Thursday, May 11, 2017
The Sopranos Season 1 Episode 3
Episode 3: Denial, Anger, Acceptance
Christopher and Brendon drop off the truck to Comely, yelling as he is leaving Chris lets the Comely guys know "You can thank Tony Soprano." Junior and Mikey Palmice are having dinner, Mikey relays to Junior that the Comely guys wanted to say thank Tony and if he needs anything to give him a call. This incenses Junior "Tony? The fuckin' junkie fucks they work for Tony, they hijack Comely's truck I get it back and old man Comely's fucking thanking Tony? Mikey offers up his point of view "I think you shoulda taken care of this Christopher Moltisanti thing the minute it first happened. You shoulda sent a clear-cut signal so they know you fuck with Junior Soprano..." Junior rejects this "Take it easy, we're not making a western here. Fuckin' family, I bought his kid a $400 surfboard for his birthday." A painting hangs in the waiting room to Dr. Melfi's office, Tony stares at it until the office door opens and Melfi welcomes him inside. Tony asks as soon as they sit down "What's that a trick picture out there? The barn and the old tree rotten out inside. That is a special made psychological picture like that uh..what do you call it test? The Corscach?" Melfi doesn't correct him on the name of the test and asks what the picture means to him. "It says hey asshole we're from Harvard and what do you think of this spooky depressing barn and this rotted out tree we put here." Melfi asks "It's depressing and scary to you?" "Not to me, but it's got that built right into it." Melfi asks Tony "How are things" and Tony relates that it's been a good week for him but that Jackie is in the hospital with cancer. Melfi sounds concerned. Jackie is in a hospital bed and Mike Palmice is visiting him checking his IV bag, talking about other men he knows who have cancer. Tony arrives with Paulie, Hesh, and Silvio(Steve Van Zandt) they say hello to Mikey. Mikey leaves, Jackie asks Mikey to give Junior his love. A hassidic jew named Titleman(Chuck Low) comes up in discussion who is seeking Tony and his associates help with a "get" in the form of a divorce for his daughter, they leave as Jackie lets them know he's getting sleepy.
Meadow and Hunter leave chorus practice exhausted from studying for the SAT's, longing for the campus of Berkley, remarking that they'll just have to not sleep until they make it. Tony and Carmela visit Artie Buco and his wife Charmane at their new house, Arite lets Tony know that the insurance money hasn't come through yet because the insurance company is doing a 2nd Arson investigation. They head inside for a beer. Tony is meeting with Sid Titleman. He states his daughter is being abused by her husband(Ned Eisenberg), and mocking their laws of marriage. Tony offers his help. Sid's son protests this and he is chastized by his father. Silvio mentions that the Jewish muscle for hire groups have been put out of business by the DA's office. Tony asks for 25% of their business, his son states he doesn't understand and then in Hebrew that if you do business with these people you'll never get them out, and that he's creating a Golem or monster. Silvio and Paulie visit Ariel, the son in law in question. A banter starts that foreshadows the difficult nature ahead. Paulie asks "Are you Ariel"? he responds "That depends, are you a bill collector?" joking. Paulie says "What is this the catskills, Shaggy Green we got here." Silvio states "We want to talk to you about your father in law." Ariel lets them know he's not there. "We know he's not here but uh, we want to talk to you about him and you and him and this little problem you're having." Ariel says "Look, I don't know who you are but any problem I may or may not be having with my family is none of your matter, so get out of here." Ariel goes on to say that they don't understand what's going on and that he sweat blood into the place and deserves a fair piece. Paulie and Silvio slam Ariel's head down on the counter and beat him with the service bell, after he refuses to give a divorce, which offers a little bit of comedy into a scene of violence and intimidation. At the Soprano house Meadow and Hunter are trying to score some crystal meth so they can stay up to continue studying for the SAT's. Charmane comes over to Carmela's house the next day as she is criticizing her polish houeskeeper wanting the windows to sparkle. Meadow and Hunter comes over to Christopher's apartment to ask if he can get them crystal meth. Christopher says "What do you want Meadow?" "Forget about it, no fucking way." Chris responds. They leave empty handed but threaten to get what they are seeking at a less reputable place. Chris says it's a ploy so that he'll give her drugs. Brendon remarks "Kids. You think you can protect them, but you can't."
Jackie is sitting up in bed as Tony comes in to visit him. He's brought in a stripper dressed as a nurse and Jackie doesn't realize it until the real nurse almost comes in until Tony pays her off at the door. Leading to a big laugh scene for all involved, good to see some enthusiastic joy for a man diagnosed with cancer. Tony remarks just before the realization "Look at these flowers, nobody sends flowers like New York." Referencing the very real mob world around them. Tony in therapy, tells Melfi about the stripper. Remarking it was nice of him. Tony asks what she thinks about his cancer diagnosis, in the intestines with a removed tumor. Tony lets her know it's next to something vital. She remarks "I see." Tony asks "You see?" Clearly upset. Melfi offers "From what you're telling me it doesn't sound very good." Tony snaps "From what I'm telling you. Well, what the fuck do I know I'm not a doctor." Melfi observes "You're angry, who with?" Tony responds "Let me tell you something. This man has had chemo every day for three fuckin' weeks and he still has every last hair on his head. Every last hair on his head. And he's got a beautiful head of hair. So don't tell me about how it sounds, cause you don't know him, you don't know me, and you don't know what the fuck you're talking about." Melfi tries to reason with him that "What's happening is we're getting closer to you confronting your true feelings about what's really going on here. The tree in the painting? Rotted out, you said. There's nothing in the picture to indicate that." Tony remarks "The fucking painting...I knew that was a fucking scam, I knew that painting was a fuckin scam." Melfi says "You remember your dream, the ducks? It took on another meaning. What happens to a tree that's rotted out?" This seems to send Tony over the edge unable to stay with the Dr's questioning. "Trees, ducks, what the fuck are you Ranger Rick? I tell you something some job you shrinks got you think everyone's lying to you while you're pulling scams on them, fuck you!" Tony storms out and leaves the office. This goes along with the other commentary and symbolism that Tony Soprano conscious of it or not sees the end coming, for his family, for his associates and their "thing", for himself being on top. He is having trouble acknowledging what we all must come to accept in time. This is further illuminated with his upcoming scene with Ariel.
