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Storyline
Tony, Paulie and Christopher go to Italy to discuss business with their counterparts in his recently acquired (from his Uncle Junior) business in exporting stolen cars. Tony pushes to meet the patriarch of his Italian counterparts but finds the man, Zi Vittorio, to be old and feeble-minded. He's even more surprised however when he realizes who is now in charge. As part of the deal, it's agreed that enforcer Furio Giunta will travel to the US and work for Tony's crew. Back in the US meanwhile, Pussy tells FBI Agent Skip Lipari about the trip and the stolen car business. Pussy's wife Angie isn't necessarily happy that he's back and she shocks Carmella and Rosalie Aprile by saying that she wants a divorce. Written by
garykmcd
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Did You Know?
Trivia
Tony and the gang goes to Italy to conduct business. While Paulie is dining at a cafe he notices a man and speaks Italian to him the man turns away and ignores him. This man is the show's creator,
David Chase.
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Goofs
As they are waiting for Chris at the airport at the end of the episode, you can see Chris leaving the airport through the window of the car, and then again for a second time on camera.
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Quotes
Carmela Soprano:
You know what the church says about divorce...
Angie Bompensiero:
Oh, *please*! Let the Pope live with him.
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Connections
References
The Godfather (1972)
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Soundtracks
"Piove"
by
Jovanotti See more »
I watch the Naples episode of The Sopranos for probably the sixth time and am convinced more than ever that this is the finest television I've ever seen. I am awestruck by Edie Falco's kitchen scene and hallway departure at the end with Aida Turturro ("Janice"). Janice goes on one her condescending rants about the inadequacy of Mafia momma's-boy manhood, including her brother, Tony Soprano. Carmella reminds her that she's one to talk, having recently thrown her flab at the despicable, repulsive Richie Aprile. The final bit of dialog (Jovanotti's "Piove" playing in background) goes something like this:
Janice: Carm, Richie, because of his life experience in prison, hehe has a sensitivity to the plight of women.
Carmella: Oh my God. (laughs heartily). I am not even going to touch that one. But you had me going there for a while there, you really did. Oh, Janice, honey, I gotta love ya. Rick?(laughs).
Carmella walks away from the kitchen at this point, and in an eight-second close-up as she pauses, her face becomes a study in great acting, in subtle nuances of transition. Her grin is set on cruise control, but those eyes tell you four stories. Showing genuine laughter at first, they morph into the merest hint of self-doubting introspection (Is Janice right, am I nothing but a pathetic goombah housewife?) then yield to yet a third look of "f**k it, Jan's the screwed-up one, not me. What a hoot." Yet at the same instant the eyes exude some kind of miraculously sincere warmth behind it all. All in eight seconds. Hand it to director TimVan Patten, he knew brilliance when he saw it, and brought out the best in Edie. Small wonder she got the burger-biggie awards recognizing her as the finest actress on television--ever.