Critique: ‘Dallas’ Episode 177 — ‘Winds of War’

July 15, 2015 by 16 Comments
Dallas, J.R. Ewing, Larry Hagman, Linda Gray, Sue Ellen Ewing, Winds of War

Scene from a marriage

In “Winds of War,” J.R. insists he’s been faithful when Sue Ellen accuses him of cheating. He’s lying, of course, but why? Is he trying to spare his wife’s feelings, or is he trying to spare himself the embarrassment of another marital implosion? Does he want Sue Ellen to stay at Southfork because he fears she’ll take John Ross with her if she leaves, or does he want her there because he loves her? And what about Sue Ellen? Why does her husband’s fidelity matter to her? Is she in love with him, or is she merely dependent upon him? Does she want him, or does she need him?

None of the answers are clear, not that I’m complaining. Part of “Dallas’s” appeal lies in trying to figure out the mysteries of J.R. and Sue Ellen’s marriage, which will always be the show’s most fascinating relationship. But even when the motivations aren’t readily apparent, we can still see how these two characters are changing. Consider the “Winds of War” scene that ends with Sue Ellen tearfully ordering a double vodka at the Oil Baron’s Club. (“Just bring it, Cassie!”) We expect her to be drunk the next time we see her, since this is how she’s always coped with J.R.’s cheating. Yet in a surprising twist, Sue Ellen comes home sober, explaining to her husband that she stared at the drink for an hour before deciding he wasn’t worth a relapse.

We see changes in J.R. too. When Linda Gray delivers the line about not taking the drink, Larry Hagman’s eyes widen and he smiles slightly — as if J.R. is surprised, and perhaps more than a little proud, that his wife kept her demons in check. As the scene continues, Sue Ellen declares that she isn’t going to leave Southfork. “I have earned the right to be here,” she says. This feels like a moment of triumph for the character and an early glimpse of the grit she’ll display in later seasons. But it’s also an example of how J.R. still has power over her. Despite everything, she still can’t bring herself to leave him. Even when she can say no to booze, she can’t say no to him.

“Winds of War” is written and directed by Leonard Katzman, who sprinkles J.R. and Sue Ellen’s scenes with nods to other memorable moments in their marriage. In their confrontation at the end of the episode, Hagman is dressed in the same blue robe and pajamas that he wore at the beginning of the season, when J.R. won Sue Ellen back after being on the outs with her for more than a year. Also in the “Winds of War” scene, she tells him, “Don’t you ever explain anything to me again.” This recalls one of her memorable lines from their great clash two years earlier, when she chided him as “a terrific explainer.” You can even find allusions to J.R. and Sue Ellen in scenes that don’t feature them. When Bobby goes to Los Angeles and meets Veronica, the girlfriend of villainous Naldo Marchetta, he asks why she stayed with him despite his abusive tendencies. “I loved him,” she says. If a similar question was put to Sue Ellen, would her answer be any different?

Other “Winds of War” highlights include the final scene, when Cliff persuades Jamie to fight the Ewings for control of their company. Ken Kercheval delivers an urgent, heartfelt speech about how Cliff and Jamie owe it to their daddies to take back what Jock stole from them — and then when she agrees (“Let’s do it!”), he flashes a magnificently malevolent grin. Cliff has learned a thing or two from his nemesis, hasn’t he? Speaking of J.R.: I like his lie to Sue Ellen that the woman he was spotted kissing, Serena, is merely the daughter of “Congressman Hooker” (no stretch there, huh?), as well as Lucy and Eddie’s visit to Harv Smithfield’s office to formalize their real estate partnership. There’s unexpected warmth in George O. Petrie and Charlene Tilton’s exchanges. You get the impression Harv cares about Lucy and doesn’t want to see her get hurt. It’s the kind of small detail “Dallas” does so well.

Donna Reed supplies “Winds of War” with its other nice surprise. At the beginning of the episode, Miss Ellie becomes angry when she learns J.R. has kicked Jamie off Southfork. “Why, J.R.? What brought this on?” Ellie shouts. It’s the first time Reed has raised her voice since arriving on “Dallas” — and the first time she’s displayed Mama’s old fire. I like another scene between Reed and Howard Keel even more. Ellie and Clayton are dining at the Oil Baron’s Club, where she is fretting over Jamie’s future. Clayton encourages her not to make her niece’s problems her own. Ellie sits back in her chair, chuckles softly and realizes he’s right. It ends up being a rare example of two “Dallas” characters coping with their problems through laughter. The exchange also demonstrates Reed’s rapport with Keel, which feels genuinely affectionate.

At the end of this scene, Clayton asks Ellie if she’s ever considered running away from home. Reed smiles again and says, “A lot. But I think I’ll stay around and see how it all turns out.” For the first time, I wish she had been given that chance.

Grade: A

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Cliff Barnes, Dallas, Ken Kercheval, Winds of War

Grinning season

‘WINDS OF WAR’

Season 8, Episode 16

Airdate: January 11, 1985

Audience: 23.6 million homes, ranking 1st in the weekly ratings

Writer and Director: Leonard Katzman

Synopsis: After Sue Ellen’s friendship with Jamie collapses, she moves out of J.R.’s bedroom. Jamie leaves Southfork and agrees to join forces with Cliff to fight for control of Ewing Oil. Bobby finds Charlie in California. Lucy and Eddie form a business partnership.

Cast: Patrick Duffy (Bobby Ewing), Stephen Elliott (Scotty Demarest), Eric Farlow (Christopher Ewing), Linda Gray (Sue Ellen Ewing), Larry Hagman (J.R. Ewing), Jenilee Harrison (Jamie Ewing), Susan Howard (Donna Krebbs), Steve Kanaly (Ray Krebbs), Omri Katz (John Ross Ewing), Howard Keel (Clayton Farlow), Ken Kercheval (Cliff Barnes), Fredric Lehne (Eddie Cronin), Shalane McCall (Charlie Wade), George O. Petrie (Harv Smithfield), Priscilla Beaulieu Presley (Jenna Wade), Victoria Principal (Pam Ewing), Donna Reed (Miss Ellie Farlow), Sherril Lynn Rettino (Jackie Dugan), Deborah Shelton (Mandy Winger), Danone Simpson (Kendall), Gail Strickland (Veronica Robinson), Charlene Tilton (Lucy Ewing)

“Winds of War” is available on DVD and at Amazon and iTunes. Watch the episode and share your comments below.

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Critique: ‘Dallas’ Episode 176 — ‘Lockup in Laredo’

July 13, 2015 by 7 Comments
Dallas, Jenna Wade, Lockup in Laredo, Priscilla Beaulieu Presley

Caged beauty

Jenna Wade goes to jail in “Lockup in Laredo,” which is cause for celebration as far as I’m concerned. This is when Stephen Elliott arrives as Scotty Demarest, the high-dollar super lawyer who defended Jock Ewing against murder charges during “Dallas’s” third season and returns here to do the same for Priscilla Beaulieu Presley’s character. With his flamboyant style and thick drawl, Elliott makes Scotty a Texas version of Johnnie Cochrane. He’s a joy to watch and one of the best things about the Jenna-in-jeopardy storyline that dominates this era of the show.

Elliott shines every time he appears in “Lockup in Laredo,” although his best moment comes when Scotty questions Jenna in the jailhouse conference room. The scene begins with Jenna tired of rehashing the events that preceded her arrest and confident she didn’t fire the shots that killed her ex-husband, Naldo. But Scotty’s relentless questioning makes her re-consider everything she thinks she knows about the creep’s demise. Elliott, who honed his talent on the New York stage, forces Presley to keep up with him, bringing out the best in her performance. The contrast between his bulldog theatrics and her quiet, exhausted frustration makes their almost five-minute exchange a scene to remember. (Or “re-mem-buh,” as Scotty would say.)

