Proshai, Livushka (S03E02)
Airdate: March 11th 2001
Written by: David Chase
Directed by: Tim Van Patten
Running Time: 57 minutes
David Chase, the creator of The Sopranos, faced a significant challenge in Season 3 following the death of actress Nancy Marchand, who portrayed the formidable character of Livia Soprano. Marchand passed away during the early stages of production, necessitating a thoughtful approach to her character's departure from the series. Chase opted not to address Livia's death in the season opener, as many shows might have done, but rather in the second episode titled Proshai Livushka.
The title Proshai Livushka, which translates to "Farewell, little Livia" in Russian, is articulated by Svetlana Kirilenko during the episode. This choice of title reflects both a cultural nuance and an emotional farewell to a character that had been integral to the show's fabric. By using a foreign language, Chase imbues the episode with a sense of universality regarding loss and mourning, transcending cultural boundaries.
At the episode's outset, Svetlana is depicted as level-headed and competent, having earned Tony's trust in helping to handle her cousin and Tony’s mistress Irina, and, as a reward, she was given care for Livia. This sets the stage for Tony's visit to his mother, where he attempts to dissuade her from cooperating with authorities regarding stolen airline tickets. Their conversation devolves into acrimony, culminating in Tony learning of Livia's death from a stroke while she slept. This moment is pivotal as it underscores the tumultuous relationship between mother and son, leaving Tony with unresolved feelings and no chance for reconciliation.
Despite Livia's explicit instructions against a public funeral or memorials, Janice, who after initial reluctance, returned from Seattle, insists on gathering family and friends at the Sopranos' home for a remembrance. This decision leads to an uncomfortable atmosphere where underlying hostilities surface among attendees. The collective eulogy Janice attempts only serves to highlight Livia’s unlikable traits, as Carmela and others openly agree on her negative legacy. This gathering becomes a microcosm of familial dysfunction, illustrating how unresolved tensions can manifest in grief.
While Tony grapples with his personal loss, his business affairs are equally tumultuous. A dispute over garbage collection territories escalates into violence among his subordinates. Ralph "Ralphie" Cifaretto (played by Joe Pantoliano, introduced as new regular cast member) emerges as a key player in this conflict; he is introduced as a former soldier in Richie Aprile’s crew who aspires to ascend within the ranks. The episode also reveals Ray Curto (played by George Loros), one of veteran caposm being recruited as an FBI informant, adding another layer of tension and betrayal within Tony's world.
Family dynamics extend beyond Tony’s grief as he confronts issues related to his daughter Meadow. At Columbia University, she befriends Noah Tannenbaum, whose background prompts Tony to forbid their relationship upon discovering Noah’s mixed-race heritage. This interaction highlights Tony’s ingrained prejudices and serves as a stark reminder of his character's moral failings, despite his often charming exterior.
The episode introduces recurring character Ronald Zellman (played by Peter Riegert), an Assemblyman who becomes Tony’s link to local politics. This character adds depth to the narrative by illustrating how intertwined organised crime is with political structures.
Interestingly, David Chase was initially reluctant to write this episode; it was Terry Winter who persuaded him to proceed. The challenge of depicting Livia's final encounter with Tony was addressed through innovative techniques reminiscent of Ridley Scott’s handling of Oliver Reed’s death during Gladiator. The production team employed archival footage combined with CGI to create a semblance of continuity for Marchand’s character. Although this technique may appear rough around the edges by today’s standards, it was commendable for its time and served its purpose effectively.
Despite these technical challenges, Proshai Livushka stands out as well-written and well-acted. However, it is evident that Chase had to improvise significantly due to unforeseen circumstances surrounding Marchand's death. Janice's return serves as a reminder of her mother's destructive influence within the family dynamic, indicating that her presence is both a replacement and a continuation of Livia's legacy.
The themes of mortality permeate the episode; one poignant moment occurs when Meadow helps A.J. with his schoolwork by discussing Robert Frost’s poem “Stopping by Woods on a Snowy Evening.” This conversation subtly reinforces the episode’s exploration of death and reflection on life choices.
However, the episode opens with what could be perceived as an overly clever “cold open” featuring another one of Tony’s panic attacks. Following this scene is an explicit dialogue revealing Tony's racist attitudes towards interracial relationships—a stark reminder that beneath his charismatic facade lies a deeply flawed individual who embodies many prejudices prevalent in his environment.
In contrast to this portrayal of insensitivity, Tony is ultimately depicted as sensitive; he is shown crying while watching Public Enemy, a classic gangster film where the protagonist’s virtuous mother starkly contrasts Livia Soprano’s manipulative nature. This juxtaposition highlights Tony's yearning for maternal affection that was never fully realised due to his complicated relationship with Livia.
Proshai Livushka encapsulates both personal and familial turmoil amid profound themes of loss and identity within The Sopranos. David Chase deals with these complexities with sensitivity while addressing the challenges posed by Nancy Marchand's untimely death. The episode serves not only as a farewell to Livia but also as an exploration of how grief can unearth long-buried resentments and shape familial relationships in unexpected ways.
RATING: 7/10 (+++)
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