Do Not Resuscitate

The very character-driven 'Do Not Resuscitate' continues to see Tony at odds with his mother and uncle. Junior is urging him to make peace with Livia, while he'd rather not have anything more to do with her. Speaking of Junior, he's able to leave prison for medical reasons, but is then subject to house arrest. Tony's associate Jack Massarone (Robert Desiderio) sees his construction business affected by protestors within the local black community, and Tony agrees to lend some assistance.

James Gandolfini is, as ever, a compelling, larger-than-life presence who has some great scenes with Aida Turturro (the self-serving Janices' true intentions are made clearer here, as she determines to move Livia back into her old home) and the excellent character actor Bill Cobbs. We can see that Tony quickly develops a respect for Cobbs' character, as he does in general for the older generation. All in all, 'Do Not Resuscitate' is very affecting as it depicts the ravages of old age. Especially touching are late scenes with Junior as he will require some immediate medical assistance.

One thing I really liked was seeing just how sly Tony is; one revelation was particularly rich.

A number of the regular cast members are not seen here, or are seen fleetingly, but typically solid writing & acting makes you realize that you're still not missing anything.

Eight out of 10.

Janice reveals her true intentions whilst Tony becomes increasingly frustrated with a number of situations.

This is an intriguing and reflective episode with a number of memorable moments.

The interaction depicted between two very self-serving characters feels somewhat entertaining as it sets up a potential clash of the titans. However, when I remind myself of their relationship to each other it ultimately feels sad to watch such poisonously mistrustful and calculating behaviour. Especially when you know of people and relationships similar to this in real families.

As ever, there are plenty of enjoyable moments, particularly when Janice shares the screen with Tony. Aida Turturro once again makes a very recognisable type of character, who should be deeply unlikeable, quite amusing during her interactions with James Gandolfini.

Tony's fondness for the past and the older generation is a strong theme in this episode. Ironically the two characters depicted in his life from the 'Greatest Generation' previously conspired to kill him. This concept still amuses me on what is my forth rewatch of the episode.

Dominic Chianese has a great episode showing some of the frailties of old age. One scene near the end connects with me as it reminds me of my own father in his later years, particularly with his defiance.

As a story 'Do Not Resuscitate' is mostly character-driven, but there are some small but important plot moments that have a big effect on the overarching narrative of series two.

For me the stand out performance is Nancy Marchand who continues to make Livia compelling to watch.

For me it's an 8.5/10 but I round upwards.

"Do Not Resuscitate," the second episode of The Sopranos Season 2, directed by Martin Bruestle and written by Robin Green, is a richly textured narrative continuum that intensifies the psychological and sociopolitical stakes established in the season premiere. This episode expertly weaves themes of family loyalty, aging, power dynamics, and personal disillusionment within the complex ecosystem of the Soprano crime family, giving a penetrating glimpse into the fraught relationships that define both the mafia world and intimate family life.

The plot of "Do Not Resuscitate" pivotally centers on Tony Soprano's fractious relationship with his mother, Livia, who resides in a retirement home with deteriorating health but remains emotionally manipulative and fiercely independent. Tony's attempts to manage her care and his sister Janice's opportunistic return to claim family assets generate family tension underscored by the episode's titular medical directive, which becomes a symbol of control over life and death within the family hierarchy.

Simultaneously, Tony continues to navigate the precarious mafia political landscape, attempting to engage with his Uncle Junior during his prison sentence, exploring themes of power transfer and fraying alliances.

Director Martin Bruestle employs a restrained yet highly effective directorial style, focusing on intimate character moments that reveal underlying tensions. His use of muted lighting and slow camera movements in scenes depicting impaired health and familial discord amplify the psychological realism that permeates the episode. Bruestle's pacing-deliberate and contemplative-aligns with the episode's somber tone, allowing the audience to absorb the weight of sizzling familial resentments and the fragility of human connections. The interplay between domestic settings and the menacing aura of the mafia world is visually articulated through careful framing and mise-en-scène, underscoring the dual nature of Tony's life.

Cinematography in "Do Not Resuscitate" reinforces the episode's central themes through naturalistic lighting contrasts. The bleak, sterile interiors of the retirement home are starkly juxtaposed against the more vibrant domestic scenes with Tony's immediate family, visually emphasizing isolation and emotional estrangement. Editing choices maintain a rhythm that accentuates moments of tension and emotional breakdown, particularly in the scenes where family conflicts surface regarding Livia's care and estate. The sound design complements the narrative with subdued ambient noise and carefully curated musical cues, intensifying the emotional landscape without overt theatricality.

Performance-wise, Nancy Marchand as Livia delivers a tour de force portrayal of a woman whose physical decline contrasts sharply with her psychological potency. Her manipulative and bitter personality provides one of the show's most compelling emotional cores, embodying the toxic familial ties that haunt Tony. James Gandolfini maintains his nuanced embodiment of Tony's struggle to balance ruthless control with personal vulnerability, particularly in devastated moments at his mother's bedside and dealings with Janice. Alexandra Balis adds a critical dimension as Meadow's friend, while guest appearances in the mob world further enrich the episode's textured character tapestry.

Thematically, the episode offers a profound meditation on mortality, abandonment, and familial obligation. The "Do Not Resuscitate" directive emerges as a potent symbol for the struggle over control and autonomy within both kinship and crime networks. Tony's fraught interactions with family members reveal layers of resentment and unresolved trauma, underscoring the series' enduring examination of inherited dysfunction and the corrosive power of secrets. Within the older generation's decline, the episode probes the haunting effects of aging, betrayal, and the struggle to maintain dignity amid loss.

"Do Not Resuscitate" also advances sociocultural commentary, engaging with issues around elder care, mental health, and the invisibility of older women in patriarchal structures that dominate both family and mafia hierarchies. Livia's defiance and resentment complicate traditional narratives of caregiving, exposing the emotional complexities and power struggles inherent in these relationships. The episode's depiction of these dynamics situates The Sopranos within conversations about aging, gender, and cultural identity, adding depth to its American ethnic and social realist portrayals.

Narrative and symbolic motifs-such as the recurring baseball imagery and the motif of "breaking up protests" orchestrated by the mob-underscore themes of confrontation and power performance. These elements intertwine with character arcs to enhance the episode's layered texture, demonstrating the show's sophisticated use of metaphor and social detail. The episode's juxtaposition of family conflict with mafia power maneuvers encapsulates the series' deft balancing of intimate and public spheres.

Though the episode's pacing is intentionally slow, emphasizing character psychology and tension over action, this narrative choice effectively deepens viewer engagement with the emotional and thematic currents flowing through the series. Some viewers may find this approach challenging, but it is crucial to The Sopranos' identity as a pioneer in narrative complexity and character-driven storytelling on television.

"Do Not Resuscitate" is a powerful and nuanced chapter in The Sopranos' second season, blending meticulous direction, compelling performances, and rich thematic concerns. Martin Bruestle's visual and narrative craftsmanship illuminates the fraught emotional landscapes central to Tony Soprano's world, while David Chase's writing continues to probe the deep intersections of family, power, and mortality.