“Lockup in Laredo” is the 10th “Dallas” episode helmed by Patrick Duffy, who once again demonstrates his knack for visual storytelling. In one scene, Bobby and Scotty examine the evidence found in Naldo’s car. This conversation could have been staged in a conference room too, but Duffy instead brings the characters to the impound lot, filming himself and Elliott inside the vehicle as they poke around the backseat and glove box. It helps the audience feel part of the action, and it’s always nice to see the actors in a new environment. In that spirit, I like the scene that shows Jackie relaxing at home when Cliff calls her, marking one of the few times we see a “Dallas” secretary in her own living space.

Duffy also does a nice job staging “Lockup in Laredo’s” pivotal final scene, which pulls together multiple narrative threads. We’ve been waiting several episodes for Sue Ellen to realize J.R. is getting bored in their marriage. We’ve also been waiting to see what Jamie will do with the legal document that could divide control of Ewing Oil among Jock, Jason and Digger’s heirs. Both storylines come to a head when J.R. arrives home and is confronted by Jamie, who spotted him cheating with Serena earlier in the day. When Sue Ellen overhears the conversation and questions her husband, he accuses Jamie of lying, prompting her to threaten to use her document against him. Sure, this is convoluted plotting, but you have to admire “Dallas’s” ability to advance two subplots in one swoop.

The other reason I like this scene is because it backs J.R. into a corner, which is where he’s always at his best (or worst, as the case may be). Let’s face it: As much as we all love Larry Hagman’s character, he’s gotten a little dull this season. David Paulsen’s script acknowledges as much when Miss Ellie and Clayton stand on the Southfork patio and discuss how troubled everyone at the ranch is these days — with the exception of J.R., who is being downright princely. “Isn’t it funny when everything else is going so badly, he’s the one bright spot in the family?” Ellie says. The moment these words pass her lips, you know she’s going to regret them.

I also enjoy seeing Ray and Donna take another turn as this show’s version of “McMillan and Wife,” this time combing through Sam Culver’s old legal papers to find evidence to refute Jamie’s claims about Ewing Oil’s ownership. This feels a little more organic than their investigation last year into Edgar Randolph’s past, although I’m always bewildered by this show’s inability to give Steve Kanaly and Susan Howard a storyline of their own. (By the way, what’s going on with the oil company Donna bought a few episodes ago?) Likewise, I have mixed feelings about Lucy’s storyline. I wish she had stuck with waitressing a little longer, although I’m intrigued by her foray into the real estate business in “Lockup in Laredo.” It’s not what I would have expected from her, but hey, at least she isn’t being kidnapped again.

Grade: B

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Bobby Ewing, Dallas, Lockup in Laredo, Patrick Duffy, Scotty Demarest, Stephen Elliott

Backseat driver

‘LOCKUP IN LAREDO’

Season 8, Episode 15

Airdate: January 4, 1985

Audience: 22.3 million homes, ranking 3rd in the weekly ratings

Writer: David Paulsen

Director: Patrick Duffy

Synopsis: After Jenna is arrested for Naldo’s murder, Bobby hires Scotty Demarest to defend her. Jamie catches J.R. cheating with Serena and confronts him, unaware that Sue Ellen is eavesdropping. Mandy grows tired of Cliff. Ray and Donna find evidence that Jamie’s document is real. Pam finds no trace of Mark in Jamaica. Lucy suggests she and Eddie go into the real estate business.

Cast: Beau Billingslea (Dr. Miller), Stephanie Blackmore (Serena Wald), Roseanna Christiansen (Teresa), James Cromwell (Gerald Kane), Val De Vargas (Patrick Wolfe), Patrick Duffy (Bobby Ewing), Stephen Elliott (Scotty Demarest), Eric Farlow (Christopher Ewing), Linda Gray (Sue Ellen Ewing), Larry Hagman (J.R. Ewing), Jenilee Harrison (Jamie Ewing), Susan Howard (Donna Krebbs), Steve Kanaly (Ray Krebbs), Omri Katz (John Ross Ewing), Howard Keel (Clayton Farlow), Ken Kercheval (Cliff Barnes), Fredric Lehne (Eddie Cronin), Priscilla Beaulieu Presley (Jenna Wade), Victoria Principal (Pam Ewing), Donna Reed (Miss Ellie Farlow), Sherril Lynn Rettino (Jackie Dugan), Deborah Shelton (Mandy Winger), Charlene Tilton (Lucy Ewing)

“Lockup in Laredo” is available on DVD and at Amazon and iTunes. Watch the episode and share your comments below.

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Critique: ‘Dallas’ Episode 175 — ‘Odd Man Out’

July 8, 2015 by 14 Comments
Bobby Ewing, Dallas, J.R. Ewing, Larry Hagman, Odd Man Out, Patrick Duffy

Raising the bar

“Odd Man Out” is the 12th “Dallas” episode directed by Larry Hagman, who demonstrates once more that he’s as talented behind the camera as he is in front of it. The main storyline finds Bobby depressed because he believes Jenna dumped him to reunite with her ex-husband Naldo; little does Bob know Naldo is actually holding Jenna captive. This isn’t the richest material in the show’s history, but Hagman makes it compelling nonetheless. He also rewards the audience with several scenes that draw upon the history of the characters and their relationships. With the exception of Leonard Katzman and a few others, did anyone know “Dallas” better than its biggest star?

“Odd Man Out’s” most suspenseful moment comes at the end of the second act, when Naldo leaves Jenna alone to pay their hotel bill. She sneaks into a phone booth, drops a coin in the slot and punches the buttons. An operator comes on the line and tells her the call will cost a dollar. “Damn. Come on,” Jenna says as she dumps change out of her purse, sorts it quickly and inserts more coins. Cut to Southfork, where Bobby sits on the patio, reading a newspaper as the phone next to him begins ringing. He doesn’t answer it right away (is he waiting for Raoul or Teresa?), and when he finally picks up and says hello, Hagman cuts back to the phone booth — where Naldo takes the receiver from Jenna’s hand and hangs up. “Don’t ever try anything like that again,” he says.

The episode takes another dramatic turn at the end. J.R., Sue Ellen and Jamie have taken Bobby out to dinner, hoping to cheer him up. Bobby proposes a toast: “To Jenna Wade and the life she’s chosen for herself, wherever she is and whomever she’s with.” Hagman then cuts to a shot of Jenna, lying unconscious on a hotel floor. A lamp is knocked over, the sleeve of her blouse is torn and there’s a gun in her hand. As she slowly awakens, two police officers burst into the room. “Freeze, lady,” one says. “Drop the gun. Drop it!” Jenna looks bewildered and glances over her shoulder — where she sees Naldo’s dead body. Freeze the frame, roll the credits.

Other standout scenes in “Odd Man Out” showcase the “Dallas” characters. In one sequence, J.R. is having lunch with Mandy when he receives a call from Dora Mae, who tells him Bobby is drinking heavily at the Oil Baron’s Club. J.R. doesn’t hesitate to leave Mandy’s side so he can help his brother. (Something similar will happen in the eighth-season finale, “Swan Song,” except the circumstances will be dire.) Later, J.R. bucks up Bobby by reminding him that Christopher needs him; besides recalling a conversation years earlier where Bobby pulls J.R. out a depressive slump, this moment reminds us how good Hagman and Patrick Duffy are together. In another fun sequence, J.R. plays cupid in reverse: He runs into Pam and makes sure she knows how upset Bobby is over his breakup with Jenna, and then J.R. tells Bobby that Pam is too busy with her search for Mark to care about his problems.

