For All Debts Public and Private (S04E04)
Airdate: September 15th 2002
Written by: David Chase
Directed by: Allen Coulter
Running Time: 58 minutes
The period between Season 3 and Season 4 of The Sopranos was marked by a seismic event that shook not only America but the entire world: the terrorist attacks of September 11, 2001. For the production team of The Sopranos, the tragedy hit particularly close to home, as the series was filmed in New Jersey, just across the river from Manhattan. It was only natural to expect that For All Debts Public and Private, the Season 4 premiere, would address the aftermath of 9/11 in some way. While the World Trade Center towers were removed from the opening credits, the episode subtly acknowledges the event through references to its economic and psychological impact.
The most tangible effect of 9/11 on the narrative is the economic recession that follows. Even the world of organised crime is not immune to financial downturns, and Tony Soprano finds himself grappling with the challenges of a shrinking bottom line. Financial concerns dominate the episode, shaping Tony’s decisions both as a mob boss and as a family man. He becomes increasingly aware that his potential downfall—whether through imprisonment or death—would not only spell disaster for him but also condemn his family to poverty. This grim reality is brought home to Carmela when she encounters Angie Bonpensiero, once a proud mob wife, now reduced to working in a supermarket to make ends meet. Determined to avoid a similar fate for his own family, Tony takes drastic measures to secure his financial future. He harangues his subordinates to generate more revenue, explores new ways to stash cash in his home, and invests in the lucrative Esplanade development project, facilitated by corrupt Assemblyman Ronald Zellman.
The Esplanade project also provides an opportunity for Tony to strengthen his position within the DiMeo family. One of the key properties involved is owned by Uncle Junior, who is eager to sell it to fund his mounting legal expenses. Junior’s federal trial looms large over the season, and his financial desperation underscores the precarious nature of life in the mob. Meanwhile, Tony devises a long-term strategy to avoid prison, a plan he all but reveals to his psychotherapist, Dr. Melfi. His idea is to sever direct ties with his subordinates and conduct business exclusively through trusted relatives, primarily his nephew Christopher Moltisanti. Tony grooms Chris to become his right-hand man and eventual successor, a process that includes settling old scores. Tony informs Chris that he has identified the man responsible for his father’s murder decades earlier: Barry Haydou (played by Tom Moran), a retired police detective with a side career as a hitman. Despite Haydou’s protests of innocence, Chris kills him, believing he has avenged his father and honoured his legacy.
David Chase’s script continues the show’s signature realism, presenting events in a matter-of-fact manner that leaves the audience questioning the significance of certain subplots. For example, Junior’s paranoia about a nurse (played by Gay Thomas-Wilson) he flirted with during a doctor’s visit—wondering if she is an FBI agent—adds a layer of tension but ultimately goes unresolved. Similarly, the revelation that FBI Agent Deborah Ciccerone is a mother, sharing parenting duties with fellow agent Mike Waldrup (played by Will Arnett), feels like an intriguing detail that may or may not play a larger role in the season. These narrative threads, while engaging, contribute to the episode’s sense of unpredictability, a hallmark of The Sopranos.
However, not all storylines in For All Debts Public and Private are equally compelling. The emerging romance between Ralphie and Janice feels repetitive, echoing Janice’s previous relationship with Richie Aprile in Season 2. Additionally, the convenient incarceration of Paulie Walnuts, due to actor Tony Sirico’s real-life back surgery, comes across as a contrived plot device rather than an organic development. These moments detract from the episode’s otherwise grounded tone.
Despite these flaws, For All Debts Public and Private maintains the high quality that audiences have come to expect from The Sopranos. It skillfully balances personal drama with broader themes of financial insecurity and moral compromise, setting the stage for a season that promises to dig deeper into the complexities of Tony Soprano’s world. While it may not rank among the show’s very best episodes, it is a strong and thoughtful premiere that reaffirms The Sopranos as a masterclass in television storytelling.
RATING: 6/10 (++)
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