The Sopranos: Final Destinations

by robbiefreeling
April 16, 2007 10:32 AM
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The Sopranos, Season Six, Episode 14: “Stage 5”

An utterly unnerving night with the Sopranos, if you ask me: one of those expert straddlings of the line between the broad and the sober that’s been the show’s stock in trade for quite a few years now. Even as the episode opened on a seemingly fairly innocuous note, with hyper-gory footage from Christopher’s indie horror-crap “Cleaver” encompassing the screen as it’s being digitally tweaked in the editing room, “Stage 5” moved on to deeper reflections, climaxing with what might have been the series’ most fully realized evocation of its “sympathy for the devil” leanings. But, first, to the get the “Cleaver” stuff out of the way (which is exactly what David Chase, brilliantly, did): How refreshing (and what a relief) that Christopher’s long-gestating mob-horror hybrid (Goodfellas meets Saw, natch) finally premiered and rather than provide either climax or catharsis, it was merely a plot device to both deepen the festering rot of Tony and Christopher’s father-son bond, as well as create new reservoirs of anger and resentment between Carmela and Christopher. The “Cleaver” screening itself was a predictable chuckle-fest, reminiscent of nothing less than the meta madness of The Muppet Movie (Steven Van Zandt looked especially Dr. Teeth-like as he chortled and nodded with approval) or, as when Paulie loudly answers his cell mid-movie, one of those pre-show movie theater politeness ads. But then a quick, expertly timed glance from Rosalie Aprile to Carmela when “Cleaver”’s mob boss (clearly modeled after Tony, and played by Daniel Baldwin with prime Baldwin doofiness) seduces his protégé’s fiancée, and the floodgates of recognition open.

Later on, not only does Carmela further turn her husband against Christopher by emphasizing the similarities between him and his onscreen version, she confronts the little rat-face herself at her home, memorably with his newborn baby in her arms. As with all essential Sopranos exchanges, the conversation was brief, yet cutting; blink and miss the portending wrath to come. Segueing from concerns over “Cleaver”’s proximity to her husband’s extramarital dalliances, she moves into darker territory—quick and without warning. Carmela first speaking of Adriana directly to Christopher, and voicing her concerns that she might be dead (!), seemed like a true breakthrough; furthermore she insinuates that she was better off without him. Christopher’s relationship with Tony already shaky, he certainly doesn’t need Carmela to turn against him, too.

And something is terribly amiss with Christopher: he’s too sober. After last season’s (or the first half of the season, depending on how you want to look at it) downward spiral into addiction (again), everything seems too rosy: wife, house, baby. And what was that business with the feds outside the diner, laughed off as if old school chums? And what of Christopher’s final look of hollowed (dare I say “Pussy-like”?) guilt at his baby’s baptism, the end of the episode and already the second Godfather reference just two weeks into the season?

If my suspicions of Christopher come true, then it would be in perfectly keeping with David Chase’s horrific sense of irony. Paralleling all this meaty family intrigue was the further humiliation of Johnny Sack, not only facing the daily grind of prison life but also discovering that he’s in the final stages of lung cancer (just another of what will be many of this season’s “chicken’s home to roost” nuggets: Johnny was rarely seen without an elegantly curling waft of cigarette smoke by his side). Perhaps by virtue of his soothing control and comparatively gentlemanlike manner, Vincent Curatola’s Johnny Sack always came across as one of the series’ most valuable, even likable players, eminently measured, as much a murderous scoundrel as anyone else yet so utterly convincing in his self-assurance and unwavering in his own ethical standards that he made for an appealing counterpoint to Tony. Johnny’s slow death, mouth agape, with his beloved wife and daughter at his side, leaves something of a gaping hole in the morally relative Sopranos world.

Picking up where Hal Holbrook brilliantly left off in last season’s “The Fleshy Part of the Thigh,” Sydney Pollack was on hand to deliver one of his best performances, and one surprisingly free of the harried neuroses of his greatest onscreen roles, as a convicted wife-killing doctor, working in the prison hospital and giving Johnny some hope in his dying days. Never sentimentalized, their relationship remains as no-nonsense and unerringly masculine as any in the show’s history. Unlike Holbrook’s hospital companion to Tony, Pollack isn’t here to give spiritual advice or philosophical wisdom, rather to provide Johnny with (ultimately futile) hope; thus the paralleling between Tony and Johnny was reinforced—and put to sleep. Tony’s second chance at life versus Johnny’s hopeless fade; Tony’s been aided along the way by road markers, beacons, and guardians, while Johnny had everything taken away from him piece by mortifying piece. In the show’s reliance on binaries, the Tony/Johnny trajectory may be the second most heartbreaking behind Carmela and Rosalie Aprile (who’s already lost everything that Carmela holds dear); and it’s doubtful that Tony and Carmela will remain so comparatively untouched for much longer.

