Opinion – Dallas Decoder

Critique: ‘Dallas’ Episode 168 — ‘Homecoming’

June 15, 2015 by Chris Baker 27 Comments

Dallas, Donna Reed, Homecoming, Miss Ellie Ewing Farlow

New mom rising

Even after all these years, it’s still strange to see Donna Reed play Miss Ellie. Reed’s first episode is “Homecoming,” and as soon as she enters the frame in the famous scene where Ellie and Clayton arrive at their airport upon returning from their honeymoon, you can see how different the newcomer is from the actress she succeeds, Barbara Bel Geddes. Reed wears a stylish dress and jewelry, her hair is coiffed and when the camera moves in for her first close-up, she breaks into a bright, toothy smile. When Bel Geddes was Mama, did we ever see her teeth?

None of this is to say Reed is miscast as Miss Ellie. Consider the options facing the “Dallas” producers when the ailing Bel Geddes decided to retire in the spring of 1984. Since killing off Mama would have been heresy — and since no one would have bought her leaving Southfork to live happily ever after off-screen with new husband Clayton — the most viable alternative was to recast the role. There’s no disputing the regal Reed was an unusual choice to replace the downhome Bel Geddes, but if the producers had hired an actress who looked and acted more like the original, would it have made us miss Bel Geddes any less? At least Reed offered a new interpretation instead of an imitation.

Of course, this doesn’t make it any less jarring to see Larry Hagman and Patrick Duffy calling Reed “Mama” in the airport scene, or to watch her and Howard Keel retire at the end of the episode to the set that served as Jim Davis and Bel Geddes’ on-screen bedroom for so many years. (As soon as I saw Reed and Keel there, I couldn’t help but flash back to Jock entering the room and finding Ellie in tears after her mastectomy.) To the producers’ credit, they seem to anticipate this will be the audience’s response and build this episode around Clayton moving into Southfork and realizing he’ll be sharing his new home with Jock’s ghost. I’m sure the show would have told this story if Bel Geddes were still playing Ellie, but I get the feeling the producers use it here to send a kind of subliminal message to the audience: Just as you want the Ewings to accept Clayton, we want you to give Reed a chance.

Even if that wasn’t the producers’ intent, that’s what I plan to do. Reed appeared in 23 additional episodes after “Homecoming,” and I want to approach each one with an open mind. No, Donna Reed isn’t Barbara Bel Geddes, but who is? What’s the point of bemoaning the fact that the two actresses have different styles? I give Reed a lot of credit for having the courage to replace one of the most beloved performers on one of the most popular television shows of the 1980s. It didn’t help matters that “Dallas” entered syndication a few weeks before Reed began her run as Ellie, which meant viewers could watch reruns from the show’s glory years with Bel Geddes every weekday afternoon and then tune in to new episodes on Friday nights to see her replacement.

In this instance, those viewers saw an episode that stands up pretty well to anything from the Bel Geddes era. The novelty of Reed’s debut aside, this is the eighth season’s strongest episode yet. I admire how the show devotes so much time to telling the story of Clayton’s introduction to life at Southfork. I especially appreciate how Arthur Bernard Lewis’s script gives us so many different points of view: In addition to the poignant final scene where Clayton addresses Jock’s portrait (“You still live here Jock. It’s still your house”), there’s a scene earlier in the episode where the Ewing brothers wrestle with the fact that a new man will be sleeping in the room Daddy once shared with Mama. It sounds like another example of adult Ewings being concerned with matters they’re too old to be worried about, except I know a lot of grownups in real life who struggle to accept stepparents.

Indeed, this episode is full of little reminders of how unique “Dallas” was among the era’s prime-time soap operas. Yes, this is a show where Sue Ellen Ewing considers buying a $1,095 dress at The Store, but it’s also a show where Ray Krebbs ruins his and Donna’s dinner by forgetting to turn on the microwave. There’s also charm in seeing the Ewings going to the airport to pick up Clayton and Ellie, as well as the scene where the family sits around and reminisces about the old days. These are small moments, but they help make the characters feel like real, knowable people.

Some final thoughts: “Homecoming” marks the beginning of Michael Alldredge’s four-episode run as Steve Jackson, the salvage man Pam hires to recover Mark’s plane wreckage. Alldredge previously appeared during the fourth season as Don Horton, one of the detectives who investigated J.R.’s shooting, and he returns yet again during the show’s final year as Carter McKay’s attorney, Ray King. Additionally, there are some memorable lines in this episode, beginning with J.R.’s crack about Pam’s inheritance from Mark (“I tell you, that woman has a knack for piling up unearned dollars”). Later, when J.R. says John Ross doesn’t know “half the nicknames” people call him, Sue Ellen responds, “That’s because he’s too young to know words like that.”

In an episode about life’s transitions, isn’t it nice to know some things at Southfork never change?

Grade: A

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Daddy’s home

‘HOMECOMING’

Season 8, Episode 7

Airdate: November 9, 1984

Audience: 22.2 million homes, ranking 1st in the weekly ratings

Writer: Arthur Bernard Lewis

Director: Gwen Arner

Synopsis: Miss Ellie and Clayton return to Southfork, where he feels overshadowed by Jock’s memory. Pam hires a salvage company to search for Mark’s missing plane. Mandy tells Cliff she overheard Sue Ellen confide in Jamie that J.R. is worried about Cliff’s success. Eddie realizes there’s more to Lucy than meets the eye.

