---
title: "The Sopranos"
year: 1999
kind: "series"
canonical: "https://film.one/tv/the-sopranos"
fi1m_id: "the-sopranos"
imdb_id: "tt0141842"
tmdb_id: 1398
wikidata_id: "Q23628"
fi1m_score: 94
critics_score: 87
critics_reviews: 6
published: "2026-09-13"
updated: "2026-09-26T19:52:00.173880+00:00"
region: "AR"
licence: "© Fi1m Ltd. Written by AI under a human editor; checked against sources before publication. Quote with attribution and a link to the canonical URL."
---

# The Sopranos (1999)

Created by David Chase · Crime, Drama

## Identity

The Sopranos

- **Canonical:** https://film.one/tv/the-sopranos
- **Type:** Series
- **Fi1m ID:** the-sopranos
- **IMDb ID:** tt0141842
- **TMDB ID:** 1398
- **Wikidata ID:** Q23628
- **Same entity:** https://www.imdb.com/title/tt0141842/, https://www.themoviedb.org/tv/1398, https://www.wikidata.org/wiki/Q23628

**Fi1m score: 94** · Critics 87 from 6 reviews

*In a sentence:* A gangster goes to therapy and still expects everyone else to change

> James Gandolfini makes *The Sopranos* funny, frightening and painfully recognisable. We recommend it without hesitation, though its fascination with Tony’s grievances occasionally gives those grievances more time than they deserve.

## Synopsis

Tony Soprano (James Gandolfini) moves between the demands of organised crime and family life, while anxiety attacks send him into therapy. At home, Carmela (Edie Falco), Meadow (Jamie-Lynn Sigler) and A.J. (Robert Iler) have concerns that do not disappear when his working day is over. Around him are Christopher Moltisanti (Michael Imperioli), Silvio Dante (Steven Van Zandt) and Paulie Gualtieri (Tony Sirico). Lorraine Bracco plays Jennifer Melfi in a series that follows Tony’s attempts to discuss his troubles and maintain his authority. Family tensions and criminal business keep intruding on whatever peace he hopes to find.

## Review

We would recommend *The Sopranos* even to people who usually avoid crime drama. It begins with a gangster’s anxiety attacks and therapy, a premise that could have sustained a rather thin joke. David Chase and his fellow writers take the distress seriously without accepting Tony Soprano’s account of himself. The result is funny, often distressing television that makes us listen to excuses we would rather dismiss, because James Gandolfini makes the man offering them so persuasive.

Gandolfini lets Tony be needy in ways that are both embarrassing and recognisable. His complaints in therapy carry the affronted certainty of someone who cannot understand why having power has failed to make him comfortable. We laughed at his self-pity, then felt uneasy about how readily we had taken his side. The injured tone is funny enough to distract us, briefly, from what he is excusing. Even when Tony sounds wounded, we keep wondering who will have to put up with his anger afterwards.

Edie Falco’s Carmela gives us good reason to stop indulging him. Falco makes her affection persuasive even when her patience looks thoroughly used up, and she remains worth watching when Tony is demanding attention. Her presence makes the domestic drama as absorbing as the criminal business. Lorraine Bracco gives Jennifer Melfi an attentiveness that makes his evasions harder to ignore. Both actors make listening active, so that a conversation can change direction before anyone has raised their voice.

Alik Sakharov and Phil Abraham’s cinematography keeps the conversations visually tense without insisting that somebody reach for a weapon. We can watch a face and wonder what has been left unsaid. Bob Shaw’s production design is particularly effective in making family life feel established before a scene begins. We accept the domestic spaces as places these people inhabit, and so the family scenes never feel like delays before the crime story resumes.

Editor Sidney Wolinsky gives the talk enough room for an excuse to become uncomfortable. We have time to hear what Tony wants accepted and to consider what he is leaving out. The music credited to Adam Levine is most persuasive when it holds back from emphasising sadness already apparent in the acting. The pauses matter as much as the explanations, and the editing has the patience to keep them.

