This isn't a review as such because it's five
years too late for that. But there are a few things worth discussing
following a viewing of the Sopranos complete set, seasons 1-6, over
the last few months.
TV isn't cinema. One of the many things that was
said about the Sopranos was that it made TV for a cinema audience.
Grown-up TV.
I've already said that I came to it late. I guess
you have to remember the days of inconvenient television - when you
had to sort out your social life so as not to miss the final part of
a drama series - to appreciate the joy of convenient television. A
series originally spread over seven years can be viewed in a few
months with pauses not for adverts but at your own behest for a tea
or comfort.
I am not a good judge of acting. I know wooden
when I see it but am not so good at spotting talent. One of the few
things I do observe is the skill of actors in a scene whilst they are
not involved in the dialogue. The Sopranos directors tended to let
the camera linger on the non-participants in a conversation. They
often pan round a whole group during an awkward family silence. They
especially loved the facial expressions of those listening
respectfully to an idiot. The way Carmela Soprano (Edie Falco)
responds with her facial muscles is a wonder of the world.
In Steven van Zandt (Little Steven, Springsteen's
E Street Band) they found someone with no previous acting experience
who nailed the shrugs and comic twitches of right-hand-man Silvio and
invented, and stayed in, a character for all six seasons.
So what was the Sopranos all about? An Italian
criminal fraternity in New Jersey? Of course. But it was about more
than the story lines. It was about loyalty, relationships, food -
always food - and growing old. It covered all sorts of normal and
abnormal health matters - cancer, dementia (where did I bury the
money?), adolescence, drug and alcohol abuse, domestic violence and
smoking. It was about corruption. About fashion and about paying your
debts. About sex. In these stories marriage is somehow sacred whilst
a succession of escorts and prostitutes provide 'relief' to the men.
As long as they are not caught the guys live with this deception.
When found out they use gifts in place of penitence. The presents are
of hugely expensive jewellery or top-of-the-range cars.
In particular the Sopranos is about the male
psyche and the regression to violence, horrible and extreme violence,
to solve everything. The guys banter at each other's expense but have
a 'line' in their heads which, once crossed, deserves a beating. They
find it hard to accept a friend who gives up alcohol and goes to AA
since most of their meetings involve booze in some form.
Which is why a weekly set-piece where Tony Soprano
(family head and gang leader) visits Doctor Melfi (a psychiatrist)
for therapy, is key. He talks to his therapist as if his work should
cause no mental problems but his wayward children might. He blames
his mother for most things.
Tony speaks of his frustrations and stresses,
initially as a waste-management consultant but later more blatantly
about his real work. Melfi knows who he is and has a therapist
herself with whom she discusses her professional hang-ups. Sometimes
Tony even refers to the 'elephant in the room' but then names a
different elephant. The main cause of his stress is obviously the
inner conflict that he lives off immoral earnings in a world of
warped loyalty where, around every corner, might lurk someone who
wants to kill him. He commits, or arranges, murder himself many times
- sometimes of enemies; sometimes friends. Look at his daughter wrong
and don't expect to keep your teeth.
In the very first episode, while Tony is talking
to Dr Melfi about 'trouble at work with a debt,' we cut to a severe
beating of the debtor.
The use of music is interesting. The Alabama 3's
Woke Up This Morning is the soundtrack for the opening
credits, these always played over a drive home for Tony. There is no
pre-credit action. The final piece of music each episode changes
every time. Sometimes it picks up the theme expertly; on other
occasions it grates deliberately. The final tune of the final episode
is Journey's Don't Stop Believing.
Our expectation is that this utterly unpleasant
protagonist, who we will miss when he is gone, is doomed. Few people
in the show die of old age. We know his family will mourn him but
will we? The final episode leads us up to the point where everything
looks in place for Tony's murder. We wonder how we will react when
this inevitability arrives.
Are good people all good or bad people all
bad? That is what the Sopranos makes you think about.
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