Cast: Michael Alldredge (Steve Jackson), Norman Bennett (Al), Roseanna Christiansen (Teresa), Patrick Duffy (Bobby Ewing), Tony Garcia (Raoul), 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), 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), Christopher Stone (Dave Stratton), Charlene Tilton (Lucy Ewing), Kathleen York (Betty)

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

Filed Under: Critiques, Critiques (Classic), Opinion Tagged With: Arthur Bernard Lewis, Barbara Bel Geddes, Donna Reed, Homecoming, Howard Keel, Jim Davis, Larry Hagman, Michael Alldredge, Patrick Duffy

Critique: ‘Dallas’ Episode 167 — ‘Shadow of a Doubt’

June 10, 2015 by Chris Baker 12 Comments

Dallas, Pam Ewing, Shadow of a Doubt, Victoria Principal

Chasing ghosts

Pam shifts into girl-detective mode in “Shadow of a Doubt,” searching for the truth about Mark Graison’s death. She leaves no stone unturned, seemingly questioning everyone who shared a connection with her onetime fiancé — his maid, his lawyer, even his florist — and ultimately concludes Mark might still be alive. Victoria Principal brings the right balance of determination and puzzlement to each of these scenes; it’s been years since she’s dominated an episode so thoroughly. Nevertheless, I find it hard to get excited about this storyline. Was anyone clamoring for Mark’s return in 1984? Wouldn’t you rather see Pam pouring herself into fighting for Bobby?

On the other hand: Bobby isn’t quite the catch he once was, is he? Consider: He now knows that Katherine forged the letter that broke up his marriage to Pam. He’s also admitted to J.R. that he still loves his ex-wife. And as far as Bobby knows, Mark is out of the picture for good and Pam is finally free. So why hasn’t Bobby returned to her? I suppose “Dallas” wants us to believe Bobby is genuinely torn between two women, given how hard the show is selling the Bobby/Jenna pairing. “Shadow of a Doubt” even sends Patrick Duffy and Priscilla Beaulieu Presley to a waterpark, where Bobby proposes to Jenna as they go down a slide together. (She accepts, of course, although the dubbing in this scene isn’t the greatest: Notice how Presley’s lips don’t move while they’re on the slide, even though Bobby and Jenna banter the whole way down.) It’s a cute scene, but given what we know about Bobby’s sense of duty and honor, I can’t help but wonder why he’s proposing to one woman when his heart belongs to another.

J.R. is a little easier to love in “Shadow of a Doubt,” which showcases Larry Hagman’s comedic talents more than most episodes. In the scene where Sly tells J.R. that Cliff is convinced he’s behind Westar’s offer to merge with Barnes-Wentworth, Hagman looks tickled to deliver J.R.’s response: “You know the wonderful thing about being me, Sly? With my reputation, I don’t have to do a damn thing. Everybody thinks that I’m behind half the deals in Dallas anyway.” There’s also some fun interplay between Linda Gray and Hagman at the waterpark, where Sue Ellen catches J.R. checking out two shapely women in sexy swimwear. She cuts him a dirty look, although he’s so distracted, it takes him awhile to realize he’s been caught. Guess our hero isn’t as smooth as he thinks.

Another scene shows J.R. at his best — and worst. When Sue Ellen reveals the makeover she’s given Jamie — complete with a fancy new dress — J.R. says, “It’s amazing what a few thousand dollars can do, isn’t it?” This seems unusually cruel, even for him. J.R.’s next zinger is more keeping with his style: “What’s next? Are we going to cap her teeth?” I also like how director Nick Havinga uses the Southfork set here. The sequence begins with J.R. coming home and fixing himself a drink in the living room. Sue Ellen enters, tells him she has a surprise and leads him into the foyer, where Jamie comes down the stairs and shows off her new look. After J.R. insults her, Jamie runs away followed by Sue Ellen, and then J.R. glides into the dining room, where Teresa asks if he’ll be dining alone. “Yeah, it seems like it, doesn’t it?” J.R. says. Three scenes in three rooms, each one flowing seamlessly into the next.

Two other scenes in “Shadow of a Doubt” remind me how this era of “Dallas” has more in common with the period depicted on “Mad Men” than the one we live in now. In the first, Lucy and Betty get into an argument over Eddie and splash water in each other’s faces. It’s silly and slightly demeaning to the characters, although I appreciate how this clash between two waitresses contrasts with the silly catfights we were getting between the bejeweled, bedazzled women of “Dynasty” at the time. Later, when Cliff tells Mandy her job is to make coffee and clean the house, she doesn’t tell him to get lost — she waits until he leaves for work and then calls information (remember doing that?) and asks for the number to a daily maid service. Sigh.

“Shadow of a Doubt” also includes quite a few nods to the past, including a possible inside joke: Bobby tells Donna her oil company used to be owned by “Bill Duke,” which also happens to be the name of a director who helmed two sixth-season “Dallas” episodes. (Duke also played sharecropper Seth Foster in “Dallas: The Early Years.”) Meanwhile, two faces familiar to longtime “Dallas” fans appear: Mark’s maid Rosa is played by Irma P. Hall, who was so wonderful as Tilly the caterer in “Barbecue,” while the Graison florist is played by Randy Moore, who was stuffy Reverend Thornwood in “Double Wedding.”

Speaking of familiar faces: There’s another one I’d like to see, and it belongs to Miss Ellie, who has now been missing from the show for more than six episodes. Her absence was felt most acutely after Bobby’s shooting, although I also wonder how her presence might have affected my response to Jamie’s debut in the previous episode. If Jamie had received the Mama seal of approval during the newcomer’s first appearance, might I have warmed up to her? (Eh, probably not.) The bottom line is Miss Ellie is missed, and it will be good to have her back in the next episode — even if she’s not quite herself when she arrives.

Grade: B

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Down they go

‘SHADOW OF A DOUBT’

Season 8, Episode 6

Airdate: November 2, 1984

Audience: 23 million homes, ranking 1st in the weekly ratings

Writer: Leonard Katzman

Director: Nick Havinga

Synopsis: Pam discovers evidence that suggests Mark might still be alive. Bobby proposes to Jenna. Sue Ellen defends Jamie from J.R.’s insults. Lucy and Betty fight over Eddie.