Carmela is confirming parties for the silent auction they are hosting at their house, upstairs Meadow is getting Crystal Meth from Christopher. We see 90's era band posters on Meadow's walls, a nice touch. Arite and Charmane are arguing about having Tony Soprano as a business partner for a new restaurant, Charmane advises against it because what it would mean for them. At the Soprano house that evening for the party Carmela is entertaining a guest who hasn't eaten and Charmane who is there to help out is called over by Carmela which harkens back to earlier when she was signaling the help for crystal clear glass. We can see from the filmed perspective how much Charmane sees this behavior by Carmela as condescending almost classist behavior. Carmela probably unaware that she was doing anything but attempting to run a fundraiser function is blind to it. Arite in the kitchen when Tony walks in, goes on about how much he misses his restaurant until Tony tells him to stop complaining and focus on the positive. Knowing how guilty he must feel. Artie in a fit of anger throws some Cappicola at Tony hanging off his brow and it results in an all out food fight between old friends. A warm scene. Silvio an Paulie have kidnapped Ariel and brought him to a windowless room. They threaten him with his life or to sign for a divorce. He somehow physically resists both of them, but is finally knocked down by Silvio with a Mallet. They call Tony for his help, since Ariel won't sign for the divorce. Tony has to leave his Russian girlfriend Irina and asks her what she thinks of the painting hanging up behind the bed. "Nothing, it just reminds me of David Hockey." Another pop culture reference. Tony in his slippers and bathrobe heads over to Satriale's which is where the windowless room is located. Sil is having a Capicola sandwich. Sil is considering castration, Tony saying he promised Sid he wouldn't. "You're a stupid motherfucker you know that?" Tony says. "I've heard it said." Ariel responds. Tony asks "What are you proud of it?" "You kill me and a dark cloud goes over Schlomo's house , either way they'll be no get unless restitution is made." Tony asks "You'd really let me kill you, wouldn't you, you sick fuck?" Ariel asks "You ever heard of the Masada? For two years, 900 Jews held their own against 15,000 Roman soldiers. They chose death before enslavement and the Romans where are they know?" Tony answers "You're looking at em' asshole." While showing ego and bravado this comment is almost ironic with how history is going as well as the flow of the show itself. Yes the Romans might have eventually won, just like here Tony will win this battle. But the end is coming. Either death or imprisonment, and while they might walk tall today that looming dread of inevitability cannot be outrun. Tony is able to come up with a compromise, instead of murder just castration. Ariel agrees to sign for a divorce.
At the Soprano house Carmela is thanking Charmane for her help and Charmane can't help herself lets her know that Tony and her dated each other and they slept together over twenty years ago. That she is fine with her choices even though the restaurant blew up. It's quite obvious that there are some jealousy issues because someone truly at peace doesn't feel the need to one up perceived rivals. Tony is paged by Silvio and he's in he motel hallway talking with Sid Titleman. Silvio tells Tony "This guy is trying to pull some bullshit Tony." Tony asks "Hey ZZ Top, the guy gave you the get didn't he?" Titleman says "But not because of you, you scared him, threatened with castration. But it was business that brought him around. He wanted 50 percent, you wanted 25 percent, so I split the difference. I gave him 15 percent, he gives my daughter the divorce...and it's business, it worked out. Schlomo tries to give Tony a payment for his trouble, but Tony knowing they agreed to 25% wants 25% and tells him that's what he's going to get. "I don't give a shit what he says. Now you listen to me, you want to give your son in law 15% of the motel? You go ahead. It comes out of your end. Now we got you your get you get us our 25%. Got it?" Schlomo upset says "My son was right. You're mud. Godless clay. I created a living Golem." Tony grabbing Titleman by the collar after punching the wall asks "What the fuck is a Golem?" Titleman says "It's a monster, frankenstein!" Tony shoves him away and walks out. Tony visits an under the weather Jackie, the boss of the family is not in good shape. Tony keeps trying to tell him about the humorous episode with Ariel but Jackie is nearly unreachable. So affected by his sickness. Nothing but the sound of machines can be heard. Junior and Livia visit with each other. Junior is looking for advice on the Christopher and Brendon hijacking situation. Livia remarks that Tony always loved Christopher as a son and that so does she that he put up her storm windows one year. Junior says "What do I do, let him and this Filone kid piss on me in public? And how far do I go before I light a freaking match under that hotheaded son of yours?" Livia suggests that Christopher could use a talking to. "The other one Filone....I don't know." Junior remarks "You got a lot of sense for a old gal." Livia despairs "No. I'm a babbling idiot. That's why my son put me in a nursing home."
Tony is back in therapy. "It's like he's already gone......... Somebody called me a frankenstein today. This Hassid I'm doing business with. These Hassids. I mean they're out there, but they got their beliefs. They're not afraid of death. At least this one guy wasn't. " Melfi states "Maybe they have the belief because they are afraid." Tony offers "I'm not afraid of death not if it's for something, you know, war, something like that. A reason. But Jackie, to see this....strong, beautiful man, just wither away to nothing. He can't do nothing about it. You can't fight it." Melfi asks "Do you envy the Hassids and their beliefs?" Tony remarks "All this shit's for nothing? And if all this shit's for nothing why do I have to think about it?" Melfi says "That's the mystery isn't it? The mystery of god or whatever you want to call it and being given the questionable gift of knowing we're going to die. Do you feel like Frankenstein, a thing lacking humanity. Lacking human feelings?" The episode ends with Meadow's chorus concert that Tony arrives to, we cut away to Christopher being taken at gunpoint by two men. They drag him to a pier, threaten to shoot him and leave him there tied up, but alive. It occurs to me for the first time that Meadow and Hunter are both performing their solos on Crystal Meth. Wow. Finally Mikey Palmice shows up to the apartment to shoot Brendon through the eye, with Junior just in the next room, effectively killing him. It does make me wonder that if Chris had never shouted "You can thank Tony Soprano" if it would have annoyed Junior that Comely ended up thanking Tony and made Junior pissed off. Did Christopher set it in motion for Brendon to die circumstantially? I don't know it would just haunt me if I was Christopher. But then you could argue Brendon was dumb enough to go it alone and that it was his own fault anyway. Great writing.
Christopher and Brendon drop off the truck to Comely, yelling as he is leaving Chris lets the Comely guys know "You can thank Tony Soprano." Junior and Mikey Palmice are having dinner, Mikey relays to Junior that the Comely guys wanted to say thank Tony and if he needs anything to give him a call. This incenses Junior "Tony? The fuckin' junkie fucks they work for Tony, they hijack Comely's truck I get it back and old man Comely's fucking thanking Tony? Mikey offers up his point of view "I think you shoulda taken care of this Christopher Moltisanti thing the minute it first happened. You shoulda sent a clear-cut signal so they know you fuck with Junior Soprano..." Junior rejects this "Take it easy, we're not making a western here. Fuckin' family, I bought his kid a $400 surfboard for his birthday." A painting hangs in the waiting room to Dr. Melfi's office, Tony stares at it until the office door opens and Melfi welcomes him inside. Tony asks as soon as they sit down "What's that a trick picture out there? The barn and the old tree rotten out inside. That is a special made psychological picture like that uh..what do you call it test? The Corscach?" Melfi doesn't correct him on the name of the test and asks what the picture means to him. "It says hey asshole we're from Harvard and what do you think of this spooky depressing barn and this rotted out tree we put here." Melfi asks "It's depressing and scary to you?" "Not to me, but it's got that built right into it." Melfi asks Tony "How are things" and Tony relates that it's been a good week for him but that Jackie is in the hospital with cancer. Melfi sounds concerned. Jackie is in a hospital bed and Mike Palmice is visiting him checking his IV bag, talking about other men he knows who have cancer. Tony arrives with Paulie, Hesh, and Silvio(Steve Van Zandt) they say hello to Mikey. Mikey leaves, Jackie asks Mikey to give Junior his love. A hassidic jew named Titleman(Chuck Low) comes up in discussion who is seeking Tony and his associates help with a "get" in the form of a divorce for his daughter, they leave as Jackie lets them know he's getting sleepy.
