The Many Saints of Newark
Young Anthony Soprano is growing up in one of the most tumultuous eras in Newark's history, becoming a man just as rival gangsters begin to rise up and challenge the all-powerful DiMeo crime family's hold over the increasingly race-torn city. Caught up in the changing times is the uncle he idolizes, Dickie Moltisanti, who struggles to manage both his professional and personal responsibilities and whose influence over his nephew will help make the impressionable teenager into the all-powerful mob boss we'll later come to know: Tony Soprano.
The film financial setback against its moderate budget of $50.0M, earning $13.0M globally (-74% loss). While initial box office returns were modest, the film has gained appreciation for its bold vision within the crime genre.
Plot Structure
Story beats plotted across runtime
Narrative Arc
Emotional journey through the story's key moments
Story Circle
Blueprint 15-beat structure
Arcplot Score Breakdown
Weighted: Precision (70%) + Arc (15%) + Theme (15%)
The Many Saints of Newark (2021) reveals strategically placed dramatic framework, characteristic of Alan Taylor's storytelling approach. This structural analysis examines how the film's 15-point plot structure maps to proven narrative frameworks across 2 hours. With an Arcplot score of 6.6, the film balances conventional beats with creative variation.
Structural Analysis
The Status Quo at 1 minutes (1% through the runtime) establishes Christopher Moltisanti narrates from beyond the grave, introducing 1960s Newark and the DiMeo crime family. Dickie Moltisanti is established as a respected, charismatic made man in the organization.. Notably, this early placement immediately immerses viewers in the story world.
The inciting incident occurs at 14 minutes when Dickie kills his own father "Hollywood Dick" in a fit of rage after Dick strikes his new wife Giuseppina. This act of violence disrupts Dickie's moral equilibrium and sets him on a darker path.. At 12% through the film, this Disruption aligns precisely with traditional story structure. This beat shifts the emotional landscape, launching the protagonist into the central conflict.
The First Threshold at 31 minutes marks the transition into Act II, occurring at 25% of the runtime. This indicates the protagonist's commitment to Dickie makes the active choice to fully embrace the violent mob life, getting deeper into criminal operations and rival conflicts with Harold McBrayer. He crosses a line from which there's no return., moving from reaction to action.
At 60 minutes, the Midpoint arrives at 50% of the runtime—precisely centered, creating perfect narrative symmetry. Of particular interest, this crucial beat False defeat: Dickie's affair with Giuseppina intensifies and Harold openly challenges the Italian mob's control. The tensions that were simmering now threaten to explode. Dickie realizes he's losing control of multiple fronts., fundamentally raising what's at risk. The emotional intensity shifts, dividing the narrative into clear before-and-after phases.
The Collapse moment at 90 minutes (75% through) represents the emotional nadir. Here, Dickie kills Giuseppina in a rage, drowning her. This mirrors his killing of his father and represents the death of any remaining innocence or possibility of redemption. Dickie has become what he feared., demonstrates the protagonist at their lowest point. This beat's placement in the final quarter sets up the climactic reversal.
The Second Threshold at 97 minutes initiates the final act resolution at 81% of the runtime. Dickie attempts a synthesis by doubling down on being a "good" mentor to Tony, trying to give the boy opportunities he never had. He recognizes the cycle but believes he can still do some good through Tony., demonstrating the transformation achieved throughout the journey.
Emotional Journey
The Many Saints of Newark's emotional architecture traces a deliberate progression across 15 carefully calibrated beats.
Narrative Framework
This structural analysis employs systematic plot point analysis that identifies crucial turning points. By mapping The Many Saints of Newark against these established plot points, we can identify how Alan Taylor utilizes or subverts traditional narrative conventions. The plot point approach reveals not only adherence to structural principles but also creative choices that distinguish The Many Saints of Newark within the crime genre.
Alan Taylor's Structural Approach
Among the 3 Alan Taylor films analyzed on Arcplot, the average structural score is 6.8, demonstrating varied approaches to story architecture. The Many Saints of Newark takes a more unconventional approach compared to the director's typical style. For comparative analysis, explore the complete Alan Taylor filmography.
Comparative Analysis
Additional crime films include The Bad Guys, Batman Forever and 12 Rounds. For more Alan Taylor analyses, see Thor: The Dark World, Terminator Genisys.
Plot Points by Act
Act I
SetupStatus Quo
Christopher Moltisanti narrates from beyond the grave, introducing 1960s Newark and the DiMeo crime family. Dickie Moltisanti is established as a respected, charismatic made man in the organization.
Theme
Dickie's father "Hollywood Dick" makes a comment about how "you can't make a man out of nothing," foreshadowing the generational cycles of violence and the question of whether people can transcend their origins.
Worldbuilding
Establishment of Newark's Italian-American mob world in the late 1960s. Introduction of key players: Johnny Soprano, Junior Soprano, young Tony Soprano, and the dynamics of the DiMeo family. The 1967 Newark riots provide historical context.
Disruption
Dickie kills his own father "Hollywood Dick" in a fit of rage after Dick strikes his new wife Giuseppina. This act of violence disrupts Dickie's moral equilibrium and sets him on a darker path.
Resistance
Dickie grapples with guilt over killing his father while navigating the Newark riots and racial tensions. He begins mentoring young Tony Soprano, becoming a father figure. He struggles with his attraction to Giuseppina and seeks guidance from his uncle.
Act II
ConfrontationFirst Threshold
Dickie makes the active choice to fully embrace the violent mob life, getting deeper into criminal operations and rival conflicts with Harold McBrayer. He crosses a line from which there's no return.
Mirror World
Dickie's relationship with young Tony deepens as he becomes the boy's mentor and hero. This relationship represents what could be—a surrogate father/son dynamic that carries the thematic question of breaking cycles versus perpetuating them.
Premise
The promise of the premise: Dickie operates as a powerful mobster, navigating family dynamics, criminal enterprises, racial tensions with Harold's crew, and his complicated relationship with Giuseppina. The mob life appears glamorous and successful.
Midpoint
False defeat: Dickie's affair with Giuseppina intensifies and Harold openly challenges the Italian mob's control. The tensions that were simmering now threaten to explode. Dickie realizes he's losing control of multiple fronts.
Opposition
Everything tightens: Harold's war escalates, Giuseppina becomes more demanding and unstable, Junior Soprano grows resentful, and Dickie's guilt and paranoia deepen. His attempts to maintain control only make things worse.
Collapse
Dickie kills Giuseppina in a rage, drowning her. This mirrors his killing of his father and represents the death of any remaining innocence or possibility of redemption. Dickie has become what he feared.
Crisis
Dickie processes the weight of his actions, retreating into guilt and attempting to make peace with his choices. He visits his uncle seeking absolution but finds none. The darkness of his soul is laid bare.
Act III
ResolutionSecond Threshold
Dickie attempts a synthesis by doubling down on being a "good" mentor to Tony, trying to give the boy opportunities he never had. He recognizes the cycle but believes he can still do some good through Tony.
Synthesis
Dickie tries to guide Tony away from the mob life while managing the aftermath of the wars and murders. Junior Soprano, humiliated by Dickie, arranges his murder. The cycle continues as Harold also escapes, undefeated.
Transformation
Dickie is shot and killed on Junior's orders. Young Tony mourns his hero. The closing image shows Tony at Dickie's funeral, having lost his mentor, cementing his path into the mob life. The cycle is unbroken.