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Showing posts with the label James Gandolfini

The Sopranos: "Members Only"

  What is possible in middle age, in the second half of life? Angie, Mrs. Big Pussy, turns her own world around; she becomes a successful business owner. It seems like Eugene, another peripheral figure in "The Sopranos," might have his own shot at reinvention. An inheritance check arrives; it's for 2 million dollars. Eugene has quite a bit he wants to flee. His son's health is deteriorating; there seems to be no effective response to drug addiction, and the entire Pontecorvo family is coming apart at the seams. Additionally, there is the problem of Eugene's day job. He is asked to murder a stranger, a civilian, because of a financial dispute. That's a bummer. Almost casually, in the Third Act, the writers present a final major problem. Eugene has secretly consented to talks with the Feds; though agents may sometimes feign sympathy for Eugene, these agents have little or no interest in Eugene's "dreams." Eugene will stay right where the government...

The Art of Television

  One thing I appreciate in "The Sopranos" is its use of dramatic irony: the moments when we're aware of twists that have somehow concealed themselves from the major characters. Season Three "resurrects" Big Pussy, in a series of flashbacks; because we know Big Pussy's fate (and Tony does not), the mid-nineties scenes are notably painful. When Big Pussy becomes weirdly territorial about his Santa suit, we understand that the artificial "fat mounds" conceal a wire. At the same time, we can appreciate that Big Pussy is genuinely an excellent Santa; he is a conflicted soul, more complicated than the 2-D image his friends carry in their heads. In a parallel subplot, we're made aware of Charmaine Bucco's disdain for Tony (but the Sopranos do not know about this disdain). Then, having seen her own life crumble, Charmaine decides to "drop the mask" in Tony's presence. She calls him something lower than dirt. Carmela--having noticed T...

James Gandolfini: "The Sopranos"

  Rewatching "The Sopranos," you spot certain issues. For example, it's a favorite trick of Chase's to have a villain "reemerge," having disappeared for several years. This happens with Richie, but again with Ralphie (the name even sounds similar), and yet again with Tony B.  It's not exactly graceful. Also, Meadow's character seems slightly inconsistent to me. A major event in Season Two is Meadow's discovery of a strong interest in UC Berkeley. This is "pitted against" an interest in Georgetown. Clearly, the writers want the Meadow character to remain near Papa--so they decide to send her to Columbia University. But Meadow's act of choosing is neglected; we just have to accept that the California dream has evaporated. (Additionally, I'm curious how often students receive both a cold shoulder from Georgetown and a warm welcome from Columbia.) No matter. What I love in Season Three is the show's consideration of thoughtlessn...