Meadow and Hunter leave chorus practice exhausted from studying for the SAT's, longing for the campus of Berkley, remarking that they'll just have to not sleep until they make it. Tony and Carmela visit Artie Buco and his wife Charmane at their new house, Arite lets Tony know that the insurance money hasn't come through yet because the insurance company is doing a 2nd Arson investigation. They head inside for a beer. Tony is meeting with Sid Titleman. He states his daughter is being abused by her husband(Ned Eisenberg), and mocking their laws of marriage. Tony offers his help. Sid's son protests this and he is chastized by his father. Silvio mentions that the Jewish muscle for hire groups have been put out of business by the DA's office. Tony asks for 25% of their business, his son states he doesn't understand and then in Hebrew that if you do business with these people you'll never get them out, and that he's creating a Golem or monster. Silvio and Paulie visit Ariel, the son in law in question. A banter starts that foreshadows the difficult nature ahead. Paulie asks "Are you Ariel"? he responds "That depends, are you a bill collector?" joking. Paulie says "What is this the catskills, Shaggy Green we got here." Silvio states "We want to talk to you about your father in law." Ariel lets them know he's not there. "We know he's not here but uh, we want to talk to you about him and you and him and this little problem you're having." Ariel says "Look, I don't know who you are but any problem I may or may not be having with my family is none of your matter, so get out of here." Ariel goes on to say that they don't understand what's going on and that he sweat blood into the place and deserves a fair piece. Paulie and Silvio slam Ariel's head down on the counter and beat him with the service bell, after he refuses to give a divorce, which offers a little bit of comedy into a scene of violence and intimidation. At the Soprano house Meadow and Hunter are trying to score some crystal meth so they can stay up to continue studying for the SAT's. Charmane comes over to Carmela's house the next day as she is criticizing her polish houeskeeper wanting the windows to sparkle. Meadow and Hunter comes over to Christopher's apartment to ask if he can get them crystal meth. Christopher says "What do you want Meadow?" "Forget about it, no fucking way." Chris responds. They leave empty handed but threaten to get what they are seeking at a less reputable place. Chris says it's a ploy so that he'll give her drugs. Brendon remarks "Kids. You think you can protect them, but you can't."
Jackie is sitting up in bed as Tony comes in to visit him. He's brought in a stripper dressed as a nurse and Jackie doesn't realize it until the real nurse almost comes in until Tony pays her off at the door. Leading to a big laugh scene for all involved, good to see some enthusiastic joy for a man diagnosed with cancer. Tony remarks just before the realization "Look at these flowers, nobody sends flowers like New York." Referencing the very real mob world around them. Tony in therapy, tells Melfi about the stripper. Remarking it was nice of him. Tony asks what she thinks about his cancer diagnosis, in the intestines with a removed tumor. Tony lets her know it's next to something vital. She remarks "I see." Tony asks "You see?" Clearly upset. Melfi offers "From what you're telling me it doesn't sound very good." Tony snaps "From what I'm telling you. Well, what the fuck do I know I'm not a doctor." Melfi observes "You're angry, who with?" Tony responds "Let me tell you something. This man has had chemo every day for three fuckin' weeks and he still has every last hair on his head. Every last hair on his head. And he's got a beautiful head of hair. So don't tell me about how it sounds, cause you don't know him, you don't know me, and you don't know what the fuck you're talking about." Melfi tries to reason with him that "What's happening is we're getting closer to you confronting your true feelings about what's really going on here. The tree in the painting? Rotted out, you said. There's nothing in the picture to indicate that." Tony remarks "The fucking painting...I knew that was a fucking scam, I knew that painting was a fuckin scam." Melfi says "You remember your dream, the ducks? It took on another meaning. What happens to a tree that's rotted out?" This seems to send Tony over the edge unable to stay with the Dr's questioning. "Trees, ducks, what the fuck are you Ranger Rick? I tell you something some job you shrinks got you think everyone's lying to you while you're pulling scams on them, fuck you!" Tony storms out and leaves the office. This goes along with the other commentary and symbolism that Tony Soprano conscious of it or not sees the end coming, for his family, for his associates and their "thing", for himself being on top. He is having trouble acknowledging what we all must come to accept in time. This is further illuminated with his upcoming scene with Ariel.
Carmela is confirming parties for the silent auction they are hosting at their house, upstairs Meadow is getting Crystal Meth from Christopher. We see 90's era band posters on Meadow's walls, a nice touch. Arite and Charmane are arguing about having Tony Soprano as a business partner for a new restaurant, Charmane advises against it because what it would mean for them. At the Soprano house that evening for the party Carmela is entertaining a guest who hasn't eaten and Charmane who is there to help out is called over by Carmela which harkens back to earlier when she was signaling the help for crystal clear glass. We can see from the filmed perspective how much Charmane sees this behavior by Carmela as condescending almost classist behavior. Carmela probably unaware that she was doing anything but attempting to run a fundraiser function is blind to it. Arite in the kitchen when Tony walks in, goes on about how much he misses his restaurant until Tony tells him to stop complaining and focus on the positive. Knowing how guilty he must feel. Artie in a fit of anger throws some Cappicola at Tony hanging off his brow and it results in an all out food fight between old friends. A warm scene. Silvio an Paulie have kidnapped Ariel and brought him to a windowless room. They threaten him with his life or to sign for a divorce. He somehow physically resists both of them, but is finally knocked down by Silvio with a Mallet. They call Tony for his help, since Ariel won't sign for the divorce. Tony has to leave his Russian girlfriend Irina and asks her what she thinks of the painting hanging up behind the bed. "Nothing, it just reminds me of David Hockey." Another pop culture reference. Tony in his slippers and bathrobe heads over to Satriale's which is where the windowless room is located. Sil is having a Capicola sandwich. Sil is considering castration, Tony saying he promised Sid he wouldn't. "You're a stupid motherfucker you know that?" Tony says. "I've heard it said." Ariel responds. Tony asks "What are you proud of it?" "You kill me and a dark cloud goes over Schlomo's house , either way they'll be no get unless restitution is made." Tony asks "You'd really let me kill you, wouldn't you, you sick fuck?" Ariel asks "You ever heard of the Masada? For two years, 900 Jews held their own against 15,000 Roman soldiers. They chose death before enslavement and the Romans where are they know?" Tony answers "You're looking at em' asshole." While showing ego and bravado this comment is almost ironic with how history is going as well as the flow of the show itself. Yes the Romans might have eventually won, just like here Tony will win this battle. But the end is coming. Either death or imprisonment, and while they might walk tall today that looming dread of inevitability cannot be outrun. Tony is able to come up with a compromise, instead of murder just castration. Ariel agrees to sign for a divorce.
