Anthony Jr. Gets into some fairly serious trouble at school, and while he goes through a series of psychological tests, Tony typically works out his feelings in sessions with Dr. Melfi. Here he recounts pivotal moments from his childhood, when he first saw a different side of his father (Joseph Siravo, "Carlito's Way") and eventually learned what Dad actually did for a living.
This intriguing set-up leads to some particularly sharp writing as the characters and the viewers alike are obliged to ponder the whole idea of free will versus things that may be "preordained". Tony doesn't exactly want his son to end up just like him, knowing that the kid has potential (although the idea that Anthony Jr. Might have ADD is floated a lot throughout this story). Tony is always quick to point out the straight-arrow life that his daughter Meadow is living, as evidence that the circumstances of the parent don't have to dictate what happens with their offspring. Tony admits that sometimes he wonders what might have happened if he hadn't followed his fathers' path in life.
The main asset of 'Down Neck' is some great flashback material, with Bobby Boriello ("Man on the Moon") as the young version of Tony. The casting is right on point, with familiar faces like Rocco Sisto ("Innocent Blood") cast as a younger Uncle Junior, and Laila Robins ("Planes, Trains and Automobiles") cast as a formidable younger vision of Livia. Here we see that Tony's dad did tend to show some preferential treatment to his sister Janice. With the dad a rather fabled figure up to this point, it's nice to see him as a flesh and blood character for the first time.
The father and son scenes are the best in 'Down Neck'. When you get right down to it, you see that Tony *is* a basically good father who wants the best for his children. In fact, the ending moments with Tony and Anthony Jr. Bonding (while Jefferson Airplanes' "White Rabbit" plays on the soundtrack) end the proceedings on a very pleasant note.
Eight out of 10.
This intriguing set-up leads to some particularly sharp writing as the characters and the viewers alike are obliged to ponder the whole idea of free will versus things that may be "preordained". Tony doesn't exactly want his son to end up just like him, knowing that the kid has potential (although the idea that Anthony Jr. Might have ADD is floated a lot throughout this story). Tony is always quick to point out the straight-arrow life that his daughter Meadow is living, as evidence that the circumstances of the parent don't have to dictate what happens with their offspring. Tony admits that sometimes he wonders what might have happened if he hadn't followed his fathers' path in life.
The main asset of 'Down Neck' is some great flashback material, with Bobby Boriello ("Man on the Moon") as the young version of Tony. The casting is right on point, with familiar faces like Rocco Sisto ("Innocent Blood") cast as a younger Uncle Junior, and Laila Robins ("Planes, Trains and Automobiles") cast as a formidable younger vision of Livia. Here we see that Tony's dad did tend to show some preferential treatment to his sister Janice. With the dad a rather fabled figure up to this point, it's nice to see him as a flesh and blood character for the first time.
The father and son scenes are the best in 'Down Neck'. When you get right down to it, you see that Tony *is* a basically good father who wants the best for his children. In fact, the ending moments with Tony and Anthony Jr. Bonding (while Jefferson Airplanes' "White Rabbit" plays on the soundtrack) end the proceedings on a very pleasant note.
Eight out of 10.