On ‘The Sopranos’ Ending…
My connection to ‘The Sopranos’ has primarily been as a bonding experience with my father. I’ve enjoyed watching him enjoy the show a great deal more than I enjoy the show itself. ‘The Sopranos’ seems to be one of the few things he seems really interested in; it gets his gears turning and often leads to actual conversation. I withhold my snarky comments because all of my qualms with the show are personal taste.
I dislike the smarty-pants intertextual references and the super-obvious, mildly clever ironies. For example, in an episode a few weeks ago, we saw A.J and friends sitting on a porch listening to rap music only to then, a few minutes later get into an altercation with a black kid, wherein they beat him up and call him a “nigger”. Very clever. This same episode featured Tony driving around listening to ‘The Departed’ soundtrack and even having the characters fucking comment on how good the soundtrack is. I find it all a bit too much. I’m not into “clever” dialogue and bad-ass music cues and cool, shock violence (Phil Leotardo run over by an S.U.V) but watching it with my father is very fun.
I see why he enjoys the show even if it has me internally rolling my eyes. Occasionally, the show does something genuinely moving and amazing and that, coupled with connecting with my father, makes it “worth” watching. This week, in the final episode, I sat there amazed and moved by the same final scene that pissed-off so many others.
When something ends ambiguously that is how it is supposed to end. That is to say, there is no definitive ending that you are supposed to go back and “figure-out”. This is the biggest misconception about ambiguity, that it is a throw down by the creator, that it is a puzzle you are supposed to interpret and solve. No, the point of an ambiguous ending is ending it, cutting it off before anything definitive has happened, leaving the possibility of anything happening. When people read into the ending as Tony is shot, it is no more valid than suggesting that he’s about to be abducted by aliens or that the onion rings were poisoned.
Tony is probably going to die, be indicted, or keep on living the same half sad-ass life he’s been living since the show premiered. What more do you need to know? We live in an intellectually-corrupt film world where puzzle pictures like ‘Memento’ or ‘Old Boy’ are considered “genius” and unearned, cynical endings are embraced. If the episode ended with Tony getting a bullet in the head or Tony being pulled-off by the feds it wouldn’t be any less ambiguous because then you’d want to see how he reacts or his family reacts or what happens and none of that could be summed up in a single episode or even, a single season.
At the same time, I’m sympathetic to those frustrated by the ending. Not for the reasons that it isn’t satisfying because if you have a working brain, it’s pretty perfect, but because the exact presentation of that ending could be better. I am not frustrated by nothing happening, I’m frustrated by David Chase’s inability to not be “clever”. It is apparently impossible for Chase to resist sticking in a few weird things to drum-up multiple interpretations.
The first one for me, which does not seem to be addressed by anything I’ve read, is when Tony first enters the diner. He walks in, scopes the place out and then we cut in for a medium close-up of Tony’s face. Strangely, the next cut is a basic film-school “no-no” as it cuts to a wide-shot of Tony sitting-down. The wide-shot seems to be from the angle shown in the previous shot where Tony scoped-out the diner. It is subtle but anyone aware of editing can’t help but read the succession of shots as Tony entering the diner and watching himself. What does this mean? I don’t know but given Chase’s reputation, it may lead some viewers into thinking it’s a strange dream sequence or out-of-body experience.
I think the tension built through the scene is wonderfully done and playfully suspenseful rather than obnoxiously so. We are truly in Tony’s brain during the scene, as each person entering the diner is anticipated because it’s someone about to ice him or it’s one of his family members. Even after watching the end a dozen times, I still find myself feeling weird when the Members Only jacket guy slightly turns towards Tony. I find myself going insane as Meadow tries to parallel park and keeps fucking it up. Where the scene fails and I think, why I sympathize with those disappointed by the ending, is that it cuts-off too early. I know this is the point but it would be equally effective and significantly less obnoxious if we were allowed to see Meadow come in and sit down and then given a close-up of Tony wherein his look is nearly ambiguous and then… roll credits.
The ending too, might even work if it simply played-out as it does but without the insanely pretentious moments-of-black-without-sound that precede the final credits. This too, feels like an affront; the fuck you or “joke” that so many have since accused Chase of doing. Cutting directly to the credits without music would again, serve the same purpose. It is not the ambiguous ending as a concept, nor is it any single aspect of the ending, it is the series of mild missteps that occur in the otherwise powerful ending that make it frustrating. However, even these criticisms are minor in comparison to the overwhelming strength of the final few minutes of ‘The Sopranos’.
I have not felt so emotional, so affected by a climax since Michael Mann’s ‘Miami Vice’. A series of well-orchestrated actions and shots illustrating how great and how fucked everything is, all set to Mogwai’s ‘Auto Rock’. My description, an illustration of how great and how fucked everything is, sums up the end of ‘The Sopranos’ as well. Only it’s all set to Journey’s ‘Don’t Stop Believing’ a song, that if drop your irony mask, can totally destroy you. It’s why David Chase is not a total idiot like Quentin Tarantino: he has moments of daring brilliance that move beyond clever-ness and into well-rendered emotional drama. Tony is holding on, you are holding on, I am holding on, all we can really do in this life is hold onto some belief about something, anything. The show has always wavered between ironic distance and true empathy with Tony and others and in this final scene, Chase makes the right choice, falling entirely on the side of empathy.