The reservation is repetition. Tony’s complaints can become wearying before the writing has finished examining them, and a scene can make its point some time before it ends. Familiarity with him sometimes buys another hearing for an excuse we have already understood. A little more time away from him would occasionally help. The surrounding cast deserves it, especially Falco, whose reactions can make further explanation unnecessary.

Crime drama often makes ruthlessness attractive simply by giving it efficient people and good lines. Here, the family demands and Tony’s anxiety keep interfering with the pleasure of watching him command attention. Across six seasons, the series gives us ample opportunity to question why we enjoy his company. We recommend taking it slowly enough to notice when sympathy turns into making excuses.

*Fi1m score 94, published 13 September 2026.*

## What the critics say

The reviews are unanimous, and the praise settles on James Gandolfini. Nearly every critic singles out his Tony Soprano, a mob boss whose anxiety attacks and therapy sessions give the crime story its centre, and most find the mixture of morose family drama and violence handled with intelligence rather than for shock. Nancy Marchand’s Livia and Edie Falco draw repeated mention, and the scripts are called absorbing and witty.

Where the reviews differ is mostly in when they were written. The notices from the first weeks of 1999 treat it as a promising new drama with a strong cast; the later ones, in Radio Times and Collider, treat it as the series that changed what television drama could be and proved an unsympathetic lead need not drive viewers away. The spread of scores is narrow, from The Hollywood Reporter’s more measured approval, which credits the direction and production design, to Radio Times at the top. No critic registers a serious reservation.

## Straight answers

**Is The Sopranos worth watching?**

*The Sopranos* is worth watching even for people who usually avoid crime drama, and we scored it 94. James Gandolfini makes Tony Soprano's self-pity funny and uncomfortably persuasive, and Edie Falco and Lorraine Bracco keep the domestic and therapy scenes as absorbing as the criminal business. Our one reservation is repetition: Tony's grievances sometimes get more time than they deserve.

**Where can I watch The Sopranos in Argentina?**

*The Sopranos* is streaming on HBO Max in Argentina. Availability is checked daily; the links above go straight to each service.

**How violent or frightening is The Sopranos, and is it suitable for children?**

*The Sopranos* carries a UK 18 certificate and is not suitable for children. It is a series about organised crime, and the review finds it often distressing as well as funny, with the threat of violence hanging over conversations even when nobody reaches for a weapon. Squeamish viewers should also expect language and adult themes appropriate to that rating.

**How does The Sopranos compare to The Long Good Friday?**

*The Sopranos* and [*The Long Good Friday*](https://film.one/film/the-long-good-friday) both follow a commanding gangster who discovers how little his authority protects him from fear, but one is a six-season series and the other a single London crime thriller. The film is the tighter of the two, though its plot takes some effort to follow. The series has far more room for family life and the slow exposure of Tony's excuses, which is where it is strongest.

**What should I watch after The Sopranos?**

After *The Sopranos*, try [*The Long Good Friday*](https://film.one/film/the-long-good-friday) (1980, Fi1m 88): Another commanding gangster discovers how little authority protects him from fear. Then [*A Prophet*](https://film.one/film/a-prophet) (2009, Fi1m 86): Criminal ambition examined through patient observation, with little comfort in the violence; and [*High and Low*](https://film.one/film/high-and-low) (1963, Fi1m 90): Crime exposes the limits of respectability in a sharply observed household.

