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Sopranos: Seeking a Singing Fat Lady
James Gandolfini in The Sopranos by Craig Blankenhorn/HBO
I’m sure I’m not the only person who got a phone call shortly after The Sopranos was over, with someone on the other end wondering frantically if their TV had gone out at the crucial final moment of the final episode. Because surely it didn’t just go to black. And I don’t mean fade to black. I mean, crash to black. To total black, including absolute silence as, after several elongated seconds, the credits began to roll, minus the usual music.
When it’s over, it’s over, David Chase appears to be saying. No tidy resolution, no clever summation, except perhaps for A.J. parroting something he heard his old man say once: “Focus on the good times.” OK, let’s do that.
Anything to take our mind off the fact that, for one last time, Chase has upended our expectations for where we think The Sopranos is going to go or how it’s going to end. Surely you didn’t think this show would settle for a conventional ending. Even so, an actual ending might have been nice.
Because this wasn’t an ending. It was a sudden halt. Mid-scene. Mid-song. The last words you hear in The Sopranos are from Journey on the jukebox, singing “Don’t Stop” as the action suddenly stops. Cold. Forever. Last thing we see: Tony looking up as the bell rings over the door of the diner, presumably announcing the arrival of Meadow, whose frantic attempts to park her car are so laden with symbolic portent. Throughout this final sequence in the diner, it’s edited to build tension, despite the fact that what we’re seeing is so banal, so ordinary. The Sopranos eating junk food at a place we’ve never seen before (I think), surrounded by people we’ve never seen before. That random dude at the counter, looking around furtively before heading to the bathroom? Just a random dude. He wasn’t pulling a Michael Corleone in the men’s room. Or was he? We’ll never know, but I tend to doubt it.
We only thought he may have been a hit man because we’ve been conditioned and misdirected to expect the worst. And because we’ve seen too many clichéd mob movies. Which The Sopranos most definitely isn’t.
Yes, there was a memorably grisly whacking to satisfy the bloodlust of a certain type of Sopranos fan. You couldn’t have asked for a more unforgettable exit for Phil Leotardo than his execution at the gas station mere moments after he sings bye-bye to his grandbabies in the back seat of his SUV (not a good week for SUV owners, by the way). Suddenly he’s shot in the head, and his wife makes matters worse dashing out from behind the wheel and leaving the car in drive, so the wheels turn forward and squash Phil’s head open. We don’t see it, but we hear it, which is probably worse. And how about FBI Agent Harris giving Tony the key to Phil’s whereabouts? To him, it’s just a big game of whack-the-mobster. When he hears Phil got popped, he cheers: “Damn! We’re gonna win this thing!”
So there was closure, at least where the war between the families was concerned, and also a significant twist as one of Tony’s associates is rumored to have flipped and started squealing to the grand jury. As the Soprano family goes out for their final meal (of the series, anyway, in an echo of the first-season finale when they all gathered at Artie’s place in the blackout), Tony is facing the very real possibility of an indictment. Life as they know it is about to change again, but we won’t be there to see it. Honestly, did we really want to sit through a season of Tony in jail, on trial? Probably not. But did we really want to be left hanging this way, without a classic final shot or fadeout? Probably not.
This was a case of climaxus interruptus. Some no doubt will argue that it was a brilliant trick, Chase being Chase, defiant to the end. But many, I fear, will only dwell on their frustration and dismay at the self-consciously arty finish, seeing it as a slap in the face. All I can think is that this was the kind of “what the heck” head-scratcher that, combined with the impenetrable and insufferable premiere of John From Cincinnati that followed, will leave many HBO subscribers seriously rethinking their investment.
Not that there weren’t many marvelous moments throughout this final hour. It was often very funny, courtesy of Paulie Walnuts. His war against the stray cat brought in from the safe house was absolutely hilarious, as was the cat’s mysterious habit of staring mesmerized at Christopher’s portrait, no matter where it was hung. The final image we get of Paulie is genius, sunning himself outside Satriale’s with a reflective screen while his nemesis the cat walks up and, unbeknownst to Paulie, also splays out in the sun. Kindred spirits? And how about Paulie’s revelation to Tony that he once had a vision of the Virgin Mary at the Bing? And Paulie at the feast after Bobby’s funeral, unzipping himself at the kids’ table: “In the midst of death we are in life. Or is it the other way around?”
There was also profound poignance in this episode as well, especially in the scenes with Uncle Junior. Tony’s visit, which immediately preceded the final scene in the diner, was drenched in the sadness and regret that permeated this final season.
The Sopranos is a tragedy, but one rooted firmly in human comedy. In a typical mob drama, you’d expect one of the Soprano family’s cars to explode. But in The Sopranos, A.J.’s SUV catches fire and combusts only because this stupid, horny kid has parked in the woods atop flammable leaves. And this kid thinks he can get into Officers’ Candidate School? Good thing Tony had that “Anti-Virus” movie script handy to give his wayward son yet another new career path as a glorified gofer.
