If it’s any consolation, there’s a no better – and with his ancestry, a very apt – picturesque spot to hand in the equity card for a place in the acting guilds pantheon, over on the other side, than Rome. All too soon of course – at the age of 51 – the tragic death of the towering titan of such highly exalted TV series as the dysfunctional Sopranos, James Gandolfini‘s fatal heart attack has come as a big shock.
Arguably one of his generation’s most gifted and explosive actors, Gandolfini’s nightclub doorman posterior – a job he took on whilst studying at Rutgers University – and Italian descent may have led to certain characteristic archetypal casting, yet in whatever role he played that rebarbative, intimidating figure could naturally show both primal rage and venerability in equal measure. That patriarchal role as head of the fictional New Jersey crime family the Sopranos, may have won him the most plaudits, and immortalized him forever as the most psychological profound, challenging Mafia boss ever portrayed on screen, yet the actor could also surprise us with roles as peculiar as Carol – the simpleton childish moonfaced monster – from Maurice Sendak’s original children’s book, Spike Jonze film adaption, Where The Wild Things Are.
Despite playing for such an exhaustive period, the miscreant boss of an often-inept mob fraternity – looked down upon with derision by their more powerful, rich and cosmopolitan compatriots who control the vast wealth and resources of Manhattan – Gandolfini could turn his hand to comedy – as the overbearing Lt.Gen. George Miller locking horns with the antagonistic PM’s advisor Malcolm Tucker In The Loop – and produce documentaries and TV specials – executive producer on the Emmy-nominated documentary Alive Day Memories: Home From Iraq, the ‘posttraumatic stress disorder’ examination Wartorn: 1861 – 2010, and Heminyway & Gellhorn.
But it is the ability to elicit some sort of sympathy or understanding from us the audience, about even the most brutish mobster, loans shark, or hit man’s feelings and misgivings that proved Gandolfini’s talent. Here as a special tribute is some personal favorite scenes, dialogue and moments from just a few of his films, all of which were infinitely made better by his appearance – no arguments!
Sopranos (1999 – 2007)
Keith Richards /Rolling Stones ‘Waiting On A Call’ used as the finale for Series 2 of The Sopranos.
The Mexican (2001)
Where The Wild Things Are (2009)
In The Loop (2009)
