The Sopranosalways took a unique approach to its characters, introducing new faces as if the audience had known them all along, and occasionally elevating a relatively minor character to a place of greater importance. One such case came late in the series, when Tony’s (James Gandolfini) captain, Vito Spatafore (Joseph R. Gannascoli), rose from recurring character to one of the series' main points of focus in Season 6, choosing to flee mob life after being outed as gay.
Vito’s arc in Season 6 becomes very important on a plot level, as it provides more fuel for the growing conflict between Tony’s New Jersey crew and the New York-based Lupertazzi family, particularly with high-ranking captainPhil Leotardo (Frank Vincent). However, the decision to focus so much on Vito’s sexuality and his brief relationship with New Hampshire diner owner Jim “Johnny Cakes” Witowski (John Costelloe) leaves some lingering questions as to the series' intent for his character on a thematic level. Let’s talk about it.
Vito’s New Hampshire Hideout
Near the beginning of Season 6, Vito is discovered partying by a couple of mob associates when they come to collect from a gay bar. While he tries to pass the whole thing off as a joke, the men are unconvinced, and word quickly begins to spread about Vito’s activities.Fearing what might happen as a result, Vito leaves his wife and children in the middle of the night and flees town, eventually ending up in a tiny New Hampshire hamlet after his car breaks down. It seems that Vito may have lucked out, as he decides to stay in town and eventually sparks up a relationship with Jim, the owner of a local diner and volunteer firefighter.
The Sopranosdepicts Vito and Jim’s relationship with a degree of sensitivity that was rare at the time for same-sex couples on TV, as Vito struggles to reconcile his newfound comfort with the pull of his former, much less accepting lifestyle. While the relationship itself is well-handled, it doesn’t seem like the series was really interested in making any sort of progressive statement with its treatment of Vito, as his exit also opens the door for the characters to engage in some of the most vicious homophobia the show ever produced.
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This isn’t to say that it’s inherently wrong to include homophobia in storytelling, particularly in a very tradition-based setting like the world of the mafia.Tony and the gang accepting Vito’s sexuality with open arms would have rung pretty false.The Sopranoswas never shy about getting into the ugliness of its characters' views on any number of groups, further evidence of themoral rot at their core, even if some fans considered guys like Tony and Paulie to be strange sort-of role models. Vito’s actions, combined with the other gangsters' reactions, make it clear the series wasn’t really aiming for a win for gay representation on TV.
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(The following contains spoilers forThe SopranosSeason 6)
In the end, Vito finds that he can’t ever truly settle down and live a quiet life, even with a loving and accepting partner like Jim. After very briefly trying (and failing) to hack it as a handyman, Vito heads back to Jersey and tries to pick things up where he left off, even at great personal risk. The pull of the mafia lifestyle, with its power and respect and material gains, is too great for Vito to resist forever.
For a while, Tony considers letting Vito back into the fold, nearly coming around to a “live and let live” philosophy in his therapy sessions. Tellingly, Tony’s more upset at Vito for leaving his money-making operations than for his sexuality, and Vito’s status as a “good earner” is the driving force in Tony’s calculations.The decision ends up being taken out of Tony’s hands when Phil and his crew ambush Vito and beat him to death.
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More than anything, Vito’s Season 6 arc serves as an encapsulation of some of the series' recurring themes: the nearly inescapable cycles of violence and the inability of most people to do the work necessary to change. Vito may have stumbled upon a way out of the mob world, living a cozy existence with his mustachioed partner in a sleepy town in the Granite State. But when faced with the reality of that decision, he opts to return to his old life, ultimately leading to his doom. His choices reverberate even after his death, as his son Vito Jr. (Frank Borrelli) rebels in the face of constant bullying.
In the end,The Sopranosplays into the classic “bury your gays” trope — a hangover from the Hays Code era in which gay characters were only allowed to be depicted if they were ultimately punished (usually in death). Again, this is arguably the most realistic course for the story to take; it’s impossible to say what would have been “right” or “wrong” for the show to do. Vito’s story exemplifies the series' deeply cynical outlook on life, where true change is next to impossible. MaybeLivia Soprano (Nancy Marchand)said it best when she told her grandson, “It’s all a big nothing.”
