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A film has only one chance to make its impression, but a television show can add layers to itself every seven days. Most programs don't take advantage of that, but few have done better than HBO's The Sopranos. The first season, released in a four-DVD set, allows one to savor The Sopranos, which quickly became one of the most confident and insightful shows on television. Early on, David Chase's portrait of the private and professional life of New Jersey mob boss Tony Soprano teeters on the edge of parody. Tony himself, artfully played by James Gandolfini, is believably complicated and conflicted, emerging as a family man (in both the literal and colloquial senses of the word) depressed by the slow rot of his own inner life. His sessions with psychotherapist Jennifer Melfi (Lorraine Bracco) help in some ways (through a new understanding of his family's importance, and a Prozac prescription) and hurt in others (his continued "anti-social" behavior and an intense case of doctor-patient transference), but never go over-the-top. It's Tony's fellow gangsters who feel exaggerated at first, though the crew develops quickly in the first season from well-acted stereotypes who spend a lot of time quoting Al Pacino movies into legitimately multi-dimensional characters. These supporting performances, most notably by Michael Imperioli and Vincent Pastore, give the show's mafia moments the juice they need to transcend parody. The other Soprano family members -- an upper-middle class nuclear unit that worries about upper-middle class things -- is that rare portrayal of suburban life: one drawn with care and humor without condescension, and with attention to regional and ethnic detail. Ultimately, though, what makes The Sopranos so good is its unfailing dedication to its characters. Their lives are fully and richly imagined, steeped in a deep understanding of suburbia by writers and directors who know what they're doing and care about doing it intelligently. No show since Homicide: Life on the Street has created so nuanced a world; one packed with real ironies, ambiguities, and quiet truths. Who would've thought the artistic high road would look so much like the New Jersey Turnpike? Dave Roth, Barnes & Noble
More reviews and recommendationsA film has only one chance to make its impression, but a television show can add layers to itself every seven days. Most programs don't take advantage of that, but few have done better than HBO's The Sopranos. The first season, released in a four-DVD set, allows one to savor The Sopranos, which quickly became one of the most confident and insightful shows on television. Early on, David Chase's portrait of the private and professional life of New Jersey mob boss Tony Soprano teeters on the edge of parody. Tony himself, artfully played by James Gandolfini, is believably complicated and conflicted, emerging as a family man (in both the literal and colloquial senses of the word) depressed by the slow rot of his own inner life. His sessions with psychotherapist Jennifer Melfi (Lorraine Bracco) help in some ways (through a new understanding of his family's importance, and a Prozac prescription) and hurt in others (his continued "anti-social" behavior and an intense case of doctor-patient transference), but never go over-the-top. It's Tony's fellow gangsters who feel exaggerated at first, though the crew develops quickly in the first season from well-acted stereotypes who spend a lot of time quoting Al Pacino movies into legitimately multi-dimensional characters. These supporting performances, most notably by Michael Imperioli and Vincent Pastore, give the show's mafia moments the juice they need to transcend parody. The other Soprano family members -- an upper-middle class nuclear unit that worries about upper-middle class things -- is that rare portrayal of suburban life: one drawn with care and humor without condescension, and with attention to regional and ethnic detail. Ultimately, though, what makes The Sopranos so good is its unfailing dedication to its characters. Their lives are fully and richly imagined, steeped in a deep understanding of suburbia by writers and directors who know what they're doing and care about doing it intelligently. No show since Homicide: Life on the Street has created so nuanced a world; one packed with real ironies, ambiguities, and quiet truths. Who would've thought the artistic high road would look so much like the New Jersey Turnpike? Dave Roth
Having proven itself to be both smarter than the average Mafia story and better than a Freud-by-the-numbers family drama, the second season of HBO's Emmy-winning gangster soap opera, The Sopranos, continued to break new ground. For the most part, things pick up where they left off in Season 1 for Tony Soprano (James Gandolfini). Heavy-hitting characters such as Tony's mother, Livia (Nancy Marchand), and Uncle Junior (Dominic Chianese) move into the background to make room for denser ensemble conflict and, in Marchand's case, to give the actress a rest during her battle with cancer (which eventually took her life after production wrapped). A handful of new antagonists are introduced, the most treacherous of whom is Richie Aprile (David Proval), the embittered brother of former boss Jackie Aprile and Tony's No. 1 rival. Tony's once-estranged sister, Janice (Aida Turturro), returns to New Jersey, motivated by...who knows? Dr. Melfi (Lorraine Bracco) also gets more of the spotlight, boosting her presence from mere sounding board to that of a well-developed character. Causing further agita for Tony are the usual family and work crises, most of which are shadowed by the return of his close friend and colleague in crime, Pussy Bonpensiero (Vincent Pastore) -- who secretly wears a wire for the F.B.I. This tense story line fuels the entire season, climaxing in an emotional finale reminiscent of The Godfather: Part II. These highlights only scratch the surface, however, as The Sopranos tries to best itself after an almost mythical first-season success; supporting characters Carmela (Edie Falco), Meadow (Jamie-Lynn Sigler), Anthony, Jr. (Robert Iler), Christopher (Michael Imperioli), Paulie (Tony Sirico), and the rest are also given their due focus. The four-DVD set affords director commentaries for several episodes, two featurettes, and much more. Tony Nigro
The Sopranos Complete Third Season offers Episodes 27 through 39 of David Chase's sensational HBO drama, which began its original run in March 2001. The third season earned 17 Emmy nominations and won 4, including Best Lead Actor in a Drama Series (for James Gandolfini as Tony Soprano) and Best Lead Actress in a Drama Series (for Edie Falco as Tony's wife, Carmela). Available as either a 4-DVD or 5-VHS set, The Sopranos Complete Third Season comprises the following 13 episodes:
The fourth season of HBO's Mob hit The Sopranos gets rolling with Uncle Junior feeling the squeeze of his legal costs, Carmela stressed out over money issues, Christopher anxiously escaping into heroin, and Tony feeling new pressures from everyone -- including an increasingly unruly Anthony Jr. There is dissension in the Family ranks, and Tony's New York counterparts have grown hungry for a bigger piece of his pie. Overall, the fourth season offers more complications a bit less blood than its immediate predecessor, and sets up more storylines than it concludes. It also drew the highest ratings in the show's history, and garnered 13 Emmy nominations.
