, he wants to start a second family with children who would then be as old as Dickie's, who, however, has none with his wife Joanne. Instead, he's fine with little Antonio, who is looking for some authority outside of the family, as his father, Junior, is a ridiculous figure.who is looking for an authority outside the family because his father Junior is a ridiculous figure.who is looking for an authority outside the family because his father Junior is a ridiculous figure.