Cast: Norman Bennett (Al), Roseanna Christiansen (Teresa), Patrick Duffy (Bobby Ewing), Eric Farlow (Christopher Ewing), Linda Gray (Sue Ellen Ewing), Larry Hagman (J.R. Ewing), Irma P. Hall (Rosa), Jenilee Harrison (Jamie Ewing), Susan Howard (Donna Krebbs), Cherilyn James (Waitress), Rick Jason (Avery Carson), Steve Kanaly (Ray Krebbs), Omri Katz (John Ross Ewing), Howard Keel (Clayton Farlow), Ken Kercheval (Cliff Barnes), Fredric Lehne (Eddie Cronin), Robert Magruder (White), Stephan Mazurek (Deliveryman), Shalane McCall (Charlie Wade), Randy Moore (Florist), Jim Ponds (Lewis), Priscilla Beaulieu Presley (Jenna Wade), Victoria Principal (Pam Ewing), Debbie Rennard (Sly), Sherril Lynn Rettino (Jackie Dugan), Marina Rice (Angela), Deborah Shelton (Mandy Winger), Danone Simpson (Kendall), William Smithers (Jeremy Wendell), Christopher Stone (Dave Stratton), David Stump (Tommy Hart), Charlene Tilton (Lucy Ewing), Kathleen York (Betty)

“Shadow of a Doubt” is available on DVD and at Amazon and iTunes. Watch the episode and share your comments below.

Filed Under: Critiques, Critiques (Classic), Opinion Tagged With: Barbecue, Bill Duke, Dallas: The Early Years, Double Wedding, Irma P. Hall, Larry Hagman, Linda Gray, Nick Havinga, Patrick Duffy, Priscilla Beaulieu Presley, Randy Moore, Shadow of a Doubt, Victoria Principal

Critique: ‘Dallas’ Episode 166 — ‘Family’

June 8, 2015 by Chris Baker 5 Comments

Bobby Ewing, Dallas, Family, Jenna Wade, J.R. Ewing, Larry Hagman, Patrick Duffy, Priscilla Beaulieu Presley, Ray Krebbs, Steve Kanaly

Welcome to the family

I want to like Jamie Ewing. Really, I do. She arrives at Southfork at the end of the eighth-season episode “Jamie,” but we don’t get to know her until the following installment, “Family.” The character has a lot of potential: She’s a fresh face when the show badly needs one, and the fact that she’s a long-lost Ewing cousin from the wrong side of the tracks makes her a natural adversary for J.R., something this show can never have enough of. Nevertheless, Jamie’s debut falls flat. It’s another example of how middling “Dallas’s” middle years can be.

With Jamie, the producers seem to be trying to recapture the J.R.-vs.-Pam dynamic from the show’s earliest seasons. “Family” even includes a scene where J.R. offers Jamie a bribe to leave Southfork, just like he did with Pam in “Digger’s Daughter.” But unlike Pam, who felt like a real threat to J.R., Jamie comes off more like a nuisance. Much of this has to do with Jenilee Harrison, who is a fine actress but who lacks Victoria Principal’s spark. Consider the “Family” dinner scene where J.R. tests Jamie’s self-proclaimed knowledge of the oil industry. Sure, she aces his quiz, but there’s no joy in Harrison’s performance. Imagine how much fun this scene would have been if it had been about Pam outsmarting J.R.

I’m also no fan of how “Dallas” brings Jamie into the fold by making her the daughter of Jock’s dead brother Jason. So Jock Ewing has an estranged sibling, huh? You’d think this fact might have come up when Jock was alive and trying to get his sons to get along. On the other hand, I like how Sue Ellen immediately embraces Jamie — not to annoy J.R., but because the newcomer fills a void in Sue Ellen’s life. The instant friendship between the two women demonstrates how much Linda Gray’s character has grown since “Dallas’s” early days, when Sue Ellen went out of her way to make Pam feel unwelcomed. By the end of “Family,” Sue Ellen has even taken Jamie out and bought her a new wardrobe. I only wish the shopping spree occurred on camera.

This episode is a mixed bag for the other “Dallas” characters too. I continue to be charmed by Mandy Winger, who seems much savvier when paired with Cliff than she does later with J.R. In this episode’s best twist, Jeremy Wendell — making a welcome return to “Dallas” after three-season absence — runs into Mandy, who gets him to open up about what he really thinks of Cliff. Uh-oh, is Mandy pumping Jeremy for information so she can betray Cliff? Nah. After Jeremy leaves, Cliff steps out of the shadows to congratulate Mandy on playing Jeremy like a fiddle. It’s another example of how much smarter Cliff has become, although if you prefer the self-absorbed, self-destructive Cliff, don’t worry, he’s still around. Witness the “Family” scene where he meets Sly outside the Ewing Oil building and asks her to spy on J.R. again. Cliff never really learns his lesson, does he? (By the way: I love how director Leonard Katzman shoots Debbie Rennard on a dramatic angle as she exits the building for this scene.)

Elsewhere, Lucy waits on a rowdy table at the diner — and of course handsome construction worker Eddie Cronin comes to her rescue. Wouldn’t it have been nice to see her resolve this problem on her own? Likewise, I’m tempted to deride Jeremy’s sexism when he orders for Pam at lunch, except the point of the scene is to show how Jeremy must control every situation in which he finds himself. If he were dining with Cliff instead of Pam, he probably would have ordered for him too. This scene also allows Principal to show off her on-camera eating skills. Notice how effortlessly she slides that forkful of Crab Louie into her mouth, in contrast to William Smithers, who seems to struggle with his bite before the camera cuts away.

The other reason I’m relieved to see Jeremy show up is because it means he’ll soon be at war with J.R., who hasn’t had enough to do in recent episodes. Think about it: Here we are in the eighth season’s fifth hour, and the biggest deal we’ve seen is Donna’s purchase of a small oil company. I have to wonder: Where’s the wheeling? Where’s the dealing? This is “Dallas,” right?

Grade: B

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Street smarts

‘FAMILY’

Season 8, Episode 5

Airdate: October 26, 1984

Audience: 20.9 million homes, ranking 2nd in the weekly ratings

Writer and Director: Leonard Katzman

Synopsis: Sue Ellen insists Jamie stay at Southfork and buys her a new wardrobe, but J.R. refuses to make her feel welcomed. Cliff is suspicious when Jeremy offers to buy Barnes-Wentworth and offers him a seat on Westar’s board of directors. Cliff asks Sly if J.R. and Wendell are working together. Lucy’s co-worker Betty warns her to stay away from her boyfriend, construction worker Eddie Cronin. Pam is rattled when she spots someone driving Mark’s car.

