Tony Soprano was a compelling character - a man who commits great evil and knows it and is somehow/somewhat conflicted about it. Great writing! And, yes, I liked the currently playing HBO Max show, “The Many Saints of Newark,” which is the prequel for “The Sopranos” - unfolding against the backdrop of the 1967 Newark riots - with Michael Gandolfini, the son of the late James Gandolfini, playing the younger version of Tony, and eerily so. A zone of total atomization, where the swimming club, once a place for families - if not for everyone - became a wallowing ground for a fictional depressed mobster. From there Tony drives through the suburbs, which grow nicer the farther he gets from the city - the houses tidier, the lot sizes larger - a series of sieves that caught this outflow of humanity, until at last he reaches his home, that perfectly garish palace. Next comes Newark, dreary, with its vinyl siding and white-ethnic heritage both fading. Out of the Lincoln Tunnel and onto the turnpike, Tony passes through the industrial hinterland of New York City, eyeing aging smokestacks and crumbling factories, which loom as large here as the more potent symbols of American life - the Statue of Liberty, the World Trade Center - that flash in and out of view. It reminded me of that love, especially the paragraph about the journey through the tunnel:Īt the beginning of every episode, the viewer is brought along with Tony as he makes his long journey home, a ride from city to exurb that tells the story of America’s geographical unwinding in miniature. Three weeks ago, there was an article in the Sunday New York Times magazine. It is, of course, the theme song from the HBO blockbuster series, “The Sopranos.” I loved “The Sopranos” I lived for each episode. (RNS) - I was in New York City last week, and I needed to drive out to New Jersey for an appointment.Īs I was coming through the Lincoln Tunnel, I started singing to myself:
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