Speaking of Pam: Victoria Principal is wonderful in the scene where Benton, the owner of the San Serrano medical clinic, tells Pam that Mark is alive. The actress cries and laughs at once, which gives the audience the odd sensation of being happy for Pam even though we suspect J.R. is behind her wild goose chase. Hagman also allows “Dallas’s” other leading lady, Linda Gray, a chance to shine. The script doesn’t give Sue Ellen much to do, but that doesn’t mean you should overlook her. In two scenes, Sue Ellen asks other characters where J.R. is. In each instance, Gray delivers her lines with just the right amount of doubt and suspicion, letting us know that Sue Ellen realizes her husband is up to his old tricks again.

“Odd Man Out” also illustrates Hagman’s eye for detail. The episode’s opening shot is a close-up of caviar being dished onto a plate — a signal, perhaps, that the competitive Hagman wanted his show to cede no ground in “Dallas’s” rivalry with glitzy “Dynasty.” Hagman also understood the need for balance, though, which is why he shows Ray, Donna and Dave Culver enjoying a down-home meal around the Krebbs’ dining room table. Ray and Donna are bringing Dave up to speed on Jamie’s claims about Ewing Oil’s ownership, and at one point Ray pauses to ask Dave if he’d care for some corn. I wouldn’t be surprised to learn Hagman suggested this gesture to make the scene feel more realistic. Think about it: When you watch “Dallas” dinner scenes helmed by other directors, do you ever hear someone ask to pass the salt?

Other highlights include a nice subplot about Clayton challenging Miss Ellie’s devotion to her sons by pointing out they are grown men who can take care of themselves. No matter how you feel about Donna Reed’s casting as Ellie, you have to appreciate how the show continues to give meaningful material to its oldest actors. The producers’ efforts to keep Lucy in the spotlight aren’t as successful. In this episode, she shuts off Eddie’s alarm so he’ll sleep in and skip work to spend the day with her. He’s angry when he wakes up and discovers this, and who can blame him? Did Lucy learn nothing from her too-brief foray into the working world?

On the other hand, when Lucy offers to support Eddie financially and he balks, she points out that if the roles were reversed, he probably wouldn’t think twice about supporting her. This is a good point. Lucy may not know much about the real world, but at least she recognizes sexism when she sees it.

Grade: A

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Dallas, Jenna Wade, Odd Man Out, Priscilla Beaulieu Presley

Odd woman out

‘ODD MAN OUT’

Season 8, Episode 14

Airdate: December 28, 1984

Audience: 20.8 million homes, ranking 1st in the weekly ratings

Writer: Arthur Bernard Lewis

Director: Larry Hagman

Synopsis: J.R. urges Bobby to get over losing Jenna. Miss Ellie and Clayton disagree over her involvement in her sons’ lives. Pam visits a Caribbean clinic that Mark supposedly visited two months earlier. Eddie quits his job. Jenna awakens next to Naldo’s dead body as police officers enter the room.

Cast: Don Banning (Roy Crowley), Burke Byrnes (Pete Adams), Pat Colbert (Dora Mae), Timothy J. Cutt (Leonard Boyle), Patrick Duffy (Bobby Ewing), Eric Farlow (Christopher Ewing), Tom Fuccello (Senator Dave Culver), Linda Gray (Sue Ellen Ewing), Larry Hagman (J.R. Ewing), Jenilee Harrison (Jamie Ewing), Susan Howard (Donna Krebbs), Steve Kanaly (Ray Krebbs), Omri Katz (John Ross Ewing), Howard Keel (Clayton Farlow), Ken Kercheval (Cliff Barnes), Fredric Lehna (Eddie Cronin), Michael McRae (Benton), Daniel Pilon (Renaldo Marchetta), Priscilla Beaulieu Presley (Jenna Wade), Victoria Principal (Pam Ewing), Donna Reed (Miss Ellie Farlow), Deborah Shelton (Mandy Winger), Danone Simpson (Kendall), Charlene Tilton (Lucy Ewing), Deborah Tranelli (Phyllis)

“Odd Man Out” is available on DVD and at Amazon and iTunes. Watch the episode and share your comments below.

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Critique: ‘Dallas’ Episode 174 — ‘Déjà Vu’

July 6, 2015 by 5 Comments
Dallas, Deja Vu, J.R. Ewing, Larry Hagman

Game of phones

What could be unholier than an alliance between J.R. Ewing and Cliff Barnes? In “Déjà Vu,” the sworn enemies agree to work together to keep Bobby and Pam apart. The scene where J.R. and Cliff meet in a dive bar and toast their partnership is one of the episode’s highlights, and not just because it’s one of the few times in “Dallas” history that Larry Hagman and Ken Kercheval are civil to each other on screen. The scene also demonstrates how their characters are beginning to change, if not grow. In an era when many of the show’s creative risks don’t pay off, here’s one that works.

“Déjà Vu” begins with the Ewings reeling after Jenna leaves Bobby at the altar on their wedding day. After the guests are sent home, J.R. and Bobby head to Ewing Oil and pull out all the stops to determine why she ran away — even ordering their secretaries to report to the office on a Saturday to help track down the runaway bride. (Why weren’t the secretaries invited to the wedding?) Later, J.R. receives a mysterious phone call from someone who wants to get together to discuss the situation. We don’t learn the caller’s identity until J.R. shows up in the bar and takes a seat across from Cliff, who tells him now that Bobby is free, he’s afraid he’ll reunite with Pam. J.R. agrees he and Cliff should do everything they can to stop such a reconciliation from taking place. “Maybe this is the one time a Ewing and a Barnes ought to work together,” J.R. says.

It’s fun to watch Hagman and Kercheval clink beer glasses, although this scene has more going for it than the novelty factor. For starters, the exchange shows how much Cliff has changed. Think about it: He’s the character in control here. Cliff calls the meeting, sets the time and location, and suggests the alliance with J.R. Since the eighth season began, we’ve seen Cliff become smarter and more successful, and now we know he can scheme with the best of them. J.R. has changed too: There was a time he wouldn’t have given his archenemy the time of day, but here he treats Cliff as an equal. (J.R. has always been more willing to join forces with Pam, who he probably considers a worthier adversary.) Some fans want Cliff always to lose and J.R. always to win, but I admire “Dallas’s” willingness to allow the characters to evolve. Besides, it’s not like they won’t slide back into their familiar roles eventually.

The title “Déjà Vu” points to Bobby’s backstory — Jenna also left him at the altar when the characters were younger — although I’m more interested in another blast from the past: the return of the terrific Sarah Cunningham as Maggie, the woman who raised Cliff and Pam. In the storyline, Cliff and Mandy visit Maggie to see what she knows about Jamie Ewing’s claim that Jock, Jason and Digger were equal partners in Ewing Oil. After Cliff arrives on her doorstep and pulls out some photos of Christopher, she invites him and Mandy into the backyard to discuss what’s really on his mind. “If I know my brother’s son, he didn’t drive three hours to Marshall on a Saturday just to show me baby pictures,” she says. That line alone makes me wish “Dallas” had used Cunningham more frequently. The actress is so natural and believable; the show would have benefitted from her homespun charm.

“Déjà Vu” also features James Cromwell’s first appearance as Gerald Kane, the pilot who approaches Pam with the bombshell news that he flew Mark Graison to a clinic in the Caribbean to seek a cure for his disease. Cromwell, who later received an Oscar nomination for his role as the farmer in “Babe,” is quite good in his scene with Victoria Principal. At the end of the episode, we learn Kane is secretly working for J.R. — a neat twist that probably would have been even more surprising if it had come later, once Cromwell’s character was more established. I wonder why the show exposed his connection to J.R. so soon?