Cast: Roseanna Christiansen (Teresa), Patrick Duffy (Bobby Ewing), Shanette Eckols (Lydia), 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), Debbie Rennard (Sly), Sherril Lynn Rettino (Jackie Dugan), Deborah Shelton (Mandy Winger), William Smithers (Jeremy Wendell), Christopher Stone (Dave Stratton), Charlene Tilton (Lucy Ewing), Kathleen York (Betty)

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

Filed Under: Critiques, Critiques (Classic), Opinion Tagged With: Debbie Rennard, Digger’s Daughter, Family, Jamie, Jenilee Harrison, Larry Hagman, Leonard Katzman, Victoria Principal, William Smithers

Critique: ‘Dallas’ Episode 165 — ‘Jamie’

June 3, 2015 by Chris Baker 21 Comments

Distant cousin

Jamie Ewing arrives and Katherine Wentworth departs in “Jamie.” Is this a fair trade? I’ll reserve judgment on Jamie’s end of the exchange until I’ve revisited more episodes that feature her character, but there’s no doubt in my mind Katherine is leaving at the right moment. A little camp goes a long way on “Dallas,” and too often Morgan Brittany’s character veered toward the cartoonish. On the other hand, I appreciate how Katherine achieved mythic status after this episode, especially among the loyalists who continued to clamor for Brittany’s return until the final days of TNT’s sequel series. Also, the hats. I’ll miss the hats.

The stage is set for Katherine’s exit during the previous episode, which ends with her getting ready to inject Bobby with poison while he sleeps in a hospital bed. As “Jamie” opens, Bobby awakens and screams for help. J.R. and his security guards happen to be nearby and rush into the room, where they pull Katherine away before she can hurt poor, blind Bob. Moments later, while squirming to break free from the guards, Katherine confirms she fired the gunshots that landed Bobby in the hospital in the first place, and then she reveals he was her target all along — a clever twist since “Dallas” previously led the audience to believe J.R. was the intended victim. Brittany is as over the top as ever during Katherine’s confession, although she outdoes herself during her final scene in “Jamie,” when Katherine runs into Cliff on the courthouse steps. After admitting she tried to frame him, Katherine barks, “Get out of my way!” and shoves him aside — except Ken Kercheval is already standing about two feet away, so Brittany has to step toward him in order to push him out of the way. It’s silly, but also kind of wonderful.

The revelation that Katherine meant to shoot Bobby is a final homage to “Who Shot J.R.?” Just as J.R.’s assailant turned out to be his sister-in-law, so too does Bobby’s. I’m glad the comparisons end there, however. I’ve always believed it was a mistake to kill off Kristin, and so I’m glad “Dallas” doesn’t repeat the error with Katherine. After her encounter with Cliff, she skips bail and flees town, allowing the producers to bring Brittany back whenever the show needed an angel of death. Katherine finally succeeds in “killing” Bobby when Patrick Duffy leaves the series in 1985, and then she returns again to pave the way for Pam’s disappearance after Victoria Principal’s exit two years later. It’s the major difference between Kristin and Katherine’s fates: One becomes the answer to a trivia question, while the other becomes a legend.

The rest of “Jamie” is the usual mixed bag from this era of “Dallas.” I get a kick out of the final scene, when Jamie arrives at Southfork and interrupts the Ewings lounging around their swimming pool. J.R.’s greeting (“Miss, I’m sorry, this is private property”) sounds like something a Texan would say to a stranger who shows up on the doorstep unannounced. I also like the earlier scene where Donna cooks a big meal for Ray to butter him up before breaking news she knows he won’t like. If this were another TV show, we might expect Donna to tell Ray that she accidentally dented the car, or that she splurged on new living room furniture. But this is “Dallas,” where Donna’s news is that she spent $10 million to buy her own oil company. To his credit, Ray doesn’t flip out — a sign, perhaps, that the humble cowboy has finally outgrown his inferiority complex from earlier seasons.

“Jamie” also includes references to characters from days gone by (Valene, Muriel, Afton), as well as Pam’s return to Herbert and Rebecca Wentworth’s Houston mansion for the first time since the fourth-season classic “The Prodigal Mother.” There’s also a fun scene where J.R. and Sue Ellen sit on the Southfork patio and discuss Katherine’s confession, which recalls Jock and Miss Ellie’s breakfast conversation after Kristin’s confession in 1980. The “Jamie” exchange also is notable because it includes J.R.’s memorable observation that his family has a penchant for attracting “weirdoes” like Katherine, Jessica Farlow and the “crackpot” who kidnapped Lucy. (In this instance, he’s referring to obsessive photographer Roger Larson, although he could just have easily been talking about Willie Gust or even himself.)

Speaking of Lucy: Perhaps the best moment in “Jamie” belongs to Charlene Tilton, who delivers a surprisingly moving monologue when Ray discovers her character is working as a waitress at the Hot Biscuit roadside diner. When I watched these episodes as a kid, I remember everyone in my family thought this storyline was ridiculous. It doesn’t seem any more realistic now, but I nonetheless find myself admiring Lucy’s efforts to forge an identity outside her famous last name. So far, this is Tilton’s best storyline in years. And even if it isn’t your cup of tea, you have to admit: Lucy seems to be better at waitressing than modeling, don’t you think?

Grade: C

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Heeere’s Katherine!

‘JAMIE’

Season 8, Episode 4

Airdate: October 19, 1984

Audience: 21 million homes, ranking 2nd in the weekly ratings

Writer: David Paulsen

Director: Nick Havinga

Synopsis: After J.R. stops Katherine from poisoning Bobby, she confesses to the shooting and is arrested, only to skip bail later. Bobby regains his eyesight. Cliff’s success continues to rattle J.R. Lucy begins waitressing. Donna buys a small oil company. A young woman arrives at Southfork and announces she is Jamie Ewing, daughter of Jock’s late brother, Jason.

