George Vernadakis

Curtain Call for a Soprano

The New York Times recently cited Norman Mailer’s description of HBO’s The Sopranos as “the closest thing to the Great American Novel in today’s culture.” If that’s the case then, to borrow a bon mot from Balzac (not to mention Woody Allen), there goes another novel.

You’d have to be oobatz not to know by now that cable’s great American series has a contract out on itself, and viewers have only eight more chances to spend Sunday night with mob boss Tony Soprano and his extended (just don’t call them dysfunctional) family.

Judging from the first two installments in this final season, The Sopranos seems to have regained the sure dramatic footing that went missing from previous season-six episodes. If things keep up this way, then the series should go out with a Bada Bing bang. The one-two punch that kicks off the final countdown establishes a somber tone that’s melancholy but not maudlin and sets up enough possible plot developments to keep viewers guessing.

Of course, it hasn’t always been smooth sailing. Last year, extended dream sequences that accompanied Tony’s near-death experience made for near-death viewing. Central characters lost their focus (will the real Christopher Moltisanti stand up?) or became marginalized to the point of insignificance (remember when Dr. Melfi actually had something to say?). And plot lines seemed even more fragmented than Ralphie after Tony took an ax to him back in season four.

The dozen episodes that comprised the first part of this last season reminded viewers that even the best-written, best-acted show on TV can lose its way faster than Paulie in Jersey’s Pine Barrens. And there’s no telling how much those missteps contributed to the 19% drop in the number of viewers tuning in to the April 8 episode as compared to the season-six opener last March.

On the other hand, the series’ occasional failings also add an edge of excitement heading into the final stretch. After Tony’s dalliance with the afterlife last year, anything -- good or bad -- is possible. Viewers now know that The Sopranos is capable of surprising and even disappointing us; and, in an odd way, that makes the experience of watching it all the more interesting and real.

The Sopranos’ success over the years is a credit to the series’ creative team, in front of, as well as behind, the cameras. But it’s also testament to what cable as a medium can offer, in terms of originality and quality.

It may seem ironic that the biggest thing to happen to cable since coax was originally pitched as a pilot at Fox, but it would be an oversimplification to simply say that broadcast’s loss was cable’s win. Cable afforded series creator David Chase and company the opportunity to let their fictional crime dynasty say, do and be things that would have caused broadcaster networks way too much agita.

So, now that the creative bar has been raised, what’s next? Is there another Tony Soprano waiting in the wings? Good question. But first let’s find out what happens to this Tony.

Posted by George Vernadakis on April 11, 2007 | Comments (0)