Television Review: Isabella (The Sopranos, S1X12, 1999)

Isabella (S01E12)

Airdate: March 28th 1999

Written by: Robin Green & Mitchell Burgess
Directed by: Allen Coulter

Running Time: 47 minutes

The penultimate episode of Season 1 of The Sopranos, titled Isabella, serves as a solid yet somewhat underwhelming entry in the series, particularly when juxtaposed with its predecessor. While it effectively sets the stage for the season finale, some viewers may perceive it as a glorified filler episode due to the significant plot resolutions being reserved for the concluding episode.

The beginning of the episode is relatively slow, primarily because Tony Soprano is definitely not in a good place. The federal indictments and the prospects of some of his closest associates, such as Jimmy Altieri and Pussy, being FBI informants have had a profoundly detrimental effect on Tony's mood. He is struck with depression so severe that Dr. Melfi advises him to increase his dosage of Prozac and add some Lithium to his medication regimen.

One of the few things that appears to bring Tony out of his sour mood is the beautiful, voluptuous, dark-haired woman (played by Maria Grazia Cucinotta) who is house-sitting at his neighbour Cusamanos' residence during the couple's vacation in Bermuda. Tony approaches her, and she introduces herself as Isabella, revealing that she came from Italy to study dentistry. Tony is delighted to hear that she hails from his family's ancestral home of Avellino, and this shared heritage seems to create an instant bond between them. However, before the episode ends, Tony would learn that Isabella is not what he thought she was.

Unbeknownst to Tony, Uncle Junior has put a hit on his nephew in motion, enlisting the services of two assassins, William "Petite" Clayborn (played by John Eddins) and Rasheen Ray (played by Touche). However, these assassins are not as efficient as Mikey promised to Junior, and they are forced to abandon their first attempt. Junior, displeased with their incompetence, orders Mikey to kill their overconfident middleman, Donnie Paduana (played by David Wike). Another attempt on Tony's life ends in disaster, with the assassins not only missing their shots but also with Clayborn being accidentally shot by his partner. Tony survives with minor injuries, but this close call has a profound effect on his outlook and sets him on a path of retaliation against those responsible.

When FBI agent Harris predictably tries to use this opportunity to make Tony become an informant in exchange for the security of the witness protection program, Tony claims that the attack was a carjacking. To Carmela, who is concerned for her family's well-being and wants him to consider the FBI's offer, Tony says that he took an oath, implying that his loyalty to the mob and his family's safety are paramount. It doesn't take much for Tony to realise that it was Junior who ordered the hit, with Livia, who took part in goading Junior to this decision, beginning to fake dementia in order to hide her own responsibility. In an ironic twist, this close encounter with death has brought Tony back to life, and he starts to contemplate how to respond to his uncle's actions.

As with all episodes of The Sopranos, Isabella showcases exceptional performances from both regular cast members and guest stars alike. Cucinotta’s portrayal of Isabella is particularly noteworthy; she embodies an almost archetypal ideal of femininity and motherhood that resonates deeply with Tony’s character arc. Her presence serves as a temporary balm for Tony’s emotional wounds but ultimately underscores his ongoing struggle with intimacy and vulnerability.

The script is well-crafted and effectively drives the narrative forward while maintaining a sense of realism that is characteristic of The Sopranos. However, director Allen Coulter’s stylistic choices leave something to be desired; there are inconsistencies in tone that detract from the overall experience. The fantasy sequences featuring Isabella contrast sharply with the harsh realities of New Jersey’s streets, creating a jarring effect that disrupts immersion. While the assassination scene is executed competently, it leans too heavily on nods to similar moment from The Godfather, which may come off as overly clever. Moreover, some musical selections throughout the episode are questionable and may not resonate with all viewers; this aspect could detract from one’s overall enjoyment depending on personal taste.

Ultimately, Isabella represents a commendable effort by The Sopranos creators but also serves as a reminder that they have strategically conserved their most impactful storytelling for the impending season finale. As such, while it may not reach the heights achieved by earlier episodes in terms of dramatic stakes or character development, it nonetheless contributes valuable layers to Tony Soprano’s complex narrative tapestry—one that will inevitably culminate in explosive revelations as Season 1 draws to a close.

RATING: 6/10 (++)

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