Cast: Norman Bennett (Al), Morgan Brittany (Katherine Wentworth), Roseanna Christiansen (Teresa), Patrick Duffy (Bobby Ewing), Eric Farlow (Christopher Ewing), Jenny Gago (Nurse), 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), Randolph Mantooth (Joe Don Ford), Shalane McCall (Charlie Wade), Priscilla Beaulieu Presley (Jenna Wade), Victoria Principal (Pam Ewing), Marina Rice (Angela), Deborah Shelton (Mandy Winger), Danone Simpson (Kendall), Charlene Tilton (Lucy Ewing), Deborah Tranelli (Phyllis), Kathleen York (Betty)

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

Filed Under: Critiques, Critiques (Classic), Opinion Tagged With: Charlene Tilton, Jamie, Ken Kercheval, Morgan Brittany, Patrick Duffy, Prodigal Mother, Victoria Principal, Who Shot J.R.?

Critique: ‘Dallas’ Episode 164 — ‘If at First You Don’t Succeed’

June 1, 2015 by Chris Baker 8 Comments

Dallas, If at First You Don't Succeed, Katherine Wentworth, Morgan Brittany

Take another shot

The final scene in “If at First You Don’t Succeed” is another example of how music helps tell the stories on “Dallas.” As Bobby sleeps in his hospital bed, Katherine enters the room, fills a syringe with poison and prepares to inject him. This is supposed to be the moment the audience realizes Katherine fired the gunshots that landed Bobby in the hospital in the first place, although I suspect most viewers who saw this episode in 1984 had long since figured that out. The revelation is gripping nonetheless, thanks mostly to composer Richard Lewis Warren, whose music conveys emotion in ways images alone cannot.

Consider how much work Warren’s score does here. The scene requires Morgan Brittany to enter the room, walk to the nightstand, set down her purse, retrieve the syringe, fill it with poison, squirt a little (an especially nice touch) and stare menacingly at Patrick Duffy. All of this takes a little less than a minute, which is longer than it sounds when you consider there’s no dialogue and we don’t see Katherine’s face until the last few seconds. Nevertheless, Warren’s visceral score — the whirring strings, the escalating keys — makes the scene positively Hitchcockian. The music holds our attention, every step of the way. Of course, don’t overlook Brittany, who has never looked more sinister. Also, during the freeze frame, notice how Philip Capice’s credit moves from its usual spot in the center of the screen to the lower third, as if Katherine has willed the show’s executive producer out of her way.

This climactic moment aside, the “Who Shot Bobby?” mystery turns out to be much less interesting than it seemed three decades ago. The storyline’s truest bright spot is the way it reignites Pam’s spark, giving Victoria Principal some of her best material since “Dallas’s” first two seasons. For example, when “If at First You Don’t Succeed” begins, Pam confronts J.R. outside the Ewing Oil building and accuses him of trying to frame Cliff for the shooting. It’s one of J.R. and Pam’s great clashes, especially when she vows to join Cliff’s side in the Barnes/Ewing feud. “I’m not going to rest until all our family scores are settled,” she says, leaving J.R. looking more than a little unnerved. Later, when Sue Ellen visits Pam at home and tries to defend her husband, Pam is aghast — and she doesn’t hesitate to show it. Sue Ellen becomes equally indignant and suggests it might be time for the Barneses and the Ewings to go their separate ways, prompting Pam to snap, “Then why don’t you start, Sue Ellen, by leaving here right now?”

Too bad Donna’s storyline doesn’t hold up as well. I like how the writers have Bobby name Donna his proxy at Ewing Oil, if only because it’s good to see a “Dallas” woman in a position of authority for a change. Unfortunately, Donna comes off as a bit of a nag when dealing with J.R. at the office. She does give him this episode’s most memorable line, though, when she wonders how Cliff’s arrest is affecting Pam. J.R.’s memorable response — “I don’t give a damn about Pam” — is one of those times you know exactly what he’s going to say before it rolls off his tongue. A nicer moment comes when Clayton visits the Krebbs’ home to say goodbye to Ray and Donna before leaving to join Miss Ellie on their honeymoon in Greece. Before Clayton climbs into his Rolls Royce to head to the airport, Donna tells him she loves him, and he says it back to her. I don’t know if this exchange was scripted or if Susan Howard and Howard Keel ad-libbed it, but I’m glad it’s here.

“If at First You Don’t Succeed” is also notable because it brings Deborah Shelton to “Dallas” as Mandy Winger, who arrives as Cliff’s love interest but ends up becoming J.R.’s longest-running mistress. This episode also marks the first appearance of Cliff’s painting of himself, an ideal accessory for Ken Kercheval’s self-centered character, along with the icky scene where J.R. seduces sweaty Sue Ellen in the Southfork exercise room. (Couldn’t these two find another spot in that big house to get it on?) Also, notice that when Katherine hears the radio bulletin that Cliff has been cleared in Bobby’s shooting, the newscaster (“John Shaw”) is the same one who announces Bobby’s shooting in this season’s first episode and his death during the season finale. Additionally, there are quite a few nods to “Dallas’s” past, including the scene where Sue Ellen tells Jenna about Dusty’s paralysis, a storyline from the fourth and fifth seasons, and Lucy’s visit to the Hot Biscuit, the roadside diner where Valene worked during the second season.

Scenes like these do more than reward the memories of longtime viewers. They also make “Dallas” seem like something more than a television show, as if the series has become its own little world. Aren’t you glad we get to inhabit it too?

Grade: B

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Get another room

‘IF AT FIRST YOU DON’T SUCCEED’

Season 8, Episode 3

Airdate: October 12, 1984

Audience: 24 million homes, ranking 7th in the weekly ratings

Writer: David Paulsen

Director: Leonard Katzman

Synopsis: Cliff is cleared in Bobby’s shooting when mystery woman Mandy Winger comes forward and reveals he spent the night with her. Bobby considers having risky surgery to restore his eyesight, upsetting Jenna. J.R. seduces Sue Ellen, who defends his actions to Clayton, Donna and Pam. Lucy is offered a waitressing job at a diner where Valene once worked. While Bobby sleeps, Katherine sneaks into his room and prepares to inject him with poison.

