The gang is back in action during season four of The Sopranos. As Tony Soprano (James Gandolfini) continues to navigate the terrain of the New Jersey mob scene, everyone around him deals with their own struggles–and that’s not good for business. Christopher (Michael Imperioli) deals with drug issues that threaten to ruin him and Adriana (Drea de Mateo), and others need to intervene before things get too far out of hand. Tony and Carmela (Edie Falco) are in a dark place, not just with one another, but in general. As the two struggle through their differences and their plights, they come to realize that things must change.
Much like the previous season, season four of The Sopranos plays around a lot with the idea of change. Characters change, plotlines change, but more importantly the trajectory of the show changes forever. These changes began in season three when viewers saw new characters appear and fan-favorites alter their personalities seemingly forever. The Sopranos, while still maintaining a similar course since its inception, has altered the formula by which it tells a story. Regardless of the fact that characters in the show are mob affiliated, there were clear “good” guys and “bad” guys from the start–but that all changed as the lines were blurred in season three, forcing the show to drastically change. This change, while possibly warranted, isn’t fully welcomed by me, as I saw characters that I fell in love with from the start change, and not for the better.
There are two characters, who I adored almost from the opening scene of the show, that come into question in season four. Those characters are Christopher and Paulie (Tony Sirico), and their journeys are altered here, and the way that they appear to viewers changes in an even more significant fashion. Paulie loves his mother, and his willingness to break laws, rules, or relationships (even more than before) casts a dark, ugly light on him. Christopher’s drug issues come to a head in season four, and they affect everyone around him. The things he does when high are unspeakable, and had someone I know committed heinous acts like this in real life, they would immediately be removed from my life. These comments seem harsh, and it may even seem that these particular characters have been changed so much that they no longer appeal to viewers, but the opposite happens to be true. While the shifts weren’t necessarily welcome in season three, the writers and directors find ways to appropriately work those changes into the narrative through season four. When sudden and immediate changes came over these characters (and many others) in the previous season, those things felt unwarranted, but here, an entire season later, those changes make the characters more believable, relatable, and likable. The simple act of turning your back on people you care about isn’t likable, but the fact that these things occur in the real world makes the now dynamic characters feel more legitimate.
What I was desperately afraid of was that the change in trajectory of some of the characters in the previous season would soon feel overwhelming and frustrating, but the minds behind the popular Home Box Office show evened the playing field by making these characters multidimensional more than ever before. This change is simply lovely, and the show has seemed to have gotten itself back on track.
There’s a darkness brewing inside of Tony, one that was ignited early in the series, but that darkness has managed to break free, not only affecting the series’ lead, but everyone and everything else. The tonal and physical darkness that exists throughout the fourth season of The Sopranos is riveting, and it captures a very realistic picture of the difficulties of life–particularly those that exist in the realm of mob life. One scene in particular, a pivotal scene between Tony and Ralph Cifaretto (Joe Pantoliano) defines the excellence of the cinematography and direction that exists throughout this season. Episode nine–Whoever Did This–is written by David Chase, Robin Green, and Mitchell Burgess, and directed by Timothy Van Patten, and this is possibly the most important episode of the season, the defining moment for many of the series’ characters. In that aforementioned moment and the struggles of life come to fruition, the beautiful close ups allow viewers to see the angst, the hatred, and the sadness present in each character’s face, and the long shots depict something equally grotesque that further darkens the series and invites viewers deep into the abyss where many of the characters exist. There’s an intentional and completely necessary combination of camera angles and shots present throughout this scene, and without perfection, all that finally came to be would have been lost on viewers around the world. Phil Abraham, the director of photography for Whoever Did This (and a number of other episodes) finds a way to achieve that perfection, and, from this moment forward, the entire series soars.
As I’ve said numerous times, there are a number of massive changes that occur in season four of The Sopranos, but those changes ultimately do the series more good than bad. Throughout the course of the ever-changing season, characters develop in new ways, relationships grow (and relationships crumble), the overall narrative alters its direction, and the series as a whole has found its footing. The Sopranos (and this most certainly isn’t the popular opinion) was on the verge of failure by the end of season three, but season four rights the ship, reinvigorates viewers, and sets the final two seasons up for something truly impressive. Season four of The Sopranos is the best so far, and it promises a bright future for the growing show.
Directed by Allen Coulter, John Patterson, Tim Van Patten, Jack Bender, Henry J. Bronchtein, Steve Buscemi, Dan Attias, Alan Taylor, & James Hayman.
Written by David Chase, Terence Winter, Michael Imperioli, Maria Laurino, Robin Green, Mitchell Burgess, Nick Stantora, Lawrence Konner, & David Flebotte.
Starring James Gandolfini, Lorraine Bracco, Edie Falco, Michael Imperioli, Dominic Chianese, Steven Van Zandt, Tony Sirico, Robert Iler, Jamie-Lynn Sigler, Drea de Matteo, Aida Turturro, Federico Castelluccio, John Ventimiglia, Vincent Curatola, Steven R. Schirripa, Joe Pantoliano, Kathrine Narducci, etc.
⭐⭐⭐⭐⭐⭐⭐⭐½/10
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