Dallas Decoder

Drill Bits: ‘Dallas’ is on DVD. Go Ahead and Get Carried Away.

January 14, 2013 by Chris Baker 3 Comments

Dallas, John Ross Ewing, Josh Henderson, No Good Deed, TNT

Arrested development

The first season of TNT’s “Dallas” was released on DVD last week. It has all 10 episodes and 2 hours of bonus material, including some Larry Hagman goodness you’ve never seen before.

In other words: Take a day off work. You’re going to need it.

The extras feature more than 25 deleted scenes, including three sequences starring Hagman. My favorite: a moving exchange from “Family Business” in which J.R. promises Ann he’ll protect Sue Ellen from Harris. I won’t give away anything else here, but trust me: This scene alone is worth the price of admission.

A lot of this unused footage will help you see the characters more clearly. Examples: We finally get to see the moment Sue Ellen decides to run for governor, as well as a wonderful exchange where Christopher talks about what it was like for him to grow up as Bobby’s son. The latter scene features beautiful performances from Jesse Metcalfe and Patrick Duffy, who described it as one of his favorite first-season moments during my brief chat with him last year.

Curiously, the deleted scenes don’t include the one with Josh Henderson from the publicity shot above, which TNT released to promote “No Good Deed,” the episode where John Ross is arrested for Marta’s murder. We also don’t get to see J.R. and Sue Ellen’s dance from “The Last Hurrah,” although given the number of fans who are clamoring for it, something tells me it won’t stay buried forever.

(We do, however, get to see Elena’s visit to a bank, where she scans a plaque listing the board of directors. Sue Ellen’s name is there, along with production designer Richard Berg and other members of the “Dallas” crew.)

The DVD’s other highlight: an audio commentary from executive producers Cynthia Cidre and Michael M. Robin, who do a nice job explaining how much work – and love – went into making the “Changing of the Guard” pilot. Robin, the episode’s director, calls the scene where Bobby visits J.R. in the nursing home one of the highlights of his career, while Cidre reveals it took 10 hours to film the episode’s fantastic dinner scene.

The bonus material also includes new segments on the making of the first season and “Dallas” lore. Also included: the behind-the-scenes production videos that were posted on the “Dallas” website last year, including costume designer Rachel Sage Kunin’s fun “Dressing Dallas” piece.

I could go on, but really, why are you still reading this? Go get the DVD and see for yourself!

Life After J.R.

“Dallas’s” second season begins two weeks from tonight, and the press is beginning to publish stories about what we’ll see. The best preview so far comes from Entertainment Weekly’s Karen Valby, who reports Hagman filmed five episodes before his death on November 23. An extra scene that had been cut from an earlier episode will be inserted into the sixth installment, while Episode 7, which Cidre handwrote in the days after Hagman’s death, will explain J.R.’s absence. His funeral will be seen in Episode 8, which TNT will telecast Monday, March 11.

“Drill Bits,” a roundup of news about TNT’s “Dallas,” is published regularly. Share your comments below.

Filed Under: Drill Bits, News Tagged With: Changing of the Guard, Cynthia Cidre, Family Business, Jesse Metcalfe, Josh Henderson, Larry Hagman, Last Hurrah, Michael M. Robin, No Good Deed, Patrick Duffy, Rachel Sage Kunin, Richard Berg, TNT

Dallas Scene of the Day: ‘I Will Not Allow You to Do This’

January 11, 2013 by Chris Baker 6 Comments

Laying down the law

In “Dallas’s” fifth-season episode “Blackmail,” Miss Ellie (Barbara Bel Geddes) sits at the Southfork kitchen table while Donna (Susan Howard) stands nearby and tells her the story of how Sam Culver and “a partner” staged a land grab by committing the property owner, who later killed himself.

DONNA: I had thought Jock might’ve told you.

ELLIE: Well, why would Jock know anything about it?

DONNA: Because Jock was Sam’s partner, Miss Ellie. It was the beginning of both of their fortunes.

ELLIE: How can you believe such lies about Jock? Of all the men in the world, he would never do that. His first wife ended up in an asylum. He hated them.

DONNA: I understand how you feel.

