Television Review: To Save Us All From Satan's Power (The Sopranos, S3X10, 2001)

To Save Us All From Satan’s Power (S03E10)*

Airdate: April 29th 2001

Written by: Robin Green & Mitchell Burgess
Directed by: Jack Bender

Running Time: 45 minutes

After The Sopranos set a precedent with its Thanksgiving-themed episode He Is Risen, it was only a matter of time before another holiday-themed instalment would appear. These expectations were quickly met with To Save Us All From Satan’s Power, an episode centred around Christmas and titled after a verse from the traditional carol God Rest Ye Merry, Gentlemen. While the episode does not break new ground in terms of narrative innovation, it effectively uses the Christmas setting to explore Tony Soprano’s internal conflicts and the lingering ghosts of his past.

The script by Robin Green and Mitchell Burgess does not venture far from the established formula of The Sopranos. The Christmas motif is primarily used as a backdrop for a plot that echoes A Christmas Carol, with Tony Soprano confronting the ghosts of his past. However, unlike Charles Dickens’ classic tale, the episode does not delve into the supernatural or fantastical. Instead, it maintains the show’s grounded, realistic tone, even as it references the events of From Where to Eternity, an earlier episode that flirted with supernatural themes.

The “ghosts” of Tony’s past manifest only in his memories, triggered by a visit to Asbury Boardwalk and a gaze at the ocean where Pussy Bonpensiero’s remains were disposed of. These moments transport Tony back to Christmas 1995, a time when the DiMeo crime family had established a tradition of distributing gifts to children at Satriale’s pork shop, with Pussy playing the role of Santa Claus. These flashbacks coincide with delicate negotiations between Jackie Aprile and Uncle Junior, adding a layer of tension to the festive atmosphere. In the present day, with Pussy gone, the tradition continues, but the task of playing Santa falls to Bobby Baccalieri, who reluctantly steps into the role. Bobby’s ineptitude, starkly contrasted with Pussy’s charm, does not go unnoticed by Tony and the rest of the crew, highlighting the void left by Pussy’s absence.

While grappling with memories of the past, Tony also faces family problems in the present. During a visit to a strip club to scope out the competition to Bada Bing, Tony is infuriated to find Jackie Jr. enjoying a lap dance. Viewing this as a profound disrespect to his daughter Meadow, Tony vents his anger by physically assaulting Jackie Jr. In a desperate attempt to win back Tony’s favour, Jackie Jr. visits the Soprano home to present Meadow with an expensive gift and confesses to Tony that he has dropped out of Rutgers. He pleads for another chance, promising to enrol in fashion school as a new path toward a legitimate life. Tony, however, remains noncommittal, reflecting his internal struggle over how to handle the young man.

Tony’s familial obligations extend beyond Jackie Jr. He is also tasked with addressing the roughing up of his sister Janice by a Russian thug, a chore he undertakes more out of adherence to Mafia code than genuine desire for revenge. This storyline introduces viewers to Slava Malevsky (played by Frank Ciorneli), a Russian Mafia boss who serves as Tony’s international money launderer. Although Slava offers to handle the situation, Tony insists on dealing with it personally. The thug, who works as a limo driver, is humiliatingly beaten, showcasing Tony’s capacity for brutality. This subplot also features a cameo by Alik Sakharov, the Uzbekistan-born cinematographer who worked on The Sopranos and later became a renowned television producer and director. Sakharov appears as Slava’s accountant Agron, adding a meta-textual layer to the episode.

Despite its relatively uneventful plot, To Save Us All From Satan’s Power remains engaging due to its strong writing and performances. The episode serves as a “filler” in the broader context of the season, but it is far from inconsequential. The flashback scenes, in particular, provide fans with a poignant reminder of characters who have died in previous seasons, enriching the show’s narrative tapestry. The episode’s brevity and smooth pacing make it an easy watch, even if it lacks the high-stakes drama of other instalments.

The episode’s impression is significantly elevated by its ingenious final scene, which confronts Tony with his past in a macabre, ironic, and darkly humorous manner. This scene encapsulates the episode’s themes of guilt, memory, and the inescapability of one’s actions, all while delivering a moment of unexpected levity. It is a testament to the show’s ability to balance humour and pathos, leaving a lasting impact on the viewer.

RATING: 6/10 (++)

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