College is a fine entry in the Sopranos canon, especially due to the fact that it is a departure from the traditional story structure, and focuses on Tony's relationship with his family, Meadow in particular, rather than his mobster life or therapy sessions with Dr Melfi. Most of the episode sees us with Tony and his daughter as they drive around the county inspecting colleges for the latter to enrol in. It is on one of these drives that Meadow confronts her father about his lifestyle. Although the exchanges were quite funny ("There is no mafia!") is severely depresses Tony, as does the news that his done is somewhat aware of his dealings. After attempts to hide or justify the lifestyle to Meadow, Tony comes to accept that she knows more about him than he knew
or previously cared to know. In return of the new found honesty Meadow confesses that she took drugs for her studies, but wisely chooses not to tell Tony where she got them from. It doesn't take long for Tony to get his game face back on, however, as he spots a man who he thinks may be Fabian "Febby" Petrulio, a former wise guy turned snitch before entering and being thrown out of the witness protection programme (I'm sure there are many people like him, but the similarities to Henry Hill did not go unnoticed for me). Since his mouth has put many of Tony's friends behind bars it's only logical that the man wants revenge. Contrastingly his wife Carmela, sick from the flu, seeks out some spiritual comfort in the form of Father Phil after having found out that Tony's therapist is in fact a woman, fearing the worst. I like that fact that David Chase uses plot devices, in this case the flu as Jennifer also is sick and whose therapy sessions are irrelevant to the episode's plot, to affect more than one character and story line, making it more plausible and giving it a more real-world feel. The seed of Tony and Carmela's crisis marriage is set in College, as are his troubling relationships with each of his children. But it is his attitude, notorious of the mob, of never forgiving rats is probably what is most remembered from this episode. Nowhere is this shown more clearly than after coming face to face (well, one face behind the other) with "Febby" after a day and night of cat-and- mouse is-he-isn't-he exchanges he expertly squeezes the life out of the snitch outside his caravan. There's no pleasure in his eyes as Tony makes his first kill of the series, just satisfaction that he is dutifully carrying out an honourable act for 'the family'. This is a different man who was drinking and joking with his daughter just a day ago. This isn't Tony the father. This is Mr Soprano, the true boss of New Jersey. It echoes Scorsese just how right David Chase gets the mafia mentality with Tony, and you feel empathy for his longing to end the snitches life after having seen him, but being unable to do anything (for a day or two) since he is with his daughter. Gandolfini IS Tony Soprano, as far as I am concerned. I also enjoyed the scenes with Father Phil and Carmela. The sexual desperation from both parties was quite amusing but I was glad Carmela didn't stoop that low (not that she could have – Phil threw up in the toilet within seconds of getting close to her). It's also interesting how she guiltily expresses that she knows what kind of life her husband leads, and how she allowed "evil" into her home for "a better life, better schools, this house, money
" Honesty all round in this episode, eh? Even Father Phil admits he has a thing for Emma Thompson DVDs.
Review of College
