We are all chameleons. We are never just one mood, one variation, one fixed point in time and space. This is the lesson Mad Men seeks to impart to the viewer.
It has been five years since the final seven episode run of Mad Men concluded it’s seventh and final season on AMC, and there is an argument to be made that Matthew Weiner’s series stands as one of the final assortment of critically acclaimed series to air on cable television before the age of streaming, a capstone on the Golden Age of Television ushered in during the 1990s and truly crystallised by The Sopranos. Weiner served as a staff writer on David Chase’s seminal, psychological deconstruction of the modern American family, the immigrant experience and the organised crime world, and Mad Men began just as The Sopranos came to an end. They make for a remarkable companion piece; different in setting, style and tone yet tethered in how they tragically expose the fragility of the American Dream.
Donald Draper, played with true majesty by Jon Hamm, serves as a historical forerunner of James Gandolfini’s Tony Soprano. Both are complicated, traumatised men, haunted by maternal rejection, toxic in their approach to sex and femininity, and struggling to reconcile their personal demons with their professional (or in Tony’s case criminal) lives around them. The difference with Don, existing at the beginning of the 1960s through to the arrival of the 1970s, is in how he presents. Tony almost revels in his gauche, open handed viciousness and virulence, even as he works in therapy to try and understand or temper it, where as Don is the picture of masculine restraint, refusing to acknowledge his own internal pain and even his true identity as Dick Whitman, an orphaned boy born into poverty who escaped the midwest and reinvented him as the picture of American success on the East Coast.
Mad Men, amongst many things, is about Don’s own reckoning with identity as he traverses a fast-changing social and cultural landscape, his journey toward change, and indeed whether change is even possible. If The Sopranos externalises the corruption of 20th century America, Mad Men internalises the foundation of it. Don is the dream and the nightmare in one beautiful, opaque package.
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