Cast: Norman Bennett (Al), Morgan Brittany (Katherine Wentworth), James L. Brown (Detective Harry McSween), Roseanna Christiansen (Teresa), Patrick Duffy (Bobby Ewing), Jenny Gago (Nurse), Gerald Gordon (Dr. Carter), Linda Gray (Sue Ellen Ewing), Larry Hagman (J.R. Ewing), Susan Howard (Donna Krebbs), Steve Kanaly (Ray Krebbs), Howard Keel (Clayton Farlow), Omri Katz (John Ross Ewing), Ken Kercheval (Cliff Barnes), Shalane McCall (Charlie Wade), Bill Morey (Leo Wakefield), Joanna Miles (Martha Randolph), George O. Petrie (Harv Smithfield), Priscilla Beaulieu Presley (Jenna Wade), Victoria Principal (Pam Ewing), Donna Reed (Miss Ellie Farlow), Debbie Rennard (Sly), Sherril Lynn Rettino (Jackie Dugan), Marina Rice (Angela), Mitchell Ryan (Captain Merwin Fogerty), Deborah Shelton (Mandy Winger), Charlene Tilton (Lucy Ewing)

“If at First You Don’t Succeed” is available on DVD and at Amazon and iTunes. Watch the episode and share your comments below.

Filed Under: Critiques, Critiques (Classic), Opinion Tagged With: Deborah Shelton, Howard Keel, If at First You Don’t Succeed, Morgan Brittany, Patrick Duffy, Philip Capice, Richard Lewis Warren, Susan Howard, Victoria Principal, Who Shot J.R.?

Critique: ‘Dallas’ Episode 163 — ‘Battle Lines’

May 27, 2015 by Chris Baker 8 Comments

Battle Lines, Dallas, J.R. Ewing, Larry Hagman

Ewing blues

Bobby has lost his eyesight in “Battle Lines,” but J.R. has lost his mojo. The eldest Ewing brother is unusually angsty in this episode: He’s guilty because he believes the bullets that blinded Bobby were meant for him, he’s nervous because his would-be assassin is still on the loose, he’s depressed because his scheme to ruin Cliff Barnes has backfired spectacularly, turning Dallas’s biggest born loser into an overnight success in the oil business. It’s never fun to see J.R. down and out, but these moments tend to give us insight into his character. This one is no exception.

In one revealing scene, J.R. is leaving for work when John Ross asks him if he’s planning to take over Ewing Oil now that Uncle Bobby is in the hospital. J.R. leans down, looks the boy in the eye and tells him he plans to win control of the company some day, but not while Bobby is sick. “With family, you play fair,” J.R. says. “There are rules to follow, and if you do, you’ll be able to live with yourself.” Larry Hagman’s delivery is so sincere, you get the feeling J.R. believes what he’s saying. Who knew the master of deception was so good at deceiving himself? Later, we see J.R. lose his cool — twice. First, he argues with Donna after she arrives at Ewing Oil to look after the ailing Bobby’s interests, and then J.R. clashes with Cliff, dousing him with champagne during a dust-up at the Oil Baron’s Club.

Toward the end of “Battle Lines,” J.R. finally opens up to Sue Ellen about everything that’s bothering him. This might be the episode’s most revealing moment of all. “Dallas” rarely lets us know what J.R. is really thinking; when it happens, it usually comes in the form of a monologue delivered to Jock’s painting. Here, J.R. sits on the Southfork patio and confesses all to Sue Ellen, who is so moved by her husband’s display of vulnerability, she takes his hand and assures him everything will be okay. It’s a rare example of these two behaving like spouses who share their problems instead of using them to undermine each other. It’s also the first time in more than a year that Sue Ellen has shown J.R. real affection, and it turns out to be just what the doctor ordered: In the episode’s final scene, J.R. lurks nearby as his goons from the police squad arrest Cliff for Bobby’s shooting. Does J.R. genuinely believe Cliff is guilty, or is he merely taking advantage of an opportunity to pin a major crime on his rival? The answer isn’t clear, but one thing is indisputable: It’s good to see him get his groove back.

J.R. and Cliff’s shifting fortunes lend “Battle Lines” a neat bit of symmetry: J.R. is in the doldrums until the final scene, while Cliff rides high throughout this episode, only to crash at the end. It’s nice to see Cliff succeed for a change, and I always think it’s interesting how he emulates J.R. Cliff uses Marilee for sex in “Killer at Large,” the previous episode, and in “Battle Lines” he sacks Vaughn with J.R.-like efficiency. I also like Cliff’s scenes with Pam in this episode — including their stroll from her swimming pool to her house, which director Nick Havinga films in an unbroken tracking shot — as well as the arrest scene, which ends with Pam looking infuriated when she realizes J.R. orchestrated her brother’s arrest. (One oddity: Why does one detective announce the charge against Cliff while another cop simultaneously reads him his rights?)

Speaking of Pam: I like the scene where she tells Bobby that Katherine forged the letter that broke up their marriage. The couple sits on a bench on the hospital grounds, mimicking their breakup scene in Thanksgiving Square one year earlier. And even though Bobby’s blindness offers an unmistakable metaphor for his inability to see through Katherine’s scheme, I’m no fan of this storyline. Unlike J.R.’s post-shooting paralysis, which humbled his character and made for interesting storytelling, sticking Patrick Duffy behind those oversized dark glasses does his character no favors. Bobby looks weak and ineffectual, and that’s not what the audience needs from him. If the show wanted to use his near-death experience to explore different facets of his character, I would have gone in the other direction and made him royally angry that he took a couple of slugs that were intended for his brother.

Finally, I like how “Battle Lines” brings together characters who don’t usually interact: Ray and Donna investigate the bugged telephones at Ewing Oil with help from Phyllis, while Lucy and Katherine sit together while visiting Bobby at Dallas Memorial. In the latter scene, though, I can’t help but note how overdressed the women appear. Lucy wears an off-the-shoulder dress that looks more appropriate for a night on the town, while Katherine sports a runway-ready turban. Then again, what do I know? If Sue Ellen can wear a turban to the movies, who says Katherine can’t wear one to the hospital?