If the final scene must be “interpreted” on any level, I would move in the direction of saying the purpose of the scene is to put you fully in Tony’s brain; to fully empathize with him. For some reason, I’m involved in a pretty pointless debate about R. Kelly and pedophilia and really, my only point is, it is important to never forget the humanity of even the worst people. We need to relate to scumbags. That is what this final scene does and what ‘The Sopranos’ when it is successful, has been doing since Season One. Shit is complicated. Just because Tony’s a criminal and a killer does not mean he does not have deep feelings. Just because he fucks a stripper in Vegas (and countless others) does not mean he does not love his wife and family. That is what this final scene is about. We all have regrets and experiences and dreams and plans and they all weigh us down and freak us out and lift us up and keep us going.
Chase knows viewers will take-in every detail and gesture and magnify it because it is the last scene of the last episode. He takes advantage of this by making every gesture loaded with meaning, but not cutesy symbolism or puzzle-solving but pathos. It begins with the Journey song, those somber piano chords and lyrics invoking a “lonely world”, and continues when Carmela enters because we the viewers, know their relationship history. Tony may be comforted by his wife at this moment, glad to see her even, but it runs deeper than that because their marriage problems cannot be ignored.
To illustrate Tony’s paranoia but also to give us some kind of ‘Mrs. Dalloway’-esque sense of human interconnected-ness, we get shots of other diner patrons. Some looks like they might shoot Tony, others are there with family, others are on a date. The shots of the young couple laughing and smiling, which is shown more than once, holds a great deal of weight because it contrasts with Tony and Carmela’s deep, at-best bittersweet and at-worst disastrous relationship. That young, laughing couple, is what Tony and Carmela may have once been or maybe never were but wanted to be, it doesn’t matter- it’s just that the young couple are at a purer state of being; before shit starts to fuck up. Given Tony and Carmela’s age and their location in New Jersey, it’s possible that Journey was “their song” when they were dating. I know it was my mother and father’s “song”.
When A.J enters, right behind potential shooter in a Members Only jacket, we get the same feeling as Tony. Initially, it’s fear of the Members Only guy and then joy, at it not being a shooter (for now) and joy because he’s seeing his son. A.J sits down and Tony playfully hands his son a menu, touches his hand, and jokes about steak. This is what Tony and a lot of dads do to connect with their sons, fuck-around with them; it takes on greater emotional weight because Tony feels like it might be the last time he gets to joke with his son. Why Chase chooses to break this pattern by never giving us Tony’s response to Meadow I do not know. However, we are still put in Tony’s place as we see her attempts at parallel parking. Meadow’s poor parking, is presented as a foible, it’s nearly touching the way she tries to do it and keeps messing-up. She isn’t supposed to be an idiot, we respond to it the way Tony, her father, would, with frustration and impatience, mixed with sincere understanding and acceptance. A similar acceptance is shown when Carmela tells Tony that Meadow will be late because she is changing birth control. We see Tony, a father, a conventional one, reminded of the reality that his daughter fucks dudes. It does not make him angry, he understands!
I can’t help but connect the ending to my father, something of a Tony Soprano-type himself. Tony’s dignified resignation, mixed with an unflinching, hard-ass-ness and facing the facts; be it because he might get shot-up or that his son A.J is sort of a dope or that his daughter takes birth control, all reminds me of my father’s own mix of unflappable dignity and unintentional vulnerability. All this shit is goes on, you can feel it all, weighing down on you or keeping you alive or both and much more and at the same time, “real” life is just Journey and onion rings. While “regular” people chose to dismiss the ending as disappointing and nonsense and the television critics began thinking of witty one-line pans and random, anti-intellectual attacks, my father and I sat back, our minds half-blown because a television show we watched to laugh at and get-off on when someone gets whacked, maybe just sort-of defined exactly how we feel.
To download my ‘Death Mix’ as a single mp3 click here.
On this Biggie death day, many other places can give you better and more fitting retrospectives, BET is running an evening of programming and this month’s ‘XXL’ and ‘The Source’ have commemorative articles, but if you’ve already digested his music, I think the best place to go is Cheo Hodari Coker’s ‘Unbelievable; The Life, Death, and Afterlife of The Notorious B.I.G’. This book does not seem to get enough credit for being a legitimately excellent and intelligent biography. As far as I know, it’s the only Biggie bio so maybe there’s nothing to compare it to or maybe it’s because it’s published by ‘Vibe’ and is big and glossy and therefore taken less seriously. Either way, this is all unfortunate because Coker’s biography provides not only a factual account of Christopher Wallace’s life but makes his death nearly palpable.
Are You A Serious Comic Book Reader?