Big Girls Don’t Cry (S02E05)
Airdate: February 13th 2000
Written by: Terrence Winter
Directed by: Tim Van Patten
Running Time: 52 minutes
The fifth episode of Season 2 of The Sopranos, titled Big Girls Don’t Cry, may initially appear unremarkable within the broader narrative arc of the series. However, it effectively lays the groundwork for character development and the intricate dynamics of everyday life in the world of organised crime.
Tony Soprano, now firmly established as the boss of the DiMeo crime family, demonstrates his authority through strategic promotions within his ranks. He elevates Silvio Dante and Paulie Gualtieri while seamlessly integrating Furio Giunta, a new Italian recruit, into his operations. Furio is presented as a cheesemaker at Nuovo Vesuvio, although his culinary skills leave much to be desired by Artie Bucco and Charmaine. Nevertheless, Furio proves his worth, both as charming personality at social gatherings and as an effective enforcer. This is starkly illustrated in a scene at a tanning salon that doubles as a front for a brothel. The drug-addled owner, Dominic (played by Stephen Payne), has fallen behind on protection payments due to pressure from his Filipino partner, Rosie (played by Lydia Gaston). In a display of brutal efficiency, Furio kneecaps Dominic and intimidates Rosie, making them pay.
Despite his apparent success and control over the family business, Tony grapples with personal turmoil. He is unsettled by Janice's decision to mortgage Livia's old house, leading to an explosive confrontation that leaves him embarrassed. The situation escalates when he discovers that Janice is romantically involved with Richie Aprile, rekindling their high school relationship. This revelation compounds Tony's sense of frustration and inadequacy. He apparently misses Dr. Melfi’s therapy sessions and, desperate for guidance, Tony confides in Hesh Rabkin, yet Hesh's inability to comprehend Tony’s struggles only exacerbates his feelings of isolation. Hesh's comments about Tony's father's similar anger issues serve to deepen Tony's distress rather than alleviate it.
Simultaneously, Dr. Melfi grapples with her own professional dilemmas. Following a vivid dream about Tony, she contemplates re-establishing their therapeutic relationship. Her colleague Dr. Kupferberg raises concerns about her motivations—suggesting that romantic attraction or the allure of danger might be influencing her decision. Ultimately, Melfi chooses to reach out to Tony again. Initially taken aback by her contact, Tony hesitates but eventually returns to her office for another session that begins awkwardly.
In terms of family dynamics within the crime organisation, Tony’s reorganisation sees Paulie and Silvio promoted while Pussy Bonpensiero remains sidelined amid suspicions of him being an FBI informant. Feeling slighted by this perceived betrayal, Pussy vents his frustrations to Agent Skip Lipari, who also expresses dissatisfaction with how he is treated within his own agency.
Meanwhile, Christopher Moltisanti struggles with his aspirations as a screenwriter. Adriana La Cerva supports him by enrolling him in a special workshop designed for aspiring screenwriters to refine their skills through acting exercises. Although Christopher initially feels out of place in this environment, he receives applause for his performance during a scene reenactment from Rebel Without a Cause. However, the emotional intensity of Method acting proves overwhelming for Christopher; he ultimately lashes out at another actor during a session—a violent outburst that leads him to abandon his writing ambitions altogether.
While Big Girls Don’t Cry is well-acted and directed with notable writing quality throughout, it suggests that its creators may have lacked inspiration during its conception. Even casual viewers might predict that Christopher’s involvement in the screenwriting workshop would culminate in violence—a narrative thread that feels somewhat predictable. Moreover, Dr. Melfi emerges as arguably the only character providing a semblance of moral grounding amidst the chaos surrounding Tony and his associates; thus, her eventual return feels somewhat contrived and convenient.
Despite these minor shortcomings, Big Girls Don’t Cry can be excused for its narrative choices if it sets the stage for more focused storytelling and significant plot developments in subsequent episodes.
RATING: 6/10 (++)
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