Full Leather Jacket (2.08)

Richie Aprile tries to win Tony’s respect with a leather jacket.  Sean and Matt try to earn some respect with an attack on Chris Moltisanti.  Carmela tries to get a recommendation letter for Meadow from Georgetown alumna Joan Cusamano.



“Full Leather Jacket” is a bulldog of an episode, short and intense.  It is the shortest episode of the series, clocking in at just over 42 minutes.  If the show had appeared on network TV, Chase would have been hamstrung by strict, uniform length guidelines. But since The Sopranos aired on HBO, Chase had much latitude in deciding the length of each episode.  The longest outing of the series comes in at about 70 minutes, which is a whopping 65 percent longer than the shortest episode.  Chase was able to give each episode precisely the amount of time it needed to cohere and “feel right,” without worrying too much about commercial/front office concerns.  As such, episode length becomes an important element in the viewer’s experience of The Sopranos.

The question of which colleges Meadow will get accepted into has been a recurring part of the Sopranos narrative over these first two seasons, and the issue comes to the forefront here.  Carmela is obsessed, laying awake in bed thinking about it:

Carmela profile toner

Prof. Maurice Yacowar notes that the “Profile Toner” commercial that plays on the TV foreshadows the drastic measures that Carmela takes to tone the profile of Meadow’s college application.   Carm is a bulldog herself here, pressuring neighbor Jeannie Cusamano to get her twin sister Joan, a Georgetown graduate, to write a recommendation letter for Meadow.  When that doesn’t work, Carmela pays Joan a visit and—in her own unique way—makes her an offer she can’t refuse.

Yacowar writes that Richie is also trying to tone a profile here – his own.  He makes a gift of a horrendously outdated jacket to Tony, taken off of tough guy Rocco DiMeo years ago.  But Richie remains a cringeworthy, scary figure despite his attempts to be a nicer guy.

I think that Matt Bevilaqua and Sean Gismonte are driven by concerns about their profile too.  The two have never been taken very seriously by the mobsters.  They have dreams of becoming Made Men, but right now, they are barely seen as men at all.  We first got a sense of the profound emasculation that they feel in “The Happy Wanderer.”  Their emasculation continues here.  In his essay “Fat Fuck,” Avi Santo notes that their lean, well-muscled bodies seem effeminate compared to the lumbering, overweight bodies of most of the Sopranos mobsters, and that they are feminized by the way they preen and primp before meeting Tony.  There is also a homoerotic overtone to the scene in which the two guys lounge in their apartment in their underwear, Sean toking on a phallic bong in front of a reclining, near-nude Matt.  When Furio arrives to collect Tony’s percentage, he picks up on this overtone and makes a crack in Italian about their perceived homosexuality – and rips them for $1000.

effeminate matt and sean

Back at the Bing, they realize they’re no different from all the other poor schlubs in there, and decide they need to differentiate themselves.  Over the course of the series, other characters—Chris Moltisanti, Tony Blundetto and Vito Spatofore, for example—will have very similar realizations – and will decide that recommitting themselves to the Mob is the only way to differentiate themselves, escape the grind of being a “civilian.”  Matt and Sean figure that committing an act of violence is the best way to assert themselves. 

ony Soprano had spent most of this episode in good humor.  He was not upset by Richie or Carm or Meadow or anyone or anything.  In fact, he didn’t even have much to talk about when he visited Dr. Melfi.  His serenity vanishes when Chris is shot.  The shooting comes as a shock to the viewer too.  This is where the short length of the episode proves its efficacy.  Over the last twenty episodes, we have developed a feel for how long an episode should be.  The shooting ends this episode so abruptly and so early that our shock gets compounded.  Adding to our surprise is that it is a major character that is now clinging to life.  In the previous episode, Christopher’s dreams of Hollywood brought him to the verge of quitting his dangerous life in the mob.  But he chose to rededicate himself to the Mafia – and now he’s on life support in a hospital room.  No one on The Sopranos is safe, neither from death nor from the writers’ sense of irony.

Tony sits bedside by Chris and asks, “How could this happen?”  Sometimes, when a question is asked on The Sopranos, the edit provides the answer.  (Think of the carjacking victim in “Commendatori” who screeches, “Fucking niggers! Who else?” and then the cut to Tony.)  Here, the question is partly answered within the shot itself.  Standing behind Tony is Furio, whose humiliation of Matt and Sean must have contributed to their decision to hit Chris.

how could this happen

The sounds of hospital monitors and life support systems continue through to the very end of the hour, making this the only episode (other than the infamous Series Finale) not to have music over its final credits.


It’s difficult to know if Richie Aprile is an out-and-out sociopath or if he’s just a total fuckin’ prick.  It seems more like the latter when he insults Paulie and Silvio and jokes about Christopher’s big nose and waffles on building a wheelchair ramp for Beansie.  But he seems like a true mental case when he slinks out of the Soprano home after discovering that the housekeeper’s husband has ended up with the jacket he gave to Tony.  Sure, no one ever likes to find that their gifts have been re-gifted, but Richie looks like he’s gonna respond with a killing spree.