ELLIE: Oh, no you don’t. You don’t understand anything.

DONNA: Miss Ellie, I would never print anything without your permission. That’s why I came here.

ELLIE: You came to get my permission to destroy the reputation of the finest man that’s ever lived? To tell lies about him, when he’s not here to defend himself? All for the sake of some cheap book? How dare you!

DONNA: [Quivering] I don’t care about the book. I don’t want to hurt you.

ELLIE: Then how could you come and tell me this? It’s not true.

DONNA: It’s true.

ELLIE: It’s not! [Slams fist on the table]

DONNA: [Begins crying] Please, Miss Ellie.

ELLIE: All right. You go ahead and write your book. And the day it’s published, I’ll sue you through every court in the land if I have to. I will not allow you to do this to my husband. [Picks up her eyeglasses and leaves]

Filed Under: Dallas Scenes of the Day, Dallas Scenes of the Day (Classic), Features Tagged With: Barbara Bel Geddes, Blackmail, Susan Howard

Critique: ‘Dallas’ Episode 100 – ‘Blackmail’

January 11, 2013 by Chris Baker 18 Comments

Dark room

In “Blackmail,” J.R., armed with newly obtained evidence that suggests Christopher is his biological son, comes home to Southfork and enters the nursery. It’s a dark and stormy night, and the little boy is whimpering in his crib as thunder crackles outside. J.R. doesn’t comfort the child, though. He merely watches him. “Hello Christopher,” J.R. says. “You don’t know it, but I’m your daddy. I wonder how your Aunt Pam would feel about it, if she found out?”

The line is made all the more ominous by the wicked smile Larry Hagman flashes after he delivers it. We don’t discover what J.R. is plotting until later in the episode, when he tells Bobby he’ll reveal the “truth” about Christopher’s paternity unless Bobby agrees to do his bidding at Ewing Oil. This is one of J.R.’s most despicable deeds, and not just because he’s using his own child to blackmail his brother. Consider: J.R. grew up with the pain that came from knowing Jock favored Bobby over him. Yet here J.R. is many years later, following in his father’s footsteps: J.R. has one son he adores (John Ross) and another (Christopher) he’s treating as a pawn in his quest for power.

In a clever touch, “Dallas” underlines J.R.’s favoritism by evoking the third-season classic “Paternity Suit.” In that episode, J.R. receives the blood test results that prove he’s John Ross’s father and visits the nursery, where he picks up the boy for the first time. This tender moment stands in sharp contrast with J.R.’s crib-side encounter with Christopher in “Blackmail.” (And even though we’ll soon learn Christopher is not J.R.’s child, “Dallas” doesn’t abandon the theme of J.R. emulating Jock’s parenting style. Toward the end of the show’s run, J.R. learns he has an illegitimate son, James, whose arrival leaves John Ross feeling like the neglected brother.)

The nursery scene isn’t the only dark moment in “Blackmail.” Bobby discovers Farraday’s dead body inside his dingy apartment, while Roger strikes Lucy and knocks her to the floor when she tries to escape from his captivity. I love the suspenseful music that composer Richard Lewis Warren uses to score both sequences, as well as the camera work from director Michael Preece. These two also collaborate nicely in the scene where the grieving Miss Ellie sits alone at the Southfork breakfast table and breaks into tears; Warren’s music grows more mournful as Preece slowly zooms in on Barbara Bel Geddes.

Bel Geddes helps supply “Blackmail” with its other highlight: the scene where Donna sits with Ellie in the Southfork kitchen and tells her the story of how Jock and Sam Culver’s land grab a half-century earlier resulted in another man’s suicide. Ellie refuses to accept the truth and threatens to sue Donna if she includes the story in the biography of Sam she’s writing. I love how Bel Geddes goes from disbelief to rage in a matter of seconds; Susan Howard’s performance is equally heartbreaking.

This scene, perhaps more so than any other in “Blackmail,” makes me appreciate how “Dallas” eschewed gimmicks during its heyday. When I was younger, I used to watch this episode and wonder why the show didn’t bring in a special guest star or deliver a major plot twist to mark its 100th hour. Now I realize: When your cast includes great actresses like Barbara Bel Geddes and Susan Howard, who needs stunts?

