The Contemporary Television Series

Edited by

MichaeL Hammond and

Lucy Mazdon Copyrighted Mltena]

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CH A PTER 8

Violence and Therapy in The Sopra1/os Joson JQcobs

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Tho: lint "'""" of 1M s."._ episode 'Amour l'ou'lohcno" Can nela (Edit Flko) ond Meadow Soprano Ulmie--L) nn Si,ler). ";f. ond Bartoli.' In lon, iboc. III Carmola ~ Meadall',..., halt htt lSk. '00 JOU ~. tampool!·.1:ocfOft tDn.. is. close-up of the couple u w -rs. 'I'm tpooinl-' This opmin,.no. .. a p;ood uamplc o(.he "n 0( 7lt S."._, 'f1w:n, ill_ tkql ridInoa in the choicd iha, ...., mad.. heft, in the poinu of cortlpuiIorI ond oonlfMl, and in the n,.a o( r..1inl''''' art: t'\wtd , "", d>ot con..... thc: ~p of Carmela', hand ";!h . he 'U~I>CfI' e."OIu,;"'" of

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the ima", In,o I wide one, ., thaI the: deIail of the: rinl is immaliJ,cJy COnlalualiJrd: III Ca.mclo'..nd within !he wider "pace of tile •• lIcry. T he rinS is. pri...,c pc _ion that can be carrkd C\'CI)'whnT; by p]a,;in. 'M ring and ito _ noer .. i,hin lhe comu. of thc: """"",",. public , pace ... i,h price.Ioa ......o of ar. iha • ...., flit ",,)'bo
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oom[lares 1"'0 kind~ of di>pla)~ 1l0lJ tind~ of posst$Siun: thn of ptTWn:t1 ,,'calth rJ:.niscd C1imc and th.t of legitim.te publicly o"mM art The ring irself is a giaM! obion, sapphin $urrounded by diamonds.. I.'¥< enough til obs.:u n: . "" knuckk of Ca.n,cla·~ ring fin~r, It is a ring lhat s.isnifics e:rctS.,i,'~ "...allh thor is in in'~ pm"'.... inn tn taste. Bu. ho" 'c,'e. big il is on Carmela'~ finger, il is dwufed, as ~he i.. b)' 1M si~e (If .he mom .nd the !i fe-~i>;c h"nun ,.",.lpturt;S Iha. pn U( l' ""d 1M rinH. Their mOlionless I!"'lurn • •cconlrasted " 'ilh Carmela'li "cady m...-cmcnll.,.... rds M eado,,'; in ",rlieu!.r lhe Rlost prominent sculplun in the: forcgTOOnd is OM of Rndin's full_figu n nud., stud;'" of Pi~n de Wi_nl (for h i, 101... uf Caldjl): Ihe figure holds hi. righl hand lowud, his head as if in imense despai. - il is . Slrikinl'l pose of anguished intro!lpecrion . The .ing hu nu ... I;,'e "-.:ir;ln 100. Tooy P"c il 10 h~;u a binhd.y gif! da:pitc heing in the mOddlc of an ./Jail ,,'ith Merttd<:t; ar solt$woman Glori. Trillo (Annabella s..io..."),~ Carmda ..:a:Pled it wilh pl"""ur<: dtspi(e being told b)' • 1"')'Chia(risl: 10 Ie•..-., him ~lJJC her lif., of lurury i, fundM by'blood nlOone)".· So lhe ring is I "isiblc sign of her conlinuing complicil)' in Tnn)'" crim~ .nd iMOf.... the ring dmotu possasion, her ct>mpl.int tn the pS)'chu tri. t ooo..t Tony's infidelit}, (hi. 'rucking who":") begs Ihe qu«tioon P( h". mor;\l p<.>$it'un in their rclationshi" Her n.r... t''''' arc in so; .... n throe: i. prrcisc:ly rnncc:rMd with he. IlItmp. ro ,oc:oncik lhe: Ir.Id fcc:lings g<:"" .... N by !hill complicily and her dtsir<: 10 <:SCI~ r<:Sp
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10 the worid of the q;bk popular ...... So the .... II Oft<'e 'firs' CMmda bul iii. disunl from her. the world of Klllptlirr IUId m _ 10 be. In thlJ _lhinp of lral baolltJ _ bcin& ..-III"fd apiN! 1M ~lb", 10 dw Cmnda'. IinI wonlilR IUrprilinl not 10 mIlCh MalIK of Ihcir contenl • ka. . of Ihcir conlClL 11M: rudicd world of 1M m plin y lUId opaIlR conlrulfd with tbt incon."ftIima: of IlOl M"m, a IImpon

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11M: ..... coaw-.inRl~ IiIou.AlWru lH ... _ ..... n WI btr _ " " ........ pit • n I " 'I CIIO....rion, M~ p.-a Canaria • and ... waIb IHoc:/r; throIIP doc II:1II1"11_ in.."...-. \\c 1M! '"' ~. slow . . _ _ peiminp bftnc conaumcd in _htt pan of lbt" _ 10 rat on c.u-Ja Md Meadow Ioolilll at I ponnQ by Rvbms. T_ bill r-d lUId ...,art: in another pan of1M plln-,. ' Imap,w 0...... )'0lIl' portrait pQnl!ld·, .,.. CAnnda. 'SM', jlUf ~ wifr of. rich mndwIL ""\'. how Rubmi IMdc hillll"lOM)'.' lIladow trpIios. Apin n sa tho: coalf"* btt_ m and ph)"SinI IlCCHliIY wlUd! rdI«u llpon c.m.da' ........... _the wik of. rich man, 1"hcobjecu iIIlbt"pllaya",