Other “Déjà Vu” highlights include the scene where Ray assures Bobby that Jenna loves him — in a few years, Ray will be doubting Jenna’s love for him once they begin a relationship — as well as a nice moment when Maggie’s lawyer visits Cliff and suggests Digger must have been a gentleman. Cliff beams, reminding us that he sees his father differently than most of the other characters on this show. I also like the scene where Sue Ellen receives the call from J.R. informing her that Jenna has skipped town. After Sue Ellen hangs up, Miss Ellie and Donna eagerly ask her what J.R. said. As the music swells, Linda Gray keeps her back to Donna Reed and Susan Howard, looks into the distance and solemnly intones, “He said to send the guests home. The wedding is off.” It’s the kind of dramatic delivery that only occurs on soap operas, which is what makes it so wonderful.

This scene also leads to my biggest gripe with “Déjà Vu.” Once word reaches the Ewings that the wedding has been canceled, Ray volunteers to send the guests home, and Ellie agrees. It’s another example of how Ellie is being written differently since the show recast the role with Reed. Having Ellie defer to Ray makes her seem uncharacteristically delicate. This is a woman who once stared down an angry mob at a Ewing Barbecue, after all. Giving Reed the line where the guests are sent home might seem like a small thing, but it would have given her an opportunity to show some of the mettle we’ve come to expect from our beloved Mama.

Grade: B

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Cliff Barnes, Dallas, Deja Vu, Ken Kercheval

Look who’s scheming

‘DÉJÀ VU’

Season 8, Episode 13

Airdate: December 21, 1984

Audience: 19.5 million homes, ranking 4th in the weekly ratings

Writer: David Paulsen

Director: Leonard Katzman

Synopsis: Naldo blackmails Jenna into remarrying him by threatening to keep her from Charlie, whom he sends to Italy. Pam is approached by a pilot who claims he flew Mark to the Caribbean, but she doesn’t realize the man works for J.R. Cliff searches Digger’s old legal papers, hoping to find a copy of Jamie’s document.

Cast: Burke Byrnes (Pete Adams), James Cromwell (Gerald Kane), Sarah Cunningham (Maggie Monahan), Patrick Duffy (Bobby Ewing), Linda Gray (Sue Ellen Ewing), Larry Hagman (J.R. Ewing), Jenilee Harrison (Jamie Ewing), Susan Howard (Donna Krebbs), Steve Kanaly (Ray Krebbs), Howard Keel (Clayton Farlow), Ken Kercheval (Cliff Barnes), Fredric Lehne (Eddie Cronin), Shalane McCall (Charlie Wade), Daniel Pilon (Renaldo Marchetta), Priscilla Beaulieu Presley (Jenna Wade), Victoria Principal (Pam Ewing), Donna Reed (Miss Ellie Farlow), Sherril Lynn Rettino (Jackie Dugan), Deborah Shelton (Mandy Winger), Danone Simpson (Kendall), Charlene Tilton (Lucy Ewing), Deborah Tranelli (Phyllis)

“Déjà Vu” is available on DVD and at Amazon and iTunes. Watch the episode and share your comments below.

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Critique: ‘Dallas’ Episode 173 — ‘Do You Take This Woman?’

July 1, 2015 by 17 Comments
Dallas, Daniel Pilon, Do You Take This Woman?, Jenna Wade, Naldo Marchetta, Priscilla Beaulieu Presley

Take your wife. Please.

“Do You Take This Woman?” marks the moment “Dallas” turns into a Lifetime movie. The hour begins with Jenna Wade happily planning to marry Bobby, but by the time the closing credits roll, her daughter has been kidnapped and Jenna has been forced to leave her fiancé stranded at the altar. In the episodes that follow, Jenna is held against her will, almost raped, accused of murder, found guilty, imprisoned and finally freed, only to watch Bobby “die” in the eighth-season finale. The only calamities missing are a nervous breakdown and an unwanted pregnancy, but fear not. Jenna will get to those eventually.

I know, I know. I’m getting ahead of myself. It’s also not fair to criticize the entire show based on Jenna’s storyline. But the fact is, this is the point during “Dallas’s” run that I’ve been dreading. Priscilla Beaulieu Presley is a fine actress, but I’m no fan of the weepy, woeful turn her character takes in this episode. Like Pam’s drawn-out search for Mark Graison, the “Perils of Jenna” story arc feels like “Dallas” is merely killing time until Bobby and Pam’s long-awaited reunion at the end of the season. It’s one reason I’ve been publishing twice-weekly critiques from this era of “Dallas.” I want to get the damn thing over with as quickly as possible.

Although there isn’t a lot in “Do You Take This Woman?” to get excited about overall, the fourth act isn’t without merit. Presley does a nice job in the scene where Jenna talks on the phone to one of Charlie’s friends and realizes her ex-husband, the villainous Naldo Marchetta, has kidnapped their daughter. Frantic Jenna drops everything and flees the house, only to run into Naldo. “Our daughter is quite safe. You have nothing to worry about,” he says. I also like when Bobby receives a mysterious phone call and dashes out of Southfork with J.R. close behind. The overhead shot of the brothers tearing away in Bobby’s convertible is cool, although I’m more impressed with the deeper meaning of this moment, which reminds us how the Ewing boys always have each other’s backs.

In a similar vein, “Do You Take This Woman?” contains another good scene that underscores Cliff and Pam’s sibling bond. He stomps into her house as only he can, ranting about Pam’s full-page newspaper advertisement offering a reward for information about Mark’s disappearance. Cliff doesn’t want to have to put extra people on the Barnes-Wentworth switchboard to field calls from the “crackpots” who are bound to respond to the ad, but he’s also frustrated with Pam’s obsessive search for her deceased fiancé. “Mark is dead. You have to face that,” he says. Pam walks away in tears, and then Mandy points out that Pam is already on edge because it’s Bobby and Jenna’s wedding day. Ken Kercheval’s response is masterful: In a matter of seconds, Cliff’s face registers anger, surprise and finally regret. Under all that bluster, this character really does love and care about his sister.

Speaking of bombast: “Do You Take This Woman?” opens with J.R. calmly assuring Jeremy Wendell that Jamie’s claims about Ewing Oil’s ownership are merely a prank, and then J.R. reveals his true feelings during a family meeting in the Southfork living room. Larry Hagman manages to make J.R.’s ravings amusing without sacrificing the character’s dignity. By the way: I don’t blame J.R. for being suspicious of Jamie. She possesses a document that might give her a piece of a multibillion-dollar corporation, yet she has no intention of claiming her share? This stretches credibility, even by eighth-season “Dallas” standards. And while we’re on the subject of Jamie: It’s nice that Sue Ellen has befriended her, but is serving as a supporting player in Jamie’s drama the best use of Linda Gray’s talents? Why doesn’t she have a meaningful storyline of her own?

“Do You Take This Woman?” also is notable because it includes both a barbecue and a wedding. It’s somewhat odd to think the Ewings would hold back-to-back bashes, but I suspect the producers saved money by staging the events over successive episodes. The extras who appear at the barbecue probably hung around to film the wedding scenes. (The show does something similar during the sixth season, when the Ewing Barbecue arrives on the heels of J.R. and Sue Ellen’s second wedding.) And even though the bride doesn’t show up for this ceremony, it’s by no means a waste: This episode’s establishing shot of a white limousine dropping off wedding guests in the Southfork driveway is used again — six years later — during Bobby and April’s nuptials in the 13th-season installment “The Southfork Wedding Jinx.”

