Bust-Out

From Where to Eternity was a wonderful story, filled with meaning and symbols that are usually banned from crime fiction. By comparison, the tenth episode of Season Two looks completely formulaic, though its conventional nature hides a deeper look at conflicting attitudes to life.

The predictable element of Bust-Out is introduced in the opening sequence: apparently, someone saw Tony kill Matt Bevilaqua, and since this guy doesn't know who he is framing, his patriotism demands that he inform the authorities. Upon learning the startling news, Tony makes all kinds of arrangements so that he can disappear as soon as possible, although he keeps pressuring his old friend David Scatino (Robert Patrick) while he still has time, even if that means leading Dave towards bankruptcy. In the meantime, Richie asks Uncle Junior for help, as he isn't satisfied with his current earnings, while Pussy is told by Agent Lipari that if he had anything to do with the Bevilaqua hit (the witness couldn't identify the second shooter with certainty) he will go to jail automatically.

This episode's main charm consists of its retrieval of the Scatino character from The Happy Wanderer: whereas the previous episode was a metaphysical study of life and death, Bust-Out has a more down-to-earth approach in its analysis of radically opposed lives - David, who has always been an honest guy, is so desperate to get out of debt he eventually blows his own son's college fund and contemplates suicide right after doing so, while Tony, thanks to his attitude with people like Dave, is able to take AJ out on a fishing trip and spend some quality time with the kid without really deserving it. The juxtaposition of the two situations makes for one of the show's more tragic moments, perfectly rendered by an almost unrecognizable Patrick: watch the episode back-to-back with either Terminator 2 or the Law & Order: SVU ep where he played a child molester, and you'll hardly know it's the same actor.

A witness emerges who connects Tony to Matt's shooting.

This is a strong episode with great character moments for Tony and Carmela.

A big Sword of Damocles hangs over Tony, driving the plot, whilst numerous scenes depict his selfish nature and it's impact on others. All Tony's scenes are very well written and James Gandolfini is on top form.

Carmela has a lot of focus, particularly in her exchanges with Tony and a guest character who embodies many of the qualities Tony does not have. This is also well written and Edie Falco gives another fantastically realistic performance.

Robert Patrick is brilliant yet again as Dave Scatino and this character shows how weakness is punished by the predatory instincts of people like Tony, plus the impact it has on innocent family members.

Other great scenes are scattered throughout the episode with characters like AJ, Janice, Richie, Big Puss, Dr Melfi, Uncle Junior, and Meadow all giving strong contributions. One line by Uncle Junior is a great foreshadowing to what comes later in the season.

For all it's dark cynicism, there is plenty of the usual dark humour and entertainment value with so many of the characters and dialogue. I think without this aspect the show would be a seriously depressing commentary on life.

Someone saw Tony and Pussy kill Matt, which throws Tony into a mild panic. Tony and Richie keep the pressure on David Scatino, who still owes them thousands of dollars, and David's business soon goes Chapter 11. Tony spends a little more time with AJ after being dressed down by Carmela. Richie cozies up to Junior even more after Janice puts the arm on him during sex. Carmela is at her most annoying while dining out with one of the gals, revealing that she has been dreaming about the gal's brother, a handsome widower. It's funny to watch the interplay between Tony and AJ. Tony in his own way wants to be closer to his son, and AJ is OK with the idea but responds to his father in typically bland fashion. The final shot, with the two bonding while on board a large yacht, is a kick.

I mean... he's always good. But this episode in particular; processing his fear with different people in different ways. Highlights was his conversation with Meadow-you can see her slowly shifting into delusional acceptance of her fathers actions. Just phenomenal.

Watching sopranos after the second golden age of television is an interesting experience. On the one hand it's been a slower burn than the shows it inspired. But in another way, there's so much that happens in a single episode, either literally in the plot or figuratively in the character development. It's definitely a fascinating show; one that has earned its stripes tenfold.

All I have to say is that episode is one of the best episodes in this show.