D-Girl (27 Feb. 2000)

Anthony continues to cause problems at home, while Pussy's divided loyalties cause him greater anguish.

Director:

Allen Coulter

Writers:

David Chase (creator), Todd A. Kessler

Stars:

James Gandolfini, Lorraine Bracco, Edie Falco

Cast

Episode cast overview, first billed only:
James Gandolfini	...	Tony Soprano
Lorraine Bracco	...	Dr. Jennifer Melfi
Edie Falco	...	Carmela Soprano
Michael Imperioli	...	Christopher Moltisanti
Dominic Chianese	...	Junior Soprano (credit only)
Steven Van Zandt	...	Silvio Dante (credit only)
Robert Iler	...	A.J. Soprano
Tony Sirico	...	Paulie 'Walnuts' Gualtieri (credit only)
Jamie-Lynn Sigler	...	Meadow Soprano
Drea de Matteo	...	Adriana La Cerva
David Proval	...	Richie Aprile
Aida Turturro	...	Janice Soprano
Federico Castelluccio	...	Furio Giunta
Nancy Marchand	...	Livia Soprano
Vincent Pastore	...	Salvatore 'Big Pussy' Bonpensiero

Storyline

AJ takes his mother's car out without permission and sideswipes a truck causing considerable damage to her car. He's in a rebellious mood, pushing all of his parents' buttons, threatening not to go through with his confirmation and saying that God is dead. Pussy is AJ's confirmation sponsor and Tony asks him to have a talk with the boy. Pussy however is forced by the FBI to wear a wire to a party at Tony's house to celebrate AJ's confirmation and he is deeply conflicted by the situation he finds himself in. Christopher meanwhile starts hanging around movie people, including Jon Favreau. He's decided he wants to be a player rather than a writer in the movie business but when Tony hears about what he's been up to, Christopher has a choice to make.

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Plot Keywords:

confirmation | party | confirmation party | gangster

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Genres:

Crime | Drama

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Details

Country:

USA

Language:

English

Release Date:

27 February 2000 (USA)

Filming Locations:

Silvercup Studios - 4222 22nd Street, Long Island City, Queens, New York City, New York, USA

Company Credits

Production Co:

Brad Grey Television, Chase Films

Technical Specs

Color:

Color

Did You Know?

Trivia

When Cristopher learns Jon Favreau has "double-crossed" him, he says: "That fucking mezzo finocchio!". "Mezzo" is Italian for "half", while "finocchio" is a spiteful term used to indicate homosexuals.

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Goofs

When Matt and AJ are walking along the batting cages the camera dolly track is visible.

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Quotes

Dr. Jennifer Melfi: It sounds to me like Anthony Jr. may have stumbled onto existentialism.
Tony Soprano: Fucking Internet.

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Connections

References Viva Zapata! (1952)

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Soundtracks

"Rhiannon"
Written by Stevie Nicks
Performed by Fleetwood Mac

User Reviews

Hollywood, Chrissy!

Real movie fans will never forget the iconic scene in The Godfather where a famous movie producer wakes up and finds the severed head of his favorite horse between the sheets. That horrifying moment originated from a deal gone bad between the producer and the Corleone family, a clever way to imply movies are controlled by crime lords too (not that far-fetched a theory, actually: the mafia famously cashed in most of Deep Throat's profits). The concept is taken to anew level in D-Girl, one of the finest episodes of The Sopranos' second year.

Since Hollywood is concerned, it is clear Christopher plays a pivotal role in the story, and indeed he does: through his cousin's fiancée, Amy Safir (Alicia Witt), he is able to meet Jon Favreau and actually visit a film set. Things seem to be going fine until Chris tries to impress Favreau by telling an embarrassing true story featuring one of his friends. The anecdote subsequently pops up in Jon's latest script, a fact which could cost Chrissy his life. Of course, the fact that he's sleeping with Amy doesn't improve anything either. Trouble ensues for Pussy, too, as he is asked to wear a wire during AJ's confirmation: not only does he find it offensive toward God, he also starts to have serious doubts regarding his deceitful life.

David Chase has always said Martin Scorsese was a huge influence for the show's atmosphere and D-Girl proves it splendidly, encompassing the Church, the street (the two main concerns of many of Scorsese's films) and, most of all, the passion Marty gave in to instead of becoming a priest: the movies. For the man behind Taxi Driver, it's always been about the movies. Christopher has a similar attitude, and his experience in this episode comprises some of the best moments of the series. Most enjoyable of all is Favreau's delightful self-mocking guest spot, with excellent help from Janeane Garofalo (perhaps the idea for Entourage was partially derived from those scenes): the bit where he asks to see Christopher's gun is superbly funny and tense at the same time. And consider this: Favreau, who mentions his part-Italian origin, "steals" Chris's story and inserts it in his screenplay with no concern for the consequences his actions may have. Now, whose behavior is more criminal, at the end of it all?