The Sopranos’ Godfather Homages You Missed

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The Sopranos offers an unprecedented viewing experience, yet bears a resemblance to something familiar: the Godfather trilogy. This groundbreaking HBO series made its debut on January 10, 1999, and it didn’t take long for it to reshape the landscape of television. Audiences were accustomed to traditional heroes, but then along comes a family man who delights in strangling an old enemy while assisting his daughter in her college search. And a mob boss attending therapy sessions and wearing shorts? That was certainly novel.

In a unique twist compared to other TV shows or mob-themed productions, “The Sopranos” appeared distinct yet strikingly reminiscent of Francis Ford Coppola’s iconic trilogy. While the characters in “The Sopranos” don’t saunter around wearing fedoras and long coats like Michael and Vito Corleone, their world shares a striking resemblance. It’s evident that David Chase is an ardent fan of “The Godfather,” and this influence only enhances the series. Here are some notable references to highlight the connection.

10
The Mortician

Tony appears uncaring when his mother Livia passes away, as she was rather bothersome, but he manages to conceal his true feelings to appear mournful. In “Proshai, Livushka,” he visits the funeral home where the mortician, Mr. Cozzerelli, assures him that he’ll employ every ounce of his expertise to present Livia’s body in a dignified manner. In The Godfather’s poignant “Look how they massacred my boy” scene, Vito Corleone instructs the mortician to utilize all his strength and abilities to improve Sonny’s corpse that had suffered multiple gunshot wounds.

Tony Is No Angel

The funeral home scene from The Sopranos serves as a stark reminder of Tony’s character. Unlike the sympathetic Vito, Tony exhibits a lack of concern for others’ feelings. While Vito insists that Sonny’s body be well-groomed so his mother wouldn’t see him in a gruesome state, Tony shows no such sensitivity towards Livia, even though she is respected by some people. He instructs the mortician not to put too much effort into preparing her deceased daughter’s body.

9
Tony Gets Attacked After Buying Orange Juice

In the first season’s episode titled “Isabella,” Tony finds himself in a dangerous situation when he’s attacked by two hired gunmen, an incident that occurs immediately after purchasing orange juice. This scene is reminiscent of a similar event in “The Godfather” where Vito is shot while buying oranges. Despite the life-threatening circumstances, Tony manages to survive the attack.

The Underworld Is a Dangerous Place

The depicted scenes imply that oranges symbolize impending disaster within the underworld of the mafia, and that no one is truly secure. These scenes can also be seen as references to reality, where mob leaders often meet untimely ends in unexpected circumstances. In the series, The Sopranos, it’s intriguing to observe a mafia boss who demonstrates a keen sense of awareness and takes precautions to safeguard himself. He doesn’t allow complacency to set in, always anticipating potential threats.

8
Silvio Talks About “Our True Enemy”

Silvio Dante, the consigliere of the DiMeo crime family (portrayed by Steven Van Zandt), delights in mimicking the older Michael Corleone from “The Godfather III”. In the second season’s episode “Funhouse”, there is a subtler tribute. As Tony experiences another dream hinting at Big Pussy possibly being an FBI informant, Silvio enters and states, “Our true adversary remains unveiled.” This line was also spoken by Michael Corleone, and interestingly, during this scene, Silvio is wearing a brick red cardigan reminiscent of Al Pacino’s.

Spotting the Rat

In my film enthusiast perspective, Tony’s dream served as a crucial clue, hinting at the revelation of Big Pussy as a traitor within our tight-knit family. Silvio’s words had set off an alarm bell in my mind, suggesting that danger might lurk among us. I always thought everyone around me was unwaveringly loyal. Yet, Tony’s dream ignited a sense of urgency within him to visit Big Pussy’s residence and search for any incriminating evidence. And boy, did he find it – a wire!

7
The Gun in the Toilet

In Season 5’s “The Test Dream,” Tony enters a restaurant restroom alongside Detective Vin. He extends his hand towards a gun concealed behind the toilet, only to discover it isn’t there. This scene mirrors Michael Corleone’s action before assassinating Captain McClusky and Virgil Sollozzo, two significant enemies of the Corleone crime family, in “The Godfather.” Here, Michael arranges a meeting with his adversaries at a restaurant, oblivious to the fact that he, as the youngest member of the Corleone clan, has secreted a weapon behind a toilet, ready to use it against them.

A Sign That Tony Will Be Defenseless

In a nutshell, Tony’s dream predicts the imminent conflict with the Lupertazzi crime family. The fact that he can’t locate the gun implies that he will be powerless to protect himself or those around him during this time. True to the dream’s omen, the war breaks out and, as anticipated, Tony’s attempts at peace talks are unsuccessful. His allies, such as Bobby and Silvio, suffer harm, while it seems likely that Tony meets his end in the series finale.

