The Sopranos (TV Series) The Legend of Tennessee Moltisanti (1999) User Reviews

Christopher's best moment in the first season

[MaxBorg89 · 10/10 · 26 February 2008]

Of all the superb characters David Chase created for The Sopranos, Christopher Moltisanti (Michael Imperioli) has always been the most cinematic, in more ways than one: his knowledge of movies, especially gangster pictures, surpasses that of any other crew-member, his way of administering casual violence is taken from Scorsese and De Palma, and since Episode 1 he has struggled to hit it big as a screenwriter. The Legend of Tennessee Moltisanti, title taken from a line by Drea de Matteo (she calls Imperioli "My Tennessee William"), shows him at his coolest, albeit in a darkly comic way.

While he keeps writing what he thinks will be a great script, Tony has to deal with the risk of federal indictments, and is forced to hide most of his possessions in case they decide to search his house. Moreover, the negative attention Italian-Americans are getting from the press prompts him to convince his kids Italians have done loads of great things, while at the other end of town Dr. Melfi and her family have a very similar conversation.

The series was famously criticized by several anti-defamation groups for allegedly depicting all people of Italian descent as criminals. First of all, that is absolutely ridiculous (Artie Bucco was no crook, and several FBI agents that appeared throughout the show's run were Italian). Secondly, how come these groups never grasped the pure irony of a show featuring a gangster who complains about the cultural image of his fellow countrymen? The whole scene where Tony blames the media for bad-mouthing all things Italian is one of the writing team's biggest strokes of genius, a daring moment of self-referential brilliance that few programs had been willing to use since Seinfeld's fourth season. How can something like that be negative?

In addition, as Dr. Melfi's son points out, gangster movies have become part of America's legacy, in the same league as the Western genre. And that legacy is explicitly referenced in the episode's most absurdly humorous scene: Chris enters a bakery (where one of the customers is played by Joseph R. Gannascoli, who would appear as Vito Spatafore from Season 2 onwards), perceives the clerk to be disrespectful and shoots him in the foot for it. "You shot me in the foot!" the poor guy screams as Chrissy leaves the scene. "It happens" he retorts. Imperioli should know: Joe Pesci shot him in Goodfellas for the very same reason. Cheeky, clever and memorable.

The Legend of Tennessee Moltisanti (#1.8)

[ComedyFan2010 · 10/10 · 27 February 2014]

The FBI is going after the Sopranos "family" and their names are mentioned in the news. Not the name of Chris and he is upset about it going out of his way to be noticed. Meanwhile the Sopranos are hiding all their evidence from the FBI to come. And Dr. Melfi deals with her patient being a gangster and how her family sees it as well as seeing him from a different side.

I am getting more and more into the show. The episode is my favorite so far. I like Chris's character more and his story in this episode is very engaging making one relate to the character more.

Besides I liked the conversations the Sopranos as well as Melfis had about the image of Italians. It is interesting that they both are different kinds and yet have similar view on it.

I also like the bigger development in the Tony having a psychiatrist issue. Both how his doctor and her family are dealing with it as well as how Livia is upset because she is sure he views he as a mean mother and the fact that Junior heard about it as well now.

Can you feel the heat?

[and_mikkelsen · 9/10 · 8 February 2024]

Another enjoyable episode that keeps things flowing, adding more layers to ghe plot, and developing some characters further!

As the law inforcement focuses more on the mafia, og characters descides to take action, while simontaniously responding very different!

The one that stands out to me the most, was Christopher! The episode begins with an important scene with him, knowing that he will play a large part, as well as giving us more psychological and metaphoric ways of telling the story!

Chris talking about "character-arcs" was genius as a subbtle way of developing him! He wants to be as big and feared as the others!

I also liked the Dinner-scene where they talking about what italians have accomplished!

"You know who had an arc? Noah"

[edantheman · 20 September 2010]

Chrissy Moltisanti was always one of the more relatable characters to the fans of 'The Sopranos', for his love of movies reflected ours. We 'got high off that popcorn smell at Blockbusters' just as he did, and we laugh and empathise with him as he struggles to pen his first screenplay -a tale of a rising footsoldier and his conflicting loyalties inspired by his experiences in 'the Tony Soprano Crew'. He yearns to make it big in Hollywood and in the Mafia, his subsequent chase for the dollar swayed by his lust for fame over criminal enterprise.