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More: Sopranos


  • Cassius Clay | April 26, 2007 1:55 AMReply

    The Sins of the Father:

    Death is foreshadowed throughout the first of the Final Episodes, it is true; but, whose?: 'Fredo'/ Christopher?, pretty much a given; Tony, Jr. would be a most welcome twist-at-the-end:
    I hate that little twit. And
    Adriana crawls back out of the Wilds of New Jersey to off Van Zandt. She's hooked-up with that frozen Russian dude who, likewise, cracks open Paulie Walnuts, quid pro quo. And, then finally, Tony, Sr. is pardoned by Octavian.

  • cwlimbach | April 21, 2007 5:16 AMReply

    Though I have nothing of great import to add to this most wonderful explication and analysis, I'd like to chime in with my "Blanca" theory. In y limited expereince, significant others develop this attitude under three general circumstances; 1.) When pregnant, 2.) When "stepping out" on said significant other or 3.) When getting impatient for that ring.

  • Mark | April 17, 2007 9:59 AMReply

    Very quickly, what seemed to be the most curious part of the episode was Phil's about face. In the beginning, at the Cleaver premiere, he was rather laid back and talking about how he didn't want to be the boss anymore and he wanted to relax with his grandchildren. At the end, it's those very same grandchildren who get him so riled up that he all but declares bloody war on Tony.

  • brotherfromanother | April 17, 2007 5:25 AMReply


    If I could sum up this episode in one word, it would be “brisk,” baby,” Robbie already pointed out the becoming speed with which the writers got past “Cleaver.” You then smartly inventoried the other seemingly major narrative threads that got unceremoniously pruned pre-bloom. (I was sure we’d see Paulie in the throes of cancer, if only to see him without his trademark silver-tipped coiff – the visual of those sadly sheared wings seemed inevitable.)
    Robbie’s inkling about Christopher’s potential extra-cirricular activities is typically ingenious, and such a development would surely recast Adrianna’s already heartbreaking death in an even harsher light. (I’m not one for righteous vengeance, but the little-rat face is already #1 on my mental hit-list). Robbie also pegged the obvious Godfather reference during the christening, but surely you both picked up on the episode’s other explicit (in both senses of the word) Coppola homage: the daringly staged restaurant shooting, complete with hyperbolic sound and unexpected pasta-sauce-plasma splashes. One might interpret the scene as a cynical sop to the series’ violence-starved fans (the great gobs of gore in Cleaver serving a similar, if winking, function), but it’s the plot development that’s really interesting here. Things are, obviously, more set than ever for Phil Leotardo to make another move towards the top, and after two years of doubting that the character (and actor Frank Vincent) were up to the responsibility of being Tony’s alpha-dog nemesis (Johnny Sack having abdicated the role well before his death) his amazing barroom explanation of his surname’s curious etymology convinced me otherwise. The revelation of how the Old World “Leonardo” became bastardized as “Leotardo” (pegged as a synonym for “tutu” – kinda gay, no? – by one of Phil’s preocious granddaughters) was a sharp, concise summary of the confused, wounded pride lurking in the hearts of so many of the series’ characters; methinks Phil’s efforts at reclaiming his dignity will go beyond a missing “n.”
    A question for the two of you (and anyone else reading): are we going to miss Finn? Will somebody equally earnest and gangly take his place at Meadow’s side? Who’s more likely to return: him or the Russian? Inquiring minds would like to know.

  • cnw | April 17, 2007 2:14 AMReply

    And what is it that Carmela holds dear? I mean this not as a challenge to your eloquent analysis, robbie, but a genuine question: What makes this woman tick? Why the sudden renewed interest in Ade -- the imminent sale of her spec house, the humiliation of seeing her husband's philanderings on public display in CLEAVER, or a genuine, albeit inconsistent, pang of conscience? The answer to this question will figure decisively in the close of the series.

    Tony and Carmela's marriage continues to hang by the thinnest of threads, and "Stage 5" offers more than ample evidence that his relationship with Christopher has already snapped. In the exquisite scene between Tony and Melfi, we get a glimpse into the soul of a man who seems to have already lost everything that really matters. The noose is tightening. He is isolated and alone; he has everything and nothing. As foils, we have Little Carmine, walking away from a life as boss for his go at a small bit of happiness (the character's unexpected depth revealed in a particularly well-written scene with Tony) and Johnny Sack, a man who lost everything material he had in the world but died with the loves of his life by his side, crying out for his mother -- just imagine Tony in his place, how horrific that same scene would be!

    The writing here is quite brazen: with little fanfare, they dispense with Finn, Julianna, and Paulie's cancer, and introduce Johnny's cancer with nary a blink. A surprising amount packed into an hour, but still, it feels like a slow burn or, rather, a build to a terrible, decisive reckoning.