If any television character has a bullet, or meat cleaver, with his name on it, it’s Tony Soprano.
As HBO’s “The Sopranos” counts down its final nine episodes beginning Sunday, the existential question hanging over the series is: Should Tony live or die? Given the show’s bleak themes, anything less than killing him could be construed as a miscarriage of justice – and a dramatic sellout.
After six seasons, even Tony doesn’t seem to like his chances. In therapy, the married father of two admitted to his psychiatrist, Dr. Jennifer Melfi, that there are two outcomes for “guys like me” – prison or death.
The New Jersey don has meted out death to family (cousin Tony Blundetto), friend (Sal “Big Pussy” Bonpensiero) and foe (witness protection turncoat Fred Peters) alike. He has sanctioned many more cold-blooded hits, of course, as on his daughter’s boyfriend Jackie Jr. or on his nephew’s fiance, Adriana.
The crime boss’s intuition is dead-on, argues Al Gini, a philosophy professor at Loyola University in Chicago, who contributed an essay for the 2004 book “The Sopranos and Philosophy: I Kill Therefore I Am.”
By summer, Gini says, Tony will be sleeping with the fishes.
“Tony has got to be killed. It’s the only satisfying ending,” said Gini, who has incorporated Soprano’s leadership traits into a business ethics course.
“We’re not talking about Robin Hood here, someone that takes from the rich and gives to the poor. We’re talking about a hood. If Tony doesn’t lose everything, what’s the message? The bad guy gets away with it all?”
But Los Angeles mystery writer Robert Crais still would find such a finale out of sync with the complexity and sophistication that have been earmarks of the show’s storytelling. There are things worse than death, after all. Tony should survive some type of mob conflagration, said Crais, a former writer for “Hill Street Blues,” “Miami Vice” and “Cagney &Lacey,” but not without dire consequences.
“I don’t think the audience would be happy if Tony gets a bullet to the head,” Crais said. “In the end, he should be promoted, but where the cost far exceeds the triumph.”
When it comes to story lines, “The Sopranos” breaks all the rules, but that hasn’t stopped oddsmakers from weighing in on how the show will end. At an online gambling site based in Costa Rica called Bodog.com, the odds are running 1 to 2 against Tony’s demise, according to Bodog.com founder Calvin Ayre.
However, Tony’s nephew Christopher Moltisanti is a 2-to-1 favorite to be a stiff before the final curtain falls. (Tony’s son, A.J., is a 15-to-1 long shot to die.)
Certainly, there are no shortage of “Sopranos” characters with the opportunity and motive to knock off Tony. Perpetually disgruntled Paulie Walnuts, rival mob boss and recently imprisoned Johnny “Sack” Sacramoni, even nephew Christopher all would be credible assailants.
But perhaps there is someone closer still to Tony who would do him in.
“You see echoes of great Greek tragedy in all this,” said Glen O. Gabbard, a psychiatrist at the Baylor College of Medicine in Houston who has written extensively about the show. “I could see Carmela getting so furious that she killed Tony.”
An equally powerful dramatic finish would be if the prone-to-depression mobster took his own life, contends Peter H. Hare, an emeritus philosophy professor at the State University of New York at Buffalo, who also wrote an essay for “The Sopranos and Philosophy.”
Tony’s suicide should not be a personal moral reaction to his many evil acts but rather stem from a deepening melancholy that overtakes him as he realizes his life is without meaning or purpose.
The suicide can’t be the result of a pill popping or a gun to the temple. Instead, in what Hare terms an “ambiguous suicide,” Tony could deliberately maneuver himself into a heroic battle ostensibly for his Mafia family but actually meant as a way to kill himself.
“I don’t want to imply Tony deserves to die,” said Hare. “But the whole ‘Sopranos’ narrative has a great deal more meaning if it ends with his death.”
Not surprisingly, series creator David Chase and his staff are in lockdown mode in their New York studios zealously guarding any hint over Tony’s ultimate fate.
From a strictly storytelling point of view, killing off Tony now would seem repetitive and anticlimactic. It was only a handful of episodes ago that Tony escaped death after being shot in the belly by a senile Uncle Junior.
Another problem with killing Tony is how likable he is despite his pathologically long list of misdeeds and murder. We like him, and doing him in might be more than the writers and the audience can bear. Indeed, they want to believe he can change.
“Arthur Miller used to say, ‘You don’t go to the theater unless you see yourself onstage,’” said psychiatrist Gabbard. “The audience thinks that maybe, just maybe, this bad man can be transformed into a good man. That’s what Melfi thinks; that’s what the audience thinks.”
And yet, something more powerful than the demands of storytelling might dictate Tony’s final fate – Hollywood. Although Chase is ending the series because he’s mined the show for all he can on television, rumors persist about a possible “Sopranos” feature film.
A “Sopranos” movie without Tony? As the Bada Bing! boys might say, not going to happen.
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