Yes, it would be right to say that this was the first 'Chrissy episode' as well as the first in which we realised the very real threat the feds presented to the crew. Tony uses the Green Grove retirement community to hide his 'earnings' from the FBI amid rumour of imminent indictments. It is an episode especially rife with pop cultural references to 'GoodFellas' (the wedding scene and the noteworthy 'hold-up' at the bakers), itself a huge influence on the tone -and cast- of the show.

The references are referred to themselves when Jennifer Melfi, played by 'GoodFellas' star Lorraine Bracco herself, tries to enjoy a traditional Italian dinner with her family (ex-husband Michael and son Jason). It is here where she is confronted by Michael with the inappropriate nature of her relationship with a certain TS. David Chase puts his views on the Italian-American Ant-Defamation lobby boldly on display: espousing through his characters his belief that the twenty-million Italo-Americans with no involvement in the mob should be proud that staples such as pizza, pasta, cappuccinos and 'GoodFellas' are cherished by so many of their fellow countrymen.

Instead, he suggests they should act more like "the Scotch-Irish {and stop} pissin' and moanin' about being portrayed as cowboys and cattle rustlers", or in their case, Mafiosi and Don Corleone's. Or go and 'piss and moan' to Tony Soprano, if you've got the cojones.

In an episode concerning Italian-American identity, Chris complains of having none -no character arc as his screen writing books put it. You have to develop your character first, Chrissy.

Everything with Christopher is perfection!

[UniqueParticle · 10/10 · 3 August 2021]

Rewatching the series and this one is one of my favorite episodes! Due to the bakery scene, when a couple characters pull out a body, and everything with Tony is well written/captivating. The bits where Christopher contemplates a script for a movie is some of the best stuff ever. David Chase created/ wrote one of the greatest series's ever made!

The Sopranos rewatch - "The Legend of Tennessee Moltisanti" (contains major spoilers for series as a whole)

[jdjc001 · 10/10 · 18 March 2021]

Whereas the previous episode, "Down Neck", is about coming to terms with the negative effects that family can have on life and how one can break the cycle, "The Legend of Tennessee Moltisanti" is about the pressure we feel to conform to certain standards from our heritage and upbringing. The title of this episode is not just a witty reference of Adriana's reaction to Christopher's screenplay, as Tennessee Williams himself felt at odds with the rigid and hyper-masculine nature of his father and yearned to delve into the arts. Whereas the eponymous playwright was able to break free of these pressures, Christopher's predicament is much more entrapping and while the movie will eventually be made, he will of course never be able to leave behind the mob life and it is no coincidence that his death comes soon after fulfilling his dream. His fate appears already to be set in stone from the opening scene at the beginning; we see Christopher in the opening shot among the pigs painted on the wall of Satriale's, before he moves (notably without walking) to the front of store. As he comes face to face with death in the form of his first kill, Emil, who drags him forcefully and orders that he "WILL have (their) sausages". In addition, he sees his girlfriend, Adriana, seductively chewing on these sausages, before she transforms into Carmela. From this, it is clear that Christopher subconsciously realises that the mafia itself is literally a slaughterhouse (hence the pork imagery) that force feeds violence and death, while also realising that he and Adriana are on a dangerous ride that they can no longer get off. This explains why Christopher later explains his feelings to Tony as being a physical change; one that he describes to be cancerous. Predictably, Christopher misinterprets the dream as stemming entirely from his guilt in killing Emil, as he goes through various mental exercises in the episode to silence his real thoughts, even though they are already beginning to spill out in his script.