Grade: A

_______________________________________________________________________________________________________________________________________________

Woman alone

‘BLACKMAIL’

Season 5, Episode 23

Airdate: March 19, 1982

Audience: 26.9 million homes, ranking 1st in the weekly ratings

Writer: Leonard Katzman

Director: Michael Preece

Synopsis: J.R. tells Bobby he’s Christopher’s father and vows to keep quiet if Bobby cedes control of his voting shares. Cliff moves forward with his drilling project, even after J.R. reveals the land is dry. Miss Ellie explodes when Donna asks for permission to publish the story of Jock’s land grab. Roger holds Lucy captive. The police question Bobby after Farraday is discovered dead.

Cast: Tyler Banks (John Ross Ewing), Barbara Bel Geddes (Miss Ellie Ewing), Patrick Duffy (Bobby Ewing), Fern Fitzgerald (Marilee Stone), Jonathan Goldsmith (Joe Smith), Linda Gray (Sue Ellen Ewing), Larry Hagman (J.R. Ewing), Art Hindle (Jeff Farraday), Susan Howard (Donna Krebbs), Bob Hoy (Detective Howard), Steve Kanaly (Ray Krebbs), Howard Keel (Clayton Farlow), Ken Kercheval (Cliff Barnes), Leigh McCloskey (Dr. Mitch Cooper), Pamela Murphy (Marie), Victoria Principal (Pam Ewing), Dennis Redfield (Roger Larson), Debbie Rennard (Sly), Tom Stern (Detective White), Charlene Tilton (Lucy Cooper), Deborah Tranelli (Phyllis)

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

Filed Under: Critiques, Critiques (Classic), Opinion Tagged With: Barbara Bel Geddes, Blackmail, Larry Hagman, Michael Preece, Paternity Suit, Richard Lewis Warren, Susan Howard

Dallas Scene of the Day: ‘Two Whole Families Are Involved’

January 9, 2013 by Chris Baker 7 Comments

Mama knows best

In “Dallas’s” fifth-season episode “Vengeance,” Miss Ellie (Barbara Bel Geddes) sits in the living room of Sue Ellen (Linda Gray), who stands nearby.

ELLIE: I want to talk about you. And J.R. And Cliff Barnes.

SUE ELLEN: Miss Ellie, this is quite unlike you to question me about my personal life.

ELLIE: Normally I wouldn’t, but there’s a lot more at stake here than just your personal interest. Two whole families are involved.

SUE ELLEN: I really don’t understand. [Sits across from Ellie]

ELLIE: Well, I’m sure that you know what your seeing Cliff Barnes is doing to J.R.

SUE ELLEN: But that’s J.R.’s problem, not mine. We’re divorced now.

ELLIE: Yes, I know that. But J.R. and Cliff are already at each other’s throats. And it’s beginning to have its effect on too many people.

SUE ELLEN: Are you asking me to stop seeing Cliff?

ELLIE: [Smiles] No. No, I don’t have any right to do that – if you’re serious about him. Are you, Sue Ellen? Or are you using him to get back at J.R.?

SUE ELLEN: Miss Ellie, I really don’t think it’s any of your business.

ELLIE: This thing almost destroyed the three of you once before. Do you think you’re strong enough to handle it again?

SUE ELLEN: I don’t know, Miss Ellie. I really don’t know.

Filed Under: Dallas Scenes of the Day, Dallas Scenes of the Day (Classic), Features Tagged With: Barbara Bel Geddes, Linda Gray, Vengeance

Critique: ‘Dallas’ Episode 99 – ‘Vengeance’

January 9, 2013 by Chris Baker 14 Comments

Caught in a bad romance

Cliff and Sue Ellen’s renewed romance dominates “Vengeance,” but we see their affair mostly through the eyes of the other “Dallas” characters. Miss Ellie cautions Sue Ellen about the relationship and later frets about the affair during a lunch date with J.R., while Cliff gets an earful from Rebecca. No one seems to believe these two are really in love, including Sue Ellen and Cliff themselves.