### Reviews we read (6)

- **Radio Times**, Jack Seale (9.2/10): The series completely changed the face of television drama by proving an unsympathetic central character would not deter viewers. It demonstrated that American cable TV could look as good as film and that actors could make their names on the small screen. [Read](https://www.radiotimes.com/programme/b-lt5qwb/the-sopranos/)
- **The Guardian** (90/100, inferred): The critic finds The Sopranos makes one proud of television for its blend of mindless savagery and wistful yearning. They single out the strong performances, particularly James Gandolfini as Tony and Nancy Marchand as Livia. [Read](https://www.theguardian.com/media/1999/jul/16/tvandradio.television4)
- **Variety**, Phil Gallo (85/100, inferred): The series offers an intelligent, personal episodic drama about mob life centered on Tony Soprano's anxiety attacks and therapy sessions, blending morose and witty family stories with crime elements. It stands out for its nuanced character work and strong performances, particularly James Gandolfini's introspective Tony. [Read](https://variety.com/1999/tv/reviews/the-sopranos-4-1200456522/)
- **The Hollywood Reporter**, Barry Garron (80/100, inferred): The Sopranos succeeds as an attention-grabbing mix of family drama and organized crime, with absorbing scripts and a remarkable cast that makes the characters relatable Everymen. It highlights strong performances from James Gandolfini, Edie Falco, and Nancy Marchand, along with careful direction and production design. [Read](https://www.hollywoodreporter.com/news/general-news/sopranos-first-episodes-thrs-1999-815890/)
- **Collider**, Jenni Fink (90/100, inferred): The critic hails the series as one of HBO's greatest and a timeless benchmark for prestige television that has only grown more relevant. They single out the depth and humanity of the ensemble cast, particularly James Gandolfini's unmatched portrayal of the complex anti-hero Tony Soprano. [Read](https://collider.com/hbo-near-perfect-crime-series-the-sopranos-greatest/)
- **Consequence** (85/100, inferred): The critic celebrates The Sopranos as a transformative force that elevated television's cultural status and proved cable could surpass broadcast norms. It singles out the series' Emmy success as the first cable drama to win Outstanding Drama Series, marking a lasting shift in industry perceptions. [Read](https://consequence.net/2024/01/the-sopranos-changed-television-99-rewind/)

## Details

- **Created by:** David Chase
- **Creator:** David Chase
- **Director:** Tim Van Patten, John Patterson, Allen Coulter, Alan Taylor, Jack Bender, Steve Buscemi, Henry J. Bronchtein, Dan Attias, David Chase, Peter Bogdanovich, Terence Winter, James Hayman, Martin Bruestle, Nick Gomez, Rodrigo García, Lee Tamahori, Mike Figgis, Matthew Penn, Lorraine Senna, Andy Wolk, David Nutter, Steve Shill, Danny Leiner, Phil Abraham
- **Writer:** David Chase, Terence Winter, Mitchell Burgess, Robin Green, Matthew Weiner, Frank Renzulli, Michael Imperioli, Todd A. Kessler, Andrew Schneider, Diane Frolov, Jason Cahill, Lawrence Konner, Toni Kalem, Mark Saraceni, Michael Caleo, James Manos Jr., Joe Bosso
- **Story:** David Chase, Terence Winter, Mitchell Burgess, Robin Green, Michael Imperioli, Todd A. Kessler, Tim Van Patten, Maria Laurino
- **Teleplay:** Terence Winter, Mitchell Burgess, Robin Green, David Chase, Frank Renzulli, Michael Imperioli, Lawrence Konner, Dave Flebotte, Nick Santora, Salvatore Stabile
- **Cinematography:** Phil Abraham, Alik Sakharov, William Coleman
- **Editor:** Sidney Wolinsky, William B. Stich, Conrad M. Gonzalez, Lynne M. Whitlock, Michael Ruscio, Tammis Chandler, Joanna Cappuccilli Lovetti
- **Music:** Adam Levine
- **Production design:** Bob Shaw, Dean Taucher, Edward Pisoni
- **Costume design:** Juliet Polcsa, Kim Marie Druce, Ane Crabtree
- **Producer:** Martin Bruestle, Henry J. Bronchtein, Ilene Landress
- **Cast:** James Gandolfini as Tony Soprano; Edie Falco as Carmela Soprano; Jamie-Lynn Sigler as Meadow Soprano; Robert Iler as A.J. Soprano; Lorraine Bracco as Jennifer Melfi; Michael Imperioli as Christopher Moltisanti; Steven Van Zandt as Silvio Dante; Tony Sirico as Paulie Gualtieri
- **Release (Argentina):** 10 January 1999
- **Genres:** Crime, Drama
- **Also in:** [Emmy Outstanding Drama Series winners](https://film.one/collections/emmy-drama.md) (Nominee, 2000)

## Where to watch in Argentina

- HBO Max: streaming

*Checked 2026-09-13.*

Also available in: AR, AT, AU, BE, BG, BR, CA, CH, CL, CO, CZ, DE, DK, EC, EE, ES, FI, FR, GB, HK, HR, HU, ID, IE, IL, IN, IS, IT, JP, LT, MX, MY, NL, NO, NZ, PA, PE, PH, PL, PT, RO, RS, SE, SG, SI, TH, TR, US. Add `?region=XX` to this URL for another country.

