Television Review: Stage 5 (The Sopranos, S6X14, 2007)

Stage 5 (S06E14)

Airdate: April 15th 2007

Written by: Terence Winter
Directed by: Alan Taylor

Running Time: 56 minutes

As The Sopranos neared its conclusion, the series masterfully wove a tapestry of foreboding into its narrative, priming audiences for an ending steeped in inevitability. The episode “Stage 5” crystallises this tension, building on earlier moments such as the haunting conversation between Tony and Bobby in Soprano Home Movies, where they grimly speculate on their likely fates—either getting killed or dying in prison. One of those alternatives is vividly presented in subsequent episode Stage 5.

The title “Stage 5” epitomises the show’s penchant for layered symbolism. Most overtly, it references the terminal prognosis of Johnny Sack, whose Stage 4 lung cancer leaves no room for a hypothetical “Stage 5” in medical terms. Yet the title also evokes Elisabeth Kübler-Ross’s fifth stage of grief—acceptance—a concept Johnny embodies as he confronts his mortality with weary resignation. His physical and emotional decay, portrayed with raw vulnerability by Vincent Curatola, becomes one of the series’ most poignant arcs. The gradual erosion of his dignity—reduced to a skeletal figure in a prison hospital, tormented by the anguish he inflicts on his wife Ginny and daughters—is rendered with unsparing realism. Johnny’s quiet acceptance of his fate, juxtaposed against the visceral pain of his family, elevates his storyline into a meditation on legacy and futility, cementing it as a standout narrative thread in Season 6.

However, the emotional weight of Johnny’s decline is partially undermined by the inclusion of Warren Feldman, a prison oncologist played by the late Sidney Pollack. While Pollack’s gravitas as an actor is undeniable, his cameo feels jarringly incongruous—a distraction rather than an enhancement. Feldman’s role as a sage-like figure dispensing existential wisdom to Johnny veers into cliché, reducing him to a narrative device rather than a fully realised character. This misstep is compounded by the fleeting appearance of Peter Bogdanovich as Dr. Kupferberg, another New Hollywood luminary relegated to a superficial cameo. The decision to cast such iconic figures in throwaway roles smacks of self-indulgence, a flaw exacerbated by the tragic irony of Pollack’s own death from cancer just weeks after the episode aired.

Amid Johnny’s tragedy, Christopher Moltisanti’s arc offers a counterpoint of fleeting triumph. His completion of Cleaver, a mafia-themed horror film, marks a rare moment of professional fulfilment. The premiere, attended by mob figures from New York and New Jersey, temporarily bridges factional divides, showcasing Christopher’s ability to command respect beyond his role as Tony’s protégé. Yet this victory is swiftly poisoned by paranoia. Carmela’s interpretation of Cleaver as a veiled critique of Tony—with its narrative of betrayal mirroring Adriana’s demise and rumours of a love triangle involving Tony, Christopher, and Adriana—ignites a toxic rift. Michael Imperioli’s portrayal of Christopher’s desperation to prove his loyalty, including strong-arming screenwriter J.T. Dolan into corroborating his innocence, underscores the fragility of his redemption. The christening of his daughter, ostensibly a joyous event, instead crackles with tension, as Tony’s forced smiles and Christopher’s nervous glances betray their mutual distrust. This subtextual warfare, simmering beneath familial ritual, exemplifies the series’ ability to meld intimacy with menace.

Meanwhile, Johnny Sack’s death reignites the smouldering power struggle within the Lupertazzi family. Phil Leotardo, initially adhering to Tony’s advice to embrace a quieter life, abandons his tentative pacifism after the assassination of his protégé, Gerry Torciano (played by Jim Blanco). Frank Vincent’s portrayal of Phil’s transformation—from restrained elder statesman to vengeful tactician—is electrifying, his clipped delivery and steely glare conveying volumes. The hit on Torciano, orchestrated by rival Doc Santoro (played by Dan Conte), not only destabilises New York’s hierarchy but also signals impending chaos for New Jersey. Phil’s decision to “go to the mattresses” sets in motion a chain of retaliations that will inevitably ensnare Tony, illustrating the inescapable interconnectivity of the two families’ fates.

Stage 5 excels in its exploration of consequence and closure, yet stumbles in its handling of secondary characters. While Johnny’s storyline and Christopher’s unraveling are executed with typical nuance, the reliance on celebrity cameos disrupts the narrative’s immersion. Nevertheless, the episode remains a vital pivot point in Season 6, skillfully balancing intimate character studies with the escalating stakes of a world teetering on collapse.

RATING: 7/10 (+++)

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