Tags
Christoph Niemann, HBO, In the Night Kitchen, James Gandolfini, live your wild and precious life, Mary Oliver, Maurice Sendak, mother daughter relationship, NPR, Terry Gross, tony Soprano, True Romance, Where the Wild Things Are, Words of Wisdom, Writing
The only non-book that ever occupied my bookshelves was the Sopranos DVD collection. Apropos that it sits – still – among some of the most compelling stories ever told because, as Gary Shteyngart once pointed out, The Sopranos is “storytelling for the new century.” And, a good story lasts forever.
Once upon a time, at 8 o’clock every night, my late husband would ask, “Well? Are we ready for Tony and the boys?” and we would tune in to HBO to watch, again, a re-run of an episode we had seen before more, already knowing what was going to happen to whom and why, but lured in nonetheless by the evergreen charisma of James Gandolfini. I still tune in to the odd episode on Netflix, where his Tony Soprano is larger than life, fighting about money with Edie Falco’s Carmela, and I tell myself he didn’t really die in Rome six summers ago.
Six. Summers. Ago.
Before the creation of Tony Soprano, James Gandolfini was already playing the part. As he said in a 1999 interview, he was growing adept at playing thugs, gangsters, murderers,
the roles you’d expect a guy who looks like me to get.
Brilliantly.
I had seen the makings of Tony Soprano in Eddie, the hitman hired to keep an eye on Demi Moore’s character in The Juror, and Gandolfini may as well have been auditioning for The Sopranos as Virgil in True Romance, his performance crackling with the kind of murderous intensity that makes Tony Soprano the perfect villain. Vicious and violent, the scene with Patricia Arquette where Virgil meets his end is quintessential Quentin Tarantino. I can only peek out through my fingers. Still, even though I know Tony’s capacity for unimaginable brutality, I have been – and continue to be – charmed by his playfulness, the smiling eyes, the sheepishness – duped, like many of his victims, I suppose, by a vulnerability that makes him relatable and likable. Tony Soprano remains invincible and untamable. Immortal. But not James Gandolfini, with us for the briefest sojourn, and dead at 51.
Today would have been his 58th birthday, and thinking about him and what what he left behind for his baby daughter, pokes a hole in a well-hidden stash of thoughts about my own mortality. My daughter does not read this blog often. A young woman and wise, she tells me that because we are here for only a short time, her plan is to save my writing for later. When I am gone, she will open the jar. It is a beautiful strategy, isn’t it? A way to counter the missing of people likely to go before her, and it reminds me of the frail yet fervent 83-year old Maurice Sendak‘s final interview, illustrated in this animated film by Christoph Niemann. It is the purest expression of mortality I have ever heard, Sendak’s impassioned entreaty:
Live your life, live your life, live your life.
Hearing Maurice Sendak tell the interviewer,
Almost certainly I’ll go before you go, so I won’t have to miss you . . .
is especially poignant knowing he died just over a year before James Gandolfini left us. I think Maurice Sendak would have missed the man with an appetite for life, the actor whose best and most heartsome performance may well have been as the voice of Carol in the film adaptation of Sendak’s Where the Wild Things Are, the story of Max who, after his mother sends him to bed without any dinner, sails off to a fantasy island inhabited by the wild things. In the movie version, Max runs away from home, running down menacing city streets until he reaches a waterfront where a boat is waiting to take him far away to the land where the wild things roam. At first, these ferocious creatures try to scare him away, but Max remains unfazed, fearless – the wildest of them all, apparently. Emboldened and now in charge, he is pronounced king of this kingdom and orders his new subjects to ‘let the wild rumpus start!’ But when he tires of the moonlit shenanigans, he invokes his mother and sends them to bed without dinner.
And Max, the king of all wild things, was lonely and wanted to be where someone loved him best of all
As the disembodied Carol, the range and inflections of Gandolfini’s voice, are as masterful and nuanced as those that flutter across the faces of Tony Soprano or any of the ‘wild things’ he has portrayed. Like grace notes. As Carol, however, he is a different kind of monster, the very embodiment of the complex figments of a child’s imagination.
I suspect every child knows where the wild things are. Over fifty years ago, I remember my mother telling me not to let my imagination run away with me when I fretted over the dark, or death, or disappointments, big and small. And, fueled by these wild things, I sailed off by myself many times. Just like Max, I always found my way back home – some journeys were longer than others.
Bitterly disappointed, raging at Max for no longer wanting to be king, Carol chases him, lunging at him in one of the scariest scenes of the film, “I’ll eat you up!” he roars. Undaunted, Max refuses to stay and eventually returns home to a happy ending, with dinner waiting and still hot.
Thus, the heartbreaking farewell as Max sails away from the solitary giant on the shore – keening – howling its grief in the voice of James Gandolfini, a voice silenced too soon.