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btinJ: no;nilfd 10 IIIfftth-r demand" Mfa' _

diIaiMon Iboulllh:aoo...··IIndH.. Meadow IIlIIOIII>
ha r;pIit willi ..... boyfriend JIC~ie Apnk Jr U- CatIork) and "'lIb ....", em..d. foIIooq Modow intO .Il0l ..... room in 1M pliny; lOmeIhm, 011" ICI"ft1I a lchei her tye. anll her mCIIIlh opmII oIip.tly. Un dQ. ' walk towmb; 1M oll"-tICfft11 obj«1 it rokJumJ by 1M fftIImpUon of lhe 'Spoa IOn Ilil prnnll' piano, IS Ih~ amen panlto follow her m("'tmcnl . Wt then CII\ IO I maUum l hol ofCarmd.. '~ (ace Ioot'nl in lwe Ind .. onoo II I IIrp: pain dnl- A ,.,..~ cui sho • • ItIi il in nl(M't dft.ail; J""'pt de Itibera', 7lt MYUK./ .II.,....I" .f SI which drpiom tho: infanl ChriIl htkI hr hia moIIher. wilh Calhm... bmnth tho:m mar,. hiI hand. As Mcadow .-.. OUI tho: lio. CM ...... rraI*" with ""00"'. and _""'Thill' IIM babr}ella' 'SM'IIJWT)'illl I bohr" ars IIladow; lD .. bleb Cormda raponda. ' \\c ,II do. [Wipinl InnJ I Ihouldn't beDlaSric.' \\c pit I doIn Jbot of the painlilll u Car .... b ronl;nua I<) KIn: in wondo:r • ....,.., ' Loot: II her, 'l'he link IN",'" h>nd .pi~ her (hod.. She'..n at i"C"""- A bt>wliful, u--t, JOtpoui link boby.' SM ronlinua 10 ,,_ • ..., ...... DutoIi IItJ't1doin& WI "l1abk. Thm Carmeb A l"t., "C.orrw on, In'. Qt' and tht _ _ endL II iii 0!6cqk co thinl of • __ in s.".- lib: thili tNl iii III far ...,. from tho: bnKaI ~ world a( the mob tO.1 iii 1ftq_U,·1ho.1I I<)

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ring is pl'Ominer1t again. What is 1M ClUse lie. IIOrro ...! We ar~ :IS~fti to measure tM depth of this SQrI"OW apinst tM music ... ~ hnr In.rticul. r readinr. mood or tone, here it i5 used both to~-oIou, ' M ,••,en" and '0 open up. r:alher th.n confirm, lJOS..ible rndinp. Is (".armel.', ~n(SS of ,hat epic dttr qualit)" ",. hnr in B.rtoli·s .'Oicc, or is it • product of more ..... . )..1.). '"Xietieo. TM 1IlW>ic could ht used to lock do .. n • p>.nicub • ..ming of (.0."",1> but li~~ .... n)' of 1M strot..pc, of tM sho ... Ihis b ymng simply . xp;lIIds tM r.lIIg~ of poSSiblc ..millp.. WI>=: music could ht uonl to i",i5t 0 11. panicul.. """'in50 he~;t utends lhe ran!" of contra'" il"''' us to o;mlp:tr~ the d~pth of ferlinr and SldnQS in I.... IIOng ,,-ith Ca."",]a'. f'CSpoTISC to the painting. H ... u"'""pected voginol bleeding could ht. sign of ....I>OplIU.... o"'rian Clnoce. or pt'CgJIIncy; he...,.. he. raopo~ to lhe pointing ,\lid the bab)' has t ..o possible meanings. I'cmlPS t.er te.rrul If'!lrrcil,;'m ,,( 'he infan' ',he in"o,-" n,. lel.·s ... tu'. OUIllmo:nt th. t ',,'c ,II 00' (marry babies). H... comment iignols that 1M impulsi, .. in.tinctu.1 dcsjr" of i,,(.n4 ma)' linger in ,I>< .,jult n' .... , ha, ...<>mo" man ,.. So ,,- h~t ,,'e 1;tt in h.... ppo,..,nlly unbiddm =~ic 10 the: poinling is 10)'..-..:1 ",ilh tu,rati,.., significance. The .. n5ual lo.rt ;. compa...d toocher inntlunt.rl' bodily ..,.ponsc:s - 1M bleeding. ,he tnn, the desire 10 . ... TM ~ illustratct the ""y in " 'hich TIr~ S.p..,,,,,an 1I.e htauty of . painling " 'i,h Carmela'5 tcarful _ponse to a td.,·ision com"",.... I for dog food . 'Wha, is ,he ..,.n... ,,00/0:.. I'.radm;ico.lly 1M ~'(n l il; lit .... U)' int.,n.!. TM ,,,gin, l bltrding s!>e noI:ed .t lhe st.rt ohhe .pisodc prom"," h ... 10 pries! ...1>0 iot ... ining to he • psychologist. Fother Obosi (baach Dc B..nkole). ln confaoion 1M ,ui.,.. h.". ...orries ,hOI ~h. ha~ o,-.';'n co""",. Or m~y ht !'fC",ln" Ca.mel~ ffpnt. Dr K,..ko"·... '~ a,...,,,ion ,lut her lif~ i • • lie o"d ,lu, she: shook! In,'e M. hu.bond . Obosi ,,","indo t.er th.t in Cnholicisrn di.""", is OYt of

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tht: <,cr;J.1 form ,"-an uffer the hn:adth and comprChCnlol\Cnc.... that the nar~ ral;, c fi(tlOn rum ie would find difficult. 'C\crrhc!cs,> t here arc eli .. 1inctions he nude. \\hlle ;11'>lru(: ,h,1I mer the !;Cason Ill' lind OUI more informalion aboLLt the dl.lraucr .. Jnd their hi<,lOrit·s, Ihi .. i.. not the ."Inte thing as C01ll1ll!:(' to undcr!tt ,11ll1 desires. ItJ

\\ here,I' the cla'>sic.11 gJIll:Ncr genre has a rise :lIlt! f;11I ,lTClnd therap) f) pic;llt~ ,>cd... to rcstlhc (IT reliclt p<;~chologiC-JI amI emollon,1I problem .., in

TilT.\' l/prilllll_1 there i., liule dClclopmcnt. Tvn~.