Such prudent recycling! Who says the Ewings aren’t environmentally conscious?

Grade: C

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Bobby Ewing, Dallas, Do You Take This Woman?, J.R. Ewing, Larry Hagman, Patrick Duffy

Call guy

‘DO YOU TAKE THIS WOMAN?’

Season 8, Episode 12

Airdate: December 14, 1984

Audience: 21.4 million homes, ranking 2nd in the weekly ratings

Writer: Leonard Katzman

Director: Gwen Arner

Synopsis: While J.R. and Cliff scramble to determine if Jamie’s claims about Ewing Oil’s ownership are true, she places her document in a safe-deposit box and promises not to use it against the Ewings. Pam hires a detective to find Mark. After Naldo takes Charlie, Jenna stands up Bobby on their wedding day.

Cast: Patrick Duffy (Bobby Ewing), Eric Farlow (Christopher Ewing), Linda Gray (Sue Ellen Ewing), Larry Hagman (J.R. Ewing), Jenilee Harrison (Jamie Ewing), Susan Howard (Donna Krebbs), Steve Kanaly (Ray Krebbs), Howard Keel (Clayton Farlow), Ken Kercheval (Cliff Barnes), Fredric Lehne (Eddie Cronin), Madison Mason (Jack Phipps), Shalane McCall (Charlie Wade), George O. Petrie (Harv Smithfield), Daniel Pilon (Renaldo Marchetta), Priscilla Beaulieu Presley (Jenna Wade), Victoria Principal (Pam Ewing), Donna Reed (Miss Ellie Farlow), Sherril Lynn Rettino (Jackie Dugan), Marina Rice (Angela), Deborah Shelton (Mandy Winger), Danone Simpson (Kendall), William Smithers (Jeremy Wendell), Charlene Tilton (Lucy Ewing), Deborah Tranelli (Phyllis)

“Do You Take This Woman?” is available on DVD and at Amazon and iTunes. Watch the episode and share your comments below.

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Critique: ‘Dallas’ Episode 172 — ‘Barbecue Five’

June 29, 2015 by 18 Comments
Barbecue Five, Dallas, Fern Fitzgerald, Jamie Ewing, Jenilee Harrison, J.R. Ewing, Larry Hagman, Marilee Stone

The middle

“Barbecue Five” ranks among “Dallas’s” best barbecue episodes because it delivers almost everything we expect from a Ewing hoedown. There’s a fight, a dunking in the Southfork swimming pool and a dramatic revelation, along with crowds of people dancing, drinking and sweltering under the Texas sun. The only thing missing is a scene of two characters sneaking off to the barn for a romantic interlude, although we do get to see Jeremy Wendell wearing a cowboy hat. That alone is worth the price of admission, as far as I’m concerned.

This episode is probably best remembered for the clash between Jamie Ewing and Marilee Stone. “Dallas” doesn’t do a lot of catfights, so when these scenes occur, they almost always feel justified. (The best examples: Pam striking Katherine and Donna socking Bonnie, the barfly who slept with Ray.) In this instance, Jamie spots Marilee pawing J.R. and confronts her. Insults are exchanged, and then Marilee slaps Jamie, who retaliates by pushing Marilee into the pool. This is the first time I find myself cheering for Jenilee Harrison, whose character I’ve found hard to embrace, although I also admire how Fern Fitzgerald plays the obnoxious, overbearing Marilee to the hilt. Of course, both actresses end up being upstaged by Larry Hagman, who delivers one of the immortal “Dallas” lines when J.R. reaches into the pool to retrieve Marilee and asks, “You all right honey? Did it go up your nose?” Why do I get the feeling Hagman is ad-libbing here?

It’s also fun to see how smoothly each scene flows into the next. An example: Lucy and Eddie are dancing, and as they move out of camera range, J.R. and Sue Ellen enter the frame. We listen to their conversation for a few moments, and then J.R. nods to Bobby and Jenna, and the focus shifts to them. It’s all seamless, with one exception: a shot of Ray and Donna kissing becomes a scene in which Sue Ellen, J.R. and Jeremy talk shop while strolling through the crowd — except when Steve Kanaly and Susan Howard lock lips, you can see Hagman, Linda Gray and William Smithers in the distance, waiting for their cue to begin walking and talking. This is a minor oversight, of course, and I don’t mind it in the least because it makes me appreciate how artfully director Gwen Arner orchestrates all the other transitions.

Like other barbecue episodes, “Barbecue Five” was filmed in the summer, which means the actors are forced to sweat through uncomfortable looking western-flavored costumes. Most of the women wear long dresses and cowgirl boots, while Hagman and Howard Keel each don sport coats and scarves. Also, notice how the back of Fredric Lehne’s shirt is soaked with perspiration when Eddie spins Lucy on the dance floor. Another tradition honored here: the dramatic, episode-ending revelation. Past barbecues have concluded with the news that Jock’s helicopter crashed and that Miss Ellie and Clayton have become engaged, while “Barbecue Five” ends with Jamie’s announcement that she’s entitled to a share of Ewing Oil. This signals the birth of one of “Dallas’s” most tiresome tropes during its later years, when the focus of the business storylines shifts from making deals to a never-ending game of musical owners.

“Barbecue Five” also gives us the memorable scene where J.R. and Mandy continue their cat-and-mouse flirtation while dining in a private box at Texas Stadium. Both characters are spying on each other — J.R. wants dirt on Cliff, while Mandy wants intelligence that she can report back to him — but their ulterior motives are slowly being overtaken by their mutual attraction to each other. We also learn a lot about Mandy here. She tells J.R., “I’ve always known I was beautiful,” yet the line makes the character seem more confident than conceited. A lot of that has to do with Deborah Shelton, who is so stunning, there’s no point in having her character pretend otherwise.

Other “Barbecue Five” highlights include Jeremy’s annoyance when Cliff crashes his private lunch (Ken Kercheval’s scenes with Smithers are almost as golden as the Hagman/Kercheval pairings), as well as Naldo’s dinner with Jenna and Charlie. Any appearance by Naldo usually elicits an eye roll from me, but I’ll be darned if I don’t find him kind of charming as he tells Charlie about idolizing Tom Mix during his boyhood in Italy. Meanwhile, with her exotic white-streaked hair, character actress Ronnie Claire Edwards is perfectly cast as Lydia, the psychic Pam consults in her quest to find Mark. I also like how Lydia tells Pam that a “tall,” “athletic” and “handsome” man will be coming back into her life. Gee, I wonder who she’s describing? Something tells me it isn’t Mr. Graison.

I also love “Barbecue Five’s” opening, when Sue Ellen brings Jamie to Ewing Oil for her first day of work as the receptionist. It’s routine now, but everything about this scene — Kendall teaching Jamie how to use the switchboard, Sue Ellen promising to return in the afternoon to take Jamie to lunch — seemed so glamorous when I watched this episode as a kid. How I wished I could work alongside J.R. and Bobby at Ewing Oil too!

Truth be told, I still do.

Grade: A

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Barbecue Five, Dallas, Jeremy Wendell, J.R. Ewing, Larry Hagman, Linda Gray, Sue Ellen Ewing, William Smithers

Walk to remember

‘BARBECUE FIVE’

Season 8, Episode 11

Airdate: December 7, 1984

Audience: 21 million homes, ranking 3rd in the weekly ratings

Writer: Arthur Bernard Lewis

Director: Gwen Arner

Synopsis: J.R. woos Mandy. Naldo charms Charlie. Pam visits a psychic, hoping for clues about Mark’s death. Miss Ellie is upset when Clayton decides to continue commuting to Houston. Jamie begins working as a receptionist at Ewing Oil, and after J.R. angers her at the Ewing Barbecue, she shows the family a document that claims her father owned a piece of the company.

