Sentimental Education

This episode of The Sopranos does not disappoint, delivering a rich, layered narrative that intertwines themes of hope, tragedy, and the struggle for self-improvement. The long-awaited development between Carmela Soprano and Robert Wegler finally unfolds, echoing the doomed romance of "Madame Bovary". Meanwhile, Tony Soprano's cousin, Tony Blundetto, attempts to carve out a life away from the mafia, only to face a shocking and inevitable twist by the episode's end.

These two parallel stories, connected by the omnipresent influence of Tony Soprano, explore a shared theme: the desire to break free from destructive cycles. Carmela seeks a fresh start in her romantic life, while Tony Blundetto dreams of leaving behind the organized crime world that once led him to prison. Both characters glimpse the light at the end of the tunnel, but their pasts and circumstances ultimately pull them back. The episode masterfully conveys the idea that determinism often prevails over free will-a sobering reminder that one's background and environment can weigh heavier than personal resolve.

This existential struggle is what makes the episode exceptional. It's a story of hope and inevitable tragedy, reminiscent of classic literature. The inclusion of "Madame Bovary" is a perfect fit, symbolizing Carmela's romantic disillusionment. The reference to Abelard and Heloise serves as a forewarning, hinting at the heartbreak and consequences to come. Even Father Phil's appearance underscores this theme; though a priest, he reveals his own human frustrations and fallibility, adding depth to the narrative.

Throughout the episode, moments of hope are shrouded by an ever-present sense of tragedy and inevitability. The final line Tony Soprano delivers to his cousin-"It's not easy to do business with strangers"-is particularly striking. In this context, "strangers" represents a life outside one's comfort zone, even if that comfort zone is riddled with hardship. Tony's paternalistic tone suggests he knows his cousin's fate but allows him to experience it firsthand.

The acting in this episode is phenomenal. Edie Falco and Steve Buscemi deliver standout performances that elevate the material. Falco is especially brilliant, portraying Carmela's emotional journey-from excitement to hesitation, confusion, and finally, disappointment-with an intensity that evokes a Greek tragedy. She truly embodies the role of a woman caught between hope and heartbreak.

Buscemi's performance is more subdued but equally effective. He captures Tony Blundetto's fleeting optimism and the slow unraveling of his plans. By the end, his character's tragic trajectory feels inevitable. Buscemi skillfully conveys the duality of a man trying to be a sheep while hiding his inner wolf-a sentiment mirrored by Carmela's poignant line about her own recent love experience.

The narrative is expertly crafted, with every scene and interaction adding layers of meaning. The cinematography complements the story beautifully. One particularly memorable shot focuses on Blundetto's steps as he returns to his job under his Korean boss-a subtle premonition of his eventual downfall.

"Sentimental Education" is a near-perfect episode that seamlessly blends literary allusions, existential themes, and compelling character arcs. Its exploration of determinism versus free will, coupled with outstanding performances and masterful storytelling, leaves a lasting impression. For me, this stands out as one of the best episodes in the series-a hauntingly beautiful chapter in The Sopranos canon that keeps the audience yearning for more.

I remember an episode of Family Guy where Peter says "Yes, this is an episode about Meg, you can switch to another channel." I find it hard to believe that the writer of this episode is the same guy who created Mad Men.

At first I didn't like this episode. There's not much mob action, Tony Soprano isn't really featured, and it's basically three weak characters failing over and over. A.J. and his mother Carmela and Tony Blundetto all fail to break free from Tony Soprano, and all three fail to better themselves or conquer their own flaws.

But when you look closer there are some interesting things to learn in this episode. The three stories illuminate each other in very disturbing ways. Notice how AJ and Tony B are both "students." But where Tony B really cracks the books, studying day and night while holding down a full time job, AJ barely even makes an effort. He goes to sleep and his mother has to do the work for him! Meanwhile Carmela claims to be looking for love, yet when she hooks up with one of AJ's counselors all she does is blatantly manipulate him to help her son pass at school, even with minimal effort.

What's the point of showing all this?