Grade: A

_______________________________________________________________________________________________________________________________________________

All wet

‘BATTLE LINES’

Season 8, Episode 2

Airdate: October 5, 1984

Audience: 24.7 million homes, ranking 1st in the weekly ratings

Writer: Arthur Bernard Lewis

Director: Nick Havinga

Synopsis: Sly tells Cliff that J.R. doesn’t know she’s working with him. Sue Ellen feels drawn to a newly vulnerable J.R., who orchestrates Cliff’s arrest for Bobby’s shooting. After Pam tells Bobby that Katherine forged the letter that broke them up, Jenna tells Pam to stay away from him. Bobby asks Donna to fill in for him at Ewing Oil.

Cast: Morgan Brittany (Katherine Wentworth), Pat Colbért (Dora Mae), Patrick Duffy (Bobby Ewing), Eric Farlow (Christopher Ewing), Jenny Gago (Nurse), Gerald Gordon (Dr. Carter), Linda Gray (Sue Ellen Ewing), Larry Hagman (J.R. Ewing), Susan Howard (Donna Krebbs), Steve Kanaly (Ray Krebbs), Howard Keel (Clayton Farlow), Omri Katz (John Ross Ewing), Ken Kercheval (Cliff Barnes), Shalane McCall (Charlie Wade), Dennis Patrick (Vaughn Leland), Priscilla Beaulieu Presley (Jenna Wade), Victoria Principal (Pam Ewing), Debbie Rennard (Sly), Marina Rice (Angela), Mitchell Ryan (Captain Merwin Fogerty), Danone Simpson (Kendall), Paul Sorensen (Andy Bradley), Don Starr (Jordan Lee), Deborah Tranelli (Phyllis), Charlene Tilton (Lucy Ewing)

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

Filed Under: Critiques, Critiques (Classic), Opinion Tagged With: Battle Lines (1984), Killer at Large, Larry Hagman, Nick Havinga, Patrick Duffy

Critique: ‘Dallas’ Episode 162 — ‘Killer a Large’

May 25, 2015 by Chris Baker 6 Comments

Bobby Ewing, Dallas, Donna Culver Krebbs, Killer at Large, Patrick Duffy, Ray Krebbs, Steve Kanaly

Reflected glory

“Dallas’s” seventh season winds down with half the cast once again gunning for J.R. In the final scene, an unseen assailant enters the darkened Ewing Oil offices and fires three shots into the back of J.R.’s chair, except he isn’t sitting there — good-guy brother Bobby tumbles to the floor. It’s one of “Dallas’s” greatest fake-outs, establishing the template that TNT’s sequel series would later use to keep viewers on their toes.

The problem is “Who Shot Bobby?” mimics “Who Shot J.R.?” too closely. What begins as a wink to “Dallas’s” most famous moment quickly becomes an imitation, and not a particularly good one. “Killer at Large,” the eighth-season opener, begins with Afton discovering Bobby moments after he’s shot. It’s not unlike the cleaning lady finding J.R. in 1980, although Afton’s reaction isn’t quite as campy. (No high-pitched shrieks and dropped feather dusters here.) We also see the Ewings assemble at Dallas Memorial Hospital to keep vigil for Bobby, just like they did with J.R., and both victims ultimately survive their shootings, but not without complications: J.R. is paralyzed while Bobby is blinded.

I’m sure fans appreciated the homage when “Killer at Large” debuted. It had been years since the “Who Shot J.R.?” episodes aired, so it was probably a kick to relive the mystery, this time with Bobby as the victim. Thirty years later, though, the remake comes off as uninspired. The producers don’t even bother to film Bobby being rushed out of the Ewing Oil lobby and into the waiting ambulance; they merely recycle the four-year-old footage of J.R. on the stretcher. Not helping matters: Most of the actors in “Killer at Large” look bored, and the mystery surrounding the shooter’s identity isn’t all that mysterious. Two characters — Peter and Edgar — are cleared by the end of the episode, leaving Sue Ellen, Cliff and Katherine as the remaining suspects. Was there any doubt in 1984 how that would turn out?

The episode isn’t a total wash. I like director Leonard Katzman’s shot of Ray and Donna spotting the TV news report about Bobby’s shooting while standing near a downtown department store window. Just think: Most of us probably watched this episode in 1984 on that kind of bulky TV set. It’s also fun to see Dennis Haysbert — the future President Palmer on “24” — cast in one of his first TV roles as Bobby’s doctor, although I’m more intrigued when Karen Radcliffe pops up as a nurse. Radcliffe will return to “Dallas” three years later as the nightingale who helps Pam run away after her car accident; should we assume she’s playing the same character in both appearances? I also like when Pam runs into Katherine in the hospital parking lot and refuses to allow her inside to see Bobby. It’s always nice to see Pam use her backbone to stand up for the people she cares about, not nag them.

“Killer at Large” also is notable as the first “Dallas” episode that doesn’t feature Barbara Bel Geddes in the opening credits. She departed the series at the end of the previous season, although Donna Reed won’t show up as her replacement for a few more episodes. Meanwhile, Howard Keel and Priscilla Beaulieu Presley get promoted to the title sequence in this episode, while Travilla begins his two-year run as the show’s costume designer. He makes his mark almost immediately: The actresses look a little more stylish than usual, especially Fern Fitzgerald, who sports slit sleeves when Marilee confronts J.R., and Audrey Landers, who wears a striking red hat and suit during Afton’s farewell to Cliff.

Afton’s poignant departure, by the way, is this episode’s other saving grace. It’s the rare example of a “Dallas” character receiving a decent sendoff, and even though Landers’ character isn’t as iconic as any of the Ewings or Barneses, her goodbye nonetheless signals the end of an era. “Killer at Large” is an eighth-season premiere, and it feels like it. “Dallas” is beginning to lose steam after almost a decade on the air, and so as Afton gives Cliff the kiss-off and heads for the door, I can’t help but think: This lady is getting out while the getting’s good.

