The Legend of Tennessee Moltisanti

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!

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.

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

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.

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.