The undeniable Shakespearean influence in the first season of 'The Sopranos', specifically the influence of 'Hamlet', permeates this episode in particular. While it is usually Tony that draws comparison to Hamlet (with Junior and Livia being Claudius and Gertrude respectively), Christopher is the one who actively displays one of Hamlet's most unfortunate traits in this episode - avoidance of the inevitable. This is shown primarily through two events - digging up and moving Emil's body (reflecting 'Alas poor, yorick!'), and the impulsive outburst of violence at the bakery (reflecting Hamlet's killing of Polonius). This is not only evidence of Christopher very clearly displacing his emotions, but is something that plays into another one of Christopher's fantasies - martyrdom (or as Tony calls it, 'cowboyitis'). Given how Brendan Filone is portrayed on the news, it is easy to understand why Christopher would believe that a substantial death could elevate someone's existence, but what Christopher doesn't realise is that this "fame" is fleeting - the real change that comes with death is shown in the decay of Emil's body when it is dug up later on. Whereas most of the other men in the crew with are concerned only with the here and now, Christopher desperately craves for existence to have meaning (think "to be or not to be"). Tony calling this "cowboyitis" is not just a throwaway line in this respect - as we learn from the episode, Christopher has a deep passion for American films and pop culture, so to him the ultimate goal is to have as cinematic of a life as possible. Of course, Christopher is so deeply embroiled in this cinematic world that he entirely forgets that linear arcs and resolutions are absolutely not guaranteed in life.

With such a concept in place, it makes sense that the somewhat unavoidable Italian-American stereotype conversation came in this episode, as David Chase preempted the complaints that would follow given the subject matter of 'The Sopranos'. It would have been easy for Chase to have taken a one-sided approach and to ignore criticisms entirely, however what we are given is a fairly equal argument that almost plays like an internal conflict within Chase's head. In this way, Dr. Melfi and her ex-husband, Richard, act as the two opposing sides. The argument is presented in a rather jarring way that clashes with the usual subtlety of the show's writing, however I think it was necessary for Chase to explicitly spell out his beliefs. That being said, Melfi's storyline is not without its allusions to Christopher's storyline (and vice versa), with the aforementioned themes of choice and individuality. When Melfi laments the fact that Richard wants to sell the property that she once hoped they could live in together, we see that Melfi too has built something of an arc for her life and her disillusionment with the treatment of Italian-Americans in the media (unlike her ex-husband) shows a sense of individualism that will supposedly give her life meaning beyond others, something which Christopher yearns to have. Indeed, Christopher appears actually to play INTO Italian-American stereotypes rather than establishing his own personality. This is seen particularly in the bakery scene, which plays out very similarly to the scene in Goodfellas where Tommy shoots Spider in the foot, with there being the added irony of Spider being played by Michael Imperioli. In addition, there is a direct connection made between the episode's two main storylines when Christopher uses the word 'guinea' to describe himself, a word which Melfi said would drive Tony ballistic earlier on in the episode. Nevertheless, once Melfi's ex-husband insists that Tony is evil, Melfi's hypocrisy begins to reveal itself - her deliberate provocation of Tony during their therapy is a display of unprofessionalism comparatively similar to Christopher's 'cowboyitis'. As a matter of fact, both Christopher and Melfi will precariously juggle with Tony's psyche as the series goes on, albeit to differing degrees.

What this episode really boils down to is that people do not fit within categories. It is no coincidence that a dolly shot showing both sides of Tony is present right before the scene where we see Tony be both a selfish manipulator and a sympathetic father figure within the space of two minutes. The same can be said of the inclusion of the song 'Frank Sinatra' by Cake, with Sinatra's legacy continuing to be divisive to this day. Overall, 'The Legend of Tennessee Moltisanti' is indubitably another one of the most significant episodes of the entire series and one of my personal favourites of the season.

Simple review

[familymikej · 10/10 · 9 July 2021]

If anyone didn't love this episode. You are lacking something.

At least 5 characters have a captivating story arc within one episode Thoroughly enjoyed it.

9.35/10, Amazing

[dcdude-26988 · 9/10 · 19 August 2023]

This is definitely the second best episode that I have seen so far with episode 5 being the best. This is just another episode that I wish that should be really higher rated. Anyways, my favorite characters in this episode were Tony, Carmela, and Chris. My favorite things about this episode were the storyline, the acting, and the Dialogue. After watching this whole show, I have alot more plans to watch other shows. Someone thinks that I will think that Sons of Anarchy will be better, but I doubt it. I am actually having an intrest in Person of Intrest. So far, as I not always but sometimes say, definitely watch this show if you are looking for a great mafia show.

You ever feel like nothing good was ever going to happen to you?

