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(More customer reviews)It's lonely in the ranks that believe that season 6 of The Sopranos was as good, if not better, than the seasons before it, but I am convinced that the first 12 episodes of season 6 are amongst the bravest, best written, and most telling episodes of the series. The Sopranos has long been a show with the most complex, multi-layered characters on television, but by using the mantra of "Who am I, where am I going" as a rallying point, season 6 probed the nature of what drives its family, and gets in intense focus of who each of them is. The problem, I think, was that it did its job TOO well this season - it's not that there wasn't action (the death count this year was as high as any other, and Tony does, after all, nearly die himself), but that because the show wanted so much to get the specifics of the ordinary right, it's easy to overlook the rather consternated implications of their everyday events. What I mean is that in showing each character at his/her essence, we get what really drives them, but we don't necessarily get that explained to us - we, for example, identify with Carmela's sense of longing and uncertainty staring off at the Eiffel Tower, or we register that Paulie is adrift in guilt and anxiety over his actions in life, but we get it in the details of their everyday action and, these characters experiencing these implications alone, get little of that wrapped up for us. To me, that speaks to a level of characterization and examination that doesn't exist in television and barely exists in film - it probes the specifics of its fictional characters so precisely, it winds up speaking to the heart of what drives Americans and the materialism of American culture that makes things like mobs possible. In that, it brings forth insurance agent, real estate claimsmen and salesmen, actors, and (in one unforgettable shout-out) Dick Cheney - comparisons of the same urges. Yet this season does more than critique the impulses, it allows them to exist, allows all of their very real virtues to be present, and lets them arise from its characters distinct, full-bodied personalities - money helps keep AJ out of jail, gets him laid, repairs Tony's relationship with his sister, keeps Carmela from probing too deeply into Adriana's murder, gets Tony reasonable health care, and nearly spares Vito's life and stops a cross-river gang war. I may be alone in the level to which the Sopranos makes me think, but I do think David Chase's intentions are to use his astonishingly vivid characters to go into depth about the American mentality (or, they're not, and it's just a product of three dimensional writing). However, even if it weren't, the season gives you extraordinary moments to savor - Paulie's confrontation with mortality ("The Ride"), Carmela crying at Tony's bedside ("Join The Club"), Christopher's gut-shaking relapse ("Kaisha," with a fearless guest turn by Juliana Marguilles), AJ's inability to carry out his "big plan" against Junior ("Johnny Cakes"), and, unforgettably, Philly's cold stare as his machinations to kill Vito are achieved ("Cold Stones"). They're moments of magnificent acting that fulfill characters even as it surprises you with their humanity and personality. And, in the premiere, "Members Only," it gives you it all in an hour - a suicide, heart attack, and gun shot that seem to tell you everything you've ever needed to know about the mob life, about why they - if not you - do what they do.
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Several crises threaten Tony and his crew; for starters, rival boss Johnny Sack (Vince Curatola) is in prison, and the always-tense relations between the New Jersey and New York families are strained through the unpredictable behavior of Sack?s surrogates. Then there are the inevitable power struggles that ensue when certain family members are eliminated, by natural and other causes.DVD Features:3D Animated MenusAudio CommentaryFeaturette
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