The Ghost of Gary Cooper: Masculinity, Homosocial Bonding, and The Sopranos
When Soprano consigliere Silvio Dante complains that his daughter
Heather protests his ownership of the Bada Bing! strip club on the
grounds that it "objectifies women," we know that there has been a
seismic shift in the sexual landscape of the gangster narrative ("Down
Neck," episode 7). Indeed, a number of scholars argue that The
Sopranos reinvents a traditionally male-dominated and misogynistic
gangster genre through its acknowledgement of feminism's impact on
contemporary culture. Kim Akass and Janet McCabe argue that the "female
narrative authority" of mob boss Tony Soprano's wife, Carmela, and
therapist, Jennifer Melfi, consistently disrupts Tony's desire to
identify himself through the mafia's masculinist codes: His "options are
circumscribed by a morality defined by civilizing women," and he is
caught between the conflicting realms of the male mafia family that he
rules and the feminized domestic where he is (at best) second in command
(Akass and McCabe 150). Cindy Donatelli and Sharon Alward contend that
the show's integration of soap opera techniques functions as a "feminist
metatext" that subverts generic expectations of the male characters and
the audience. The Sopranos thus signifies a "wholesale collapse
of [the] masculinity" embodied by earlier gangsters, such as The
Godfather's Michael Corleone (Donatelli and Alward 65, 71). In other
words, this is not your father's gangster narrative: It's your
mother's.
Yet while The Sopranos clearly highlights women's roles in
gangster life and incorporates traditionally feminized generic elements,
these tactics yield feminist readings only if one is willing to collapse
distinctions between female, feminine, and
feminist, or to reductively view masculinity and femininity as
existing purely in opposition to one another. The Sopranos'
deployment of soap opera narrative practices does often "deny [the male
characters] the dignity of a full-length Mafia movie," displacing the
masculinist gravitas characteristic of The Godfather trilogy, but
does not automatically compel or promote feminist interpretations or
modes of viewing (65). Moreover, although women characters prompt Tony
to reassess his conduct and engage in what might be called feminized
behaviors, their influence also reinforces his criminality and
chauvinism, rendering their "female narrative authority" problematic and
distinctly not feminist (Carmela's power within the domestic sphere is,
after all, predicated on Tony's professional success).[1]
I argue that feminism informs The Sopranos on a more profound
thematic level, namely through its depictions of the social
constructed-ness of femininity and masculinity, and the conflicts,
negotiations, performances, and power imbalances that these social
constructions generate. As vexed as perceptions of manhood might be for
The Sopranos' men vis-á-vis women, then, they are no less
complicated when the men are by themselves. In fact, the show undermines
the male characters' tautological "old school" view that "men are men
and women are women" by revealing how the ambiguities and contradictions
inherent in masculinity manifest themselves in the characters' psychic
processes, actions, and relations to one another. At the same time, the
show asks us to reconsider our own seemingly more "progressive"
investments in configurations and representations of gender. Thus, on a
metatextual level, as Lisa Johnson also argues in this issue in her
analysis of femininity and sexuality, The Sopranos consistently
demonstrates that the nature of gender is anything but natural.
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