Christopher (S04E03)
Airdate: September 29th 2002
Written by: Michael Imperioli
Directed by: Timothy Van Patten
Running Time: 57 minutes
The enduring appeal of prestige television dramas often lies in their capacity to defy audience expectations. By subverting narrative conventions, character arcs, or thematic focus, creators sustain intrigue and challenge viewers to engage with stories on deeper levels. However, this strategy is not infallible. When mishandled, such subversions can alienate rather than captivate, leaving audiences disoriented or dissatisfied. This tension between ambition and execution is starkly evident in Christopher, the fourth episode of The Sopranos’ fourth season. While the episode aspires to interrogate complex themes of cultural identity, historical legacy, and personal tragedy, it falters under the weight of its own didacticism, uneven pacing, and tonal inconsistencies. Though not without merit, Christopher serves as a rare misstep in an otherwise groundbreaking series, illustrating how even the most innovative shows can stumble when their reach exceeds their grasp.
Written by Michael Imperioli—who portrays the mercurial mobster Christopher Moltisanti—the episode’s title initially suggests a deep dive into his character, particularly given Imperioli’s prior writing credit on From Where to Eternity. That critically acclaimed episode delved into Christopher’s existential crisis following a near-death experience, blending psychological depth with the series’ signature moral ambiguity. Yet, in a curious twist, Christopher sidelines its eponymous character almost entirely. Apart from a few fleeting appearances, Christopher Moltisanti is reduced to a peripheral figure, leaving viewers to question the episode’s titular focus. This narrative bait-and-switch may have aimed to subvert expectations, but it instead feels like a missed opportunity.
The episode’s true subject is not Christopher Moltisanti but Christopher Columbus, the polarising Italian explorer whose legacy ignites a cultural firestorm. For Italian Americans, Columbus remains a symbol of pride, a touchstone for their contributions to American history. For Native Americans, he embodies centuries of colonial violence, dispossession, and genocide. This ideological clash erupts when Dr. Del Redclay (played by Larry Sellers), a Native American activist, leads a protest to deface a Columbus statue ahead of Columbus Day. Silvio Dante, typically the voice of pragmatism, reacts with uncharacteristic impulsiveness, mobilising the DiMeo crew to confront the demonstrators. The ensuing violence—complete with arrests and bruised egos—forces Tony Soprano into damage-control mode, desperate to avoid scrutiny from law enforcement or the media.
Tony’s attempts to resolve the conflict oscillate between brute force and Machiavellian diplomacy. When threats against Redclay prove ineffective, he turns to Doug Smith (played by Nick Chinlund), a Mohonk tribal chief whose casino operation offers both financial opportunity and a veneer of legitimacy. Smith, a figure whose WASP-ish appearance and opportunism parody modern identity politics, claims Native heritage through a distant ancestor—a wry nod to contemporary debates about cultural appropriation and political expediency. Though Tony fails to quash Redclay’s protests, he secures a lucrative partnership with Smith, underscoring the mob’s knack for profiting from chaos.
Parallel to the Columbus saga, the episode explores the fractured lives of the DiMeo women, whose personal struggles mirror the broader themes of identity and disillusionment. Rosalie Aprile, still reeling from the deaths of her husband Jackie and son Jackie Jr., ends her relationship with Ralphie Cifaretto, recognising the emptiness of their liaison. Ralphie, ever the narcissist, views this as a chance to pursue Janice Soprano openly. Janice, however, undergoes a rare moment of self-awareness after therapy sessions with Dr. Sandy Shaw (played by Joyce Van Patten). Rejecting the “bad boy” archetype epitomised by Richie Aprile and Ralphie, she physically assaults the latter in a darkly comic scene, symbolising her rejection of toxic relationships.
Meanwhile, Bobby Baccalieri (played by Steve Schirripa) grapples with the sudden death of his wife Karen in a car accident. His raw, unfiltered grief—marked by quiet despair rather than melodrama—stands in stark contrast to the performative machismo of his peers. Janice, intrigued by Bobby’s authenticity and devotion, begins to see him as a potential partner, a subplot that foreshadows their later relationship.
Imperioli’s script is undeniably ambitious, seeking to interrogate Italian American identity within the broader tapestry of American history. Yet its execution veers into didacticism, sacrificing The Sopranos’ trademark subtlety for polemical clarity. Scenes meant to provoke reflection instead feel like lectures, with characters articulating ideological positions in stilted, unnatural dialogue. A particularly egregious example is a conversation between Hersh, a Jewish associate, and Reuben (played by Yul Vazquez), a young Cuban man, which reduces their grievances to bullet points rather than organic human experiences. Such moments evoke the tone of a “Very Special Episode” from 1990s network television, clashing with the series’ otherwise sophisticated storytelling.
Even the episode’s more nuanced insights are undermined by contrivance. Furio Giunta’s remarks about North-South Italian rivalries—a nod to intra-ethnic divisions—add depth but are lost in the cacophony of louder, less subtle plotlines. Similarly, A.J. Soprano’s fascination with Howard Zinn’s A People’s History of the United States hints at the generational shift in historical consciousness but is relegated to a background detail. Had the episode integrated Zinn’s themes more organically—contrasting A.J.’s idealism with Tony’s cynicism, for instance—it might have achieved the complexity it sought. Instead, Zinn’s presence feels like a tokenistic nod to progressive politics, overshadowed by Silvio’s uncharacteristic impulsiveness and Redclay’s one-dimensional militancy.
For all its flaws, Christopher occasionally transcends its shortcomings through moments of incisive satire. The character of Doug Smith, a white-passing Native chief who leverages a tenuous ancestral claim for financial gain, cleverly lampoons the commodification of identity. In an era where public figures are scrutinised for their claims to marginalised heritage, Smith’s opportunism resonates with biting relevance. His casino, a symbol of both cultural preservation and capitalist exploitation, mirrors the moral contradictions at the heart of Tony’s world. These touches of irony showcase the series’ ability to critique societal obsessions without descending into outright parody.
Amid the episode’s unevenness, Steve Schirripa delivers a standout performance as Bobby Baccalieri, a character often relegated to comic relief. Bobby’s grief over Karen’s death is rendered with heartbreaking authenticity; his quiet sobs and vacant stares convey a vulnerability rarely seen in the hyper-masculine world of the mob. This subplot, though underdeveloped, offers a rare moment of genuine pathos, reminding viewers of the human cost of the series’ relentless violence and moral decay. Schirripa’s portrayal elevates Bobby from a peripheral figure to one of the show’s most sympathetic characters, proving that even in a flawed episode, individual performances can shine.
Christopher is not without ambition. Its exploration of cultural identity, historical legacy, and personal reinvention aligns with The Sopranos’ broader preoccupations. Yet, where the series typically balances thematic depth with narrative precision, this episode buckles under the weight of its own aspirations. Imperioli’s script, though well-intentioned, lacks the nuance and discipline that define the show’s finest hours. Heavy-handed dialogue, underdeveloped subplots, and a jarring tonal shifts undermine its potential, leaving it feeling like a disjointed anthology piece rather than a cohesive chapter in the Soprano saga.
RATING: 6/10 (++)
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