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already over 'Sopranos'
Nuts to the charge the show demeans Italians
By David Everitt
Apparently, being the best show on TV isn’t necessarily good enough.
You’re still liable to come under attack. And you might even end up in the cross hairs of a legislative resolution.
For a while now, "The Sopranos" has been targeted by activist groups who don’t care for the show’s depiction of Italian-Americans.
The National Italian-American Foundation has denounced the HBO hit, and so has The National Ethnic Coalition of Organizations and the anti-defamation arm of The Order of the Sons of Italy in America.
None of these groups seem terribly impressed with the fact that "The Sopranos" features the most inspired writing on TV, full of finely wrought characterizations, crackling dialogue and compelling plot-lines.
For them, one element overshadows all others: Italian-Americans are portrayed as mobsters.
This element is so disturbing that U.S. Representative Marge Roukema of New Jersey has proposed a resolution calling upon the entertainment industry to refrain from this kind of stereotyping.
Roukema’s office did not respond to our calls, but past statements have made it clear how strongly the representative feels about the Jersey family series. Alluding to another Jersey tradition--pulling over drivers on the turnpike because they are black--she likened the show’s characterizations to "ethnic profiling."
HBO isn’t willing to comment on this whole controversy other than to say that their mob series "is a good show."
Having a resolution proposed in your honor is quite a distinction to be sure, but in general this kind of protest is nothing new.
In the early '60s, the Federation of Italian-American Democratic Organizations targeted "The Untouchables"--another great show--for focusing exclusively on Italian mobsters (although, I've got to say, I remember a whole bunch of episodes about Dutch Schultz and Lepke Buchalter, which, as a Jew, I was very proud of).
Over the years other ethnic groups have also weighed in. During the '70s, for instance, a Polish-American organization objected to the gum-chewing habits of Wojciehowicz on "Barney Miller"--a great character--because it made him look dumb.
What does seem to be pretty new is the idea of ethnic watchdogs appointing themselves as creative consultants.
In the case of "The Sopranos," the National Italian-American Foundation and the National Ethnic Coalition of Organizations have claimed that they have met with HBO officials to reshape the content of the show.
What exactly these activist groups hope to accomplish in these script conferences I’m not sure. What are they going to turn Tony Soprano into? A Norwegian? ("Yumpin’ yiminy, I’m gonna kill that Big Pussy!")
In any case, it’s a little hard to imagine that creator-writer-producer-director David Chase really needs their help.
An interesting aspect of this dispute is that these protesting organizations give the impression that they’re speaking for the Italian-American community, but it’s not at all clear that they do.
My personal observation has been that a lot of Italian-Americans are devoted fans of "The Sopranos." Among the most high-profile examples are Senator Robert Torricelli and Mayor Rudy Giuliani.
And nearly every week the program is a big topic of discussion on WFAN’s "Mike & the Mad Dog Show," a New York sports radio series, whose hosts’ full names are Mike Francesa and Chris Russo.
And, of course, the show itself is the creation of an Italian-American (Chase’s real name is DeCaesare), who has pointed out that the program is based on observation, not hand-me-down ethnic clichés.
Pellegrino D’Acierno, professor of Italian and comparative literature at Hofstra University, has written about the Italian-American presence in American media, particularly in gangster movies.
He acknowledges the appeal that "The Sopranos" has for the ethnic group that it portrays, pointing to the ingenious way the program "is addressed to Italian-Americans in one way and to outsiders in another way."
Personally, he’s ambivalent about the ethnic implications of the show.
"The characterizations ghettoize us in one sense," he says, "but at the same time certain things about our identity come through. It’s really a positive and negative bind."
Still, D’Acierno is no supporter of the Roukema resolution. He sees something naïve and literal-minded in the thinking of Roukema and other protestors.
"I don’t think anyone takes the characterizations on ‘The Sopranos’ as straight representation. It’s such a postmodern, representational gangsterism.
"I don’t really worry about the stereotyping in this series," he adds. "The show is a fascinating mix, and not in any way stupid. There’s an incredible intelligence to Tony."
Ultimately, what the whole issue may boil down to is: if you don’t like it, don’t watch it. It’s not as if you can’t get away from this stuff.
This is premium-channel programming. You have to go out of your way and pay extra money to see "The Sopranos." People should be able to figure this out for themselves.
And one last thing about the "Sopranos" protestors. One of their recurring refrains is that any other ethnic group would howl in indignation if it were subjected to comparable stereotyping. To which I say, don’t be so fast to speak for other minorities.
One of my favorite books and movies is "The Apprenticeship of Duddy Kravitz"--a story about a pushy, money-grubbing Jewish businessman. I guess I must’ve forgotten to protest that one.
And I only wish someone would make a great show about Jewish gangsters. A Jewish equivalent of "The Sopranos." "The Cantors," maybe?
June 5, 2001 © 2001 Media Life
-David Everitt covers technology for Media Life, writing from Huntington, New York.
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