Chicago Tribune “Arts Critic,” Sid Smith, goes and jabs a bad page, leaking THE SOPRANOS, Season Six Premiere all over his recent column (“‘Sopranos’ hits high notes early“). Even worse, I’m knucklehead reader enough to have read it.
And, I like the recurring use of “dream-sequence” events in is Series — and the dramatic use of them — because they effect a far richer repeat-viewing of the Episodes-for-all-Seasons if not the original views themselves (but don’t go read Smith’s column just yet, wait until after Sunday night’s Season Six premiere Episode — Smith reduces the dream-sequence work in THE SOPRANOS to annoying wasted water while otherwise ruining the surprise of the Sixth Season starter). I’ve yet to read more debate about the THE SOPRANOS than I did as to the second dream-sequence from the two that appeared in Season Four’s Episode 50, “Calling All Cars” (the second dream-sequence in that Episode is the stone-mason-“no-speaka-di-Engelish” and the-figure-partially-descending-the-farmhouse-stairs sequence) — I continue to insist that it doesn’t matter who the figure was in that second dream (that one Episode, the figure-descending-the-stairs, but also in the other dream sequences, same insistence from me), but what does matter is who the character of Tony Soprano thinks it is, or same about the rest of the sequences; that is, Tony Soprano dreamed the figure and all the rest, and, so, what is important to the story is what the figure represents to the character of Tony Soprano, not what is defined by the viewer but what is perceived by the character of T.S., and, what his reactons to the figure are (fear, specifically, followed by the indication by Tony that he was in the process of confronting the figure by opening the squeaky front screendoor before him just before waking).
Near-unending debate has occured on the internet about who the figure descending the stairs was, to my frustration, as to Season Four’s “Calling All Cars,” while Season Five’s Episode, “The Test Dream” seems to have driven many bloggers and erstwhile commentors into a dart-tossing manic trance (however, not as to me, because I am quite fascinated by the use and content of the dream sequences in this Series).
So, this Sunday night, and then Monday and Wednesday nights following each week respectively, I’ll be glued to the one Series that has and is singlehandedly propping up HBO for another year and about which I have never been so grateful, now as in the past years: another Season — but, alas, the last — the Sixth Season, with twelve episodes and a bonus additional eight, of the immensely well–written THE SOPRANOS and James Gandolfini‘s remarkable, astute and bewildering characterization of Tony Soprano.
“‘Sopranos’ final season packs a bada-bing”
— Despite the landloping title, the article’s a good read, particularly as to insights about process and plans for the Series by THE SOPRANOS creator and writer, David Chase:
“…’I guess,’ Chase offers, ‘the question is: “Do we really believe that crime does not pay?” He shrugs. ‘That’s what we’re told. That’s what most gangster films have told us. Is there justice in the world?’
“So, whatever it is that Chase happens to believe, that might have some bearing on the Series grand conclusion?
“‘Yeah, I think so,’ he says, mulling it over. ‘I think so.'”