This does a much better job (than the pilot) of establishing the characters of The Sopranos as well as establishing what will be the look and feel of the series for it's duration. We see the already full formed characters such as Paulie, Pussy and Chris in action, doing what they do best, making calls, collecting debts and generally wheeling and dealing in their own inimitable fashion.
Every character in episode 2 is already the fully formed finished product, and the writing and acting is superb.
Immediately gone is the comical style and (most of) the ill advised artful camera angles of the pilot, any comedy flows naturally from the drama, such as the magical moment where Livia bounces her friend off her car bonnet (Nancy Marchand's twisted and addled delivery of all her scenes is awe inspiring and every time she is on screen we know we're in for a treat).
What we see here though is a proper hook for the casual viewer. An episode that will make people (who have not watched before) watch again. There's genuine tension and peril with the conflict between Chris and Brendan and Junior, as well as Tony and his mother. This episode is raw, angry, aggressive and rich in character development.
It's already a perfect example of The Sopranos we know and love.
Oh, and of course what fully formed episode of The Sopranos would be complete without Tony beating Georgie the barman with a telephone receiver? We have lift off.
9/10
Every character in episode 2 is already the fully formed finished product, and the writing and acting is superb.
Immediately gone is the comical style and (most of) the ill advised artful camera angles of the pilot, any comedy flows naturally from the drama, such as the magical moment where Livia bounces her friend off her car bonnet (Nancy Marchand's twisted and addled delivery of all her scenes is awe inspiring and every time she is on screen we know we're in for a treat).
What we see here though is a proper hook for the casual viewer. An episode that will make people (who have not watched before) watch again. There's genuine tension and peril with the conflict between Chris and Brendan and Junior, as well as Tony and his mother. This episode is raw, angry, aggressive and rich in character development.
It's already a perfect example of The Sopranos we know and love.
Oh, and of course what fully formed episode of The Sopranos would be complete without Tony beating Georgie the barman with a telephone receiver? We have lift off.
9/10