[snoozejonc · 9/10 · 9 February 2022]

Christopher reflects on life and sinks into depression.

This is a great episode that spends quality time with an important character, delves into some of the show's favourite themes, and includes some key plot moments for the overarching story.

The "regularness" of life is getting to Christopher and his depressed state is played out a number great interactions with other characters. His exchanges with Tony, Adrianna, Paulie, Pussy and Georgie are all superb in different ways and they generate an empathy with the character, similar to the writers have done with Tony.

Michael Imperioli is brilliant in almost every scene.

Chris is chasing recognition as a mobster and a mob-genre screenwriter, whilst other characters criticise the negative stereotypes associating Italian-Americans with organised crime, particularly those perpetrated by the movie industry. The irony works well and the writers do their best to take the associated glamour out of the life, particularly in the scenes involving Chris.

One major (and pretty shocking) plot point involving Livia and Junior is set up nicely, plus the increasing threat of law enforcement given more emphasis.

As ever 'The Sopranos' portrays all the above with plenty of great observations on human behaviour and inspired moments of black comedy.

The production values are excellent as always. The opening sequence is fantastically surreal and there are numerous examples strong cinematography, editing and art design.

"You know who had an Ark? Noah!"

[Hey_Sweden · 8/10 · 15 June 2021]

The FBI is about to come down hard on the Soprano crime family, and Tony and others now have cause to worry. They have to consider possibly taking it on the lam; Tony takes the step of moving everything incriminating from his home to his mothers' place, while Carmela temporarily whisks the old woman away. Christopher, however, is the one who really takes centre stage in this episode. Movie buff Christopher is still struggling through his first script, and during these indictments he begins to be concerned that he's not getting to make a name for himself within the organization.

Most interesting in this script (by series creator David Chase and supervising producer Frank Renzulli) is the focus on the Italian-American experience. Some characters bemoan the fact that, invariably, this experience always brings up the idea of Mafia associations, and mob movies. Melfi's ex-husband Richard (Richard Romanus) considers this whole element a dark stain on the Italian-American identity. Meanwhile, during a key conversation at the Soprano dinner table, Tony and Carmela take pains to bring up all the notable Italians in both American and world history.

Michael Imperioli has plenty of great moments as Christopher. Frustrated that much of the time he seems to be no more than a glorified errand boy, he unloads his rage on a young employee at a bakery. The kid kept making him wait while attending to other customers first, and finally he couldn't take it anymore. Naturally, when he decides to but a bullet into the kids' foot, this gets him into VERY hot water later. One great sequence involves Christopher and Paulie as the latter admits that he's content with his lot in life. But Christopher can't help but want more.

One of this viewers' favourite moments involves Melfi finally seeing Tony's ugly side when she insists on charging him for a missed appointment. You can see that she's genuinely disturbed. Also, something happens that could potentially spell big trouble: Uncle Junior learns from Livia that Tony is seeing a psychiatrist, and he's thunderstruck.

Another riveting example of great television.

Eight out of 10.

"I manudged to get the drip on him"

[Neptune165 · 7/10 · 29 June 2022]

Not sure if you know but Chris shooting the guy in the foot is a direct homage to Michael Imperioli getting shot in the foot in Goodfellas. Also, Chris' story in this ep is very much like a Tennessee Williams play. The scene with Paulie and Chris especially, music and all. "You ever feel like nothing good was ever gonna happen to you?" "Yeah, and it never did." The bakery scene was a direct (and funny, if a bit too on-the-nose) call-back to Spider in Goodfellas. The Melfi family dinner was boring, but I think the purpose was to show them as sort of an anti-Sopranos: an upstanding family sitting around having dinner and having a polite discussion without anybody dropping F bombs or attacking each other or storming out. Season 1 is a little rough for repeat viewings because it's so clearly a product of the 90s. Especially all the heavy-handed talk about ethnicity.

