Dear Glen, Peg, and Phil,
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StumbleUponIf this episode is any indication, the theme of the "dead father," to use a psychoanalytic term, seems to be replacing the "dead mother" as one of the show's central motifs. Earlier episodes focused on the role that a dying mother--to be sure, a very particular and malevolent one--was playing in Tony's emotional life. Now, with an apparent epidemic of cancer among Uncle Junior's cohorts, a generation of fathers is passing from the scene. Although introduced abruptly, I don't think the theme of the dead father is meant to stand on its own. Rather, it seems to me to be related to--indeed give an answer to--the theme of last week's episode, namely, violence against women. There is even a connection in the stylistic excesses. Last week, the parallels between the attack on Dr. Melfi and on Janice struck me as too contrived for writers of this caliber unless they were intended. And this week, the sudden explosion of cancer cases also seems too over the top to be accidental. These stylistic extravagances are, I believe, meant to help them develop their main point: Men's preoccupation with power and violence toward women is a result of their need to deny their helplessness in the face of nature's indifference and cruelty, which is epitomized in death. I know you've heard this thesis before, but that doesn't make it false.
The discomfort with the devastation being visited on the older men's bodies is apparent in the passing comments made by the members of the younger generation. For example, the remark is made several times that Carmela's Uncle Fibby only weighed 95 pounds when he died. And one of the wise guys is aghast at the fact that he has to help his ailing father off the toilet. But I think we'd all agree that the central figure in this context is Bacala. Although he is dying of lung cancer, he wants to be "useful" and carry out an assassination order like a good soldier--even if the target is his own godson. I think the terrifying quality of the struggle between the two men is meant to parallel the horrific nature of last week's rape scene. And the killing does have its desired effect. Afterwards, we see Bacala driving down the highway, totally rejuvenated and in a manic elation. Now if things were left at this, we would have a fairly conventional, if hyperbolic, criticism of the male propensity toward violence. But this show is too sophisticated for that. If we think back to the interpretation of Jennifer's dream, she makes the point herself that the sign didn't say "Danger," but "High Voltage." There was definitely something attractive and exciting about aggression. That's a big part of why she's drawn to Tony "the Rottweiler."
Joel
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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.)
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