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?
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?