Cast: Patrick Duffy (Bobby Ewing), Ronnie Claire Edwards (Lydia), Eric Farlow (Christopher Ewing), Fern Fitzgerald (Marilee Stone), Linda Gray (Sue Ellen Ewing), Larry Hagman (J.R. Ewing), Jenilee Harrison (Jamie Ewing), Susan Howard (Donna Krebbs), Barry Jenner (Dr. Jerry Kenderson), Steve Kanaly (Ray Krebbs), Omri Katz (John Ross Ewing), Howard Keel (Clayton Farlow), Ken Kercheval (Cliff Barnes), Fredric Lehne (Eddie Cronin), Shalane McCall (Charlie Wade), Daniel Pilon (Renaldo Marchetta), Priscilla Beaulieu Presley (Jenna Wade), Victoria Principal (Pam Ewing), Donna Reed (Miss Ellie Farlow), Marina Rice (Angela), Deborah Shelton (Mandy Winger), Danone Simpson (Kendall), William Smithers (Jeremy Wendell), Charlene Tilton (Lucy Ewing), Deborah Tranelli (Phyllis)

“Barbecue Five” is available on DVD and at Amazon and iTunes. Watch the episode and share your comments below.

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Critique: ‘Dallas’ Episode 171 — ‘Charlie’

June 24, 2015 by 19 Comments
Charlie, Charlie Wade, Dallas, Shalane McCall

Gone girl

On “Dallas,” children are seen and heard. The series often involves its youngest characters in major storylines, unlike other 1980s prime-time soap operas where kids are treated as little more than props. (Does Krystina Carrington ever do anything other than smile sweetly at Mommy and Daddy?) Of course, even when “Dallas” puts kids front and center, it’s usually to tell us something about the adults on the show. Lucy’s skipping school allows Pam to assert her authority in the Ewing family, Bobby’s friendship with Luke Middens illustrates the emptiness of his childless marriage, John Ross’s kidnapping brings J.R. and Sue Ellen closer.

“Charlie” continues this tradition. This episode takes its title from Jenna Wade’s pubescent daughter, who runs away from home after learning Naldo Marchetta, her long-lost father, has come to town and wants to meet her. (Ignore the fact that Jenna sent the girl to visit Naldo during the third season.) Even though Charlie sets the plot in motion, this story is about Bobby and Jenna. Everything is told from their point of view, from Jenna’s frantic call to Bobby when she realizes Charlie is missing to the resolution, when the couple finds the girl and lovingly assures her they’ll always be a family. It’s also worth noting how director Michael Preece arranges the actors in the latter scene. He films Patrick Duffy and Priscilla Beaulieu Presley at eye level, while Shalane McCall is shot from above — the way most adults see children.

Some “Dallas” fans like to complain about McCall’s performance in “Charlie” and other episodes from the eighth season. It’s true that the older this actress gets, the whinier her delivery becomes. Nevertheless, I think everyone should cut her some slack. Remember: McCall was only 11 years old when this episode was filmed. She’s just a kid, and this is the most demanding material she’s been given since she arrived on “Dallas” a year earlier. Besides, a lot of real-life children are whiny around this age. Why should Charlie be any different?

There’s also this: Charlie, as much as she annoys some fans, isn’t as insufferable as Lucy, who has yet to fully mature. In this episode’s weirdest scene, Clayton runs into Charlene Tilton’s character and suggests she should spend more time with Miss Ellie. Lucy snaps, reminding Clayton that he isn’t her grandfather and has no right to tell her what to do. Clayton’s response: “You’re right. I’m not your grandfather, but I am your elder — and you’ll damn well talk to me with respect. Now I don’t like your manner or your tone of voice, and if you think I won’t turn you over my knee and paddle you, you’re very wrong!” I suppose the point here is to remind the audience of Clayton’s mettle, but hearing him threaten to spank a grown woman is a strange way to make this point, no matter how bratty Lucy behaves. Did this scene make audiences as uncomfortable in 1984 as it does today?

Clayton and Lucy’s confrontation ends with Preece pulling back the camera to reveal Miss Ellie eavesdropping. No shock there — someone always is lurking around the corners of Southfork — although the pink floral-print blouse and striped skirt worn by Donna Reed does catch me off guard. This is the most un-Ellie outfit Reed has worn yet since taking over the role from Barbara Bel Geddes. Reed looks beautiful, but the character’s newly stylish wardrobe takes some getting used to. As readers on this site have wondered: If the producers had dressed Reed a little more plainly and softened her hair, might fans have accepted her more readily?

Mama isn’t the only person who’s changed lately. Notice how I haven’t mentioned J.R.? That’s because Larry Hagman’s character doesn’t have much to do in “Charlie.” Somewhat shockingly, the season is now one-third over and no major business storyline has been introduced. At this point last season, J.R. was figuring out Sly was spying on him for Cliff, and two years before that, the contest for control of the family empire was well underway. After this episode, “Dallas” will begin the storyline in which Jamie and Cliff join forces to claim partial ownership in Ewing Oil, a legal fight that’s not nearly as much fun as the past stories about corporate warfare.

At least J.R. finally introduces himself to Mandy Winger in this episode. I guess if we’re not going to see him wheel and deal, we’ll have to make do with watching him cat around.

Grade: B

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Charlie, Dallas, Donna Reed, Miss Ellie Ewing Farlow

Pink different

‘CHARLIE’

Season 8, Episode 10

Airdate: November 30, 1984

Audience: 22 million homes, ranking 2nd in the weekly ratings

Writer: Leonard Katzman

Director: Michael Preece

Synopsis: Bobby and Jenna help Charlie cope when she learns Naldo is her father. J.R. asks Mandy out for drinks. Pam’s salvage company recovers Mark’s cockpit, along with evidence he wasn’t in the plane when it crashed. Eddie sleeps with Lucy and reveals he knows that she’s a Ewing.

Cast: Michael Alldredge (Steve Jackson), Patrick Duffy (Bobby Ewing), Linda Gray (Sue Ellen Ewing), Larry Hagman (J.R. Ewing), Jenilee Harrison (Jamie Ewing), Susan Howard (Donna Krebbs), Steve Kanaly (Ray Krebbs), Howard Keel (Clayton Farlow), Ken Kercheval (Cliff Barnes), Fredric Lehne (Eddie Cronin), Shalane McCall (Charlie Wade), Daniel Pilon (Renaldo Marchetta), Priscilla Beaulieu Presley (Jenna Wade), Victoria Principal (Pam Ewing), Donna Reed (Miss Ellie Farlow), Sherril Lynn Rettino (Jackie Dugan), Deborah Shelton (Mandy Winger), Danone Simpson (Kendall), William Smithers (Jeremy Wendell), Charlene Tilton (Lucy Ewing)

“Charlie” is available on DVD and at Amazon and iTunes. Watch the episode and share your comments below.

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Critique: ‘Dallas’ Episode 170 — ‘Shadows’

June 22, 2015 by 9 Comments
Dallas, Donna Reed, Miss Ellie Ewing Farlow, Shadows

Frame love

The final scene in “Shadows” trembles with tension. Miss Ellie summons J.R. and Bobby to the Southfork living room, where she tells them she’s going to take down the painting of Jock that has hung there since his death. Ellie wants to make her new husband, Clayton Farlow, feel more comfortable in their home by moving the picture to the Ewing Oil offices. J.R. is adamant the portrait stay put. “You can’t do it, Mama. It belongs here,” he says. Ellie is equally resolute. She says the Ewings have mourned Jock “long enough,” then adds: “It’s time for this family to start again.”