If there was anything traditional about the series finale, it was the way that it recalled past seasons’ swan songs, shifting gears after the previous week’s violent and bleak twists. While it may have seemed anticlimactic, there is something comforting in knowing that life goes on for this family, that one way or another they’ll continue bickering and eating and scheming and eating and disappointing each other and eating.
Unless, of course, some opposing force comes through the door and blows their world to smithereens. Still, going out in a blaze of glory or even dishonor doesn’t seem like the Sopranos way, does it?
However one feels about the way the final episode played out, these characters will loom large in our collective memories for ages. We might have wished for a more classical ending, but we have always entered David Chase’s personal twilight zone at our own risk. And did you notice the shout-out to The Twilight Zone, with glimpses of a vintage episode in which, no doubt ironically, we hear a character say: “The television industry today is looking for talent. They’re looking for quality. They’re preoccupied with talent and quality, and the writer is a major commodity.”
David Chase has without question elevated the notion of what a TV writer can be. Love or hate where and how he took and hooked us, it has been quite a ride. And while he left the door more open than I would have imagined for a sequel (and I’m sure rumors of a movie will pursue him to France, where he’s currently cooling his heels), I hope no one makes him an offer he can’t refuse.
Let Tony, Carmela, Paulie and the rest go. Let sleeping Silvios lie. Fat lady or not, The Sopranos is over. The rest, as Chase demonstrated in his jarring way, is silence.
[An addendum, much later in the day: Various theories have surfaced as to the identity of some of the people in the diner in the final scene. If you care, you can read them below in the comments area. I certainly didn't pick up on it; and when I asked some HBO reps Sunday night if we were expected to recognize the people in the diner, they didn't help me connect the dots. My bad? Their bad? Who knows? Who cares? So I am happy to remain in the merry land of ambiguity. If you think Tony was about to be whacked, so be it. If, like me, you think he was just out with the family for another night of artery-clogging food and that life goes on, however unmerrily, no complaints as well. It's quite clear this ending was meant to be debated.]
--
Edited by Matt Roush at 06/12/2007 10:42 AM
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Jun 11, 2007 1:46 AM
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I was one of the people who thought their cable had gone out. I think it makes sense how it went out. Would I have liked to get a definitive answer about Tony's fate? Yes, but this show was never about definitive answers, it was always about the gray area in between.
I like how Chase didn't spoon feed the audience. Sopranos fans have always been dividedm so if he had killed Tony, let him live, put him in jail it wouldn't have mattered, people still would have been disappointed. Now at least they get to interpret it as they want.
Diana
http://www.mediaobsessed.com (I blogged my thoughts on the episode there)
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Jun 11, 2007 2:46 AM
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What a gimmick!! The show cuts off just as Meadow comes thru the door after 3 failed attempts at parellal parking??
Like the other finales I'm sure everyone knew that this one would end on quite terms so that bogus attempt of making viewers think something was going down at the end didn't work and was a waste of the final moments of this show.
David Chase has always been an oddball and he thinks he so above Hollywood; so he ends the series like this just because he can. He always tries to separate himself by doing the complete opposite of what others do, but it didn't work this time.
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Jun 11, 2007 3:37 AM
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I didn't want to bash the show since it was the final season but now that it's over I can finally say: I'm glad I don't have to see or hear AJ anymore. My sister dealt with depression before, so I know how frustrating it is for immediate family but there is a difference between depressed and whining and AJ was a whiner. The biggest mistake of this final season was wasting so much time on that loser than on his sister or anyone else for that matter.
As for David Chase and his choice of an ending, this is a TV show which means it suppose to be entertainment and at times Mr. Chase forgets that in his quest to discredit the Hollywood norm.
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Jun 11, 2007 3:47 AM
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The show ended with the ever-present circumstances of Tony's life solidly in place -- looming subpoenas, ever-present danger, and always his family. I thought that despite the lack of a traditional "ending," each character got their moment in this episode, and I know I will miss the dazzling work of this cast (especially Gandolfini) and the magic they created on this show. I cried through the final scenes of this episode, both in sadness and in gratitude for this show. I not only don't begrudge David Chase his abrupt ending (or upending our expectations once again, as Matt writes). I celebrate him for it. The ending was befitting for a show such as this one, where there are no easy answers, pat endings, or easy victories. Life in the show has always been complex, messy, troubling, murky, and occasionally transcendent. Why should the ending be any other way?
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Jun 11, 2007 5:31 AM
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It was a perfect ending. The reaction is proof of that. My only real gripe with how it ended is that it wasn't all that original. Any Angel fan can tell you that. Now we all get to finish it ourselves. Like with Angel (I chose to believe they slayed the dragon), we all get to decide what happened. The people who wanted Tony whacked are convinced he was whacked. I choose to believe they sat there eating greasy onion rings.