IllT cumplc, rCIllJin .. mudl the same lhrou}!."hvlIt (apart frum hi:. "pell of duonic depre.... ltm 10 .. e"~10 tine) and nCler (Iuc.. uon .. ,he means h~ II hKh he 'putS fOOl! on h, .. f"mil~ ... table' Of l:Our),e if wo mm:h change i.. ,Khielcd then the (or mula i .. brol.en, But Thl'SlIpmllll.\ is emplutical1~

liS depictIOn of the quotLtlian dctails of gang life hoth til lIorl. lll1d ,II hOlm', In th.1t sen ..e il resemhles ;1 ninclc{'lllh-<.:clllur\ re:llist nmcl. Lnlil.e TIll' Glld/illlia or GIIIIII/dlll.t it is ,llso grounded in the pTl'scnt da~ of 1'\ell Jer .. c~. Thi .. moted l:ontemporar~ realism aI1OI\" the ShOll ItllllcorpOT.lIe into its narratilC .. trUl:lurcs cOnlll1entar) on the eontempnrar~ lIorid Thi .. L ~ nOlto daim IllJllhe .. holl docs nOI change_ Indeed. ;1" 'he ..casons prugrc.., there is;1 P;lrtu,:ul:ir .1"pl"C1 Ihat rise-. to increa .. ing prominence. ' J ·hi~ is the i.... ue of Ill1pul"'llt~. Ijl.c Carmela's 'car... the .. holl 3 .. 1. .. us IU (f)mider I he rclJtillmhlp bel II een the .. lrUClure and I r:ulit ion .. of Ihe mob, the dedinc ILf the \mericlI1 f;lmih. lIith the umtruclured, unregulated lIorid of instinct. de"lre Jnd implihe. It is Ihe latter that Iherap~ ..eel. .. \0 ,Iddre.. ~ um:OIering the .. trUl:turc .. ,InJ p:lIlCrm of irnplll~e in order 10 IlCtler maluge them, II i.. Tom Sopr.lIlu·s 1m,s of control Oler his boU~ hi, P;IIlIl: ;IILld.,S Ih.1I begin,> in Ihl: pilot episode, ,Ind is .. wntinuing i..:,ue in Illu.. t uf Ihe "<:,"00", II hil:h means he i .. filrcetl to attend Iherapl II helher he lil.es it or IIIll hct:Ju\c his e,istence as.1 I.:.lpable 1callcr appear.. under Ihrl':!!. This immcdiJleh rai ..cs I he is,"ue (If I he conncctions hetll cen hiscriminal ;lclil itio: .. ;11111 his ml'diea! ('oll{lition, In dmng so Ihe earl~ se;",ollS o( TIlt' SIJprllllf/1 made c\.plicil ils interest in eontemporar~ Jefinit ion .. of' criminalII ~ ,lIld Ihe cnnICmpOr.lr~ I herapeutic cult ure In h'lIl1lg one of I he ch;lr'lclers ;" a therapist nit" SlIpr,IIIII.\ \I ;IS ahle to nplore is~ue~ of personal re"I)lJThlbiht~, IInpul ..e conlrol and niminallt~. \ccorJIIlg: 10 tht, shuII\ I:realor, 1),1\ icl Chasl': reall"

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It if _ _ hot odd that 0.-', d= \Qtil;'r 10 'pt)ochoboobbk' and 1M iIIw: of _Iabili,y . . bccrt lit.'" n:matttd upon, bul it if one .hol m;OfIlia wUh IXIIIlmlponi')' diInu-J;i,.., COn' U " around .:rinw and aimi",1

bdlaviour, In the ..... u iz.il.... ~ consi _ .... J y Ihoftd monI .... un. By 1M mel of 1M ninnumh Cll:lltoorJ, willi a~..r 1\

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dearly _ SfIOlI-.oIy """.-ina: crirninolal )l, ........... ..oct. _ Du:rkhtim bepn 10 cIc.tlop thwoics of ~_ WI xtr.......... io.oNy ....aided 1M monI dimmlion 10 the un
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behaviour' (Collcuu 1996: 46), Gradu.lly durinJ .he ... o:nr~h «I\IU')'. ap;tlllIm, i'I,hcr rhan bdnl ......... I n ille\'i..bIo ..,Jillion 10 crimin.l behaYiour, ..... beJinnina 10 be ......... its ClIUIC. Wen: I'riminaIII polJo.olo.>iial ... the ..ae.;y WI prodldd thmI!' Crimr .... not _ .. an obnnlion 01 American >'Ilun but _ an opo ion of them. M CaIam _ lhis .... 11K ~ of • monI tduioism in ra.- to crime. _ ,hal ..... noaay ~ ' un,' ""un: of ~ subnJl\IIU in 'i 10 booorpoiI mniInnity. Mon: RClmdy aiminalilJ lou bccrt P"hokJsi:Kd and nthc:r lhan .mill aiminolo •• rmdua of -xr:y... beyond io Ihm: ioo ........ lnodmcy 10 utribuu c:rirninol poIo:ntioli~ 10 the populorion 1I ...1ooIe. in tho:_ of 'in ..... cin:\il1Wl"""" "")001< ..uuld do lho: ....., thin .. M Jamu Nolan hal obIco .cd, CDm'allionalllilll1ility Ioudoifttd frora • _ of risht and Wi"OiIIIO _ fIi hftIth and illno::a. H~ poinlllO • from the 19901 .. hm: Ihrnpeuric dilcourtal .. eft cm~ in public dcfmot 0( aiminola: tho: Lomu Bobbin KCluit",1 toca ..... of Innponi')' inAnil)l, ,he

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Lyle and Eric Mmcndu mislrial .r'er 1M dcfmdanll deimed Ihq ~ -.ietimI fIi fomily ""'- Nolan ...... "'"

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""'< aloo t..... "'...:I .,., ouch pa,hoIop. " ",·criOOulgcnt<: in j"n~ food (,he oo-nllnl nrinli<: d&rKJ<), 'oo m""h '.k•• .;.,~ ...«h'nlo .I<<>l>0l...... rMs, """ _""",,m.xp"".ion. (No4o Rt.om, '" .... pru'i<: .s.rm« OIr.... ieo

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n ,erMdiali.,uion of crin.. dfccti,,,ly redcn""" crimi~lity. Acrording to NoI.n's anal}'sisof drug_rel ..ed crimes. 'Whr", on", drug 011"..,"'5 "'"'" """n OS kpl infraclioM Ihal needed 10 be puni~, Ihcy a", inonasingly ,';"",'ed as illn«&cS Ih .. n..cd to be Irnled' (Nolan 1998: 100). If criminalilY is . ~;';ll>M th.., lhe issU<: of indi"idWlI rcspoosibilil)' is diminished. Wh<1I Canodi.n poIilician S,,,,,d Robi""", admi.,td to steolin,. diamond rin, ,,"or.h 550,000 in April~, be d . i!Md lha. hot "'as undc:r considc:r_ .blc emotion.l slrns a. the ~ . nd ..,.,..;,.,.j co ... i
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• rw<>1 ill,.... ... P.)"h"joZiW n.o. bo:cun< our ..... m.nl rd"....""" pain ... H.ving . "Ntil"'"" 'heal'h .1\11 ilm...' for'rirtll.nd ....""'lI' , we ",",,,, g< Iha, pro>" ideo . he I<>l: roul. '0 a rinJ , 1\11 ftq;¥<, ..... (Dincrn 20(4)