At the Soprano house Carmela is thanking Charmane for her help and Charmane can't help herself lets her know that Tony and her dated each other and they slept together over twenty years ago. That she is fine with her choices even though the restaurant blew up. It's quite obvious that there are some jealousy issues because someone truly at peace doesn't feel the need to one up perceived rivals. Tony is paged by Silvio and he's in he motel hallway talking with Sid Titleman. Silvio tells Tony "This guy is trying to pull some bullshit Tony." Tony asks "Hey ZZ Top, the guy gave you the get didn't he?" Titleman says "But not because of you, you scared him, threatened with castration. But it was business that brought him around. He wanted 50 percent, you wanted 25 percent, so I split the difference. I gave him 15 percent, he gives my daughter the divorce...and it's business, it worked out. Schlomo tries to give Tony a payment for his trouble, but Tony knowing they agreed to 25% wants 25% and tells him that's what he's going to get. "I don't give a shit what he says. Now you listen to me, you want to give your son in law 15% of the motel? You go ahead. It comes out of your end. Now we got you your get you get us our 25%. Got it?" Schlomo upset says "My son was right. You're mud. Godless clay. I created a living Golem." Tony grabbing Titleman by the collar after punching the wall asks "What the fuck is a Golem?" Titleman says "It's a monster, frankenstein!" Tony shoves him away and walks out. Tony visits an under the weather Jackie, the boss of the family is not in good shape. Tony keeps trying to tell him about the humorous episode with Ariel but Jackie is nearly unreachable. So affected by his sickness. Nothing but the sound of machines can be heard. Junior and Livia visit with each other. Junior is looking for advice on the Christopher and Brendon hijacking situation. Livia remarks that Tony always loved Christopher as a son and that so does she that he put up her storm windows one year. Junior says "What do I do, let him and this Filone kid piss on me in public? And how far do I go before I light a freaking match under that hotheaded son of yours?" Livia suggests that Christopher could use a talking to. "The other one Filone....I don't know." Junior remarks "You got a lot of sense for a old gal." Livia despairs "No. I'm a babbling idiot. That's why my son put me in a nursing home."
Tony is back in therapy. "It's like he's already gone......... Somebody called me a frankenstein today. This Hassid I'm doing business with. These Hassids. I mean they're out there, but they got their beliefs. They're not afraid of death. At least this one guy wasn't. " Melfi states "Maybe they have the belief because they are afraid." Tony offers "I'm not afraid of death not if it's for something, you know, war, something like that. A reason. But Jackie, to see this....strong, beautiful man, just wither away to nothing. He can't do nothing about it. You can't fight it." Melfi asks "Do you envy the Hassids and their beliefs?" Tony remarks "All this shit's for nothing? And if all this shit's for nothing why do I have to think about it?" Melfi says "That's the mystery isn't it? The mystery of god or whatever you want to call it and being given the questionable gift of knowing we're going to die. Do you feel like Frankenstein, a thing lacking humanity. Lacking human feelings?" The episode ends with Meadow's chorus concert that Tony arrives to, we cut away to Christopher being taken at gunpoint by two men. They drag him to a pier, threaten to shoot him and leave him there tied up, but alive. It occurs to me for the first time that Meadow and Hunter are both performing their solos on Crystal Meth. Wow. Finally Mikey Palmice shows up to the apartment to shoot Brendon through the eye, with Junior just in the next room, effectively killing him. It does make me wonder that if Chris had never shouted "You can thank Tony Soprano" if it would have annoyed Junior that Comely ended up thanking Tony and made Junior pissed off. Did Christopher set it in motion for Brendon to die circumstantially? I don't know it would just haunt me if I was Christopher. But then you could argue Brendon was dumb enough to go it alone and that it was his own fault anyway. Great writing.
Wednesday, May 10, 2017
The Sopranos Season 1 Episode 2
Episode 2: 46 Long
Tony Soprano's cousin Christopher and his associate Brendon Filone steal a Comely truck filled with DVD Players. Comely trucking we learn is strongly associated with Junior Soprano. At the Soprano house AJ tells the family that his teacher had his car stolen right from the school parking lot. Tony says he'll look into it. At the first mention of helping out, notice that Meadow heads out the door, being keenly aware not to be involved in her father's business dealings. At the Bada Bing (Tony's Strip Club/hangout) Tony berates Georgie the bartender for not knowing how to put a call on hold. Georgie then drops a call while trying to place it on hold, Tony continues to be irritated at his inability and he remembers that he needs to call his mother. Who places the phone down after answering to check on the mushrooms she's cooking in the kitchen. Livia becomes distracted by the black mail person across the street and notices a burning smell and the pan suddenly is on fire after she splashes water on it. She's able to follow Tony's instructions to put the fire out with the fire extinguisher, we see Carmela come to her aid escorting the fire department out of Livia's house. Carmela tries convincing her to go live at Green Grove retirement community, which she roundly rejects. At the first mention of making her some food, her face turns up at it. Carmela then offered her a place in her home, Livia rejects that as well.
Pussy Bonpensiero(Vincent Pastore) and Paulie(Tony Sirico) team up to find the stolen car tracking an employee of a Starbucks knockoff. The symbol of the coffee chain even says Tacoma/Seattle roasters. This is just one example of the great pop culture commentary on the corporate capitalist consumerism making a profit on the culture of other people. You used to have to go to a specialty shop to get things, now it's on every street corner. Being able to track down the coffee employee Sal and Paulie successfully break in to the thief's apartment and after a quick beatdown and bloodied nose the two men inside are threatened with pistol's to the face. The teacher's license plate leads them to a junk yard and it's sitting on the trunk of another car. Pussy lets them know they're going in to get the plate and then they'll hold one while the other boosts(steals) another car. The teacher's car ends back up in it's same spot the next morning to many bystander's amazement. AJ lets everyone know what a hero his dad is for being able to locate his teacher's car.
Tony is back in therapy discussing his mother, saying that Carmela is the reason she can't live at home with her son. Tony's mother has agreed to have a helper come in some days. We find that Tony has two sisters, but that they cut it off with their mother a long time ago. Melfi reflects that "So you're carrying all this guilt when you're mother has a hard time maintaining a relationship with anyone. You afford this little old lady an almost mystical ability to wreak havoc." Tony defends her by saying "Come on, she's a little old lady." Melfi asks "What were some of the good experiences you remember as a child, the loving, warm, ones?" Tony reflects on a memory where his father falls down the stairs and everyone laughed. That violence, is the clearest memory of being happy around his family all of them laughing. He can't come up with another memory. "Hey she's a good woman, she put food on the table every night. I'm the ungrateful fuck because I come here and I complain about her and let my wife exclude her from my home." He throws this back at the DR when he feels this guilt come to the surface.
Tony comes over to see his mother, meeting the new helper sent for his mother. He remarks to her that while she's here "No ganja on the job." The black woman looks embarrassed and annoyed at this assumption and casual racism. Livia tells Tony she doesn't need anyone Tony lets her know she is going to stay, she lets him know Junior is upset about the truck. Meeting outside of Satriale's Tony sits down with Junior and their collective boss Jackie Aprille (Michael Rispoli) they agree about Christopher kicking up to Junior to make restitution for the lost revenue from the DVD players. Again the use of the branding of DVD and being a major product at the time this was shot being a reference of consumable pop culture. The scene shot outside Satriale's where we first meet the family boss is so beautifully captured and the colors pop right off the screen. Junior remarks as Tony leaves to Jackie "A smoke he hires for his own mother." Tony says hello to Mikey Palmice joking around by breaking his balls a little bit but we can see he doesn't really like it. More annoyed than anything. There is a beautiful one shot of Tony, Christopehr, and Brendon walking into Satriale's complete with an entire table filled with freshly cut beef, it leads us into the backroom. While making an off color comment trying to boost Tony's ego, Brendon is sent flying through the backroom onto the table with the meat in the other room and sent tumbling. Christopher is told "Open the fuckin' door!" Christopher protests the kick up, but eventually concedes.
