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The First Five Weeks of Season 3 of The Sopranos

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from: Glen Gabbard

"Isn't this straight out of a textbook?"

Posted Wednesday, March 14, 2001, at 11:38 AM ET

Who are these people?

What impressed me the most about the therapy depicted in the last two seasons was that it approximated an actual therapy process better than any film or TV show I had ever seen. And I say that after sitting through nearly 450 American films that depicted some type of therapy when I wrote Psychiatry and the Cinema. In last Sunday's episode, though, I found myself disappointed that the writers resorted to the standard recovered memory formula that is pervasive in Hollywood cinema. Tony remembers seeing his father cut off the butcher's finger in the back room of the shop followed by a highly sexualized primal scene in the kitchen between his mother and father. To take his father's place, then, fills him with castration anxiety, and he faints. Isn't this straight out of a textbook? The one used for psychoanalysis 101? I guess I've grown to expect more surprises from the superb writers who work on The Sopranos. To add insult to injury, Dr. Melfi then takes on a didactic tone in which she educates Tony about Proust's famous episode with the madeleine. Is "hokey" the word we are looking for here? I think so.

tv club
entries
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from: Glen Gabbard

"Isn't this straight out of a textbook?"

Posted Wednesday, March 14, 2001, at 11:38 AM ET
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This spring, Slate will ask Dr. Melfi's real-life counterparts to examine developments on The Sopranos. Glen O. Gabbard, M.D., is a professor of psychoanalysis at the Menninger Clinic and co-author of Psychiatry and the Cinema. Philip A. Ringstrom, Ph.D., Psy.D., is an analyst at the Institute of Contemporary Psychoanalysis in Los Angeles and a full-time practitioner. Joel Whitebook, a practicing analyst in New York, is on the faculty of the Columbia Center for Psychoanalytic Training and Research. Margaret Crastnopol, Ph.D., is on the faculty of the Northwest Center for Psychoanalysis and a practicing psychologist/psychoanalyst in Seattle. Click here to comment on Sunday night's episode.
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Reader Comments From The Fray:



Margaret Crastnopol hit it right on the head: we are being too easy on Melfi (or at least the portrayal of Melfi). Fact is, Tony Soprano is an idiot and she's physically intimidated by him. She's also turned on by him--which is a revolting possibility. Thing is, thousands of women are, in fact, turned on by Tony and his merry band of thugs. Crastnopol's suggestion that the doctor-patient and doctor-doctor power positioning does little to counter stereotypes of weak women being pushed around by angry, stupid men--this is all correct, too. Actually, the whole program is misogynistic and ought not be watched by anyone....yet, I'm strangely attracted to it, bad writing/acting and all. Is it that I'm that desperate for entertainment or is this representative of some deep misogyny within? Doctors, tell me: what drives us (me) to watch this thing, even when I know it's negative TV? There are too many men and women out there watching this and thinking that this is an acceptable way of life. What's wrong with us? A diagnosis, please.

--Phil H.

(To reply, click here.)


To Phil H:

There is nothing wrong with "us." But there is a problem with your formulation of the problem. To enjoy this well-written and well-acted drama, we are not obligated to find that the fictional characters pursue "an acceptable way of life." On the contrary, I would guess that 99.9% of viewers strenuously object to the way Tony puts bread on the Sopranos' table.

We enjoy the bravura plot twists, the odd contrasts, the marvelous characterizations, and the Machiavellian tactics--and the occasionally absurd results of the characters' efforts. The monstrous is combined with the mundane in a striking and amusing way. Consider Tony strangling a mafia traitor as his beloved daughter is interviewed for admission to a genteel New England college.

Millions of people have read and admired Crime and Punishment. Do you suppose they accepted the grotesque reasoning that drove Dostoyevsky's main character? Must we approve of step-patricide to enjoy Hamlet?

Relax and enjoy the series. If you feel the urge to emulate the main characters, call your therapist (or your local sheriff).

--Gary

(To reply, click here.)


On the question of the Mafia don who approved of Tony's therapy: Remember that this was a leader of the Manhattan mob. Probably they are a little more sophisticated than the Jersey crowd. Remember, it was only Junior and Tony's assumption that seeing a shrink was taboo. The New York family was probably way ahead of them.

--Aurora Duane

(To reply, click here.)

(3/15)

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