With our annual Horrorthon starting tomorrow, I thought that this would be an appropriate time to share a creepy scene that I love from The Sopranos.
The Sopranos was well-known for its dream sequences. For me, this dream from the season 4’s Calling All Cars is one of the best and scariest of the series. It’s full of menace and ominous atmosphere, from the minute we see Tony being led to the house by the deceased Ralphie. And then, when that mysterious shadow appears on the staircase — AGCK!
On this day, 26 years ago, The Sopranos premiered on HBO and television (not to mention organized crime) would never be the same. Today, it can be easy to forget just how revolutionary that first season of The Sopranos was. What originally sounded like a joke — a gangster goes into therapy (a plot that had already been used in the film Analyze This) — turned out to be a powerful portrait of American society at the crossroads.
And it all started on January 10th, 1999.
Previous Moments In Television History:
Perusing the imdb, I saw that today was the birthday of the late Tony Sirico. Sirico was a former mob associate who, after serving a term in prison, reinvented himself as an actor. Because of his background, he was often typecast as gangsters but he also proved himself to be an intelligent performer with perfect comedic timing. For a lot of us, he will always be remembered for playing Paulie on The Sopranos.
Today scene that I love comes from The Sopranos and it features excellent work from the entire cast, especially Tony Sirico. In this scene from the 2002 episode “The Strong, Silent Type,” the Sopranos and their associates stage an intervention for Christopher Moltisanti and it goes about as well as you might expect. In just five minutes, this scenes manages to capture everything that The Sopranos was about, as well as giving each member of the cast a chance to shine. Since this is Sirico’s birthday, I’ll just recommend that viewers especially watch Paulie’s facial expressions while Adriana reads her letter to Christopher.
Rest in Peace, Tony Sirico.
From The Sopranos, this was one of Sirico’s best performances:
Since this weekend is going to see both the release of The Many Saints of Newark and the start of our annual October Horrorthon, I thought that this would be an appropriate time to share a creepy scene that I love from The Sopranos.
The Sopranos was well-known for its dream sequences. For me, this dream from the season 4’s Calling All Cars is one of the best of the series. It’s full of menace and ominous atmosphere, from the minute we see Tony being led to the house by the deceased Ralphie. And then, when that mysterious shadow appears on the staircase — AGCK!
I’ve read online speculation that the woman in the shadows was meant to represent Tony’s mother, who will be played by Vera Farmiga in The Many Saints of Newark. Young Tony Soprano, meanwhile, will be played by Michael Gandolfini, the son of the late (and missed) James Gandolfini.
I look forward to watching (and, hopefully, reviewing) The Many Saints of Newark on October 1st!
The Many Saints of Newark, which is finally going to be released on October 1st after being delayed by the pandemic, is a prequel to The Sopranos. It features Tony Soprano as a teenager, struggling to decide between entering the family business or going to college and — if The Test Dream episode is to be believed — maybe becoming a teacher or a coach. That’s a big decision for anyone to make. Of course, since The Many Saints of Newark is a prequel, we already know that’s going to happen. That’s kind of the problem with prequels. You can drag out the story for as long as you want but, eventually, you’re going to reach the point where everyone originally came in.
As you may have picked up on, I’m not totally sure that this film is really necessary. As I say this as someone who loves The Sopranos and who is planning on rewatchinng the entire series later in July. Thanks to the show’s use of flashbacks and the scenes of Tony talking to Dr. Melfi, it’s not as if we don’t already know about Tony’s childhood. I’m not sure that there’s a lot for the prequel to show us, beyond maybe clearing up who was actually responsible for the death of Dickie Moltisanti. If Tony ends up killing Dickie, it’ll cast his later treatment (and murder) of Christopher into an entirely new light.
Still, I’m definitely going to watch The Many Saints of Newark when it’s released on October 1st. Vera Farmiga as Livia Soprano seems like perfect casting and I’m also interested in seeing how Michael Gandolfini does at playing the young version of the character made famous by his father, the much-missed James Gandolfini. Apparently, Billy Magnussen will be playing the youngish version of Paulie Walnuts. In what world does Billy Magnussen grow up to be Tony Sirico? Ray Liotta also has a role in The Many Saints of Newark, which feels appropriate considering how much The Sopranos owed to the success of Goodfellas.