Oh, the drama! You must admire “Dallas’s” ability to generate so much emotion over where to hang a picture, except things on this show are never that clear-cut, are they? Jock’s portrait has become a symbol of “Dallas’s” most essential themes — family, loyalty, tradition. That’s why Larry Hagman’s performance in this scene is so moving. Watch J.R.’s eyes. He looks more frightened than angry. For him, this is another example of how the world around him is changing. Cliff Barnes has become a successful oilman, Mama has married another man, and now Daddy’s picture is coming down. Despite the sharp tone J.R. takes with Ellie, Hagman manages to make his character seem vulnerable. He gets a big assist from Patrick Duffy, who only has three lines of dialogue, but whose expression lets us know how sorry Bobby feels for J.R.

If this scene isn’t as powerful as others involving Jock’s portrait (“Wendell, touch that painting and I’ll kill you where you stand!”), it’s probably only because Donna Reed is delivering Ellie’s lines instead of Barbara Bel Geddes. We watched Bel Geddes act opposite Jim Davis for years, and then we saw her character mourn his for another extended period. Bel Geddes made Ellie’s love for Jock feel real. Reed does a fine job in this scene, but it’s odd to see her standing in front of the picture and referring to Jock as her husband. On the other hand, Reed’s presence also adds something to the scene, at least when we watch it from J.R.’s point of view. After all, Mama must seem like a stranger to him at this moment.

The other moving scene in “Shadows” contains no dialogue. After learning that Bobby and Jenna have set their wedding date, Pam — clad in a satin robe — sits alone in her darkened bedroom. She gets up, walks to the dresser and picks up a framed picture of Mark, then sets it down and reaches for a bottom drawer, where she pulls out a picture of her, Bobby and Christopher. (It’s actually a publicity shot from the seventh-season episode “The Long Goodbye.”) Sitting on the floor and holding the picture to her chest, Pam sobs quietly. Victoria Principal is nicely understated here, and so is composer Bruce Broughton, who scores the scene with soft piano keys. It’s quite lovely.

“Shadows” also marks Christopher Stone’s final appearance as Dave Stratton, a minor character who nonetheless served a useful role. Stratton was Jeremy Wendell’s right-hand man, which made William Smithers’ character all the more mysterious and powerful. Wendell always seemed to be dispatching Stratton to deal with J.R. and Cliff, as if Jeremy had better things to do. I also was intrigued by the hint of attraction between Pam and Dave; I wonder if a romance between those two would have been a better subplot than having her chase Mark’s ghost? In a similar vein, “Shadows” is the episode where Sue Ellen suggests J.R. hire Jamie as a receptionist at Ewing Oil. As much as I like the idea of bringing another Ewing into the family’s workplace, imagine how this storyline might have played out if it were a character with a stronger connection to the show — like Lucy, or maybe Sue Ellen herself.

Speaking of J.R.: There’s a scene where he talks on the phone to a business associate and tells him he’d “like to start drilling around April 15 … for tax reasons.” Sheesh. Doesn’t J.R. know that’s merely a tax-filing deadline? The IRS would care only about income earned before December 31. Likewise, I’m a bit perplexed when Clayton and Ray jet to Houston to check on the Farlow business operations there. The men are supposed to fly home later that afternoon, but Clayton calls Ellie to tell her that he and Ray have decided to stay a few extra days. Gee, doesn’t Ray have to get back to the ranch? And since this was supposed to be a same-day trip, what will they do for clothing and toiletries?

I know, I know. These are very wealthy men. They’ll probably have no trouble acquiring some fresh underwear and a toothbrush, right?

Grade: A

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Bobby Ewing, Dallas, Patrick Duffy, Shadows

Sympathy for the devil

‘SHADOWS’

Season 8, Episode 9

Airdate: November 23, 1984

Audience: 19.2 million homes, ranking 2nd in the weekly ratings

Writer: David Paulsen

Director: Gwen Arner

Synopsis: J.R. hires a private detective to learn Mandy’s identity. Sue Ellen urges J.R. to hire Jamie as a receptionist. Clayton confides in Ray. Naldo returns and tells Jenna he wants to see Charlie. Miss Ellie takes down Jock’s portrait, upsetting J.R.

Cast: Michael Alldredge (Steve Jackson), Martin Cassidy (Frank Carp), Roseanna Christiansen (Teresa), Pat Colbért (Dora Mae), Patrick Duffy (Bobby Ewing), Eric Farlow (Christopher Ewing), Linda Gray (Sue Ellen Ewing), Larry Hagman (J.R. Ewing), Jenilee Harrison (Jamie Ewing), Susan Howard (Donna Krebbs), Steve Kanaly (Ray Krebbs), Howard Keel (Clayton Farlow), Ken Kercheval (Cliff Barnes), Fredric Lehne (Eddie Cronin), Shalane McCall (Charlie Wade), Daniel Pilon (Renaldo Marchetta), Priscilla Beaulieu Presley (Jenna Wade), Victoria Principal (Pam Ewing), Donna Reed (Miss Ellie Farlow), Marina Rice (Angela), Deborah Shelton (Mandy Winger), Danone Simpson (Kendall), Christopher Stone (Dave Stratton), Charlene Tilton (Lucy Ewing), Deborah Tranelli (Phyllis), Kathleen York (Betty)

“Shadows” is available on DVD and at Amazon and iTunes. Watch the episode and share your comments below.

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Hallmark Channel Showcases Two ‘Dallas’ Stars in Movies

June 19, 2015 by 8 Comments
Country Wedding, Hallmark Channel Jesse Metcalfe, Linda Gray, Perfect Match

Return engagements

It’s not the same as seeing “Dallas” return as a weekly series, but the Hallmark Channel will feature two of the show’s stars in new movies during the next two Saturday nights. Both productions are worth checking out, even if you find yourself pretending you’re watching an alternate-reality version of the Ewings.

Hallmark Channel, Linda Gray, Perfect Match

Reconnect

First up: “Perfect Match,” which debuts June 20 and casts Danica McKellar (“The Wonder Years”) and Paul Greene as competing wedding planners who fall for each other while helping a young couple arrange their ceremony. Linda Gray plays Gabby, the groom’s mother, and it should come as no surprise to hear she’s the best part of the movie. The script doesn’t give Gray nearly enough to do, but at this point, the actress has mastered the art of making the most of limited screen time. The twinkle in her eye when Gabby plays matchmaker for the lead characters is worth the price of admission alone. Like Sue Ellen, Gabby is stylish and classy — and every time she mentions her son’s fiancée Lucy, you might have to remind yourself she’s not referring to Charlene Tilton’s “Dallas” character — but otherwise “Perfect Match” doesn’t have much in common with the Ewing family saga. Of course, that’s not necessarily a bad thing: After all the suffering Sue Ellen did last year, isn’t it nice to see Gray in something lighter?

Country Wedding, Hallmark Channel, Jesse Metcalfe

Like old times

Up next: “A Country Wedding,” debuting June 27, stars Jesse Metcalfe as Bradley Suttons, a famous country singer who finds himself torn between the self-centered starlet he’s engaged to marry and the down-to-earth childhood sweetheart who unexpectedly re-enters his life. (Gee, wonder which gal we’re supposed to root for?) This movie is a little weightier than “Perfect Match,” and it’s certainly the more “Dallas”-like of the two: “A Country Wedding” takes place in rural Texas, so there are lots of scenes of Metcalfe riding horses, hanging out in barns and mending fences (metaphorical and otherwise). We even get to see the actor wrangle some livestock, just like he did during the calf-birthing sequence during his first year at Southfork. “A Country Wedding” also offers some surprises, beginning with this: Metcalfe can sing! He carries a tune nicely, and his musical performances give the movie its best moments. On the other hand, every time Metcalfe belts out his character’s signature tune — the melancholy “A Cowboy Rides Away” — you might find yourself thinking about how poor Christopher Ewing got blown away last year.

