[PUBLIC POST] Sopranotember: The 13 Greatest Shots in The Sopranos
Very observant. The sacred and the propane.
Welcome to the second edition of Sopranotember, where we look into the most groundbreaking show in television history and its most underappreciated aspects. Given that this is a public post, it is not a complete list of Great Shots of The Sopranos. This is. If you are interested in reading what else was included, please sign up or subscribe. It would be really encouraging to see that from my readers.
An index of Sopranotember:
The Sopranos is not a visually intricate show; at least, it isn’t something to be talked about in the vein of One Perfect Shot fanatics. In my opinion, cinematography is not the be-all-end-all to all of film and TV, mainly because they work together with other components - screenplay, editing, acting, costumes - that convey the meaning from its creators. That does not mean that the greatest show hasn’t had a variety of great compositions. This isn’t necessarily a definitive list of great shots in David Chase’s series. It goes in chronological order rather than a best of. Only one shot, one episode. Rather, these are a collection of images I think are important to its narrative and characters. Think of it, as a curation of sorts. The sacred and the propane.
Pilot (Season 1, Episode 1)
One of the very first shots of the series, Tony Soprano meets Dr. Jennifer Melfi and while he is waiting, there is a marble statue of a naked woman. There are several possible illusions to this: Livia Soprano, his insufferable mother, the many goomahs he had, or Jennifer Melfi, given that he is entering a significant chamber that’s in between heaven and hell. Thus, the show has been established for what it is.
Boca (Season 1, Episode 9)
Now, this is a shot I find very interesting. It’s easy to forget that while Tony and Carmela’s marriage has turned far more toxic, they had moments where they actually liked each other’s company. Both of them giggled like schoolgirls, as Tony learns about Junior’s ability to pleasure a woman. The detail of the bedroom - the arching bed, the oil painting behind it - demonstrates The Sopranos’s luxuries as well.
Employee of the Month (Season 3, Episode 5)
This composition is an affirmation of Melfi’s ability to remain morally neutral and highlights, following a horrific rape, how much she is able to hold her agency, and refrained from leaning for Tony’s help. Tony sees her vulnerability, and it looked as if he was, at best, curious about it, and at worst, use it to his advantage, whether it’s compassionate or malicious. But one word closed the books and it’s no longer an issue: no.
Pine Barrens (Season 3, Episode 11)
This is everyone’s favorite episode and it’s no surprise that it has many moments of great camerawork, where Paulie and Christopher get lost in the woods, in the deep cold snow. Hilarity ensues. Christopher gets out of the car to take a whiz, while Paulie almost shivers to death. Hilarity continues to ensue.
Army of One (Season 3, Episode 13)
Jackie Jr’s demise provides this hilarious long shot of Junior Soprano realizing that he is late for a funeral over a guy he once remarked drowned in a puddle. But this also shows that Junior and Bobby make for the mafia’s equivalent of Larry David and Jeff Garlin from Curb Your Enthusiasm. When even a mob boss stuck under house arrest, doesn’t come to your funeral, you have minimal respect.
For All Debts Public and Private (Season 4, Episode 1)
The relationship between Tony and Bobby Bacala grows upon this shot. Bacala gets a promotion from Tony and then, to mark the occasion, delivers the greatest malapropism in the entire show. Nothing expresses a better reflection of America’s seismic global shift than this the two sitting together and confusing Nostradamus with Notre Dame.
Whoever Did This (Season 4, Episode 7)
Tony remembers Tracee, who was the only woman in the show that is given mostly respect and sympathy. When he kills Ralphie, he utters “she was a beautiful creature.” This is reminiscent of the time Tony chokes Febby in ‘College’ and where he looks up the sky, where the ducks are flying away from him and he has to lie afterward. But that was part of the business. Here, this was purely emotional.
The Test Dream (Season 5, Episode 11)
Many of the visual tricks in this Sopranos episode, includes this one. Tony appears with the deceased Pie Oh My and there is some clever wordplay with horse and whores. To paraphrase from Kanye West, one good horse is worth a thousand bitches.
The whole family gathers for Christmas, and as the camera zooms out, we see two palls bearing out, as if it’s a gated community, and it is. It looks like an underwhelming episode to end on a season (or the first half of the season), but it is a gateway to the next season. That being that this is the last time you’ll see the DiMeo family this happy.
Sopranos Home Movies (Season 6B, Episode 1)
Is there a shot that defines an episode better than Bobby Bacala holding their new daughter, after committing his first kill? As he looks over the river, the character tries to find peace of mind, and the song The Magic Moment enhances much of the serenity. There’s a sense of reconciliation for Bobby, but that’s going to be hard for someone as deep hearted him.
Stage 5 (Season 6B, Episode 2)
A homage to the baptism scene in The Godfather, we see Tony and Christopher hug it out. There is an evil look on Tony’s face, as he grows more paranoid with everyone close to him: first Bobby, and then Christopher, the heir apparent and his most loyal capo. Much of his suspicions peter out by the end of an episode. But with Chris, it grows like a parasite lingering over its host.
Walk Like A Man (Season 6B, Episode 5)
James Gandolfini must have made the world’s first human trollface, and it’s one of these shots that define Tony’s devolution as a human being. Christopher has already lost faith in the mafia, after Paulie mocks his newborn daughter, that you would think his uncle would restrain him. But it is too late now.
The Second Coming (Season 6B, episode 7)
As the show becomes much darker, one thing that has been very consistent about The Sopranos is its humor. One may wonder why a long shot of Tony and Little Carmine leaving Phil Leotardo’s house. Then you realize it’s a setup for a joke; Phil decided to go to war by heckling them like a five-year-old in his bedroom. In other words, Phil turned into a house one afternoon and it was the funniest shit ever.
Made in America (Season 6B, Episode 9)
The final shot (or maybe the second-last, if you really want to make that count) of the show, and perhaps the most iconic in its history. This inspired many discussions on what happened next? Did Tony die? How did Tony die? Was that Meadow opening in the door. No matter how you feel, you feel like his glory days, as he implied in the Pilot were over. And it was.