The trailer for The Many Saints of Newark was released today. And here it is:
Earlier this week, I watched The Sopranos on Prime. I started with the very first episode and then I watched all the way up until that famous black out at the end of the final episode. It took me about 6 days to watch the whole series. In case you were curious why I haven’t posted many film reviews over the past few days, it’s because my mind has been preoccupied with the New Jersey mafia.
Needless to say, I’ve now got the Sopranos theme song — Woke Up This Morning — stuck in my head and it only seems appropriate to select it for today’s music video of the day. Now, I should point out that Alabama 3 did not write Woke Up This Morning for the show. (And the version in this video is, needless to say, a bit different from the version that most people know from the opening credits of The Sopranos.) In fact, Woke Up This Morning is not about the mafia at all.
Instead, the song was based on the true story of a woman who, after years of being abused by her husband, finally killed him. She stabbed him to death but “got yourself a knife” doesn’t have quite the same impact as “got yourself a gun.” The song was a minor hit when originally released. It became a much bigger hit once it was featured on The Sorpanos, though its doubtful that Tony Sopranos and his misogynistic crew would have approved of the song’s actual theme.
Originally, David Chase, the creator of The Sopranos, wanted to start every episode with a different song but he was overruled by HBO, who felt that viewers would be confused unless they heard the same song at the start of each episode. However, Chase did end each show with a different song.
Enjoy!
Don’t Stop Believin’ is now probably destined to be forever associated with The Sopranos but the song itself had established itself as a classic long before it was used in the finale of HBO’s famous show about the New Jersey mafia.
In fact, the song means so much to Journey’s Steve Perry that he was hesitant to give HBO permission to use the song until it was explained to him exactly how the song was going to be used and he was assured that it wouldn’t be played over any type of violence. Other than the members of the cast and the production crew, Steve Perry was one of the few people to know, in advance, how The Sopranos was going to end.
While Perry has said that the majority of the lyrics were inspired by his own early struggles to find success in the music industry, keyboardist Jonathan Cain says that the name was inspired by something that his father told him when Cain was thinking about leaving Hollywood and returning to Chicago. Cain’s father told him, ‘No, son. Stay the course. We have a vision. It’s gonna happen. Don’t stop believin’.”
As for the video, it was filmed in Houston and features Journey performing the song as a part of their Escape tour. With the exception of the infamous video for Separate Ways, Journey was known for keeping things simple and straight-forward when it came to their music videos. This one is no exception.
(REVIEW CONTAINS SPOILERS. DEAL WITH IT.)
So, we’re passed the halfway point now in the first season of Game of Thrones. After spending the first half of the season setting up the show’s many characters, it’s obvious that the first season is now moving towards its inetivable conclusion. Not having read the book that this season is based on, I have no idea what that conclusion might be, though I suspect it’s going to be a violent one that’s going to leave a lot of the characters I’ve just gotten to know dead. To a certain extent, I’m happy that I don’t know what’s coming up. It allows me the thrill of discovery, if nothing else.
So, in tonight’s episode, there were two major events. One of those events was kinda cool and fun and contained everything that you would both expect and want to see from a show like this. The other event came at the end of this episode and was horrific, disturbing, excessive, and yet undeniably effective and watchable. (And it was topped off by one of the best lines ever uttered on television.) This event also gave this episode its name.
Let’s go in chronological order. The cool, fun event involved — no surprise — Tyrion. To be honest, I don’t pay much attention to or have much respect for the Emmy awards but seriously, if Peter Dinklage doesn’t get an Emmy for his work on this series then there is no justice. Accused of trying to kill Bran and facing the judgment of the wonderfully insane court of Lysa Arryn, Tyrion spends most of this episode cheating death and Dinklage brought exactly the right combination of arrogance and desperation to his performance tonight. Hopefully, if Dinklage gets his deserved Emmy nomination, they’ll show a clip of his “confession” from this episode. (Though I have to say that I am continually astounded and amazed by the sheer number of ways that boys have come up with to avoid saying “masturbate.”)
Tyrion demanded a trial by combat which led to a fight between one of Lysa’s painfully noble knights and Tyrion’s “champion,” Bronn. And, unlike most television (and move) sword fights, this fight actually felt real. Watching the two warriors, you felt as if they were actually fighting. It reminded me of the that episode of The Sopranos where you literally saw James Gandolfini beat Joe Pantoliano to death. It felt real and, for me, the sight of all that blood pouring out over that formerly pristine armor is one that I won’t get out of my head any time soon.