The Sopranos Review: S1E8

[The-Social-Introvert · 27 October 2014]

Tony and the mob learn during Larry Boy Barese daughter's wedding that the FBI are about to bring down indictments. As a result, Tony gets rid of all the guns, jewellery and cash he has around the home, namely in Livia's retirement home room. Meanwhile Christopher is going through a bit of one – He's experiencing trouble with his movie screenplay and is infuriated that he doesn't get a mention in the papers when even dead thugs like Brendan do. Also, we share dinner with Jennifer Melfi and her family as she shares to them that she has a mobster as a patient. Finally, and probably most crucially, a livid Livia tells Uncle Junior that Tony is seeing a psychiatrist.

During the wedding of Larry Boy's daughter, the capos discuss the matter of increasing FBI scrutiny that could lead to a crackdown. Junior naïve brushes it off, but Tony suggests that the mobsters get rid of anything incriminating. Though I enjoyed this scene very much, Junior's dialogue seemed very unrealistic to me. Yeah, I know they are showing us that he is an incompetent boss but the stuff he came out with just made it too obvious ("That was my next suggestion!"). Aside from that minor issue, The Legend of Tennessee Moltisanti is the best episode of the show so far. It's the only episode that actually feels like it has a plot, and we feel the nervousness of the capos and the tension that the FBI are bringing the mob. That is until they show up at Tony's front back door and searching through the whole house. An argument with an Italian- American federal agent sparks an interesting discussion at dinner between Tony, Carmela and the kids. They talk about prejudice and going against your own people, the influence and importance of the Italians contrasting with the American school teachings (like Antonio Meucci inventing the telephone, contrary to the more popular believe that the creator was Alexander Bell) and some significant Italian/American events or people, such as the shameful Sacco and Vanzetti executions and, of course, Frank Sinatra. Being a British citizen of Pakistani decent (Pakistani and Italian culture is very similar), I can easily relate to the ideals of the Soprano family, and empathise with the confusion that Anthony Jr goes through in regards to his identity. Strange and disturbing dreams make a return, but this time it's Christopher in need of a psychiatrist. Of all the characters created for the show, he is by far the most cinematic. He loves movies, especially gangster flicks, is struggling with a doomed screenplay (we can all relate to that), and manages to execute violence in a casual way reminiscent of Scorsese and De Palma. Christopher's love of crime movies reflects our own. We too get "high off that popcorn smell at Blockbusters" just as this cinephile does. His screenplay, about a rising foot soldier and his conflicting loyalties with his bosses, is comparable to Christopher's own life, as longs to make it big both in Hollywood and in the crew. In all honesty it seems the guy just wants fame. He gets a little taste as he sees the name Christopher Moltisanti printed on a local paper in regards to a crime of some sorts, which causes Christopher to become hysterical with joy. This isn't before his raw desire for recognition causes him to shoot a rude but innocent bakery worker in the foot, similarly to what happens to Imperioli in Goodfellas. Tony, understandably with all the FBI hullabaloo, is not pleased, and Christopher receives an earful from Tony in a car conversation. What starts off as comical quickly turns to touching, as Tony realises that Chris has problems of his own, and does his best to help without revealing that he if fact sees a psychiatrist. Speaking of which, Livia has sure done it now. In telling Junior that Tony sees a shrink, she's caused all sorts of alarm bells to go off in the Boss's head. Is Tony cracking up? Is he talking to the feds? Who knows? It's ironic that Tony, the mafia underboss of New Jersey, complains that the media paints the Italian-American people as evil. This is a point that is emphasised at dinner with Dr Melfi and family, where her son points out that when people think of Italians, they think of mobsters. In addition, mob movies have become part of America's legacy. Jennifer's family discusses the negative press their people receive due to Italian gangsters, and toast themselves on being nothing of the sort. My Rating: 8/10

Mafia and Police

[AvionPrince16 · 7/10 · 11 April 2024]

Still interesting

The episode get a little bit more tense with the indictments from the Police and Tony get the police at home to search the home and find some proof.

Christopher have a bad mood and his emotional stability can put the Mafia in trouble and even get himself caught .

This time we were less focused by Dr Melfi and Tony and their discussions get a little bit out of control when Tony realised that she only cares about money .

But we see also Dr Melfi and her family and all the Prejudices about being an italian-American . But we see she keeps the professional and didnt revealed that Soprano was involved in the mafia . So good point .

We got something that can have some repercussions and its the fact that Junior know now that Tony see a shrink : what will be the consequences then ? Need to see more.