ROIftnsiblc for our f.il"",.o control our ;mpu~ and bella"iour "" an up«. to """';vc • palholoP:al lobd. In terms of Iftc: ,\hli. it i. de.. ,h •• many of .hc cllarao:.c~ in 71, S8'~_ ,....:up}' ",h.. •h. J)j~&M'fir uJ SIMi'firal ,lfu""/_r MnlI41 DilMJm, F.~,,~ £'(,iiMI ( DS~l -I V) describes OS Anlisoci.l Personality Disord .... Th is ill".,.. is ch,,,.:tcr;,,w by; • I""""';"" po' .... n of d""-"iard for and ,·iobtion of the rip .. of othcn ... f.ilu,.. 10 wnf<>rm to -u.1 ~ ,"'ilb "'"P«-"' to 1• ...£uJ bt/u,·iours •• , ;""ul".~y ... f.i'un: w pI.ut a.!\Qd .. . ... ri ..bility onI!o>iulu ... lad of 'u ,"" !<, 01 inn:oli ..... '\;"'i", hun. m ....... '"", or .,01... from a"",her (Am<"I"ican P.)~ h;"ri< A",,,,;'rit)n 200); .161 .7)

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The mroico.lisa' '''n of ttimin. l btha"iour is rdit'CI«l in . h... ch.ngtnz depktion of thc pngster Of! ",-""",n. In ... riier pnzs.~ r film. 1M individ... ,
In:ti,,-".mI ultimalely corponlised orpni!ied erime, ".It
~IOUJ\lCl AND TlIUA' ~ IN rH. ~O~IA/yOS

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and hiI impulRl IR II10ft of Ilh_! to III
killin,. woman and child. in"cad (xtCllt in,lhot usaainteals"lbC1"Io {Mark hi.

M arp>lisJ in • Ii. or "PUt"OWl temper. In act lhal file.. In G.H/dw (Sconae, 1990) murtkrous impulsivily i, ..... bodicd in lhe fi,lu"e of Tomm,. De Vito OtIC Pacij. Whcreal other killinp in the """'ie,

such III thoK commil1w by Jimm)' (Rob<:" I~ Niro), can be rcod IS. I"CIpOI\Je 10 llI~iet,. or for MJf-pM«rion, Tommy', beh ... ;...,. Ih/"CIt .....

cr'''''

;tso lf. He kills I youn, boy. 10 diarupl the 1trUCIun: of orpn;"'d Spidct" (Michaell mperioliJ. who da_ 10 Itll him to '10 f""k yourselr. III act thai bnrildcn his pi",," Jimmy(Robtrl De NiroJ, who I$U ' Who,', the mailer ";Ih you? "R YOU •• ick nuni>d' Tommy aOO kills BiDy RaIIJ" (Fnnk Vincmt ) fn'ft" "'hat Itt1m liuie man: than a penon&! dip". Bccauoc a.11I .... 'DwIe' lilY and pan of a CK"W lie was proIttttd: T .......)" iiloter .,..«ula! for lhe ki11inlo';na: .. ~ICIU")' Hill', ( Ra)" Liona) ~ apIai ..... the only ....Y10 kill. mado "',. ..... by "",,,,~I (I oil-down) and with . JOOd rtUOn . 1 M ,,..bilil)" 10 pbtt 10)"111)" and 001i.darity to the M.r. romily aoo..e pcnon.al hurt ;. c1nrl,. ... If..dam.nhc itt this aK. Whereas the killina: of Spider .. I n inwo.-mima 101M mobMen. the murder of Balli thtatmo 10 """""11'1;"" lhe: aimiMI MrUn\lt"t .. Iten:by hiPe. up an: proIccted by tile lr;WilioN II"Id ooIa of the mob famill' diatinction and blllrrin, of I..... tWO kin
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lilt. (:0"

F \l1'{)M

un

TF IF \ISID' lit Rli \

111< SIIprdlll15' modcrni~tion (If tlu'j!cnrc. The !teCond ~11111 ,lOd tht: Implication .. lilT thc "olidanl~ of the group become inCrC;I\mgl) promincnI as \\ c gel 10 the later sea.,on" of I he .. hll"\<' DJ\ id Cha<,c h .... remarked The \\hule ")~Icm.lh~· Ilhule IlIcrJrch~ I~ M:t up 10 prc\I.:nt liukm.:c being dU11l' UJ gu~\ \\ho ,Ire hIgher up There's rules agJin~1 moule gu~, "homing ,jnmhcr m,tde gu~, It ~md.III1;ll.c~ scn~l:. r mean il's:m nllcmpt h~ <:rnmn.lb II Ilh Imuted impu] ..c cOlltrn1 ttl hale \l)Ille Lind or ~lrUl:lun:."

