TV, Writing

The American Nightmare: Experiencing THE SOPRANOS

Following a first watch of the show, A. J. Black discusses his impressions after experiencing David Chase’s seminal Mob drama, The Sopranos

To me, The Sopranos is about the American Nightmare, as opposed to the American Dream.

The final episode of David Chase’s magnum opus about the New Jersey Mob which ran from 1999 through to 2007 on HBO is called Made in America, as if to underline how the larger than life central figure of Anthony ‘Tony’ Soprano, despite his Italian heritage and Mob family history, could only exist in the framework of American society. Even with a fairly sprawling cast of regular fixtures, within the Soprano family and without, it was Tony who encapsulated the broken promise of America in one deeply flawed, psychologically scarred, selfish and sociopathic individual. The series pivoted around the balance between being head of the New Jersey Mafia while trying to exist as the patriarch of a prototypical American nuclear family, and how these elements would come to often almost violent blows.

Chase’s series is constructed upon the idea that Tony, while representing ostensibly the quite cliched, Mario Puzo-definition of an Italian gangster—masculine, hard drinking, loves food, charms women etc…—was also intensely damaged as a human being to the point he reaches out and accesses therapy as a way of grappling with his own life and psyche, traditionally the kind of omertà-breaking move that would consign him to Mafia oblivion. The Sopranos only works so well because Tony needs to talk, to find an outlet for the filthy, ugly, morally vacuous existence he leads within a world of zero substance posing as important machismo. If Tony represents how America lost its way, became corrupted by cynical values of self-deception and mercurial self-interest, then it’s the American Dream week in week out in the office of Dr. Jennifer Melfi as much as it is a fairly low-rent Jersey gangster.

Having just turned two decades old, experiencing The Sopranos for the first time throws all of this into sharp relief, suggesting Tony Soprano was less an actualisation of America’s decay but more of a harbinger of what was to come.
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