Bada Bye
The longer a TV series runs, the tougher it is to end. I can’t think of a Last Show that was at all satisfying, that tied together loose ends, that left me feeling wistful or wanting more. M*A*S*H, Cheers, thirtysomething, Seinfeld — none of these shows ended artfully or even memorably. Each in its own way was overstuffed with references and characters from earlier periods, and at times looked like pre-emptive cast reunions. And with syndication, you really wonder what’s the point of a Last Show, since endless reruns keep a show’s characters and familiar plotlines alive.
I prefer a show to end without warning, leaving everything up in the air. My So-Called Life did that, against the wishes of the producers, of course, as they clearly thought that a second season was coming. But ABC canned So-Called without ceremony, and we’re left forever wondering if Brian Krakow and Angela Chase ever hook up, or if Angela’s father Graham has an affair with his business partner, Hallie Lowenthal, among other unresolved storylines. We’ll never know, and that’s a good thing. It’s as if we moved away from that neighborhood and never looked back.
From the reaction I’ve seen so far, it seems that most fans of The Sopranos feel cheated or let down by last night’s abrupt ending. I was simply confused, and thought, for a moment, that my cable went out, which was a clever ploy by David Chase — fuck with the transmission at what seems to be the key moment, then silently run the credits. It took me an hour to fully appreciate Chase’s choice, for as others have observed, there was no real or satisfying way to end The Sopranos, so just end it, and toss in a little technical joke for added effect. To me, this was the best Last Show I’ve seen.
Now, I must confess that I’m a relative newcomer to The Sopranos. I didn’t really start watching the show until the middle of last season, found myself hooked, and haven’t missed an episode since. But I did miss a lot of plot exposition and character development, as well as many characters killed before I came into the narrative. So, over the weekend, the wife snagged from the library the first season of The Sopranos, which I’m currently watching, and I’m simply floored by the thing. I cannot believe it took me this long to watch the beginning of Tony’s slow and inevitable loss of power; his early, angry, clumsy efforts to discover who he is within, and how he honestly relates to those close to him. The framing of shots, the lighting, the cinematography — all are simply fantastic. But it’s the writing, and most especially, the acting that blows me away. I know this isn’t news to the millions of “Sopranos” fans across the world, and you’ll excuse my late appreciation, but James Gandolfini and Edie Falco are perhaps the best leads I’ve ever seen in a series, dramatic or comedic. And of course, “The Sopranos” blends these forms as well as, if not better than, any American show before or since.
In a way, I’m glad I’m just now watching the first season. I know the main characters well enough from the past two years, so it’s nice to see them in an earlier time. And unlike all you “Sopranos” regulars left with no new episodes, I’ve got some 70-plus fresh chapters ahead of me, so this will be my personal “Sopranos” summer. Needless to say, I’m really looking forward to it.
My teen daughter bet me five bucks that Tony would get whacked last night. I refused her wager, since I knew that David Chase could not and would not kill Tony, “Too easy,” I told her. “Too predictable.” I also thought that Chase would leave Carmela untouched as well. How on earth could he erase his two greatest characters? Better to let them face an unknown future together, along with Meadow and A.J., and allow the fates take them as they are.
What fate does the Soprano family face? There’s talk of a feature film, which would make sense, as well as hundreds of millions of dollars. But even if we never see the Sopranos again, that’s okay. It’s like leaving behind another fictional neighborhood, albeit one filled with hidden graves and unresolved relationships. In reality, you’d be happy to get out of there alive. In “The Sopranos’” world, you’d keep looking back, hoping to see one more plot twist, a family argument, a fist fight, a hit. Or maybe you’d look to see if the ducks had returned. But that would be too neat a framing device, and as David Chase showed us last night, such narrative symmetry was not part of the plan. That’s one of the reasons why The Sopranos will remain a unique and an indelible piece of Americana. Let’s see if the floating surfer show can match that.
Note: here’s the ending:
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What's great about the finale is the flat refusal of closure, the fact that Tony's self-created nightmare of constantly looking over his shoulder doesn't end.
I've watched the series inconsistently, but followed this last season enthusiastically (it's the first time I've had HBO during a new season of the show).
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The keys to the thing are Bobby Bacala's comment in the first episode of the second half of the 6th season, "when it happens, you don't even hear it."
The final scene was mostly shot from Tony's perspective. Tony was watching the door. When the scene went black, that was Tony's viewpoint.
Remember, it went black for a considerable period of time (5 seconds or more, possibly: an eternity on TV).
Alessandra Stanley wrote a horrible review in the Times... she didn't get it at all. She said:
But Mr. Chase’s last joke was on his audience, not his characters. Tony, Carmela and A. J. are gathered at a diner in a rare moment of family content that cried out for violent interruption. A shifty-looking man walks in and eyes them from the counter, then, in a move echoing a scene from “The Godfather,†ominously enters the men’s room. Outside, Meadow is delayed, trying to parallel park, then begins walking toward the restaurant.
Nothing happens. Credits. What?
She left out the key item: the black screen!!
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One person in the group watching the thing got so angry he shouted at the teevee, however, so it wasn't hilarity all around, by the way.
Thanks for the review --
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Chase even gives us that line a second time as Tony recalls the discussion later after Bobby's death. I think that nails it to me. Tony did get whacked. It was a great ending.
I would also go on record as saying that the "Six Feet Under" series finale was perhaps the greatest ending ever. My wife and I had tears streaming down our faces as we watched them all live their lives and die unremarkably for the most part. It was very sad as death always is. It also showed some characters getting on with their lives and overcoming what was tough hardships during the shows run, just as one might think they would. The exception being Keith being killed later in life in a armored car robbery. It was the anti-happy ending: yes, they all got on with their lives, but then they died.
Brenda dying while her old man brother Billy is rambling on about his latest and endless tail of woe was most excellent comic relief.
Bottom line is that HBO will have kick it up a notch to match the quality of these two shows. If it weren't for Six Feet, The Sopranos, Entourage, Big Love, etc... I'd never turn the damn thing on.
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But, if your reading is right, shouldnt' we have had Tony's point of view at the moment the screen went black?
As I recall, the last shot was of his face, which obviously is not his POV. Or am I remembering it wrong?
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I agree. Boy, I loved it. Everyone can analyze it and judge it till the cows come home, but I thought it was pretty darn good.
...James Gandolfini and Edie Falco are perhaps the best leads I’ve ever seen in a series...
Yes Siree, Joe. They were great.
In the spirit of the show...
I'm gonna F******* miss this F****** show.
Darnit!
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Cheers had a great finale. Unfortunately, it came a year before the show went off the air---Woody and Kelly's wedding. I believe that was intended to be the end but they talked Ted Danson into coming back for one more season and that was too bad because the last season was a waste and even a travesty of the show as the writers and the actors seemed to have turned on the characters.
I hope they don't do a Sopranos movie. It's done, Tony's dead, whether or not he was killed, and besides, practically none of the great supporting cast of mobsters is left. The movie would have to give Tony a whole new crew and if Chase was going to do that he might as well just start a whole new series.
Good post, Mr Perrin.
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Chase did it right.
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