It's not what we learn about these characters, but what we learn about Tony Soprano. He's at the center of the episode without even doing anything. The weak people fail but what's disturbing is how Tony reacts. Like when he finds out AJ is copying some girl's paper, he's pleased instead of angry or sad. He acts like AJ is wising up, becoming an adult, but it's really the other way around. An AJ who could do his own work or even ask for help outside the family would be a son that Tony couldn't control. By the same token, when cousin Tony B seems on the road to his own legitimate job and even starting a business Tony Soprano is sullen and resentful, but as things fall apart for Tony B Tony Soprano is obviously pleased. His most sinister line in the episode is when he observes, "it's hard doing business with strangers." What he means is that he needs to be surrounded by weak, dependent people. It's funny, Tony seems terrifying, strong, and ruthless. But real strength scares him. In this episode the three weak characters all receive an "education" that they either ignore or can't profit from. It's Tony Soprano who profits instead.

Literary note: AJ is supposed to read and analyze ANIMAL FARM by George Orwell and LORD OF THE FLIES by William Golding. These are very common high school texts, but they each comment on this episode in some way. Tony Soprano is a lot like Napoleon, the ruthless pig dictator who takes control of Animal Farm. Napoleon is supposedly the leader of a revolution that will benefit all the animals, but unlike Snowball (or Cousin Tony B,) he doesn't really believe in change, or progress. He literally pours filth all over Snowball's plans for the wind-mill. Like Tony Soprano, Napoleon doesn't talk much but "has a reputation for getting his own way." At the same time, Tony Soprano is also like Jack in Lord of the Flies. He promises freedom from rules and civilization to his followers, but instead they become slaves to fear and worshipers of "The Beast."

The shoe fits!

Carmela progresses her relationship with Mr Wegler, whilst Tony Blundetto attempts to further develop his non-criminal career.

This is very interesting character study of two individuals attempting to function independently of Tony Soprano.

It's nice to see Carmela find some enjoyment with a different person and I admire how the writers have developed her character from the earlier seasons. The scenes with Father Phil are particularly strong for her (not him). Without giving away too much detail, her arc with Wegler contains some quite painful realism.

Blundetto is cleverly portrayed through a similar arc to Carmela that takes him down a long road of hard work that it is littered with tempting shortcuts as the shadow of Tony looms over everything. One aspect of the plot is very random, but it works well for the arc.

The writers include strong themes of social and ethnic class structures in the choices made by Italian-America and Asian-American characters. Mr Wegler is an interesting foil coming seemingly from a different world to the others. There are numerous clever allusions and direct references to classical literature.

It is another powerfully cinematic episode with great symbolism like the fish out of water and other great sequences that tell the story visually.

All actors are excellent, especially Edie Falco who shows her usual great range in numerous scenes.

Joining the cast of The Sopranos as Dr. Elliot Kupfenberg proved to be one of the smartest moves of Peter Bogdanovich's career, which had practically sunk after the disappointing experience of Texasville; and though his acting gig in the series is extremely enjoyable, he is best known as a director, which is why it is a particular joy to see him behind the camera again, bringing the sixth episode of Season Five to the screen. Needless to say, like another major guest director, Steve Buscemi, who also took on acting duties on the show, he succeeds beautifully.

With a title like Sentimental Education, the story can't possibly focus on violent crime, and indeed it doesn't: the core of the script is Carmela Soprano's ongoing affair with Robert Wegler (David Strathairn), frowned upon by Father Phil (Paul Sculze, always good) but wholeheartedly enjoyed by the two lovers, at least until Robert has the brilliant idea to ask a teacher of AJ's to be less hard on the kid and, when said request isn't satisfied, takes it out on Carmela.

As a matter of fact, this episode is less The Sopranos, more Sex and the City: cracking characterizations, witty, explicit dialogue and a pay-off to die for. Then again, Bogdanovich has always favored traditional drama over hard-boiled violence, so a departure of sorts from the conventional format isn't totally unpredicted. Of course, this being The Sopranos, something brutal has to happen, and the show doesn't disappoint on those terms, with a hilarious yet shocking change of mind for Buscemi's character, the apparently reformed Tony Blundetto, whose new actions serve as a delicious appetizer for the second half of the season. Yummy.