Tony's mother and Carmela's mother and father join the Soprano family at their home for dinner, before she can get there she ends up accidentally running over her neighbor she was giving a ride home during a moment of leaving the car in drive. Livia has a broken wrist from the experience, Tony remarks in therapy the next day. Melfi tells Tony she must be made to see the distinction of going to a retirement community that is cushy like Green Grove vs a nursing home. Tony is at his mother's home having some ham and peppers, Livia complains that Tony never lets her feed him, she continues to focus on giving things away, always focusing on her eventual death. Tony gets upset when he tries to explain this to his mother, but she keeps harping on her death. Tony nearly cries out that he can't stand "this black cloud anymore". Tony threatens to get power of attorney and force her to go to Green Grove, she then starts to cry because she was so hurt by what Tony had just said. Tony is registering his mother at Green Grove, the attending director trying her best to cheer up Livia is turned away at every attempt. Christopher and Brendan want to make up for the money they lost when they kicked it up to Junior so they plan to steal another truck. This is fine Italian Suits. Very easy money. Chrstopher decides against it at the last minute to respect the family and Brendan goes it alone. In the process he accidentally kills the driver and everyone scatters. Christopher gets ahold of Tony and they meet up to look at the haul and figure out the next course of action. Tony has them return the suits minus a rack or two, so mostly no harm no foul, minus a dead truck driver. Christopher is criticized because he stayed home and didn't do anything to stop it. Tony lets them know to leave the trucks alone or anything to do with his Uncle Junior.
Tony is shown going through his mother's house, the house he grew up in packing away old pictures of his mother. He has a panic attack, but is able to sit down in time not to collapse. Tony back in therapy explains what just happened. Melfi says this is an improvement, Tony responds "It's good that I'm sad I put my mother away?" Melfi says "Sad is good, unconscious isn't." Tony offers up the information that "She won't speak to me." Melfi "That is sad. But whose choice is that?" Tony responds "Well somehow that doesn't make it any better." Melfi says "Can you admit to yourself, that yes, you're sad, but you're very angry and full of rage." Tony states again "I'm sad." Melfi states "It's hard to admit that you might have feelings of hatred toward your own mother, isn't it?" Tony "You're out of your tree." Melfi says "Listen to me carefully, of course you love her, what I'm trying to say is own the anger, instead of displacing it otherwise it defines your life. It needs to be acknowledged." Tony storms out disgusted by the thought that he could ever hate his own mother. Back at The Bing, Tony is having a drink while Georgie is attempting to navigate a phone menu. Articulating almost every point gaining on Tony's short temper, as Georgie calls out hello continuously we see Tony's rage building. He beats Georgie over the had multiple times with the phone receiver and leaves the bar to the outside. The scene fades out as strippers dance in the background. Tony's inability to identify his own feelings about his mother led him to beat Georgie, as Melfi says he has to acknowledge it or it will control his life. We see that directly scene by scene here.
Tony Soprano's cousin Christopher and his associate Brendon Filone steal a Comely truck filled with DVD Players. Comely trucking we learn is strongly associated with Junior Soprano. At the Soprano house AJ tells the family that his teacher had his car stolen right from the school parking lot. Tony says he'll look into it. At the first mention of helping out, notice that Meadow heads out the door, being keenly aware not to be involved in her father's business dealings. At the Bada Bing (Tony's Strip Club/hangout) Tony berates Georgie the bartender for not knowing how to put a call on hold. Georgie then drops a call while trying to place it on hold, Tony continues to be irritated at his inability and he remembers that he needs to call his mother. Who places the phone down after answering to check on the mushrooms she's cooking in the kitchen. Livia becomes distracted by the black mail person across the street and notices a burning smell and the pan suddenly is on fire after she splashes water on it. She's able to follow Tony's instructions to put the fire out with the fire extinguisher, we see Carmela come to her aid escorting the fire department out of Livia's house. Carmela tries convincing her to go live at Green Grove retirement community, which she roundly rejects. At the first mention of making her some food, her face turns up at it. Carmela then offered her a place in her home, Livia rejects that as well.
Pussy Bonpensiero(Vincent Pastore) and Paulie(Tony Sirico) team up to find the stolen car tracking an employee of a Starbucks knockoff. The symbol of the coffee chain even says Tacoma/Seattle roasters. This is just one example of the great pop culture commentary on the corporate capitalist consumerism making a profit on the culture of other people. You used to have to go to a specialty shop to get things, now it's on every street corner. Being able to track down the coffee employee Sal and Paulie successfully break in to the thief's apartment and after a quick beatdown and bloodied nose the two men inside are threatened with pistol's to the face. The teacher's license plate leads them to a junk yard and it's sitting on the trunk of another car. Pussy lets them know they're going in to get the plate and then they'll hold one while the other boosts(steals) another car. The teacher's car ends back up in it's same spot the next morning to many bystander's amazement. AJ lets everyone know what a hero his dad is for being able to locate his teacher's car.
Tony is back in therapy discussing his mother, saying that Carmela is the reason she can't live at home with her son. Tony's mother has agreed to have a helper come in some days. We find that Tony has two sisters, but that they cut it off with their mother a long time ago. Melfi reflects that "So you're carrying all this guilt when you're mother has a hard time maintaining a relationship with anyone. You afford this little old lady an almost mystical ability to wreak havoc." Tony defends her by saying "Come on, she's a little old lady." Melfi asks "What were some of the good experiences you remember as a child, the loving, warm, ones?" Tony reflects on a memory where his father falls down the stairs and everyone laughed. That violence, is the clearest memory of being happy around his family all of them laughing. He can't come up with another memory. "Hey she's a good woman, she put food on the table every night. I'm the ungrateful fuck because I come here and I complain about her and let my wife exclude her from my home." He throws this back at the DR when he feels this guilt come to the surface.
Tony comes over to see his mother, meeting the new helper sent for his mother. He remarks to her that while she's here "No ganja on the job." The black woman looks embarrassed and annoyed at this assumption and casual racism. Livia tells Tony she doesn't need anyone Tony lets her know she is going to stay, she lets him know Junior is upset about the truck. Meeting outside of Satriale's Tony sits down with Junior and their collective boss Jackie Aprille (Michael Rispoli) they agree about Christopher kicking up to Junior to make restitution for the lost revenue from the DVD players. Again the use of the branding of DVD and being a major product at the time this was shot being a reference of consumable pop culture. The scene shot outside Satriale's where we first meet the family boss is so beautifully captured and the colors pop right off the screen. Junior remarks as Tony leaves to Jackie "A smoke he hires for his own mother." Tony says hello to Mikey Palmice joking around by breaking his balls a little bit but we can see he doesn't really like it. More annoyed than anything. There is a beautiful one shot of Tony, Christopehr, and Brendon walking into Satriale's complete with an entire table filled with freshly cut beef, it leads us into the backroom. While making an off color comment trying to boost Tony's ego, Brendon is sent flying through the backroom onto the table with the meat in the other room and sent tumbling. Christopher is told "Open the fuckin' door!" Christopher protests the kick up, but eventually concedes.