6
The “Moe Greene Special”

When Christopher and Brendan mess up a robbery attempt, their superiors take action. Christopher is put through a staged execution as a warning, while Brendan meets his end by being shot in the eyes while bathing, as he holds less significance within the group. The manner of Brendan’s death echoes two scenes from “The Godfather.” In “The Godfather: Part II,” the character Frank Pentangeli (played by Michael V. Gazzo) takes his own life in a bathtub. Later on, Moe Greene is killed by being shot in the eyes for attempting to challenge Michael’s power in Las Vegas.

Paying for Mistakes, the Harsh Way

In the world of “The Sopranos,” I’ve come to understand that a wrong move or betrayal in our family, the Cosa Nostra, can lead to trouble. Just like Filone and Pentangeli, whose bodies were found in identical positions in bathtubs, or Moe Greene, who was gunned down mid-massage, it’s clear that peace is a luxury we rarely get to enjoy. A single misstep could invite an unwelcome visitor, ready to end things with a fatal shot.

5
The Son Plots Revenge

AJ and Tony aren’t particularly fond of each other, but when Tony gets unintentionally wounded by Junior, a strong sense of affection for his father stirs within AJ. In an imprudent move, he contemplates visiting Junior’s care facility to retaliate against the man. When Bobby and Christopher try to talk him out of it, he insists that it can be challenging but not impossible. This is reminiscent of when Rocco spoke in The Godfather: Part II, planning to eliminate Hyman Roth.

Anything for Daddy

As a dedicated cinema enthusiast, I can’t help but admire AJ’s transformation from a feckless layabout to a man taking responsibility for his life throughout Season 6. His brief quest for retribution echoes Michael Corleone’s pursuit of vengeance against those who harmed his father. Although AJ fails to make any significant headway, it’s captivating to witness him momentarily don the mantle of a tough guy.

4
Abandoned House

In Season 5 of “The Sopranos” and “The Godfather: Part III”, both stories begin with scenes showing the vacant homes of their primary characters. Specifically, Michael Corleone’s well-known Lake Tahoe residence is deserted, while Tony’s mansion in New Jersey stands empty.

The House Is No Longer a Hit

The images of both residences serve as a mirror of the family-related decisions the characters choose to make. Michael’s decision to have his reckless brother, Fredo, killed has left him uneasy in Lake Tahoe. In contrast, Tony’s involvement in infidelity led to his separation from Carmela. With his absence, the house is now neglected. Furthermore, this scene hints at future events, suggesting that Tony will eventually cause harm or death to another family member (Fredo).

3
Stage Performance

In a simpler and more conversational style, the sentence could be rephrased as follows: Meadow is like the most enthusiastic member of the Soprano clan, and during Season 1’s “Denial, Anger, Acceptance,” we see her sing the classic Christmas carol “All Through the Night” at her final high school choir performance. Just like Michael Corleone in “The Godfather: Part III,” Tony watches her with pride.

The Cosa Nostra Is All About Family

Many notable gangster films often highlight the significance of family, with “The Godfather: Part III” being one example, and this theme is deeply rooted in real-world culture, which is also reflected in shows like “The Sopranos.” Even the most ruthless mob bosses can’t help but feel a sense of pride when they see their children accomplish something. As an audience member, you might find yourself feeling proud as well.

2
AJ’s Friends

In two instances, AJ’s companions draw parallels to “The Godfather”. Once, as they traverse Satriale’s Pork Store, Patrick (portrayed by a youthful Paul Dano) likens it to Genco Olive Oil, a nod to Don Vito Corleone’s front in The Godfather. In another scene, when AJ declares his refusal to join the army, one of his friends playfully suggests that his father might use the tactic of placing a horse’s head somewhere to get a senator involved, reminiscent of how Vito exerted pressure on a Hollywood producer in the film.

The Children Are Proud

One intriguing enigma about Tony’s profession in the series “The Sopranos” is that it’s often shrouded in secrecy, a secret mob-affiliated people would typically keep hidden from their family. The assumption is that his children should remain unaware of his true line of work, unless perhaps he intends to pass down the business to one of them. However, early on in the show, it’s evident that his children are already privy to this information, and even their friends seem to be in the know. One might wonder then, isn’t “this thing of ours” meant to be a covert operation? Nonetheless, we continue to appreciate “The Sopranos,” despite its occasional inconsistencies.

1
Wedding Requests

In the sixth season’s episode titled “Mr. & Mrs. John Sacrimoni Request…”, Johnny Sack’s daughter gets married. During this significant event, Christopher advises Tony not to turn down any requests from Johnny. However, Tony clarifies that it should be Johnny who is not denying any requests, a lesson reminiscent of the opening scenes in “The Godfather”.

Christopher Didn’t Pay Attention

As a cinephile, I must admit that I overlooked the profound scene in Francis Ford Coppola’s film where it suggests that a Mafia Don finds his greatest joy during his daughter’s wedding, making him readily agree to any proposition. Consequently, the movie portrays long lines of individuals waiting outside Vito’s office, eager to seek his favors.

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2025-01-31 04:03