The (OnlrJ.SI bct\\ccn the (\\{Ilinds of 1!Olcnct! i.. nm C\plicill) c..,l;lbIi ..hcd until ,>cason three. ,.hhough Ir:lCCS I,."':,m still be llclcCICcJ in earlier <'C'J';on", The murder., III ..cason onc arc all planned lut .. : there is the attempted a!>!.Jssin;ulOn of Ton~,1U the wcn><;sful h1l .. on \Iil.c~ PJlmicc (.\1 SJpicn/..a), II BrendJn Filol1e (\nth()n~ DeSando), IZ JIHlthe net:ulion of FBI 'rats' jimm~ \Iueri Uu,cph IJJdalucco jr) ;lIld Fchh~ ))clrullo (T()n~ RJ~ Ros"i). 1.1 EI en tho ..e pl\1nned hib, rcl;lin ~()rt1C clement of infanlile temper t,lIltrllms: II hen \lIke) Palnm;c is hit b~ P;lUlic \\.llnut~ (Ton~ Sirieo) ,lIld Chris \lolti~"'Hi (\ltchaellmperioli) in the II()OJ~ the ferncil~ Ill' the gunfire is. at lea!>t on 1),Luhe'~ part. prO\oked h~ hi~ irriution ,Ifler \\Jlking inlO poi!>on I\~. In sea~()n 1\10 ..,;()mc of the planned hit .. eln be ..cen JS the product nf gener,llmnJ! IllnperielH:e. 1IIIh III 0 '~Clung punk!.' tr~ ing to mJkc t heir marl.. SCJn Gismonle (Chri~ TJrdio) Jnd \Ian Bel ilaqu.! (Lillo BrJnC:llo jr). \\htl attempt to kill ChriS 14 Thelf mtltlle is that the) .!fe 'nohmhe .. ••.lIld in killing Chri!> the~ hope to II in re<'llCel from mali.! Lolpt.lin Richie \prill' (I);l\id Pr{)\;ll). Chri, I.ill~ Se:1I1 during the aHad \1Tld TOI1~ hunl~ (11)\\n .Int! e'\e(utl'~ \hllI. Thc dima\ of the se:lson climes Ililh the el.lh{)ratel~ planned e\ecutioTl of FBI r,lI PW") Bonpensiern (\ incenl J>;I~lOrc) h~ 'I'nn~, PJulic ,lilt! Sill io on ho.Lrd ;1 hired hoal. H 110\\ 1;\ cr, the mll!>1 !>I unnlng in~l;mce Ilf impul!,i\ e killing I;()mes 101\ ards tht.· end of th", Sl-.tson, In 'The "night 111 "hlle Satin \rmor',lh Richie \prill- Jnd T()n~ .~ 'ii~tcr janice (.\ida Tunurro) .Ire engagcd 10 he marril!d. hut Richie fJil!> 10 get sUpJlorl fiJr hi~ pLulIlcd assJ'i~in:tl1{)n of her hrother .1Ilt! i~ lo.,lIlg moncy;:t!'l.1 re<,uh the large hou<;c ,mel grand \Icdding thl'~ \ c pLuliled 1\ ioul.ing IInlil.cI~. \\or'ie. JunIOr Soprano (Dnmimc Chiane.,e) \\;\, told TOI1~ of Richie\ plam ;111£1 Ton). ,Ifler comulung Ill'. 1111I.'i1,/!/Wrt' Si II in Dante (Ste\en \;In Zandt). h,l~ agreed to 11
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punch was • minor one. There is no hislory of a~ belween lhem indeed for a charaa ... SO nuty III DIllen, Richie'sltfttR>en1 ofJanice: is par_ ticularly considerale " I' 10 this poinl. There is no doutH: IMI Jtkhie deserves linle bell.... bul the ICCne challengu uS 10 Ihink of Janke as his viaim. Ocarly thil raonatco . ·ith .·ell -known insr:ancesof wi,u who ha,·~ killed lheir husbands suffering domeslie abuse for BUI JlUlice·. action iI betl ... undemood IS one lhal combines impulsivity wilh an instinctive mategic insighl. Richie is no good 10 her IS a fllNK boss. as an C(:(Inomie 5UPport and now il IUII\J; he mal· .... bark on a CUftI" of abuse. JlUlice calls her brother and Richie;s cut up and disposed of. In the third ilC:aSOn this to SO Slraighl and 5c:1 up • massarc business. Dut aft .... fortuitow;l)· finding len lhousand doU,.,.. and then Iooinr il on pmblin, he is pr",·oktH awry frorn 'he VI-go. After Idling his friend Dino (And~ ..· Da,·oli) to call Carlo (Lou;,

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TIn; C:O'\lTF"'tPOIl.Aln Tt.t U'I-stO,- SER1t:S

Crugnali) (II ho has;\ shOlgun), the) return to the Aprile house (because Dino's mobile docs not work) II here BaSIC Itlslll/(/ is pia) ing on the T\". '11:1\e the~ shO\l1l 01) falourite part ~et?', s.lysJackie as the two of them sit 011 the sof,\ to Ilatch. This is no procrastination hut simply 1110 ~W)S distracted b) the T\". The image fades to blad as they II :lIch. Later II e sec them eating a pi7l.J and watching !ltT\', wherc Jad.ie tells Oino once again to call (".arlo, 'Do you want to spcnd the rcst of your life \lith your head up your ass?' The robbcr~ ilself is a disaster. Arril ing outside with Carlo, Dina and their driler .\tatush (Emad Tarabay), Jackic has second thoughts. ha(\. (he malleT. }Inhl': I don't kll(m 'ou sure )OU IlannJ do Iflis? IJII/{}:

\\

Don', ~ou7I1 ci:tl' : Fue).. it, let's go dOlln (he short'.

/)/111/ ;

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(Pause) Dllw: Lel\ do it hetoTl' Ihe crankl! Ilcar~ off.

Whereas the point of the robber} \\"a~ to achiCle starus and recognition, nOI\ Jadie is determined not to be recognised. Ill.' tells Dino to do the talking because 'Eugene .. , will recognise 01) loice.' Instead of courage and determination, t he group appe;lr ill prepared and ncr I ous - that Dino suggests Ihe~ do it II hile still under the influence of drugs implies that without il the~ would not hale thc inner resoll'e or courage (0 carr) it out. On bursting into the e.tnl game lIe dis('O\er that both Chris, Alhert Barese (RicllJnl .\Ialdone) and Furio Giunta (Fnkrico Castelluccio) arc p1a~ing - all of them part of Tony's crell. Initial1~ the group seem in control, telling the pla)ers to hand mer their mone~ and possessions. Christopher and the other mob guys set'lll calmer, hOllcler, than the robbers themschcs (Chri~ and Furio adlisc them In 'Take il easy'). Jackie in particular is irritated b) the dealer, Sunshine's (Paul ;\bl'urs)..y) incessanlcommcntary: 'This is a low-leI d game, guys, all you're gonna get here is prilcti~e . . . \ ictor~ hilS a hundred f,lthers but defeat is:lI1 orphan.' Jadie tells him to 'Shut up, stop fucking looking at me', forgetting that hi .. loice I\ill gi\c him ,\lla~, as il does, to Christopher. 'Vhen another mob guy suddenl~ enters Carlo panics and lets off a shot; immedialcl) We cut outside 10 sec \ btush speeding away in the gctall·ar car. As Sunshine continues to loiee his adages ('If you can leep your head IIhile those around ~ou can't . . .') Jaekil' begins to !>hoOi him repcaledly in the chest (a IOtal of selen times) and a shoot-out enslIes with Christopher killing Carlo, and Furia being wounded in the thigh b~ Jadie. Oino and J::lckie run outside 10 discOIer their get;l\\il~ car gone. Jac)..ie Copyrighted Material