Tony's mother and Carmela's mother and father join the Soprano family at their home for dinner, before she can get there she ends up accidentally running over her neighbor she was giving a ride home during a moment of leaving the car in drive. Livia has a broken wrist from the experience, Tony remarks in therapy the next day. Melfi tells Tony she must be made to see the distinction of going to a retirement community that is cushy like Green Grove vs a nursing home. Tony is at his mother's home having some ham and peppers, Livia complains that Tony never lets her feed him, she continues to focus on giving things away, always focusing on her eventual death. Tony gets upset when he tries to explain this to his mother, but she keeps harping on her death. Tony nearly cries out that he can't stand "this black cloud anymore". Tony threatens to get power of attorney and force her to go to Green Grove, she then starts to cry because she was so hurt by what Tony had just said. Tony is registering his mother at Green Grove, the attending director trying her best to cheer up Livia is turned away at every attempt. Christopher and Brendan want to make up for the money they lost when they kicked it up to Junior so they plan to steal another truck. This is fine Italian Suits. Very easy money. Chrstopher decides against it at the last minute to respect the family and Brendan goes it alone. In the process he accidentally kills the driver and everyone scatters. Christopher gets ahold of Tony and they meet up to look at the haul and figure out the next course of action. Tony has them return the suits minus a rack or two, so mostly no harm no foul, minus a dead truck driver. Christopher is criticized because he stayed home and didn't do anything to stop it. Tony lets them know to leave the trucks alone or anything to do with his Uncle Junior.
Tony is shown going through his mother's house, the house he grew up in packing away old pictures of his mother. He has a panic attack, but is able to sit down in time not to collapse. Tony back in therapy explains what just happened. Melfi says this is an improvement, Tony responds "It's good that I'm sad I put my mother away?" Melfi says "Sad is good, unconscious isn't." Tony offers up the information that "She won't speak to me." Melfi "That is sad. But whose choice is that?" Tony responds "Well somehow that doesn't make it any better." Melfi says "Can you admit to yourself, that yes, you're sad, but you're very angry and full of rage." Tony states again "I'm sad." Melfi states "It's hard to admit that you might have feelings of hatred toward your own mother, isn't it?" Tony "You're out of your tree." Melfi says "Listen to me carefully, of course you love her, what I'm trying to say is own the anger, instead of displacing it otherwise it defines your life. It needs to be acknowledged." Tony storms out disgusted by the thought that he could ever hate his own mother. Back at The Bing, Tony is having a drink while Georgie is attempting to navigate a phone menu. Articulating almost every point gaining on Tony's short temper, as Georgie calls out hello continuously we see Tony's rage building. He beats Georgie over the had multiple times with the phone receiver and leaves the bar to the outside. The scene fades out as strippers dance in the background. Tony's inability to identify his own feelings about his mother led him to beat Georgie, as Melfi says he has to acknowledge it or it will control his life. We see that directly scene by scene here.
The Sopranos Season 1 Episode 1
The Sopranos - Pilot
A man sits in a waiting room. Perhaps a Dr’s office. His attention is fixed on an ancient statue. This attention is broken by a woman entering the room calling for a “Mr. Soprano”? This is how the landmark series “The Soprano’s” opens. A trip to the psychiatrists office to discuss unresolved personal issues. Tony Soprano (played by James Gandolfini) is a New Jersey Mob Boss whose recent Panic Attacks have him seeking professional help. From the start of their conversation it’s apparent that Tony is alien to this type of environment and self analysis. Wanting the Dr’s previous to tell him a physical reason and to give some medication to absolve him of whatever ails him. Like most Americans we’ve been trained and guided to believe that Western Medicine is all that matters, drugs, pharmaceutical companies, profits over the actual well being of the patient. A mob boss talking to someone about what stressors and negative influences make their way into his daily life? Seems an untenable situation.
Most of the time Tony feels fine, he’s back at work and feeling better. Tony tries to relay the thoughts leading up to the attacks with a family of ducks that come to visit his pool. He feeds them tossed pieces of bread and marvels at their existence. His family, wife Carmela (played by Edie Falco), daughter Meadow, and son AJ are expectedly not as thrilled and treat it as a normal occurrence. We move to Tony’s nephew Christopher (Michael Imperioli) who is driving Tony when they spot an individual who owes them money. Great visuals and a doo-wop music that harkens back to the sixties plays as we see Tony gleefully run down a man with Christopher’s brand new Lexus. Tony precedes to get out of the car, punch the man in the face a few times. Learning he had been running his mouth that “Telling people I’m nothing compared to the people that used to run things."As the man is screaming in agony holding his leg, Tony yells “What are you crying for, HMO, you’re covered! You prick!” The amusing aspect is how Tony explains this story to Dr. Melfi as we see it happening in real time, having to choose his words a bit more carefully, saying they just had “coffee”.
We meet Tony’s crew, his uncle Junior, Artie Buco local restauranteur and childhood friend of Tony. We see just enough of them to get an idea of Tony’s life and his relationships, and business dealings. Needing to sit down with his Uncle Junior (Dominic Chianese)to discuss the location of a hit, visiting and talking with his mother (Nancy Marchand), and celebrating his son (AJ) birthday. Tony brings his mother a portable cd player with music from her generation. Trying to get her to engage a bit with her interests, she is only able to focus on the negative and unable to accept anything from anyone. Tony collapses when he sees the ducks flying away from his pool as he is starting the grill for AJ’s birthday. Seeing them leave causes Tony to faint, a fireball shoots up from the grill as the lighter fluid was dropped directly onto it. His family rushes to his aid. As Tony sits in the MRI machine, we get to some of the underlying marital issues with Tony and his wife Carmela. “The difference between you and me is you’re going to hell when you die.” Carmela says after discussing Tony’s extramarital affairs. Tony speaks with Uncle Junior on moving the hit location, “Kill him someplace else.” “You may run North Jersey, but you don’t run your Uncle Junior!” Adding to Tony’s stress level is that the restaurant in question belongs to his childhood friend Artie Buco. We see Meadow trying to sneak back into the house, Carmela condemning her behavior as a “lying, conniving, master manipulator.” Yeah Carm, where did she learn that, gee I don’t know. Tony deflects questions on depression by asking Dr. Melfi what part of the boot she’s from, and that his mother would love if they got together. Melfi brings it back to depression. And what follows is one of the best monologues given in TV history. "Let me tell ya something. Nowadays, everybody's gotta go to shrinks, and counselors, and go on "Sally Jessy Raphael" and talk about their problems. What happened to Gary Cooper? The strong, silent type. That was an American. He wasn't in touch with his feelings. He just did what he had to do. See, what they didn't know was once they got Gary Cooper in touch with his feelings that they wouldn't be able to shut him up! And then it's dysfunction this, and dysfunction that, and dysfunction vaffancul!” This is Tony at his most honest yet. Melfi asks if he’s depressed, he admits after the ducks left, when pushed to explore that, he gets up and leaves the session.
