The Sopranos - First Episode
Sep. 15th, 2021 09:47 pm![[personal profile]](https://www.dreamwidth.org/img/silk/identity/user.png){kind=small}
canyonwalkerYesterday I mentioned I've started watching The Sopranos from the first episode. Not a re-watch; for the first time. Several things struck me about the first episode: about the characters, the dialogue, and the acting. Here are my thoughts organized as Five Things:
1) The acting is tight for a pilot. I'm accustomed to it taking actors in new shows, in new roles, a few episodes to really get into their characters. For example, I really loved the series The Shield years ago, but the pilot was a bit uneven in term of acting. Lead Michael Chiklis was only 95% into his role as hard-boiled, dirty cop Vic Mackey. Having come from softer, safe-for-family shows with a humorous bent, he delivered gangster lines with a cock of his head and a twinkle in his eye like he was cuing the laugh track. I noticed a writing misstep, too, in the form of too many named supporting characters. These were fixed by the third episode. So I was ready to forgive small missteps in the first episode or two of The Sopranos. Except there weren't any. I'm really impressed with how James Gandolfini nails it as Tony Soprano in s1ep1
2) Gandolfini delivers a great line. Tony Soprano tells his therapist, "It's good to be in something from the ground floor. I came too late for that, I know. But lately I'm getting the feeling that I came in at the end. The best is over."
This line captures an angst I've felt several times in my life— that a role or place or thing I had prepared for in life; that I had prepared for because my parents, teachers, or elders had guided me to prepare for it, was basically over by the time I got there. That I'd been given guidance too late and there was little if any value left to be had once I arrived.
3) Tony's disdain of "people today" is even more relevant today. Gandolfini follows that famous line above by complaining vaguely about people today. Here and in other scenes he cites his parents or grandparents generation for their hard work, skill, and pride in doing a job well, contrasting that to current generations who lack such character. In starting this show from 22 years ago (season 1 aired in 1999) I wondered how culturally relevant it would remain today. Tony's sneering at the work ethic of younger generations— and also specifically his distrust of Americans who aren't of White European descent— is actually more relevant today, in 2021, than 1999. That's because while this type of other-ing was fringe bigotry 20+ years ago it has evolved into the more virulent white nationalism we see embraced by one of the major political parties today.
4) Chris is going to be trouble. They're telegraphing that the character Christopher Moltisanti, played by Michael Imperioli, is going to be trouble. I think there's going to be a crisis of faith between him and Tony. One man will believe he's better off without the other around, and will do something the other can't forgive. I know, what I'm saying must sound quaint to those of you who've watched more of the series than just the first episode. You'll be all like, "OMG! Chris totally [SPOILERS] Tony after the [SPOILER] in [EPISODE] and then [SPOILER] in [LATER EPISODE." Don't tell me; I don't want spoilers!
5) What's with the priest? A Catholic priest is hanging around the Soprano home in s1e1. Tony challenges Carmella, his wife, about it, implying that there's something inappropriate going on. Carmella objects that he's just there "[H]elping me be a better Catholic." Is there something hinky going on? I guess no. While sinful Catholic priests are a familiar trope in movies and TV, in real life totally above-board relationships like that do happen. A priest at my parents' Catholic church was friendly with them and visited their house occasionaly when my younger sisters were teens. It's just the kind of outreach some priests do. They're not all old fogies locked in their naves doling out Hail Marys at confession time.
1) The acting is tight for a pilot. I'm accustomed to it taking actors in new shows, in new roles, a few episodes to really get into their characters. For example, I really loved the series The Shield years ago, but the pilot was a bit uneven in term of acting. Lead Michael Chiklis was only 95% into his role as hard-boiled, dirty cop Vic Mackey. Having come from softer, safe-for-family shows with a humorous bent, he delivered gangster lines with a cock of his head and a twinkle in his eye like he was cuing the laugh track. I noticed a writing misstep, too, in the form of too many named supporting characters. These were fixed by the third episode. So I was ready to forgive small missteps in the first episode or two of The Sopranos. Except there weren't any. I'm really impressed with how James Gandolfini nails it as Tony Soprano in s1ep1
2) Gandolfini delivers a great line. Tony Soprano tells his therapist, "It's good to be in something from the ground floor. I came too late for that, I know. But lately I'm getting the feeling that I came in at the end. The best is over."
This line captures an angst I've felt several times in my life— that a role or place or thing I had prepared for in life; that I had prepared for because my parents, teachers, or elders had guided me to prepare for it, was basically over by the time I got there. That I'd been given guidance too late and there was little if any value left to be had once I arrived.
3) Tony's disdain of "people today" is even more relevant today. Gandolfini follows that famous line above by complaining vaguely about people today. Here and in other scenes he cites his parents or grandparents generation for their hard work, skill, and pride in doing a job well, contrasting that to current generations who lack such character. In starting this show from 22 years ago (season 1 aired in 1999) I wondered how culturally relevant it would remain today. Tony's sneering at the work ethic of younger generations— and also specifically his distrust of Americans who aren't of White European descent— is actually more relevant today, in 2021, than 1999. That's because while this type of other-ing was fringe bigotry 20+ years ago it has evolved into the more virulent white nationalism we see embraced by one of the major political parties today.
4) Chris is going to be trouble. They're telegraphing that the character Christopher Moltisanti, played by Michael Imperioli, is going to be trouble. I think there's going to be a crisis of faith between him and Tony. One man will believe he's better off without the other around, and will do something the other can't forgive. I know, what I'm saying must sound quaint to those of you who've watched more of the series than just the first episode. You'll be all like, "OMG! Chris totally [SPOILERS] Tony after the [SPOILER] in [EPISODE] and then [SPOILER] in [LATER EPISODE." Don't tell me; I don't want spoilers!
5) What's with the priest? A Catholic priest is hanging around the Soprano home in s1e1. Tony challenges Carmella, his wife, about it, implying that there's something inappropriate going on. Carmella objects that he's just there "[H]elping me be a better Catholic." Is there something hinky going on? I guess no. While sinful Catholic priests are a familiar trope in movies and TV, in real life totally above-board relationships like that do happen. A priest at my parents' Catholic church was friendly with them and visited their house occasionaly when my younger sisters were teens. It's just the kind of outreach some priests do. They're not all old fogies locked in their naves doling out Hail Marys at confession time.
