J.R. Ewing here
You can feel the hate in “False Confessions.” This episode takes an unapologetically dark view of the Barnes/Ewing feud, which is fitting since the conflict has been going on for so long now it seems Biblical. The epic scope of Taylor Hamra’s script makes this one of “Dallas’s” most satisfying hours this season, which is a real achievement when you consider Larry Hagman appears in just three scenes, and never once does he come face to face with Ken Kercheval. Since Cliff isn’t expected to resurface until J.R.’s midseason funeral, this probably means we’ll never see these old enemies clash again. A sad thought, but one we better start getting used to.
More than anything, “False Confessions” demonstrates how much Cliff has changed. Yesterday’s needy neurotic has become today’s guileful Godfather. How? Why? When? The new “Dallas” has never spelled this out, which makes it tough for longtime fans to figure out what turned Cliff so … evil. I suppose it’s up to each of us to fill in the gaps ourselves, so here’s my theory: After the original “Dallas” ended and J.R. slipped into depression and isolation, Cliff lost his biggest distraction in life, liberating him to focus on building an empire of his own. He’s become one of the world’s richest men, but he’s still hell-bent on beating the Ewings for the same reason Mitt Romney kept running for president – because after you’ve conquered the rest of the world, what else is left?
Whatever the reason for Cliff’s metamorphosis, there’s no denying that “Fatal Confessions” turns him into “Dallas’s” most tragic figure. Cliff pulls out the stops to protect Pamela from prosecution – probably because he loves her, but also because she’s so crucial to his plot against the Ewings. To make matters worse, he forces his “son” Frank to fall on his sword, again to keep his revenge scheme moving forward. It’s hard to not see the parallels with Cliff’s father Digger, who relied on his son to settle his scores with the Ewings, just like Cliff has done with his own children. Of course, Digger was a broken drunk, while Cliff is global titan – but that only makes Cliff seem smaller.
This much is certain: Kercheval is as watchable as ever. I loved his flamboyant performances on the old show; you never knew how Kercheval would approach a scene, which made him “Dallas’s” most electric actor. Now, as the more restrained Cliff, Kercheval turns out to be just as fascinating. Consider the tense scene where Cliff persuades Frank to “do the honorable thing” and kill himself. I would never have dreamed Cliff could be this cold and calculating, but man, does Kercheval sell it. (Credit also goes to costume designer Rachel Sage Kunin, who has cleverly replaced Cliff’s flashy pocket squares with dark jackets and turtlenecks. It’s like an outward manifestation of the darkness that has consumed him.)
Not that Cliff is altogether unrecognizable in “False Confessions”: When he sees the TV news report about the police recovering Tommy’s body, his response (“Son of a bitch!”) brings to mind some of his exasperated reactions to J.R.’s one-upmanship from long ago. We also see a flash of the old Cliff’s shortsightedness in the great scene where John Ross comes to him, offering to betray J.R., only to be turned away because Cliff would never trust a Ewing. Contrast this with J.R. himself, who in the previous episode didn’t hesitate to enlist Frank in his plot against Pamela. Cliff might be richer, but J.R. will always be smarter.
Speaking of J.R.: Hamra deserves much praise for giving Hagman something to do besides deliver zingers. The exchange where J.R. comforts Bobby (“No baby brother of mine is going to spend his twilight years in jail”) showcases the effortless warmth between Hagman and Patrick Duffy, while once again casting J.R. in the unlikely role he’s come to play so well: defender of the family. Something similar happens in the equally wonderful scene where J.R. chastises John Ross for wanting to use Bobby’s misfortune for their gain. Not only does this echo a sweet moment from the original series, when J.R. told little John Ross it would be wrong to take advantage of Uncle Bobby after his shooting, it also recalls my favorite J.R./John Ross scene from last season. Back then, the roles were reversed: John Ross was the one who pleaded with J.R. to show “a little decency” where the cancer-stricken Bobby was concerned.
Hamra’s script includes many other nice touches that summon the show’s history and enduring themes of family and honor. I love when Sue Ellen recalls for John Ross how she was “nearly destroyed” when she got caught in the middle of J.R. and Cliff’s war. I also love the line where Cliff tells John Ross he only agreed to see him out of respect for his mother. There’s also Faran Tahir’s surprisingly heartbreaking performance during Frank’s jailhouse meeting with Cliff, as well as Judith Light’s big scene, when her character Judith comforts the comatose Harris. I know this one is supposed to creep me out, but heaven help me I find it kind of touching.
Stephen Herek, a first time “Dallas” director, makes “False Confessions” a technical achievement as much as anything. The autopsy-triggered musical montage is superbly executed, culminating in the new “Dallas’s” best fakeout (the cops were coming to arrest Frank, not Pamela!) since the end of “Changing of the Guard,” when we discovered J.R. was in cahoots with Marta. I also love the crosscutting between the scene where Ann finally admits to shooting Harris and the moment Harris wakes up and fingers Bobby for the crime.
While we’re on the subject of Bobby: His top-of-the-hour confession to shooting Harris has all the casualness of someone admitting to leaving the cap off the milk carton. I’m also bothered by Ann’s response, which is to say she has none. As difficult as it is for me to accept that this strong, loving wife would resort to shooting her ex-husband, it’s even harder for me to believe she’d allow Bobby to take the rap for it. I’m glad when Ann finally pipes up at the end of the episode, but I wonder if this is going to be enough to make the audience forgive her.
When I asked Brenda Strong about this last week, she expressed her confidence in the show’s writers to redeem Ann, saying they “are holding the big picture in mind.” I suppose that’s enough for me to give them the benefit of the doubt. After all, they haven’t done much to disappoint me this season.
Grade: A
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Changed man
‘FALSE CONFESSIONS’
Season 2, Episode 4
Telecast: February 11, 2013
Writer: Taylor Hamra
Director: Stephen Herek
Audience: 2.4 million viewers on February 11
Synopsis: To protect Ann, Bobby confesses to shooting Harris. Later, Bobby recants his confession, but when Harris emerges from his coma, he tells the police that Bobby was the shooter. Drew fires Bubba, the foreman that John Ross bribed to sabotage Elena’s drilling project. After Frank digs up Tommy’s body and tells J.R. about John Ross and Pamela’s relationship, J.R. orders his son to stay away from her. Cliff has Tommy’s murder pinned on Frank and persuades him to commit suicide.
Cast: Amber Bartlett (Jill), Kuno Becker (Drew Ramos), Jordana Brewster (Elena Ramos), Brett Brock (Clyde Marshall), Pam Dougherty (Judge Barbara Hirsch), Akai Draco (Sheriff Derrick), Patrick Duffy (Bobby Ewing), Alex Fernandez (Roy Vickers), Mike Gassaway (Henry Mott), Julie Gonzalo (Pamela Barnes), Linda Gray (Sue Ellen Ewing), Larry Hagman (J.R. Ewing), Josh Henderson (John Ross Ewing), Danny Hunter (Judge Leonard Knox), Ken Kercheval (Cliff Barnes), Judith Light (Judith Ryland), Marcua M. Mauldin (Detective Ronnie Bota), Jesse Metcalfe (Christopher Ewing), Mitch Pileggi (Harris Ryland), Matthew Posey (Bubba), Brenda Strong (Ann Ewing), Faran Tahir (Frank Ashkani), Brian Thornton (Detective Miles Danko)
“False Confessions” is available at DallasTNT.com, Amazon.com and iTunes. Watch the episode and share your comments below.
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