Fragmented ‘Sopranos’ stumbles to finale

In a particularly grisly episode of “The Sopranos” from season four, Tony notified Ralph Cifaretto in unequivocal terms that his services with the family would no longer be required. Ralph did not get a golden parachute, but rather his parts were sent to parts unknown. Ralph’s duties weren’t split up, but he was, in accordance with organized crime by-laws concerning the relocation of former employees. Apparently this method is preferred because it makes it far more difficult for nosy outsiders to piece together (ahem) exactly what happened.

The producers of “The Sopranos” apparently adopted the same method in planning the current sixth season of the show. Pieces of story lie everywhere, but lead nowhere. For mildly frustrated fans of the still-fabulous HBO series, it’s like finding Ralph’s head in a bowling ball bag — sans toupee — and not only wondering where the rest of him is, but whether there ever was a rest of him.

On Sunday, “The Sopranos” concludes its penultimate season, sort of. Fans waited two years for these 12 episodes — another eight, which are technically part of this season but not really, are scheduled to air early next year. Because of the disjointed nature of the show in general and the especially fragmented feeling of this current season in particular, it’s difficult to work up any emotion over an impending climax. Aficionados will probably have to make do with simply one more fine episode.

But what exactly will occur in the finale? Will the season conclude with the bang of a sawed-off shotgun, or the whimper of a sobbing gay fireman?

To look forward, we have to look back.

Tony vs. Phil feud needs to ignite
One of the half-hearted plot lines screaming to be resolved is the simmering conflict between the New York and New Jersey families, specifically between Phil Leotardo (subbing for the incarcerated Johnny Sac) and Tony. Faux Mafia gossipers know that Phil hates Tony because Tony’s cousin, the late Tony Blundetto (Steve Buscemi), killed Phil’s beloved younger brother. The fact that Tony Soprano murdered his own cousin to square things doesn’t seem to have completely calmed Phil, although he’s done a commendable job so far of restraining himself from giving Tony a meat-cleaver massage.

And that’s the problem. Creator David Chase and his colleagues are marvelous writers, but they continue to imbue Tony with a pragmatist’s outlook. Whenever there is even a hint of the rival families going to the mattresses — i.e., waging an all-out war — the situation is quelled when all sides agree that a bloodbath will be bad for business.

But if fans wanted to see level-headed men doing what’s best for the company, they could visit their local insurance firm. Viewers tune into “The Sopranos” for the voyeuristic thrill of watching criminals commit dirty deeds against each other. If this current trend continues on the show, don’t be surprised if one entire future episode is devoted to the Soprano family’s annual report to stockholders.

Chase seems to believe that goodfellas will regularly choose peace and profits over violence and ambition. That’s a misreading of human nature. Mob boss Paul Castellano was gunned down on orders from John Gotti in front of Sparks Steak House in Manhattan in 1985. In 1979, Carmine Galante was assassinated at a Brooklyn restaurant; before that, he had been suspected in the murders of eight members of the Gambino family. In 1972, Crazy Joey Gallo died in a hail of gunfire outside Umberto’s Clam House in Little Italy.

What these incidents all had in common — besides excellent food — is that they all involved made guys. Mafiosos routinely allowed their hatreds, jealousies and lusts for power to override their business concerns. Francis Ford Coppola and Mario Puzo had no hesitations about ending “The Godfather” with the assassinations of the heads of the five families on Michael Corleone’s orders.

Chase could still surprise us and resolve the Tony-Phil feud with gusto. But don’t bank on it.

The last time Carmela saw Paris
Yet that is only one of the story threads that needs repair.

Chase & Co. have created Carmela Soprano, an essentially good woman who is bright, ambitious, strong and aware. Although she has accepted her lot as a Mafia wife and looks the other way at 95 percent of the mischief around her, she has a conscience and a sense of right and wrong. So why have the writers portrayed her as such a dimwit when it comes to the issue of Adriana?

Does she really believe that Ade simply ran off? Shouldn’t this be one time when she stubbornly refuses to swallow Tony’s moon-faced sincerity as he opines on the fickle nature of relationships to explain why Ade and Christopher broke up? Just as Meadow knew in her heart what really happened to Jackie Jr., so should Carmela understand what befell Ade.  If ever there were an instance when Carmela’s Catholic guilt and Italian temper should join forces to demand the truth from Tony about his nefarious ways, it’s here.

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