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hiiacb I car and ZOOITUi off In"ing Dino in lI,e road. 0';' and Alben QfCUH: him on 11M: spot (stlOOling him a total of eight lima in tbe bead). Jadie'. impu]si.... action<, shootinl an unar med man It em rsnge merely becaUK be irritaled him, make him a poor candid.te for I mobstCT. His fail"", to wmmand IrouP ..,lidarit)" becaUliC ofbi. own indccisivtnCS'idenccd by the: brutal .....y he In'ell Dino to his f.le indicaH: I ""pid boy ..... y out of his depth. In pan the: Dino and Jackie eluroctcrs...., $lock dCTn .... U in I S~,.,U()I seqon. In W first season 11 ""2l; Ori. himself and b .. partner Brendan Fi~ (Anlhony DeSando) .. ho played tM rok of )"OIIRI pIll"vtnll$\ooI.:ing for ohonC"llB 10 the top; OristopMr is .., obst:sscd witb being recognised as a mobsI:cr that he: 5Itab: a .....d of nc"..poJICTS Ib.1 "",nlion him by name, and is I ffronted .. hen Brendan is describnl U I major figure afler he: is killed. The unrcgubtw enCTIYof the )"(Iung men .. ho wWl to make it as rnOO5ler1has. destabilising dfcct on the solidarity of the mob pro"iding n.arntive amllia.. Ori. remains Ihe sour« of the: youthful, unrcgulued impulK. He survin$ not be<:aUliC M is .m.oncr than ,ho: ",hen, bU!, in port, bcaUK he is related 10 Tony, who ,uton him to abandon hi. hopcsofbeing • ..,...,.., ... riler. Th.is d<$irc in i1SIllI 10>.. me. But)..... ri/l I"CIpccI me. '

Dramatically ""eb instan<:a of the f.ilure to control 0 """ lemper allow for lucid .... lUld RO\"CI shifts in the nuroti,·t. But they are.1so port of • ... ider project of the show to und.... tand tM relationship bet ...·em the: lher_ apeutic impulse to cultivate the Self, 10 np ..... 0""" feelings, and the ncccaity of adult ooIidarity in the (mafi. ) Kroup in order to mainl:l.in the I)"Jten1 of organised crime. In tbis ""y the",!,)' . nd violcna: Ire not

In

opposed but

l 'Ul COSTEMPOJAlV TELE,' tSt OS SEatES inttrlin~ed.

FOlexlmple. in 'Season S, episodell' Melfi tdls Tnn)' to 'own hi" f... lings', but in doing"" Toay ~a!i!leS thar M has ,0 .,;so.,;in"e his tl1p2S.<. II)" framing the as pr.,....Hing ,""npy in relation 10'''' mob, for " 'hom adult soIid,rity it; a nu1l~r of lif• .".1 d""th, tM r~1 •• ionship of rM Self 10 ,he group is acurely posed. Contemponry lhen.py is cnn=ncd " ·' ,h ,h. <-ultin ,ion " f'h" Sdf ddilKd .. ,he i"a~ • ..-Ire;'....,... 'h" , djo,f of cmoIionol probkms .hl'(M.lg/> odju.,"""n .. in rho inMr work! of!h~ indi_ (l'ul'flli 200): 1+1). Th~ is why Mdfi's trtatmenr of Tony i. doomed since ..... n)" of Tony'. probIenu .~ not .mtn, bIc 10 Ming ref... rnN as internaUy aused; Tony ellsc. in a n leadership. Le,~hip ""'mands smsiri,·;ty, oomrolled .u~ion, Stnlt:gi<: ;muiti"" and In ability for rhe the,uria.1 gesture Ton)~s hypo:rwtsiri"i,)" .o mood", pure and cmot;"n.llaJllljoptS;S burh. sr ... regie .,1>-""'1<; .I"",·ing him ILl ',ad' 'IK i,"~n'iu"" ..... mob frinub .ml e,,,,m;"'; and ,... ,;,.u",,, of his f""l"ctn e,,; .. ent"l.ng:.~ . In'''''.:d it is prire 1'",. Melfi. "",ch OIUpli n~ <-on firm .... Odns of "'petition compulsion, tht neal to "'ptot whll ;. f.nili•• .,.~n if il is ha.n,ful. But Tony docs not com~ hend h.,. clinical cI .. it)~ ... must come to his 0"'11 urnl.rsun-ding rhrough ac,ion , a,her ,h, .. rcf1e<:rio .. . Ont of rhe clairm of I!w:UP)' ;,; Ih.r impulses . nd rompuli-ions. moods Ind sadnesses. ragt:S . ntI dc p'~nns .K so.fUC'Urto, f.,.- !w:, own erotie .nd suicid.l rtaSOns. inmi_ . i,·ely J ' '''f'' ,bi, .nd j, ;. >b. who. in • ".. h", i.; v;,,!o:n, "5"men',
'0 ...