Tony suffers another attack on a tour of a local retirement community, when his mother psychological projection affects Tony to the point of collapsing. Back in therapy Melfi urges Tony to stay with his mother. "Now that my father's dead, he's a saint. When he was alive, nothing. And my dad was tough. He ran his own crew. A guy like that, and my mother wore him down to a little nub. He was a squeaking little gerbil when he died.” Next Melfi brings up a rather looming and obvious question. “Do you have any qualms about how you make a living.” He doesn’t ever address the moral questions being put forth by his actions. Never addressing how others are negatively affected or even cease to exist because of money.
Most of the time Tony feels fine, he’s back at work and feeling better. Tony tries to relay the thoughts leading up to the attacks with a family of ducks that come to visit his pool. He feeds them tossed pieces of bread and marvels at their existence. His family, wife Carmela (played by Edie Falco), daughter Meadow, and son AJ are expectedly not as thrilled and treat it as a normal occurrence. We move to Tony’s nephew Christopher (Michael Imperioli) who is driving Tony when they spot an individual who owes them money. Great visuals and a doo-wop music that harkens back to the sixties plays as we see Tony gleefully run down a man with Christopher’s brand new Lexus. Tony precedes to get out of the car, punch the man in the face a few times. Learning he had been running his mouth that “Telling people I’m nothing compared to the people that used to run things."As the man is screaming in agony holding his leg, Tony yells “What are you crying for, HMO, you’re covered! You prick!” The amusing aspect is how Tony explains this story to Dr. Melfi as we see it happening in real time, having to choose his words a bit more carefully, saying they just had “coffee”.
We meet Tony’s crew, his uncle Junior, Artie Buco local restauranteur and childhood friend of Tony. We see just enough of them to get an idea of Tony’s life and his relationships, and business dealings. Needing to sit down with his Uncle Junior (Dominic Chianese)to discuss the location of a hit, visiting and talking with his mother (Nancy Marchand), and celebrating his son (AJ) birthday. Tony brings his mother a portable cd player with music from her generation. Trying to get her to engage a bit with her interests, she is only able to focus on the negative and unable to accept anything from anyone. Tony collapses when he sees the ducks flying away from his pool as he is starting the grill for AJ’s birthday. Seeing them leave causes Tony to faint, a fireball shoots up from the grill as the lighter fluid was dropped directly onto it. His family rushes to his aid. As Tony sits in the MRI machine, we get to some of the underlying marital issues with Tony and his wife Carmela. “The difference between you and me is you’re going to hell when you die.” Carmela says after discussing Tony’s extramarital affairs. Tony speaks with Uncle Junior on moving the hit location, “Kill him someplace else.” “You may run North Jersey, but you don’t run your Uncle Junior!” Adding to Tony’s stress level is that the restaurant in question belongs to his childhood friend Artie Buco. We see Meadow trying to sneak back into the house, Carmela condemning her behavior as a “lying, conniving, master manipulator.” Yeah Carm, where did she learn that, gee I don’t know. Tony deflects questions on depression by asking Dr. Melfi what part of the boot she’s from, and that his mother would love if they got together. Melfi brings it back to depression. And what follows is one of the best monologues given in TV history. "Let me tell ya something. Nowadays, everybody's gotta go to shrinks, and counselors, and go on "Sally Jessy Raphael" and talk about their problems. What happened to Gary Cooper? The strong, silent type. That was an American. He wasn't in touch with his feelings. He just did what he had to do. See, what they didn't know was once they got Gary Cooper in touch with his feelings that they wouldn't be able to shut him up! And then it's dysfunction this, and dysfunction that, and dysfunction vaffancul!” This is Tony at his most honest yet. Melfi asks if he’s depressed, he admits after the ducks left, when pushed to explore that, he gets up and leaves the session.
Tony suffers another attack on a tour of a local retirement community, when his mother psychological projection affects Tony to the point of collapsing. Back in therapy Melfi urges Tony to stay with his mother. "Now that my father's dead, he's a saint. When he was alive, nothing. And my dad was tough. He ran his own crew. A guy like that, and my mother wore him down to a little nub. He was a squeaking little gerbil when he died.” Next Melfi brings up a rather looming and obvious question. “Do you have any qualms about how you make a living.” He doesn’t ever address the moral questions being put forth by his actions. Never addressing how others are negatively affected or even cease to exist because of money.
We get to the cultural shift in the Mafia, making deals, government witnesses, whether Tony can understand or not he sees the end in sight. Learning that the debtor they hit has no money because he’s a degenerate gambler (their words) Tony tells his friend Hesh (played by Jerry Adler) to have him file bogus insurance claims to recoup the money. We see this played out in the next scene where Hesh recommends a walk on the rocks high above a powerful waterfall, alluding that if he doesn't agree his other option would be to take a trip over the falls. We see this transformation almost instantly knowing how much danger he is in, he quickly agrees to file the phony claims. Tony buts ahead in line despite many people waiting at a busy restaurant in New York City, seeing Dr. Melfi waiting at the bar. Says hello and her date of course can't shut up about seeing Tony Soprano talk to her.
A constant theme is keeping his therapy a secret from his crew and connected family, as if they couldn't trust someone who is attempting to be in touch with their actual feelings. Such a survival mentality is what always rules in the world of organized crime despite what it looks and feels like. While Tony is trying to show Meadow the workmanship of her great grandfather building a church, we see Meadow using the skills she learned to manipulate and play sides against each other. Things that tend to happen in every family with kids but much more pronounced by the illegal activity of Tony Soprano, it's a reflection of an unspoken and hidden reality. A reflection of his own secrets and lies. Tony cries in therapy upon the realization that the ducks symbolize his family and losing them, and that's what his dread has been leading him to. Always carrying with him the knowledge that the end is just a matter of time. Tony is with his crew at a cookout at his house for AJ's birthday, Artie Buco's restaurant was blown up, his life's work gone to settle a dispute, to serve the greater purpose of the "family" needs. Junior picks up Livia for AJ's party they discuss how she feels she has been treated and that it wouldn't have happened if her husband were still alive. Junior brings up his trouble with Tony and that things are not as good as they used to be, he mentions that something may have to be done about Tony. The episode ends with all going inside to eat, leaving us alone with an empty pool. Fade to black.
Tuesday, December 22, 2015
Jackie Brown ★★★★★
Jackie Brown is Quentin Tarantino's third film and finds success in new ways while using the old noir tropes of femme fatale, desperation, and violence. Pam Greer plays the title character as a flight attendant who moon lights as a money trafficker for her boss Ordell Roby (Samuel L. Jackson). She's caught in a sting with ATF and the FBI and that sets up the circumstances for her to make off with half a million dollars fooling her boss and the federal authorities all together. It's a great film as it pays multiple odes to 1970's music, clothes, colors, but situationed in a 90's world. The soundtrack is excellent with multiple noteworthy 70's R&B groups like the Supremes and Delfonics. There is a noticeable improvement or vision by Tarantino with his camera work, using it much more effectively as a storytelling technique. Scenes that come to mind are when Beaumont is about to get into the trunk to be murdered, the trunk almost acts as a character with the camera shooting outwards. Ordell's apartment is shot so that you feel you are sitting in the room with everyone, it feels cramped like the apartment in reality would feel. Everything down to the constant cigarette smoking, shopping malls, and abundance of guns that reeks of a world that is so close to being tangible. Bridget Fonda plays a pot smoking surfer girlfriend of Ordell who at every turn tries to manipulate his business with an old timer associate played by Robert De Niro. She plays an irritating supporting role that is very effective in causing her own demise. De Niro almost seems out of place but as always he melts into character as Louis, as someone who has lost a touch being an older bank robber recently paroled.
