Carmela Soprano's Cut Scene: Edie Falco Reveals Unseen "Many Saints of Newark" Moment

Edie Falco has shed light on a deleted scene featuring her iconic character, Carmela Soprano, from the 2021 *Sopranos

prequel film, *The Many Saints of Newark*. The 61-year-old actress, known for her role as the wife of mob boss Tony Soprano in the acclaimed HBO series, revealed details about the scene, which was ultimately left on the cutting room floor.

Speaking to *IndieWire*, Falco explained: "I came in, and I did a monologue. I'm embarrassed that I don't know what [exactly] it was about. It was Carmela as if she was musing on the old days, and then the movie began. Then I found out that [director Alan Taylor] didn't end up using it. What a flippy day that was."

Despite the disappointment of the cut scene, Falco reminisced fondly about the experience of returning to the *Sopranos

world: "All these years later they're doing my hair, putting on jewellery, putting the nails back on, it was like a serious trip. There were so many *Sopranos* people there. It was so lovely. I'm so deeply fond of those people, Alan Taylor, of course, amongst them."

*The Many Saints of Newark

takes place decades before the events of *The Sopranos*, focusing on a young Tony Soprano (played by Michael Gandolfini, son of the late James Gandolfini), alongside his mobster uncle Dickie Moltesanti (Alessandro Nivola). The film features a cast of actors portraying younger versions of familiar *Sopranos* characters, including Corey Stoll as Junior Soprano, Billy Magnussen as Paulie Walnuts, John Magaro as Silvio Dante, and Vera Farmiga as Livia Soprano.

Reflecting on the experience of revisiting her role as Carmela, Falco mused: "It was crazy, but so normal, because I spent 10 years of my life doing that daily. You don't get to do that a lot."

In a four-star review of the film for *The Independent*, critic Clarisse Loughrey observed: "It's not all that necessary to be acquainted with *The Sopranos

to enjoy its feature-length prequel, *The Many Saints of Newark*. What it demands from its audience is only this: an understanding that there is no innocence among the powerful, and that men too often carry on the burdens of their forefathers."

Loughrey further remarked: "Such fatalistic ideas were already the lifeblood of David Chase's celebrated mob drama, which aired on HBO from 1999 to 2007 and is still widely regarded to be a peerless work of television. But here they're delivered with that quiet ache that can only come with the passing of time. *The Many Saints of Newark

is both instantly recognisable and somehow unplaceable. It's fierce and brilliant, too – a work that both expands on and complicates the cultural legacy of *The Sopranos*."