Some of you might look at this list and say, "DUH! That's what good stories are supposed to do! THE SOPRANOS didn't invent the wheel or anything." Well, to nay-sayers, I politely retort with, "DUH! I know that..." Anyway, here are 10 things to think about.
DUALITY WITHIN AN INDIVIDUAL
Jean Renoir, the French filmmaker and humanist, once said, "everybody has their reasons." THE SOPRANOS sets out to prove this statement with all its characters -- not just Tony. I believe there's something to be taken from that. Everybody's human -- including big bad mob bosses.
One lesson often described in "How to Write" books is that of "petting the dog." In a traditional good vs. evil story, the cowboy hero comes out of the saloon and pets the neighborhood dog while the villain comes out and kicks it. In interesting stories, it's the villain that comes out and pets the dog... And in very interesting stories, the villain (who also happens to be the protagonist) then has a panic attack because he can't please everybody.
JUDAS, RATS AND BETRAYAL
A lot of great stories look no further than the story of Jesus' last supper for inspiration. Here's Jesus, trying to save the world, trying to do good deeds, then one of his best friends, Judas, deceives him and betrays him. Even though they are closely knit disciples, Judas turns Jesus over to the people that will ultimately slay him.
"Rats" who commit acts of betrayal are among the most interesting characters of any story, not just those about the mob. Put a character in a bind where he/she has to make a decision that will adversely affect somebody that he/she loves -- aaaand you will learn the true nature of that character very quickly.
WHAT'S REALLY VALUABLE?
Living in America at present, most of us have our basic needs met -- food, water, shelter. Some of us even have our physical/sexual needs met... When you have all of these possessions, where is there left to go? This is where we get into spiritual/existential territory. As the royal crime family of North Jersey, Tony, Carmela, Meadow and A.J provide the perfect metaphor for American life. They have everything they could ever want, yet it still doesn't feel like enough. All of them struggle to find real meaning and purpose in their existences. To me, this is the kind of soul-searching that kisses all great works of art from IT'S A WONDERFUL LIFE to THE CATCHER IN THE RYE.
Toward the end of FORREST GUMP, Forrest asks his dying mother, "what's my destiny, mama?" To which, she replies, "you're gonna have to figure that out for yourself."
How does one figure out his/her grand place in the universe if he/she is embroiled in and aware of the violence and corruption that surrounds him/her? That's why they're all in therapy and that's what makes this series brilliant.
MORAL DILEMMA
We determine whether a person is good or bad based on the decisions that he/she makes. Does he choose to sacrifice himself for the betterment of others? Or does he say, "screw 'em. I only care about me."? Almost always, the choices a character makes are fated to follow him around for a long time... The members of the Soprano crew are a great example of this. Even though the series moves at a slow and savory pace, a moral dilemma (however subtle) is at the center of each episode.
Sometimes we even ROOT for the mobsters to whack somebody -- because, through great writing, a good whacking seems to be the best decision -- a decision of justice and higher principle.
LOCATION
When you watch an episode of THE SOPRANOS, from the moment the opening credits begin and you see the car get on the turnpike, you know you're headed to New Jersey. To me, the show has an absolutely uncanny feel that could only be captured from shooting on location in New Jersey and New York using actors from the region. It's not L.A disguised to look like New Jersey, it is New Jersey. Most importantly, it feels like New Jersey. Movies have textures and you can feel them. One of the best ways to give a story a particular feeling is to utilize it's location -- to milk it for all its possibilities.
HUMOR AND THE POWER OF "PLAYING IT STRAIGHT"
SOPRANOS might be known for changing the face of TV drama forever, but it's hands-down one of the funniest shows I've ever seen -- and from it, there are lessons to be learned about humor.
First lesson: what's funny isn't often aware that it's funny. The minute one becomes conscious of trying to be funny, he/she is no longer funny. It's just a fact. Jokes play better when the actor who says them does not deliver them with a wink and a nod. A lot of jokes on THE SOPRANOS are delivered so matter-of-fact-ly that if you're not listening closely, they'll role right by you.
Second lesson: Humor can also stem from the belief that you are something that you're not -- think Ron Burgundy believing he's a ladies man in Anchorman. He's not. The characters in THE SOPRANOS often think they're pretty intelligent. With few exceptions, they're not.
WOUNDS AND VIOLENCE
Physical wounds are something I've always been intrigued by in storytelling. There's just something about how one's little bruises and scratches can hint at a deeper inner or inter-personal plight. Howard Suber, in his phenomenal book THE POWER OF FILM, puts it much better than I ever could... "heroes are inevitably wounded in body or soul -- often in both. Whatever the cause, the function of wounds is the same in all the world's stories, myths and religions: they are stigmata that prove the bearer is a hero." When watching this particular show, it's very interesting to think about what a character does to merit getting socked in the face, or worse, shot in the chest...
Also, storytelling seems to take on a whole new level of stakes when set in a blood-soaked world of violence and slaughter. In these settings, one wrong move can get you whacked. Want to know how to keep audience members on the edge of their seats?
MUSIC
There's a reason that I'm so into musicals. In musical storytelling, songs provide commentary on and breathe meaning into what happens to the characters in the tale. While THE SOPRANOS is not a musical, it certainly functions as one. The songs that emerge from the radios and TVs of the show's characters lyrically comment on the action, and melodically provide it a tone. Like in Peter Bogdanovich's LAST PICTURE SHOW and a lot of Scorsese's movies, there is tons of source music and very little musical score. While watching the show, I have been astounded at how sheer silence can add to the intensity of the scene. It just feels less manipulated and much more real. Also similar to feature films, each episode concludes with a different song that helps to state its theme. Radiohead's "Kid A" and Bobby Darin's "If I were a Carpenter" are among my favorite show-enders.
SIMPLICITY AND ACTING
If I were a director, I would like to direct lots of scenes that take place in one room with only two actors. There's nothing more interesting (to me, anyway) than watching two people come together or split apart within the span of a few minutes.
Forget that each SOPRANOS episode has the aesthetic of a feature film. Forget the guns, drugs and heists. At its core, THE SOPRANOS is a show about people. People in crisis, people in conflict -- with each other and within themselves. Yes, there are guns, yes there are fists, but it's oftentimes words that can deliver the deadliest blow and hurt somebody the most. It's been said that weapons don't hurt people, people hurt people... and that's why these little 2-actor scenes are the real meat of the show.
WHO WE REALLY ARE...
One of my heroes Mr. Mike Nichols says that an audience responds to what's going on underneath. In life as in stories, we work with great fervor to keep our walls up and our true feelings coiled deep inside... and often we don't let those feelings out until provoked. Sometimes we don't let them out at all.
But what's beneath the big bellies, the big hair, the big violence, and thick accents? What's behind all that protection?
THE SOPRANOS is a great work of fiction because it is first and foremost about feelings -- and how we often have trouble expressing them; how when we repress them for too long, the consequences can be absolutely horrific. It's about the ramifications, both positive and negative, about opening your mouth and being honest.
As Tony learns and states in the first episode, "talking helps."
That's why I love it.
That's why I highly recommend it.
I have 12 more episodes left in the final season. I'm savoring them.
FAVORITE EPISODES: College, D-Girl, Employee of the Month, The Strong Silent Type, Whitecaps, Long Term Parking and Join the Club.
ALL-TIME FAVORITE EPISODE: Irregular Around the Margins... Sometimes it just seems like an episode of TV is made for you. For me, this was one of those episodes.
If you've made it this far, you're a champ. I feel bad for how bored you must be... and I owe you a prize.
Ciao for now.
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