So, here we are at last: the final chapter, the last fifty minutes, the definitive end of The Sopranos. Made in America, written and directed by series creator David Chase, is the conclusion of an era, an essential chapter in television history. Like all other episodes, it's thrilling, violent, moving, funny and complex - and much, much more, of course.
Picking up from the blood-riddled climax of The Blue Comet, we see Tony Soprano living in hiding after Phil Leotardo had Bobby Baccala killed and put Silvio in a coma. Carmela, Meadow and AJ are staying at a different safe-house, as are Janice and her kids, while Paulie and the rest of the crew constantly search for Phil in order to end the feud once and for all. Moreover, rumors of the FBI having a new informant aren't that pleasant, especially since Agent Harris (Matt Servitto), who is helping Tony find Phil, won't reveal the potential rat's name, and someone still has to deal with Uncle Junior, whose illness has reduced him to a babbling fool.
Everything reaches its natural culmination in this beautiful finale, which clarifies once and for all what the show's really been about: Tony's fear of losing his family, as in his wife and kids, not the mafia Family. That's what the ducks' departure in the pilot episode symbolized, and that's what Chase has put at the center of the much debated final scene: the Soprano family, reunited.
Before I get to that specific scene, though, there is a lot of other things to cherish in Made in America (terrific title - a subtle reference to the fact that the US make the best TV shows): the outstanding writing, which won an Emmy, Chase's assured yet playful direction (something that hadn't occurred since the pilot), the splendid music (the song that plays in the very last sequence has to be the best piece of music ever chosen for the series, beating even the opening credits tune) and the impeccable acting. Speaking of the last, Gandolfini, Falco and the rest of the gang are as talented as ever, but a mention of honor is mandatory when it comes to Dominic Chianese's work: an absentee for most of the sixth season (he appears in four episodes out of twenty-one), his two-scene job in the finale is the most gripping performance he's ever pulled off, his last thirty seconds on screen being especially powerful and bittersweet.
And then there's that criticized closing sequence: even now, there are people debating the scene's heavy symbolism and multiple meanings, with some actually berating Chase for not giving us a more straightforward ending. Well, first of all, The Sopranos has always pushed the envelope in terms of narrative complexity, which ruled out a simple (read: lazy) conclusion right off the bat. Second, there's no need to throw out pointless theories when all that is required to embrace the greatness of that ending lies in the last on-screen words spoken by Tony and his son: "Focus on the good times" AJ quips, quoting his father, who immediately snarls "Don't be sarcastic". "Isn't that what you said one time? Try to remember the times that were good?" the kid replies. "I did? Well, it's true, I guess" the New Jersey boss finally concedes, touched by Anthony's remark. There you have it: ignore the frustration that might derive from analyzing the significance of those last images, and remember all the great moments that made The Sopranos what it is. Think of gems like The Legend of Tennessee Moltisanti, Pine Barrens or Long Term Parking, remember how satisfying those episodes were, and you'll come to terms with the fact that Made in America is the perfect swansong for the most amazing serialized drama US television has ever given birth to.
Salute
Picking up from the blood-riddled climax of The Blue Comet, we see Tony Soprano living in hiding after Phil Leotardo had Bobby Baccala killed and put Silvio in a coma. Carmela, Meadow and AJ are staying at a different safe-house, as are Janice and her kids, while Paulie and the rest of the crew constantly search for Phil in order to end the feud once and for all. Moreover, rumors of the FBI having a new informant aren't that pleasant, especially since Agent Harris (Matt Servitto), who is helping Tony find Phil, won't reveal the potential rat's name, and someone still has to deal with Uncle Junior, whose illness has reduced him to a babbling fool.
Everything reaches its natural culmination in this beautiful finale, which clarifies once and for all what the show's really been about: Tony's fear of losing his family, as in his wife and kids, not the mafia Family. That's what the ducks' departure in the pilot episode symbolized, and that's what Chase has put at the center of the much debated final scene: the Soprano family, reunited.
Before I get to that specific scene, though, there is a lot of other things to cherish in Made in America (terrific title - a subtle reference to the fact that the US make the best TV shows): the outstanding writing, which won an Emmy, Chase's assured yet playful direction (something that hadn't occurred since the pilot), the splendid music (the song that plays in the very last sequence has to be the best piece of music ever chosen for the series, beating even the opening credits tune) and the impeccable acting. Speaking of the last, Gandolfini, Falco and the rest of the gang are as talented as ever, but a mention of honor is mandatory when it comes to Dominic Chianese's work: an absentee for most of the sixth season (he appears in four episodes out of twenty-one), his two-scene job in the finale is the most gripping performance he's ever pulled off, his last thirty seconds on screen being especially powerful and bittersweet.
And then there's that criticized closing sequence: even now, there are people debating the scene's heavy symbolism and multiple meanings, with some actually berating Chase for not giving us a more straightforward ending. Well, first of all, The Sopranos has always pushed the envelope in terms of narrative complexity, which ruled out a simple (read: lazy) conclusion right off the bat. Second, there's no need to throw out pointless theories when all that is required to embrace the greatness of that ending lies in the last on-screen words spoken by Tony and his son: "Focus on the good times" AJ quips, quoting his father, who immediately snarls "Don't be sarcastic". "Isn't that what you said one time? Try to remember the times that were good?" the kid replies. "I did? Well, it's true, I guess" the New Jersey boss finally concedes, touched by Anthony's remark. There you have it: ignore the frustration that might derive from analyzing the significance of those last images, and remember all the great moments that made The Sopranos what it is. Think of gems like The Legend of Tennessee Moltisanti, Pine Barrens or Long Term Parking, remember how satisfying those episodes were, and you'll come to terms with the fact that Made in America is the perfect swansong for the most amazing serialized drama US television has ever given birth to.
Salute