Ken Kercheval and Linda Gray share one scene in “Vengeance,” when Cliff dines at Sue Ellen’s townhouse and asks her to marry him. It isn’t much of a proposal. Cliff doesn’t offer her a ring, although he promises he’ll take care of her material needs. “I’m on the verge of one of the biggest deals of my life, and I’ll be able to support you very well indeed,” Cliff says. She tells him she’ll need time to think about it, but the anguished expression on Gray’s face lets us know her character’s heart has its answer already.

Cliff also seems to know he and Sue Ellen aren’t good for each other. I believe Cliff cares for Sue Ellen, but there’s little doubt the main reason he’s gotten involved with her again is because he knows how much it will upset J.R. Notice how defensive Cliff gets when Rebecca tells him she worries her son and J.R. will “destroy each other” over Sue Ellen. “Now wait a minute, I’m supposed to give up Sue Ellen because I’m afraid of a fight with J.R.?” Cliff asks. Kercheval is always fascinating to watch, but he does an especially nice job conveying Cliff’s self-denial here.

My other favorite “Vengeance” moments include Miss Ellie’s conversations with J.R. and Sue Ellen, as well as Bobby’s confrontation with Jeff Farraday. (The latter scene is cool mainly because it takes place in the hallway outside the Ewing Oil executive suites. Who knew the geology and engineering departments were right around the corner from J.R. and Bobby’s offices?)

I also like Ellie and Rebecca’s scene in the Southfork living room, although just once I’d like to see these women stop worrying about their adult children and spend a little time talking about themselves. Both characters were central figures in the beginning of the Barnes-Ewing feud; wouldn’t it be nice to see them reflect on the history they share as the wives of Jock and Digger?

The “Vengeance” scene where Roger slips into Lucy’s car and orders her to drive away is also nicely done. Composer Bruce Broughton’s background score is chilling, and Charlene Tilton looks terrified. Of course, I can’t help but wonder why the Ewings allowed Lucy to get involved with this creep in the first place. Maybe they were too busy meddling in Sue Ellen’s love life?

Grade: B

_______________________________________________________________________________________________________________________________________________

Drive, he said

‘VENGEANCE’

Season 5, Episode 22

Airdate: March 12, 1982

Audience: 27 million homes, ranking 1st in the weekly ratings

Writer: Howard Lakin

Director: Irving J. Moore

Synopsis: Cliff proposes to Sue Ellen, who tells him she needs time to think about it. J.R. spooks Clayton and sets up Cliff to take a huge financial fall. After Mitch tells Lucy their marriage is over, Roger abducts her. J.R. receives confirmation Christopher is Kristin’s son.

Cast: Barbara Bel Geddes (Miss Ellie Ewing), James Brown (Harry McSween), Patrick Duffy (Bobby Ewing), Fern Fitzgerald (Marilee Stone), Tom Fuccello (Senator Dave Culver), Linda Gray (Sue Ellen Ewing), Larry Hagman (J.R. Ewing), Art Hindle (Jeff Farraday), Susan Howard (Donna Krebbs), Steve Kanaly (Ray Krebbs), Howard Keel (Clayton Farlow), Ken Kercheval (Cliff Barnes), Audrey Landers (Afton Cooper), Arthur Malet (Mr. Forest), Leigh McCloskey (Dr. Mitch Cooper), Gary Pagett (Murphy), Priscilla Pointer (Rebecca Wentworth), Victoria Principal (Pam Ewing), Dennis Redfield (Roger Larson), Debbie Rennard (Sly), Charlene Tilton (Lucy Cooper), Ray Wise (Blair Sullivan)

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

Filed Under: Critiques, Critiques (Classic), Opinion Tagged With: Bruce Broughton, Charlene Tilton, Ken Kercheval, Linda Gray, Vengeance

The Dallas Decoder Quiz: First-Season Follies

January 7, 2013 by Chris Baker 26 Comments

Yes, we’re sure

TNT’s “Dallas” will begin its second season on Monday, January 28. Take this quiz to refresh your memory of Season 1. The correct answers appear at the end.