Grade: C

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Lazy eye

‘KILLER AT LARGE’

Season 8, Episode 1

Airdate: September 28, 1984

Audience: 22.4 million homes, ranking 1st in the weekly ratings

Writer: Arthur Bernard Lewis

Director: Leonard Katzman

Synopsis: The shooting blinds Bobby, who is hospitalized while the police search for the assailant. J.R., believing he was the target, names Edgar as a prime suspect and is surprised when police tell him Edgar has an alibi. Sue Ellen reluctantly returns to J.R.’s bedroom, where she hides a gun. Afton leaves Cliff, who can’t recall his whereabouts during the shooting. Pam and Jenna rush to Bobby’s side while Katherine makes plans to move to Houston.

Cast: Morgan Brittany (Katherine Wentworth), Martin E. Brooks (Edgar Randolph), Cora Cordona (Pearl), Patrick Duffy (Bobby Ewing), Fern Fitzgerald (Marilee Stone), Jenny Gago (Nurse), Gerald Gordon (Dr. Carter), Linda Gray (Sue Ellen Ewing), Larry Hagman (J.R. Ewing), Dennis Haysbert (Dr. Forbes), Rose Ann Holloway (Irene), Susan Howard (Donna Krebbs), Steve Kanaly (Ray Krebbs), Ken Kercheval (Cliff Barnes), Audrey Landers (Afton Cooper), Shalane McCall (Charlie Wade), J.T. O’Connor (Patterson), Priscilla Beaulieu Presley (Jenna Wade), Victoria Principal (Pam Ewing), Karen Radcliffe (Jane), Debbie Rennard (Sly), Jill Scroggin (Sally), Sherril Lynn Rettino (Jackie Dugan), Mitchell Ryan (Captain Merwin Fogerty), Randy Tallman (Dr. Halperson), Charlene Tilton (Lucy Ewing)

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

Filed Under: Critiques, Critiques (Classic), Opinion Tagged With: Audrey Landers, Barbara Bel Geddes, Dennis Haysbert, Donna Reed, Fern Fitzgerald, Howard Keel, Karen Radcliffe, Killer at Large, Leonard Katzman, Priscilla Beaulieu Presley, Travilla, Who Shot J.R.?

The Dal-List: 18 Reasons to Love ‘Dallas’s’ Eighth Season

May 20, 2015 by Chris Baker 25 Comments

Middlin’ along

Dallas Decoder will soon begin critiquing the original show’s eighth season, which aired from 1984 to 1985. Here are 18 reasons to love it.

Side eye

18. Whenever Pam throws shade. She does it a lot this season.

Metaphor much?

17. When Bobby stops wearing shades. Those things are as big as Southfork!

In good hands with him

16. Dr. President David Palmer. Babe’s farmer shows up too.

Bitches be crazy

15. This nut finally gets caught. Even better: She gets away.

Genus: Hipsterous precursorous

14. Eddie’s wall of hats. Keep on trucking, dude.

Me, me, me

13. Mandy’s wall of Mandy. Keep it classy, honey.

Be nice, J.R.

12. Jamie’s makeover. “What’s next? Are we going to cap her teeth?”

Don’t poke out his eye

11. These lapels. All hail Sue Ellen, intergalactic space empress!

Never change, Ray

10. Ray’s workout gear. It’s also the outfit he wears to weddings, funerals, birthdays and bar mitzvahs.

Blonde ambition

9. This. I bet Jordan helped do her hair.

Groin show

8. Sue Ellen’s parting shot. Who kneed J.R.?

Far out

7. Road trip! Best part of this storyline: Philip Chan guest stars as Edward Chan.

Stay. Please.

6. Jenna goes to jail. She also gets out. (Can’t have everything.)

Eat your heart out, Harv

5. Scotty Demarest. “It is a sy-lun-suh.”

Swoon!

4. Cousin Jack. Best mole since Julie Grey’s.

Beats the sanitarium

3. “The Institute for Advanced Awareness.” Because if anyone needs their awareness advanced, it’s her.

Again with the metaphors

2. We don’t like tomato juice either. But we never turn down eggs and toast.

Death is but a dream

1. “Swan Song.” Who cares if the last few scenes are a dream? This is “Dallas’s” finest hour. (Or its finest hour-and-a-half, if you want to get technical about it.)

Why do you love “Dallas’s” eighth season? Share your comments below and read more “Dal-Lists.”

Filed Under: Dal-Lists, Opinion Tagged With: Charlene Tilton, Dack Rambo, Deborah Shelton, Dennis Haysbert, Fern Fitzgerald, Jenilee Harrison, Larry Hagman, Linda Gray, Morgan Brittany, Patrick Duffy, Priscilla Beaulieu Presley, Stephen Elliott, Steve Kanaly, Susan Howard, Swan Song

Join the Next #DallasChat on Wednesday, May 20, at 8 p.m.

May 18, 2015 by Chris Baker 2 Comments

Dallas, J.R. Ewing, Larry Hagman, Linda Gray, Sue Ellen Ewing

Humpty dance

Dallas Decoder’s next #DallasChat on Twitter will be Wednesday, May 20, from 8 to 9 p.m. Eastern time.

Since this will be our first midweek chat — and since Dallas Decoder will soon begin reviewing the original show’s midpoint eighth season — our theme will be: “Do the Hump.”

Are you new to #DallasChat? Here’s how it works: During the hour-long discussion, I tweet 10 questions from my Twitter handle, @DallasDecoder. Fans respond to the questions and comment on each other’s answers, making each chat a fun, freewheeling group conversation.

Here’s a sample exchange:

Q1. Who posed the greatest threat to J.R. and Sue Ellen’s marriage? #DallasChat

A1. It was that Winger tramp, Mandy. She almost stole J.R. forever! #DallasChat

Here are three tips:

• Each #DallasChat question is numbered (Q1, Q2, etc.), so your responses should include the corresponding number (A1, A2, etc.).

• Include the hashtag #DallasChat in your tweets.

• During the discussion, enter #DallasChat in Twitter’s search field. This will help you watch the search results so you can follow the conversation. Click “All” to see all the related tweets.

I can’t think of a better way to celebrate Hump Day, can you? See you Wednesday!

Got suggestions for #DallasChat questions? Leave them in the comments below.

Filed Under: #DallasChat, #DallasChat announcements, Opinion Tagged With: Larry Hagman, Linda Gray