## Awards

- Primetime Emmy Awards 2007: Outstanding Directing for a Drama Series (won)
- TCA Award for Outstanding Achievement in Drama 2007: TCA Award for Outstanding Achievement in Drama (won)
- TCA Heritage Award 2007: TCA Heritage Award (won)
- Writers Guild of America Award for Television: Dramatic Series 2007: Writers Guild of America Award for Television: Dramatic Series (won)
- Primetime Emmy Awards 2006: Outstanding Costumes for a Series (nominated)
- Primetime Emmy Awards 2004: Outstanding Cinematography for a Single-Camera Series (nominated); Outstanding Drama Series (won); Outstanding Supporting Actor in a Drama Series (won); Outstanding Supporting Actress in a Drama Series (won)
- Primetime Emmy Awards 2003: Outstanding Casting for a Drama Series (nominated); Outstanding Single-Camera Picture Editing for a Drama Series (nominated); Outstanding Lead Actor in a Drama Series (won)
- SAG Awards 2003: Outstanding Performance by a Female Actor in a Drama Series (won); Outstanding Performance by a Male Actor in a Drama Series (won)
- Costume Designers Guild Award for Best Costume Design – Contemporary TV Series 2002: Costume Designers Guild Award for Best Costume Design – Contemporary TV Series (won)
- Directors Guild of America Award for Outstanding Directing – Drama Series 2002: Directors Guild of America Award for Outstanding Directing – Drama Series (won)
- Golden Globes 2002: Best Actress – Television Series Drama (won)
- NAACP Image Award for Outstanding Supporting Actor in a Drama Series 2002: NAACP Image Award for Outstanding Supporting Actor in a Drama Series (nominated)
- Satellite Award for Best Actress – Television Series Drama 2002: Satellite Award for Best Actress – Television Series Drama (won)
- Primetime Emmy Awards 2001: Outstanding Guest Actress in a Drama Series (nominated)
- TCA Award for Individual Achievement in Drama 2001: TCA Award for Individual Achievement in Drama (won)
- SAG Awards 2000: Outstanding Performance by an Ensemble in a Drama Series (won)
- Satellite Award for Best Actor – Television Series Drama 2000: Satellite Award for Best Actor – Television Series Drama (nominated)
- Satellite Award for Best Television Series – Drama 2000: Satellite Award for Best Television Series – Drama (nominated)
- Golden Globes 1999: Best Television Series – Drama (won)
- Peabody Awards 1999: Peabody Awards (won)
- Primetime Emmy Awards 1999: Outstanding Guest Actor in a Drama Series (nominated); Outstanding Lead Actress in a Drama Series (won); Outstanding Writing for a Drama Series (won)
- TCA Award for Outstanding New Program 1999: TCA Award for Outstanding New Program (won)
- TCA Award for Program of the Year 1999: TCA Award for Program of the Year (won)

## If you liked this

- *The Long Good Friday* (1980), Fi1m 88: Another commanding gangster discovers how little authority protects him from fear. — [Fi1m page](https://film.one/film/the-long-good-friday.md)
- *A Prophet* (2009), Fi1m 86: Criminal ambition examined through patient observation, with little comfort in the violence. — [Fi1m page](https://film.one/film/a-prophet.md)
- *Gomorrah* (2014): Organised crime without much reassurance, and families with dangerous claims on loyalty.
- *The Americans* (2013): A marriage and a dangerous profession keep making competing demands on the same people.
- *High and Low* (1963), Fi1m 90: Crime exposes the limits of respectability in a sharply observed household. — [Fi1m page](https://film.one/film/high-and-low.md)

---
© Fi1m Ltd. Written by AI under a human editor; checked against sources before publication. Quote with attribution and a link to the canonical URL. Canonical: https://film.one/tv/the-sopranos