Samuel L. Jackson does a wonderful job again in his 2nd film with Quentin Tarantino as Ordell. Ordell is a man who wants people to know what kind of a big shot he is, talking about selling all kinds of guns to the customers he consequently deals to. This is a great comment on the availability and normalcy of gun access in the United States despite how dangerous and violent they can ultimately be. Robert Forster plays Max Cherry the bail bondsman Ordell asks to bail Jackie out of jail, all with plans to murder her so she doesn't name him to ATF and FBI. Jackie able to foresee this, turns the situation to her advantage as we learn Cherry lends her the gun she pulls on Ordell. From here the film's culmination is setup, as we see a character willing to risk what they have just for a chance to get out. In many ways this film is very much about the American Dream and how desperate some are to achieve it, regardless of cost. Forster really adds a charm as Cherry, he's a man who is morally kind of grey who's really a good guy but helping Jackie elude the feds with Ordell's money. He doesn't take any money other than the 10%, and he lets a woman he loves go even being offered a trip to Madrid with her. It's another very simple story told elegantly by Tarantino, multi layered and bittersweet. It is one of my favorite films of his because it is so deftly done and handled, there is a real intimacy felt that doesn't quite come across his other work.
Monday, December 21, 2015
Pulp Fiction (1994) ★★★★★
Pulp Fiction is a neo-noir series of vignettes told within 48 hours of each other placed in a non-linear format. Again dealing with a corps of professional criminals and the associates they interact with, Tarantino weaves a kaleidoscopic narrative full of impending consequence and reaction. Sprinkled in humor as seen in the quick backstory featuring Christopher Walken as to how Bud (Bruce Willis) came by his father's watch. This is an improvement in many ways over his previous work 1992's Reservoir Dogs, characters branching out under Marcellus Wallace (Ving Rhames) as the criminal protagonist. Samuel L. Jackson and John Travolta both play hitmen associates of Wallace who open the film by killing three targets. Another improvement is in the varied and witty dialogue written by Tarantino, They make their reappearance in the final part of the film where they have to clean up a very bloody car, and run into Tarantino's character Jimmie, needing his house to regroup and park the obvious problem. Travolta's character is asked by Wallace to take his wife Mia (Uma Thurman) out and look after her while he is out of town. They have a nice time, they go out and dancing, and Mia mistakenly snorts too much heroin. Hilarity ensues and Travolta has to bring her back to life with an adrenaline shot to the heart. Done poorly this almost sounds comical but it is deftly handled by Tarantino through great cinematography, editing, and scene placement. Watching the film in it's entirety a few times you get the appreciation of how Tarantino knew how he was going to piece all of the scenes together in their non-linear format.
The pace of Pulp Fiction moves along nicely and the editing greatly enhances this feeling with the screenplay keeping the viewer's attention. There isn't much to talk about because the enjoyment of watching the film really is in watching it. It's colorful, and well acted and has great, smart, witty dialogue that puts life into the scenes. Bruce Willis and Ving Rhames have a great moment of perspective despite one of them being raped. Samuel L. Jackson gives a great performance and demands your attention with every scene he is apart of. He starts and ends the film with memorable and impressive monologues and is one of the more quotable Tarantino characters. Tarantino has also been credited with resuscitating John Travolta's career with this film as he was really not working before he was given a chance in this film. Pulp Fiction is a great film that cleverly and intelligently crafts it's story with style and taste and is all about how it is, not necessarily what it is. Because on the surface it's another simple story, slightly more complex than Tarantino's last picture, woven in a way that demands and keeps your interest all the way through.
Reservoir Dogs (1992) ★★★★★
Reservoir Dogs follows the members of a local criminal group who've just robbed a jewelry store and follows the aftermath and consequences of the botched operation. This is Quentin Tarantino's first film and is an impressive achievement regardless of who's production it is. There are tropes of noir, gangster, and some touches of pop culture dialogue that steadily move the film along. An incredible cast brings the script to life with attitude, panic, and paranoia. Tim Roth playing Mr. Orange is an undercover police officer, a fact unknown until the end of the picture, is shot in the robbery attempt, and spends most of the film writhing in pain on a cement floor. The panic and fear set in his eyes as he is riding to the warehouse, is awesome and unsettling. As we are introduced to more and more of the crew, they all have a different version of events of the botched robbery. Mr. Pink played by Steve Buscemi shoots his way out of the crime scene, wildly and recklessly firing, The cops that pursue act in a similar fashion. Mr. Blonde (Michael Madsen) shows up and steals nearly every scene he is in even with the impressive Buscemi, Keitel, and Roth. Cousin Eddie (Chris Penn) meets the group at the warehouse trying to pinpoint the police informant. Paranoia ensues as everyone devolves into a shouting match mania with loaded guns. Mr. White (Keitel) keeps pushing for a doctor to come help Orange unknowing he's the culprit they are looking for. He relies on his instincts throughout because without them, where is he? Pink is the only one safely betting on his paranoia proving the old adage just because you're paranoid doesn't mean they aren't after you.
Reservoir Dogs does an excellent job presenting a very basic and simple premise and allowing the screenplay, acting, and camera tell the story. It flashes back and forth telling each man's story of how he came to be involved in the caper. The tone and atmosphere is almost completely reliant on the written word and the great acting bringing it to life. Long shots that keep your attention and the performances keep you on edge, all of this without a score or soundtrack. Michael Madsen's scene with the kidnapped Police Officer comes to mind, as the entire thing is held together by every movement, gesture, and knowledge from the audience of what is coming. Blonde is a psychopath and enjoys every moment of torturing the officer all the while dancing to the sound of 70's radio. It doesn't matter if he has information that could help them or not, he wants to hurt this man. But like any great film what makes it special is the action on the screen, interaction between characters, and immersion into a world that either is or isn't our own, a vision. Tarantino clearly from the start has films he borrows from, but in his execution he makes it his own.
Orange saves the life of the Police Officer only for him to be murdered moments later as we learn what has been suspected by Pink since the beginning. This successfully allows Tarantino to control how we feel about what we are seeing in the early parts of the plot, to just experience what we are seeing without making judgements of right and wrong or good and bad. This is a world of pure survival. We follow Orange through his infiltration into the criminal group leading up to the jewelry heist. Despite the high tension and rough dialogue the film does an excellent job of sprinkling in humor and pop culture topics that make it relevant even 23 years after it's release. This was the start of Tarantino films commanding attention from the best actors in the industry which of course also is still true. Reservoir Dogs is stylishly put together and filmed without losing any of the substance of the more serious moments that move the plot forward. There is a love of cinema and film so apparent in this wonderful director's repertoire. A great first attempt for Quentin Tarantino who's movie still keeps audiences captivated.
Subscribe to:
Posts (Atom)