Richie had earlier made a big show of presenting the coat to Tony: “It’s the jaackkett…the jacket I took off Rocco DiMeo…cocksucker had the toughest reputation in Essex County but he never came back after I got through with him.”  The jacket’s provenance imbues it with an almost mythological significance for Richie.  Chase generates the title of this episode from the combination of this leather jacket, the metal casings from Christopher’s shoot-out, and the name of Stanley Kubrick’s 1987 film:

full leather jacket title

Full metal jacket - Sopranos Autopsy

Though Richie Aprile places much importance in the jacket, Tony Soprano doesn’t.  David Chase demonstrates, once again, that what is significant to one person is not necessarily significant to someone else.  Things don’t have an absolute value in SopranoWorld – it’s all relative.



  • The episode begins with the famous saxophone lick from Gerry Rafferty’s “Baker Street” played against an exterior shot of the Soprano home.  The song lyrics (unheard here) are about a guy who is a “rolling stone,” always wandering away from home.  Perhaps a comment on Tony’s untamed nature?
  • We see the address of the Soprano home on an envelope: 633 Stag Trail Road.  “Stag” typically refers to a male deer, but it can also mean a castrated animal – perhaps a comment on the domestication of Tony Soprano?
  • Sound cut: Tony tells AJ that if he wants to get into Harvard or West Point, he has to “crack the books.”  Immediately, we hear a banging sound → Cut to Chris and Matt “cracking” a safe.
  • More Fun With Sound: At their apartment, Sean tells Matt they need to get new speakers to “kick the fuckin’ bass up on this TV.”  Immediately,  a basslike pounding starts on their door.  (It’s Furio.)
  • Chris’ marriage proposal to Adriana must be one of the least romantic in history.  He shoves Liz La Cerva out of the way (and rips a phone from her so she can’t call the police) and then blurts out “I wanna marry you” to Adriana.  (Mr. Romantic later blames their rocky relationship on his inability to “communicate my needs.”)
  • In an absurd world, some of Livia’s absurd theories are going to be proven right.  In the previous episode, she advised AJ not to wear a seatbelt.  Here, Sean is killed when his seatbelt holds him in place for Chris’ bullet.

7 responses to “Full Leather Jacket (2.08)

  1. Good analysis 🙂

    One point that struck me was that Sean and Matt did not realise they were breaking the rules. No one gets killed in Soprano world unless there is a clear order to do so. It doesn’t have to be spelled out – see Junior’s instruction in series 1 expressed as ‘I don’t want to hear him anymore’. But it does have to be clear. Off-piste murder is not a good idea, and we have to accept that Sean and Matt are very, very stupid not to realise it. We do see them being stupid and talking stupid on several occasions. We even see them leaving their unpleasant calling cards with the safe cracking. Is this stupid enough to think killing Christopher will get them in Richie Aprile’s good books?


  2. “It’s the jaaaccckket!!” Tony shows that he is pretty confused by this gesture. My favourite part of the interaction must be when Junior chimes in with the fact that Rocco DiMeo, tough as he was, later developed alzheimers.

    Didn’t pick up Livia’s piece of advice regarding the seatbelt… funny!

    Liked by 1 person

  3. I really enjoy your analysis of the show. Your attention to detail is remarkable, which is why I offer a small criticism or correction, if you will.
    You say that the title of this episode comes from the leather jacket, the metal casings from the shoot out, and the title of Kubrick’s movie Full Metal Jacket.
    The term “full metal jacket” does not refer to casings. It refers to the copper jacket around the lead core of a bullet. The military has to use full metal jacket (fmj) rounds because the Geneva convention bans the use of frangible rounds of any kind.
    Now there is a shot of the casings and maybe they are what the title refers to. The mistake would be the show runners in that case and not yours. But I figured I’d point it out.

    Liked by 2 people

  4. I suspect that when Ritchie gives Tony the jaaackkett, which symbolizes Ritchie’s superior fighting skills over Rocco (“cocksucker had the toughest reputation in Essex County but he never came back after I got through with him”), and then makes the same point later when they meet outside the store with Paulie and Sal, that he’s sending Tony a message to back down over the wheelchair ramp and other attempts by Tony to dominate Ritchie, that if it comes to a physical confrontation between Ritchie and Tony, Ritchie (in his mind), would win, and a few years down the road he’d be giving Tony’s bathrobe to the next tough guy challenging Ritchie’s right to do whatever he wants.

    Liked by 1 person

  5. I simply love Carmela’s scenes in this episode. To me, Carmela is the most evil character on the Sopranos. She is morally corrupt, living with blood money, exposing her children to a morally unsound childhood, she just cruises through life and Joanie’s office spinning her way, and also getting her way. Like I said, Carmela is the most amazing evil person in The Sopranos!!

    Liked by 1 person

Leave a Reply

Fill in your details below or click an icon to log in:

WordPress.com Logo

You are commenting using your WordPress.com account. Log Out / Change )

Twitter picture

You are commenting using your Twitter account. Log Out / Change )

Facebook photo

You are commenting using your Facebook account. Log Out / Change )

Google+ photo

You are commenting using your Google+ account. Log Out / Change )

Connecting to %s