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Jun 11, 2007 5:40 AM
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That was exactly how was to end. We all know what was going to happen next; i believe he did get whacked and he went out with an ode to Godfather, so he went out in style. The decision not to show it graphically was perfect. There was a reason that the flashback to Tony and Bobby was throw in their--"you never hear the one that got you....everything fades to black after you get shot"...you mean to tell me Matt that he didn't get offed? All the signs throughout the last two episodes say yes.
The beauty of Meadow being delayed due to her parking was that she was the last thing Tony saw before he died. He went out knowing his son got some wisdom from him and feeling love for his wife and family. He had two choices for the music of his life - I did it My Way or Don't Stop Believing and he choose to look forward instead of looking back.
Perfect.
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Jun 11, 2007 8:30 AM
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I agree Thursdaymorning. He definitely got whacked. We saw it through Tony's eyes. He never heard the one that got him, it all went to black. I guess, like everyone else in America, I sat in front of the television waiting and when the credits started I went like WHAT? and then I realized and I had honestly had goosebumps. I thought it was a great ending. It couldn't have ended any better.
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Jun 11, 2007 8:54 AM
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I'm pretty sure we experienced Tony getting whacked from his own perspective. He's looking around, sizing everybody up, determining who may be a threat. If Meadow hadn't come through the door at that moment, Tony would have seen the suspicious guy come out of the bathroom, and he might have had a chance. However, his attention was focused for an instant on his baby girl, and what happened next was quick, black, and silent, which is how he described death to Bobby not long ago. The only conclusion I can draw from the abruptness of the ending is that Tony never saw it coming.
So, Chase gets to have his cake and eat it, too - he gets to end the series with the death of the primary character, but he doesn't have to end it with a cliche-ridden assassination. Just a quick cut to blackness and silence.
On the other hand, maybe all that was just massive rationalization to keep me from pulling the plug on HBO, at least until the final season of The Wire.
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Jun 11, 2007 9:51 AM
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Actually, I think it was the audience who got "whacked." Because the audience is expecting a certain type of ending, but the truth is we didn't see THAT one coming. Thus, fade to black.
Mr. Chase has said in other interviews that he doesn't like endings, because life goes on, whether we can see it or not.
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Jun 11, 2007 10:15 AM
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Matt here. For what it's worth, I figure there will be as many interpretations of what that final scene signified as there are viewers of The Sopranos. If you want to believe this was the final night of Tony's life, there's plenty of justification for that, and I enjoyed reading some of the theories. But despite the ominous editing and the mounting tension, I sincerely believe we were watching just another night in the life of the Sopranos, and that they'll live to eat another day. The fact that even something as innocuous as parallel parking can be imbued with unnerving suspense is just another indication of the sort of life these characters are trapped within. The guy going to the bathroom? Probably just needed to take a leak. If he was giving them glances, it's because they were the Sopranos, and maybe he'd read about them. Given how unplanned this night out was for the family, hard to imagine an organized hit was in the works. And even if in fact that was the case, I'm glad we didn't see it. What I love about this finale (and by no means would I place this in the pantheon of best finales ever) is that, no matter what your opinion is, it's right. Love it, hate it, call it brilliant or pretentiously maddening, I can see all sides. The debate will rage as long as the show is being watched. Which is to say: Forever.
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Jun 11, 2007 10:38 AM
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I thought it was a great ending. The viewer doesn't want Tony killed. We root for him. Little old ladies on the street scold the actors who play the FBI agents for harassing Tony Soprano. America doesn't want to see Tony Soprano whacked. As far as killing off the family, what did they do? That's the unwritten rule not to touch the family. I, for one, don't want to see another Godfather ripoff. I get that enough when I watch General Hospital.
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Jun 11, 2007 10:51 AM
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Forget "Angel," the ending was much more reminiscent of a 1999 film called "Limbo." I still remember that film today.
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Jun 11, 2007 11:13 AM
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The Title's of the episodes usually appear in the dialogue. Tonight's "Made in America" wasn't said. The only thing I saw that was American was the red,white,& blue cap being worn by the guy who went to the bathroom right befor the end.
That's why I tend to beleive that he offed Tony as Meadow walked in.
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Jun 11, 2007 11:41 AM
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Matt: Commenting on two points with which I disagree.
FIRST, the demise of Sopranos was PERFECT. Don't you get it? We were WHACKED! Our shared lifes with the Sopranos extinguished suddenly, unexpectedly, brutally. What better way to show us the ultimate selfishness and greed of this clan. Their lives go on, strangely unaffected, even as everyone around them (including us) dies off suddenly.
Second, please re-watch John from Cincinnati. Pre-reviews had me thinking I'd hate this show...and I ended up laughing out loud and feeling like "Deadwood isn't totally dead! I feel the vibe!". This is a show with a deep sense of humor, and like all HBO shows (Wire, anyone?) is going to need a lot of patience to get into. However, this show was so incredibly entertaining out of the starting gate, it's looking promising!
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Jun 11, 2007 11:44 AM
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