Some hardcore Sopranos fans thought that the 2004 season represented a fall-off in the series' quality, but in revisiting these 13 episodes we didn't detect any precipitous decline. On balance it's a fascinating group of shows, notable for the introduction of Steve Buscemi as Tony's recently paroled cousin Tony Blundetto in "Rat Pack," and Robert Loggia as Feech La Manna in "Two Tonys," a character previously referred to but not seen until this year. The principal plot thread underpinning Season 5 is the steadily building conflict between ambitious Johnny Sack (Vincent Curatola) and Little Carmine (Ray Abruzzo) following the death of Carmine (Tony Lip) -- a conflict Tony (James Gandolfini) will eventually have to deal with. Now separated from Carmela (Edie Falco), Tony develops a romantic interest in his therapist, Dr. Melfi (Lorraine Bracco), but you can bet more pressing matters will keep that relationship from maturing. Our favorite episode on the year is the offbeat "Test Dream," which finds Tony having a nightmare peopled with previous victims (and former show regulars, including Joe Pantoliano, Vincent Pastore, and Annabella Sciorra). While it may not compare with the very best of this fine David Chase series, Season 5 certainly stands head and shoulders above the average network fare. Ed Hulse
After a season many longtime fans dismissed as lackluster, The Sopranos made an eye-popping return to form with 12 memorable episodes that aired during the spring of 2006. Continuing the previous year's plot thread, Season 6 opens with New York crime boss Johnny Sack (Vince Curatola) languishing in jail, awaiting his RICO trial, while his underlings continue to make trouble for the rival New Jersey family. "Join the Club," an especially strong episode, finds a wounded and comatose Tony (James Gandolfini) dreaming that he's a "civilian" while Carmela (Edie Falco), Meadow (Jamie-Lynn Sigler), and A.J. (Robert Iler) maintain a bedside vigil and Tony's crew members begin vying for control. Upon awakening, a slowly recuperating Tony has to figure out how to avoid appearing weak in the face of dissension within his ranks and continuing harassment from Johnny Sack's crew. The usual array of subplots is on hand, and that venerable Sopranos tradition -- the surprising, shocking, bloody "hit" -- is observed with apparent glee by the show's creative team. The season has a few weak episodes, but by and large Season 6 is a roaring success. Ed Hulse
In the first half of Season 6, Tony Soprano (James Gandolfini) cheated death when he was shot by his now institutionalized Uncle Junior (Dominic Chianese). While Tony continues to muse about his second chance at life, now he faces myriad stress-inducing crises at home, at work, and from the law. For the second half of Season 6, airing from April to June of 2007 on HBO, Tony's wife Carmela (Edie Falco) plans for a future she's not sure will arrive, and son A.J. (Robert Iler) and daughter Meadow (Jamie-Lyn Sigler) find that adulthood holds its own surprises. Meanwhile, at work, Tony comes to doubt the allegiances of many of those closest to him. No one, not Paulie (Tony Sirico), Silvio (Steve Van Zandt), or even Christopher (Michael Imperioli) is above suspicion. The clock is ticking, and time is running out -- but for whom?
Performance Credits | ||
| James Gandolfini (Films)(Biography) | Actor | |
| Edie Falco (Films)(Biography) | Actress | |
| Lorraine Bracco (Films) | Actress | |
| Michael Imperioli (Films)(Biography) | Actor | |
| Dominic Chianese | Actor | |
| Steven Van Zandt | Actor | |
| Tony Sirico | Actor | |
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