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encourage!>. us 10 'e\pre~s our feelings' the one emotion that is deemed to require control is 'lIlger.. \nd ~e t it is precisel~ rage and anger lIut cla.rifies for Tony his relationship II ith Gloria. In' \ll1our Fou' there Me sCleral scenes that illustra.te this, buildin g lip to the climactic \ iolcnt fight heillcen Gloria and Tom. We sec them in bed at Gloria's house enjo~ing: a post-eoilal comersation; Glori:1 attempts to tell Ton~ ,Ibout her un h:lpp~ rehitionship II;t h her fa1l1il~, but frequent cuts 10 Ton~ 'listen ing' shO\I that he is more in\l:restcd in forming: smoke rings II ith his cigar. Gloria Iries a more direct appeal b ~ turning up the radio that is pl:l) ing '1\ ffection' and doing: a 5t riptcasc ShOll before jumping on him .1 .1 This scene illustrates Gloria's intuit;le understanding that Ton) can be reached on I) through direct, elaborate theatrics. Later the) hal c a strong: argument aboul the possibilit~ that Tony 's former girlfriend has slashed Gloria 's t~ IT!>.. Ag-.!in, T()n~ is difncult 10 reach. II is by chance th:ll Carmel.! is at the i\iercedes shol\foom II hen Gloria is there to offer her a lift home. During the journey home Gloria quizzes Clrmcla ahout her f;\mi[~. Clfmela's ring is prominent hen: but al<.;o her inabilit~ to stop boasting ;Ibout her famil) \ achielemenb, parliculart~ .\ie'Hlml's attendance al Columbia L nil·c r sit~. '·\t leasf your daughter doesn't hale to latch on to a man for success,' Gloria telL<; her in a barbed attack. When Ton~ find), (lut about ,hi)' he confronts Gloria al the car sholHoonl and ends the relationship. Later Ilhen Gloria phone), him in h~stcries he lisi !s her laIC in the elening al her place. This climactic scene is depicted as a I iolcnt form of psychodrama in st ark contrast \0 the sterile therapy sessions. I ler house is a small cottage, Ilith Ilood panel floors and \Ialls. It;<.; COSI and dark. ;\nnabclla Seioria's performance :lS Gloria Trillo is olll),landing. She mi\es iI smart, scl fassured per~ona, lIith:l eoquellish, girt ish thrill. When she gets Ilhat she II ,liltS, before others kJl(1\\ she is going 10 gel it, lIe ~ee a girtish smirk of triumph flicker anoss her face. Th is iuppens \II icc, once in the underground p,lrking lot, and ag,tin II hen Ton~ confronts her in the Globe motors shO\lwunl after he disccllers she has gilen Carmela ,1 lift home. In this scene she ilg"ain gels Ilhat she II ,liltS - Ton~ 10 attempt 10 kill her. ,\t fir~t Tony attempts to connect II il h her despair. GlomI: "fimy :

\I~

life's a Irip 10 nowhere. 'ou bring il Oil ~()ur~clf. !Tcndcrl~ ]1.Hok . II\Ul cr. I mcan lIe had (Jur ;1110 1'0' or II halcl er. \nd il II as greal. [lie louche~ her chcek .Jlld !!IlIc Ilualc~ hi~ h:II111 lIilh it. I :\1ll1 11011 iL\ Lime ltJ pUl iL ltJ hcd.

Gloria is seated on the fluor ncar the staircase as Ton~ wllers mer her, but her sal age repl) is SP,lt OUI Ilirh pro\ocatile intensit:.: Copyrighted Material

G""-,

IV",", y
"'i' ......

Avin ,he rinK fllcctiOM IS a oign of Tony'. erono."y of rom ... n~'ion .nd love; sbf dirtttly (h. n""KC' boIh hi& t rudity and tlste. and C.r"",b', ",ut~ compliciry in ucept;ng. The pro .......1itm ... .,..k< and Ton)' slaps her "iOOu"")" '00 you think "'Y ~f.', a fucking picnic.?'

Gu.,.;.: Oh, P'><~ IOU. IS .... (d' up an~ OP!>f'l*hcI T""l'] r ...."" .... . (""lin! d,.,.", lif. compared ' 0 mi .... Nobody <:arcs if I'm .li... ,or
Allhi, poim "'e >« Tony """'ing .w.y from h.... o"..rd. the dour ... ith an odd Jool on hi< fote..

TMY:

I didn'l j .... mc:t1 , .... . 1\" k"",,")1>U . Umy lif.. My""" .......... j.... lik. you. /I 00«",,,1 ... bbck bo>k

Gu"",: Oh. , .... """ ..... no", I ...

,Kntkr. bmn ..... at ....... ok ...

In h<. ,,-, """1 ... an .... Glori. ochic-'. ,..hot Mel6 foil, .o d", ollowing T on)' '0 uncknnnd the simil. ";t)· beI.em Glorii, "",lool"lIruuic .. If_pity and his mothtr'$ Jl0:. th'(>at. Tony'~ mOl"moWl frame i, ""nl.... IN . 'ith tM ' light build of Gloria:

No ... yo. listrn to ..... , '. ,.. ro .... , mr "if. or my ("",ily .nd I'll {uck in \.ill l"", you und.....nd mc:? "II {"din t ill )..... G,..,.. : IcholiinJI Kill me, lill me you uxt....d-l.pi.. in h.. {otel Kill"", _ 1• •y: You furli" bitch! 1"'1"... z.. lurd..-j r.;,..,.. : Kill me. Kill ..... Kill ..... Kill ..... Kill m... IT,my Itts ro .nd If,,,,,] KiU ..... Kill ..... Kill me. Kill "'" r""y:

In the ne .. '"lit ,..ith Mdfi sbf enroura"", him lo(hinl.btl"t ,,-hat it ..'OS .!Iout Glori. that remindN him of his motM' , Ton}" ',..,.'" , don't ""nt ru {lid my m<>lhcr, I don't C..-e . 'h.. )'OO say.' 'Not fuck', "'P~" M~Ifi, '"ron M' ]0,,, .. . ' nUl ,,·httc do(,; thi. insip.t get anyOOdy? Tony'. ""'rome is • "~ry practicoJ 0". _ 10 th"'OIen Gloria using on" of his hood~ ~tly P-. risi (D.n Grinuldi) to m y ' ''''')' from him or die. T ony urwln"Stand. that.1tt; d ini",1 insiJhu of th .... p~· do liule to 50"" the probkms M is foad . 'ith ""'y by.by. To .. )' , .....1" do< .. '" W b.olt,,"w. that1h",c i. no understanding thaI ""ould ""uk tM problems 1M "nrld