After the fight, Lysa accuses Bronn of fighting without honor, to which Bronn perfectly replied (while staring down at the corpse of his opponent), “No. He did.” And you know what? On the basis of that line alone, Bronn is now my fourth favorite character.
(By the way, I was reading another blogger who joked that Lysa’s legal system made more sense than the “ones they’ve got in Alabama or Texas.” And to that, I say “Fuck you, you goddamn elitist wanna-be Canadian Yankee asshole.”)
My favorite character — Daenrys — got to deliver a pretty great line herself and I’m not going to repeat it because, with my ADD-addled mind, I’ll probably end up misquoting her. However, anyone who saw tonight’s episode, knows what line I’m talking about. For me, Dany remains the most intriguing character on this show and the one who consistently manages to surprise me every episode. Tonight, her surprise was calmly watching as her annoying weakling of a brother Viserys get killed in such a grotesque and horrific fashion that you couldn’t help but feel a little sympathy for him.
That’s right, Viserys got his crown. Or, more to the point, Drogo pours molten gold on top of Viserys head and Viserys dies. And even though I was suspecting that Viserys would die, the brutality of it caught me off guard. To continue with my Sopranos comparison, the sight of Viserys afterward was just as shocking, to me, as the sight of Joe Pantoliano’s dead eyes staring up at the man who just literally beat the life out of him. Seriously, I couldn’t stand Viserys and all but now I’m kinda scared of accidentally getting trapped underneath a gigantic — but cracked — cauldron of molten gold.
Among the other memorable moments from tonight’s episode, Bran’s encounter in the woods nicely reminded us — as did this whole episode, really — that the world of Game of Thrones isn’t necessarily a pleasant one. I also continue to cringe whenever that creepy little Joffrey shows up. Seriously, I keep expecting him to start trying to drag people off to the cornfield or something.
I do have to say that I’m still waiting for Ned to really step up and impress me as a character. So far, he’s been a sympathetic but vaguely dull character. You watch him and you never doubt his good intentions but you do doubt his ability to actually accomplish anything. Sean Bean is a far more capable actor than he’s been allowed to show in the series so far and I’m betting (and hoping) that by the end of the season, Bean will get a chance to shine.
That said, I did enjoy the small subplot of Ned running the kingdom because (along with Lysa’s court), it further highlighted one of the reasons why I love this show. Every episode so far has featured various characters plotting and scheming and, in every episode so far, those plots and schemes have proven to be no match for the random whims of fate. If nothing else, Game of Thrones is turning out to be a great portrait of a society that has fooled itself into thinking that the randomness of life can somehow be regulated by tradition, ritual, and law. And who, out here in the real world, can’t relate to that?
As I’ve mentioned, I’m a newcomer to Game of Thrones. I have not read the George R. R. Martin novel that the series is based on (though I have read countless Wikipedia entries about every man, woman, and child to appear in the series) and therefore, I can’t judge how the TV series compares to the book. All I can say is that, having seen the first 6 episodes. Game of Thrones has so far managed to not only capture my interest but to hold on to it as well. I do have to admit that, during every episode. there’s been the occasional moments where I’ve had to think to myself, “Wait, who is that again and how is he or she related to everyone else?” But that’s hardly a criticism. Game of Thrones is a complex series and one of the few that will definitely benefit from multiple viewings once the first season is released on DVD. In the future, we may very well remember Game of Thrones as being The Wire of fantasy television.
It was either 3 or 4 years ago that I first heard this song playing over the end credits of an episode of The Sopranos. Other than recognizing the iconic and deadpan twang of the late William S. Burroughs, I had absolutely no idea who performed this song or even what the song’s title was.
However, this previous Christmas, I received a copy of The Sopranos: A Family History from my sister Erin and as I was reading through it last night, I came across a reference to the very song. I discovered that the name of the song was “Seven Souls” and that it was performed by an “experimental” group called Material.
I then proceeded to do even more extensive, deep-digging research and … well, okay, to be honest, I’m lazy so I just looked it up on Wikipedia. And according to Wikipedia, Seven Souls was released in 1990 and it features William S. Burroughs reading passages from his book The Western Lands.
Anyway, here it is…”Seven Souls” by Material and William S. Burroughs…
Through the Shattered Lens 