The Tragic vs the Joyfully Comic
Coppola's vision, especially when taking the trilogy as a whole, is one of tragedy, of loss, of a falling apart as he himself has commented (Goodwin, 161–93). Kusturica's gypsy epic is one of what he calls "joy," a term that embraces "happiness and sorrow." This double vision is particularly reflected in the Charlie Chaplin motif worked throughout the film, including the final image of Uncle Merdzan, who has consciously acted out Chaplin for the amusement of the family earlier. We see him leave Perhan's funeral and run off through mud, wind, rain, his back to the camera, coat clutched, a cane in hand à la Chaplin. One could argue that Chaplin's solo endings in his films actually push us finally into melodrama rather than the comic. But the memories we have of Chaplin and of Kusturica's work is one tinged more with the comic than the tragic, though we are aware in both cases that the comic embraces pathos as well as laughter (Horton, Comedy/Cinema/Theory , 5).