Sopranos season 6.2 & The Godfather

I've had this idea in my head for a while now, and while i'm sure i've missed somethings and not got the whole picture, i'll tell you my initial thoughts.

I know david chase liked to make little tributes to films like goodfellas and the godfather, but it seems to me season 6.2 had a fair share of godfather moments (clues to tony's fate maybe).

At the start of the series we see tony go for his birthday to what looks like a very michael corleone style compound, the most famous instance is where he is talking to bobby on the boat, that made me think of the scene with freddo on the lake of house in his boat.

Later on in 6.2 we see bobby, sil and tony discussing a major thing with the plans to whack phil, while in the vesuvios and then on comes cavelliera rusticana, the music from the end of the godfather part 3.

In made in america, another is there with the members only guy going into the bathroom and like in godfather one, and like many of us suspect comes out and kills tony like michael did .

Now again in made in america, for whatever reason of the 2 other characters meadow the daughter comes in last to holstens, is this meadow seeing her father killed a twist on michael corleone seeing his daughter killed?.

Also the last series of the sopranos a major theme more than any other season was the wellbeing and careers of the children, that was also a major theme of the last godfather.

Now i'm sure there are more, i have thought of 2 or 3 more but i can't remember them right now.

Any thoughts?

Re: Sopranos season 6.2 & The Godfather

Some good observations there, Vecchia. I never thought before of Janice and Bobby's lake house resembling the Corleone compound in Nevada, but I can see some similarity now that you mention it.

I recall an interview w/ Terence Winter, who was the script writer for Blue Comet, where he was asked about the Cavellaria Rusticana music. He was adamant that it was strictly a shout out to Raging Bull, witness the slow motion boxing stuff Tony and Sil were carrying on. Winter was quite disparaging of Godfather 3 in that interview, so I take him at his word that there was no intended resonance to GF from that choice. Of course resonance is also in the ear of the beholder as well as the intent of the creator.:icon_biggrin: Since I personally much prefer Godfather 3 --despite its many flaws -- to Raging Bull as a movie, I chose to think of the GF 3 connection as well.

I actually think there were more obvious Godfather parallels in season 6A than 6B, with the exception of the onion rings remark and the guy going into the bathroom in Made in America. AJ was clearly using Godfather as his guide on "how to react to the shooting of your Mafioso father even though you're a civilian". In Join the Club (or maybe it was Mayham, can't remember), AJ parroted one of Michael's lines about the "impossibility" of killing someone. Then there was a deliberate parallel in Johnny Cakes, where AJ's conflicted but failed attempt to extract vengeance for his father's shooting echoed Michael's conflicted but successful effort to do the same re Vito. Topping it off was AJ invoking Michael's revenge as Tony's favorite scene in all the Godfathers and thus his own understanding of what his father might have expected a loving and loyal son to do in the same circumstance.

Still, nice food for thought re 6B.:icon_wink:
Tony, his spirits crushed after b-lining to the fridge first thing in the morning: "Who ate the last piece of cake?"

Re: Sopranos season 6.2 & The Godfather

What about in Stage 5, at the very end, when Phil tells Butchie "never again," which I've always taken as a vow of revenge on Tony, and the very next sequence is Tony standing Godfather to Christopher's daughter, Caitlin? I found this ominous, and thought of a similar sequence at the end of GF1 when Michael stands Godfather to his sister's child. The tone is especially foreboding when you take into account that the christening sequence in Godfather is intercut with the murder of each head of the Five Families.
Post Reply

Return to “Sopranos Symbolism and Subtext”