‘Wise Guy: David Chase and The Sopranos’ examines HBO’s hit drama and its creator

As a longtime fan of “The Sopranos,” I found this documentary, “Wise Guy: David Chase and The Sopranos” by Alex Gibney, to be a captivating exploration of the series’ creation and enduring impact. Having followed Tony Soprano’s journey since its inception, it was fascinating to delve into the lives of the actors who brought these characters to life.

Exactly a quarter of a century back, “The Sopranos” premiered on HBO, marking the beginning, as some say, of what is known as television’s Golden Era.

In my perspective, Alex Gibney’s two-part documentary “Wise Guy: David Chase and the Sopranos,” airing this Saturday on HBO once more, offers a unique glimpse into the lives of three intricate parts: its creator David Chase, its leading actor James Gandolfini, and their collective masterpiece, Tony Soprano, the “waste management consultant” from New Jersey, who is actually a mobster. This documentary assumes that you’re already familiar with “The Sopranos,” its plot, and characters, making it more suitable for dedicated fans rather than newcomers. However, if you’re intrigued by the creative process behind a critically acclaimed series, where inspirations, choices, revisions, hard work, and a dash of luck come together, then this is definitely worth your time. In fact, it was so groundbreaking that “Saturday Night Live” even parodied the glowing reviews it received (“‘The Sopranos’ will one day replace oxygen as the thing we breathe in order to stay alive.”).

One distinctive trait that set “The Sopranos” apart was the extraordinary creative freedom it enjoyed. Although it wasn’t the first creator-driven series, as “Ozzie & Harriet,” written and directed by its star Ozzie Nelson, came before it by 47 years, and “The Larry Sanders Show,” HBO’s initial hit, was heavily influenced by Garry Shandling’s vision, “The Sopranos” paved the way for future showrunners and influenced discussions in executive offices. Its triumphant run essentially granted permission for other series to emerge, such as “Ozark,” “Animal Kingdom,” and “Breaking Bad,” that might not have been conceived or approved otherwise. Furthermore, it sparked a fascination with antiheroes that television has yet to outgrow.

The show stood out because it was deeply personal. Fans of “The Sopranos” know that the character of Tony’s troubling mother, Livia (played by Nancy Marchand), was inspired by Chase’s own experiences. (“I wonder if this creature I’m portraying is no longer alive?” Marchand said.) The show drew from Chase’s life – the Sopranos resided in a neighborhood where Chase grew up – and encouraged the writers to delve into their own darker, more unusual experiences and past. Robin Green, one of the writers, admitted that they could have been perceived as prejudiced, sexist, or bigoted if people didn’t know any better.

This documentary stands out among the typical “making of” ones due to its unique elements: audition tapes, behind-the-scenes footage, humorous stories, historical photos and clips. Alex Gibney’s innovative approach involved interviewing Chase in a replica of Dr. Melfi’s office from the series, placing himself as the therapist. Although some might find this too direct, it was fitting for the subject who was initially hesitant but eventually opened up. Chase expressed his surprise, uncertainty, and eventually admitted he was talking too much. Others, such as actors Lorraine Bracco, Michael Imperioli, Drea de Matteo, Steven Van Zandt, Edie Falco, HBO executives Chris Albrecht, and Carolyn Strauss, describe Chase from an external perspective, acknowledging a challenging yet highly respected figure.

In addition, we catch a glimpse of Chase’s student film from Stanford titled “The Rise and Fall of Bug Manousas.” This production features gangsters dressed in ’40s attire sporting long hair and mustaches reminiscent of the ’70s, making it quite characteristic of the era. As he recalls, Chase says, “We thought we were emulating Godard, but I’m not sure what we believed Godard was accomplishing; we definitely weren’t achieving it.” Following a stint working on low-budget exploitation films, he transitioned to television, where he found success with shows like “The Rockford Files,” “I’ll Fly Away,” and “Northern Exposure.” However, despite his achievements, he admits to being discontent: “The issue was, you knew the boundaries, but you were constantly pushing them, and you would always fall short.

When HBO acquired “The Sopranos,” he expressed it felt like he’d drifted in a turbulent sea only to find himself stranded on a stunning, palm-lined island. He thought, “My life has been miraculously preserved.” On the silver screen, movies portraying gangsters, particularly Italian ones, as central characters weren’t unheard of – “The Godfather,” “Goodfellas,” and “Casino” had already graced the big screen. Notably, “The Sopranos,” initially penned as a movie script, aimed for cinematic excellence.

The TV show where Tony, who plunged into depression after a family of ducks flying off from his pool left him heading to therapy, held my interest — I appreciated the premise that a character often depicted as unchanging could evolve. However, I was misled. No such development occurred. Instead, as he put it, therapy didn’t turn him into a better man, merely a more effective mobster. (Paraphrased)

Along with other actors from “The Sopranos,” Steven Van Zandt was part of an interview (on HBO).

In my experience, Tony Soprano was the role that most of us knew James Gandolfini from before we encountered him as an actor. Yet, he seemed surprisingly gentle and sweet in interviews and other settings outside the character. A significant portion of the second episode focused on him, delving into the weight of embodying Tony or perhaps Tony living within him, and the grueling demands the role imposed. In a conversation with an interviewer, he shared how he was taken aback when he first joined the project, stating, “I walked in with a big smile on my face and I got punched right in the nose.

Despite the quality of the series, I had grown tired of Tony and his crew well before the finale. However, I continued to watch it until the end, including the iconic scene where Tony gazes towards the diner door, meeting his family – a moment that director of photography Alik Sakharov refers to as “a resolution of irresolution.” Even though creator David Chase hinted at this being a death scene on occasion, he and others are not keen on discussing it here. (Johnny Sack’s explanation is typical: “What happened was the director called cut and the actors went home.”) Regardless, I am content to remain in that ambiguous state, where Tony receives his karmic retribution.

The television series was widely discussed during its airing and after it ended, and there’s not much new here. However, this is a movie, and Gibney consistently compares the artists’ lives to scenes from the show. While this approach can appear simplistic at times, it’s also convincing. The analysis of the series, provided by Chase and others, is comprehensive, occasionally surprising – for instance, the finale was inspired by “2001: A Space Odyssey” – and sometimes poetic. You might not have realized the significance of the lyric, “The movie never ends, it goes on and on and on and on,” from Journey’s “Don’t Stop Believin’,” which is played throughout the final scene, but it clarifies why the screen suddenly turns black.

Chase tells you, ‘You can’t continue,’ but he adds, ‘The universe will carry on, the show will go on.’

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2024-09-07 14:13