If that memory depresses you as much as it does me, maybe Hallmark Channel will cast more “Dallas” actors in more movies to cheer us up?

Are you looking forward to “Perfect Match” and “A Country Wedding”? Share your comments below and read more opinions from Dallas Decoder.

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Critique: ‘Dallas’ Episode 169 — ‘Oil Baron’s Ball III’

June 17, 2015 by 16 Comments
Dallas, J.R. Ewing, Larry Hagman, Oil Baron's Ball III

Look who’s lurking

“Dallas’s” Oil Baron’s Ball episodes are fan favorites, and for good reason. Not only do they show the cast dressed to the nines, we also get to see the actors together in one place. (The Southfork barbecue and wedding episodes are pretty much the only other occasions where this happens.) The balls often are remembered for their big moments — tearful tributes to dead Ewings, knock-down/drag-out fights — but don’t overlook the smaller scenes that show the characters gossiping about each other or commenting on the events unfolding around them. It’s not quite Altmanesque, but it’s as close as this show gets.

The most dramatic moment in “Oil Baron’s Ball III” comes at the end, when J.R. — in full-fledged jerk mode — humiliates Pam by taking the podium to announce Bobby and Jenna’s wedding date. It’s a perfectly fine way to finish the episode, although I get a bigger kick out of the vignettes that precede it: J.R. and Jordan Lee standing over an appetizer tray, bickering about Cliff; a pushy paparazzo stopping J.R. to take his picture; Ray and Donna filling their glasses at the champagne fountain while wondering if there’ll be a brawl at this year’s ball. These scenes help set the mood and allow us to feel part of the action, as if we’re moving around the room with the characters.

I also appreciate two scenes that require no dialogue to be effective. In the first, Sue Ellen crosses the ballroom alone with a concerned expression on her face. Because we know this character so well — and because Linda Gray can say so much with a single raised eyebrow — we know exactly what’s on Sue Ellen’s mind at this moment: Where is my husband, and what kind of trouble is he getting into? Likewise, when we see J.R. lurking in the shadows, listening as Mandy encourages Pam to tell Bobby she still loves him, we know J.R. is going to throw a wrench in Pam’s plans — not because J.R. discloses his intentions to another character, but because Larry Hagman has that look. The glint in his eye and the slight, mischievous smile say it all.

Other small moments in “Oil Baron’s Ball III” stand out. Before the Ewings leave for the ball, director Michael Preece brings the characters out of their bedrooms and into the hallway to admire each other’s outfits. The men look timeless in their tuxedos, while the women look extremely ’80s in their glittery Travilla designs. Later, Charlene Tilton has a nice moment when Lucy comes home and finds John Ross at the dining room table, playing checkers with Teresa. When Lucy takes her young cousin upstairs to put him to bed, he asks why she isn’t at the ball with the rest of the family. “I’m not part of that kind of life anymore. Things that are important to your mommy and daddy really aren’t very important to me,” she says, demonstrating how much she’s grown this season.

My favorite moment of all is a fun scene that pits J.R. against Clayton. It begins with J.R. leaving for work when he finds Miss Ellie and her new husband standing in the driveway, greeting a furniture delivery crew. After Ellie explains she’s bought new bedroom furniture and leads the deliverymen into the house, J.R. notices Clayton’s car is blocking his and asks him to move “that blue thing.” Clayton tosses him the keys and says, “Be my guest.” Parking problems like this happen in many suburban families all the time; isn’t it nice to know they happen to the Ewings too? And how much do you want to bet J.R. messed with Clayton’s mirrors, just to be mean?

The only thing here that doesn’t ring true is Ellie. Donna Reed exits the scene by looking off into the distance and moving out of camera range, except she doesn’t walk as much as she floats. It’s another example of how different Reed is from Barbara Bel Geddes, who most certainly never floated. I can accept the unique sensibilities the two actresses bring to the role, but I’m having a harder time dealing with how the character is being written since Reed took over the role. In another “Oil Baron’s Ball III” scene, Ellie confides in Donna about Clayton’s difficulty adjusting to life at Southfork. Donna compares the situation to Ray’s struggle to escape the shadow of her first husband, Sam Culver. It’s a perfectly apt analogy, except Ellie can’t seem to recognize this. In the past, Mama could be naïve, but in this scene, she seems almost dim.

Nevertheless, I admire how “Dallas” has made Clayton and Ellie’s problems a major storyline. Howard Keel does an especially nice job making Clayton’s struggle feel real without ever portraying the character as weak. I also like how “Dallas” continues referencing its own past. In addition to Donna’s mention of Sam, this episode finds Bobby comparing Pam’s doubts about Mark’s death to Ellie’s struggle to accept Jock’s demise. We also see Cliff tell Mandy about Pam’s emotional breakdown during her marriage to Bobby, and we find Eddie snooping into Lucy’s past by looking up old newspaper clippings about her wedding to Mitch.

Seeing Eddie combing through the library’s mirofische collection — with help from a pretty librarian, naturally — offers a reminder of how far technology has come since this episode was produced three decades ago. If Eddie wanted to find out about Lucy’s past today, he would only have to punch her name into Google and start scrolling. But honestly, where would be the fun in that?

Grade: B

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Dallas, Donna Reed, Miss Ellie Ewing Farlow, Oil Baron's Ball III

Say, can’t you see?

‘OIL BARON’S BALL III’

Season 8, Episode 8

Airdate: November 16, 1984

Audience: 22.5 million homes, ranking 2nd in the weekly ratings

Writer: David Paulsen

Director: Michael Preece

Synopsis: To humiliate Pam, J.R. announces Bobby and Jenna’s wedding date at the Oil Baron’s Ball. J.R. is intrigued when he spots Mandy. Miss Ellie worries Clayton feels uncomfortable at Southfork. Eddie breaks a date with Betty to ask out Lucy. Sly takes a break from work.

Cast: Michael Alldredge (Steve Jackson), Norman Bennett (Al), Roseanna Christiansen (Teresa), Patrick Duffy (Bobby Ewing), Eric Farlow (Christopher Ewing), Tony Garcia (Raoul), Linda Gray (Sue Ellen Ewing), Larry Hagman (J.R. Ewing), Jenilee Harrison (Jamie Ewing), Susan Howard (Donna Krebbs), Steve Kanaly (Ray Krebbs), Omri Katz (John Ross Ewing), Howard Keel (Clayton Farlow), Ken Kercheval (Cliff Barnes), Fredric Lehne (Eddie Cronin), Priscilla Beaulieu Presley (Jenna Wade), Victoria Principal (Pam Ewing), Donna Reed (Miss Ellie Farlow), Debbie Rennard (Sly), Sherril Lynn Rettino (Jackie Dugan), Deborah Shelton (Mandy Winger), William Smithers (Jeremy Wendell), Don Starr (Jordan Lee), Christopher Stone (Dave Stratton), Charlene Tilton (Lucy Ewing), Deborah Tranelli (Phyllis), Morgan Woodward (Punk Anderson), Kathleen York (Betty)

“Oil Baron’s Ball III” is available on DVD and at Amazon and iTunes. Watch the episode and share your comments below.

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