I was a little bit bored last night (the first time this season – which, in general, I have found RIVETING) – although the cameos by Ben Kingsley and Lauren Bacall were a HOOT. Lauren Bacall getting punched in the face! What a dame. I’m always just psyched when I see her WORKING. She did a good job, too. And Ben Kingsley was great, trying to deal politely with these two HOODLUMS who keep following him around.
But the last scene – with Artie – with his burned hand … cooking the rabbit alone in the kitchen … his finger moving down the crinkly old pages of hand-written recipes – the legacy of his culture, his family tradition – and then the longer shot of him alone at the stove, cooking – with this melancholy music playing – was perfection. Scenes like that are what keep me hooked to the show. Why? Because so much of the show is plot-driven – this happens and then that happens and then that happens – and all of that is well and good, but it’s those small private-moments where we get to see a character’s inner life that create not just good television but something akin to poetry. It’s a revelatory moment. It’s why film is the perfect medium for such stuff because it’s beyond words. Moments like that are so rarely is allowed on television because it seems like something should be HAPPENING all the time – and if the scene isn’t driving the PLOT along, then is it necessary?? Actually, this is true of film as well. But in that one moment, we, the audience, were allowed to take a breath … and watch this man, who had been having a helluva time throughout the episode … remember why he loved cooking, have a private moment with the food, with his family recipes … It is his calling. It was a truly beautiful and quiet moment. It’s why I love this business: moments like that.
I’ve always hated the character of Artie; I thought he was a whiny hanger-on who enjoyed the benefits of being a mob insider but didn’t want to be “sullied” by the dirty side of their business.
But last night I really felt sorry for him. AND Charmaine, and that took a lot. Well played, David Chase. Well played.
I screamed out loud when they hit Lauren Bacall! How awesome was that? I’ve always loved how film stars and other bigwigs CLAMOR to be on this show, even at the risk of tweaking their personas. It goes to show you how well-respected David Chase is, how much actors trust him, I think.
(And if, no, WHEN, I ever come to NYC, we are totally stalking Michael Imperioli. I heart him BIG.)
I know – she got punched in the face!! I love that Bacall, at age 178, gets to play an action scene. Where she falls to the pavement.
GO, BETTY!!!!
I know a bar in the Village where Imperioli hangs out. I saw him there once with Lily Taylor. Let the stalking BEGIN.
Can I come along to stalk Taylor?
Please?
Of course!
And yes, Lisa: WHEN not if!! :)
As Sopranos take-a-break-from-the-larger-story-arc episodes go, last night was pretty good. Chalk it up to “Sir Ben” (who I understand really makes people refer to him in that manner) and Bacall, who is a sport and a half. Punched in the face. Dropping F-Bombs. I love her.
And how hilarious was Chris when he said he loved her in the “The Haves and Have Nots.”
Plus, Kingsley’s simple, sing-songy “Fuck.” to his assistant when he sat down on the plane was great.
He and Bacall saved what would have been a total snore otherwise.
I think Artie’s scene at the end was the gem of the episode. But yeah – I loved the shenanigans of the two big stars. Great stuff.
“He and Bacall saved what would have been a total snore otherwise”
Well said, Noonz. My mind was still wrapped around when Vito was going to get clipped.
I’ve always liked Artie, though. Yes, he’s got flaws, but he’s an honest businessman with terrible acquaintances. He’s too proud to listen to common sense. I’m glad he beat that one guy’s face in, but he didn’t have to provoke him outright, that’s just stupid.
Sheila,
Artie’s scene at the end made it poignant. I was thinking, “God, Artie is a dick” the whole time, but at the end, I kind of felt good for him, because he rediscovered some of the joy that seemed gone from his existence.
Of course, Benny could wind up killing artie next week, making the Bunny Catharsis irrelevant. (my wife and a good friend of ours refuse to refer to Max Casella as anything other than Vinny Delpino, btw..as in…”Vinnie Delpino is going to kick Artie’s ass.”)
I know, poor guy. The problem is that his face has NEVER changed since Doogie. Even Doogie’s face changed, but Vinny is stuck. He’s like Ralph Macchio or something – he’ll look sixteen for the next thirty years.
I’m new to regular Soprano viewing this season, so I hadn’t seen him until the second ep, when they all kidnap the guy from his writer’s class – and all I can think is, will he tell Doogie about it after he climbs through his window at the end of the episode?