VIOLENCE AND THEIAPY IN THE S D' IANO S

155

continually mroW:l up 10 him. Alone point, 10 Tony'. bewilderment, Melfi - like a tf\I(O nihilistic JIOitmOdernist - qllOlei from Yeau' 'Second Coming': 'The falcon cannot hear the falconer . . . the centre cannol hold .' lIul bo ... does Ihill bleak view of the presml Ind the future help Wi from day 10 day, AI Tony often quips, 'Hnw do J>f'Jple find the time" After Tony kills Ralph in a violenl raS" he dra:m ,boola Clr journey wilh Ralph, Md.6 ash him .h:1I he Ihinu the dn:am meanS:

v.'lty dod' i you j.... ~Il m<1 W. h".I<> J
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156

('.rin",,1 fIl 1'11' s~,,'u~s' iP!'"! in 'his m:pea is 1M pHi'OI"lNnre (If J ames G.noJollini - it is difficuh '0 imagine a"",he. actor "'110 can be.t hom< in a domes' ;'; "" ,,'ell as a mOO !letting. 11 H is mawve ba,...lik~ frame 'PpeI" to en,bQdy a brndth of hum.n diment>d on my family'" 'able' an.d e:chibiu linle or no guih .bout hi!; crime$, exapt pern.ps in the legible dmlrns h. upericnees. " Throughout ~ Tony is uplicitly --.,-i. ,ed with a wild heat ;n,'ad"" .he Sopr. JlOI;' garden; in the final epioode 5« in . Iow ",o, ion a form CTMcrging from the,~ tlut tu.". 001 nof to bt tM ht~r bu. Tony, A fmjuent motif i!> 11M: shot of the hanam, ;us,-..'Ukcn Ton)' lumber_ ing do,..n hi' dri,..,,,... y IQ pick up lhe morning ne""SJ'IIPC' , or, in 'Amour FOil' , ~ng ~I at 1M tnaHos' bar in his drusins goI"n, os CarmeLo rcad~ 11M: POPC' , ' I think ;,'5 shocking ,h.! 1M fngli>'h pcrnmem didn't lell anyone about n .. d row'. d~: 'Ma)'bt: they didn't "-ant 10 CTnle a .umpede: he quip«. Minut"", bte. h.e h.s Gloria by ,he throal al lhe M cl'CC'des sho,,-room, TIl.. S6trU"J chal1engu .ho!It ,,'110 5« Ih;, as • ""nlndiction in5te.d of ,,'ha. i. is. being hUIlUII. ln ,hatsense TIt, Sq",UIJ$ '""P~tS the retu,n to hURun;". , ... Iu", and classia.1 rrali.." tlut t"" 19800 ond !990s p<)Stmod~n telel;";"" sought to underm;"". Ho ..-e,..,. bru.aland unpleasant Tony;' a' .inlCS, he wnd. os the InIlumuni'IJld Ix im prisuncd for his brulal ugly eri", ... but 0"" con only hope th •• he;s n..,..,. 'cured'. Tu botmw frum ,he end of Roth'. A""ri(.~ P."Q",I, ,,'halon tarlh i!; "TOllS with Tony Sopnno!

,h.,

Ii,..,

""'y

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doom

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Notes I. 2.

J.

-t . :J.

6. 7.

S. 9.

10. II . 12. 13. H,

15. 16. 17.

18. 19 20, 21. 22. 23.

H.

,-,. 26

27.

28.

'nm~

Soprano ulling :lhout hi~ tcmper \(J his ther:lpi~t Jennifer ,\ le1fi in '('..uld Cuts'. season 5, cpisode I L \3, '\role Up Thi~ \lorning' (from their 11)()7 ,\Ihurl, £.\I/!l1I C,,/dllllrlJOlir LlIIld; a lersion of [his \r:lcl i~ usc~1 for the tille sCljLence of TlI( SOprallYS, although that \crsion docs not conT:\in thc~e I~ ries. Season J, episode 12. This aria comes from \ i\aldi's tirsl opera Ol/fll1( 11/ I ii/II (171."1), ;J lurid and eomple\ mcltxlrama. 'The Telltale \IouzaJell', season J, episode \). 'Sccond Opinion', ~ea~on 3, episode 7. 'I'he ps~ chiltri~t is c:llkd Dr KralO\lt·r (h:.racauer?), aJe\1 Ilho hears a p:\ssin!; resemblance 10 Freud himself. The "cent' lIas filmcd on location ill the Brouklln j\ luseulIl of .-\rt and the Ro{.Iin ~cuJptures lIe sec arc lurl of it, penll:lnenl cullcction. See for C\amplc Fritz Lan!;'s Ilondcrful )/111 0111), Li~·e Olla (19.17). Da\id Chase, D\ ]) C(Jml1lell\;\r~ for '\\"hiteC"Jlh'. scasun -t, epi~ode 1.1. 'Isabella', sea;;llll I, episode 12. '[ Dream (If Jeannie Cus:llnano', <;c;\snn I, episode I J, 'j\ le:ldoll land,', st';\son 1, episode -t. 'I Dre:llll of Jeannie CUS:lmanO', seasun I, episude U. 'From \\ here Tu Etanll) " scason 2, episOlle 9. 'Funhou~l·',sc:lso112,epi~(Jdc 1.1 Season 2, epi~IJe 12. 'Lnilersit}', ~easo113, epi~ode 6. '\nother Toothpick', ~cas(Jn .I, episode 5. 'Pine BJrrens" SCJSOn 3, <.'pisude II. '·\rmy of One', SC;N}Il 3, episode U. 'Sen t imenl:tl J-:d liC:l1 ion', se:lson .;, episode 6. 'Cranl' i~ slang fur amphetamine~, 'Affection' h~ The Lo,>, B,,~~; Ihe main I~ric IS, 'Gilc mc some :Itl'ection/\\·h) \ it so hard?' For example, sec 'Emplo) ee of the .\ 101llh', st·ason 3, episode 4. 'Calling .\11 urs', season -t, cpisude I I :\ Iuselim of Tcle,ision :lnd R:ldio Semin:lr, Los .-\ngde, 200CJ. \\aihble fur \ie\ling at the \lu'>CUJ11 of Tclni"ioll and Radio, ;\ICII Yorl :lI1d Los \ngcles. The ()nl~ othl'r eontemrorJf) :lc\(Jr \1 ho combine~ menace, huild :lnd l·h:trm is i\licltJcl \hd~n bUI il is C"l:lrcmcl~ difficult to imagine that actor p l a~ ing a domt'sticated husband, See " 1\10 Tnny\" ~ea~(Jn 5, epi~o~le I.

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