1. Which threesome controls the Southfork mineral rights?

a) J.R., Bobby and Gary

b) J.R., Bobby and Ray

c) John Ross, Christopher and Lucy

d) Jack, Janet and Chrissy

2. Which foursome owns Ewing Energies?

a) J.R., Bobby, John Ross and Christopher

b) Bobby, John Ross, Christopher and Elena

c) John Ross, Christopher, Elena and Cliff

d) John Ross, Christopher, Elena and Rebecca

3. Ann secretly recorded ex-husband Harris Ryland confessing to …

a) Counterfeiting

b) Money laundering

c) Murder

d) His commitment to a sanitarium in the early 1990s

Christopher Ewing, Dallas, Jesse Metcalfe, TNT

Wake up call

4. Christopher was shocked when he answered Tommy’s phone and heard whose voice?

a) John Ross

b) Cliff Barnes

c) Frank Ashkani, Cliff’s henchman

d) Becky Sutter, Tommy’s real sister

5. Christopher’s alternative energy technology relies on what natural resource?

a) Methane hydrate

b) Solar power

c) Wind power

d) Linda Gray’s fountain of youth

6. What did Bobby toss in the fireplace?

a) Ann’s locket

b) The Southfork deed

c) The envelope that Harris gave him

d) The painting hanging above it

7. What did Bobby tell Vicente Cano when he visited Southfork?

a) “Get the hell out of my house!”

b) “Help me put the living room and dining room back where they belong!”

c) “Help me birth this calf!”

d) “Wipe your feet!”

Dallas, Julie Gonzalo, Pamela Rebecca Barnes, Rebecca Sutter Ewing, TNT

Daughter of the Alamo

8. Who is Rebecca’s father?

a) Harris Ryland

b) Carlos del Sol

c) Cliff Barnes

d) Tommy’s Uncle Fred

9. What was the real name of the woman who impersonated Marta del Sol?

a) Andrea Barrett

b) Verna Ellers

c) Veronica Martinez

d) Ben Stivers

10. Why did Marta descend from the high-rise balcony?

a) She thought it would be faster than taking the elevator.

b) She jumped.

c) She was pushed by Vicente’s henchmen.

d) She was spooked by Julie Gray’s ghost.

11. Before he died, Elena’s father worked in what industry?

a) Oil

b) Ranching

c) Trucking

d) Cosmetics

Dallas, Elena Ramos, Jordana Brewster, TNT

Debt in the family

12. Who loaned Elena the money to buy the Henderson oil leases?

a) Harris Ryland

b) Vicente Cano

c) Franklin Horner

d) Sue Ellen

13. Who is Clyde Marshall?

a) J.R.’s lawyer

b) Bobby’s lawyer

c) John Ross’s private eye

d) The Dallas County sheriff

14. What is the name of the medical examiner that Sue Ellen blackmailed?

a) Dr. Bruce Rasmussen

b) Dr. Varun Rasmussen

c) Dr. Peyton Hayslip

d) Dr. Mitchell Ackerman

15. What is the full name of Patrick Duffy’s character?

a) Bobby James Ewing – and don’t let anyone tell you differently

Answers: 1) a. 2) b. 3) b. 4) d. 5) a. 6) c. 7) a. 8) c. 9) c. 10) c. 11) a. 12) d. 13) c. 14) b. 15) a.

How did you do? Share your score below and read more features from Dallas Decoder.

Filed Under: Features, Features Tagged With: Jesse Metcalfe, Jordana Brewster, Julie Gonzalo, Linda Gray, Patrick Duffy, TNT

Dallas Scene of the Day: ‘My, You’re a Tough Lady’

January 4, 2013 by Chris Baker 4 Comments

Yes, she is

In “Dallas’s” fifth-season episode “The Prodigal,” Roger (Dennis Redfield) is surprised when Pam (Victoria Principal) enters his photography studio.

ROGER: Hi. Did an agency send you?

PAM: No. No, I’m Pamela Ewing, Lucy’s aunt.

ROGER: Oh, my mistake. You’re really lovely. I thought you were probably here for some tests.

PAM: I’ll tell you what I’m here for. I’m here to give you a warning.

ROGER: [Chuckles] A warning? You’re too pretty to give warnings.

PAM: [Steps forward] Cut out the phony charm. And stay away from Lucy. Understand? You took a lot of nice photos, and it was good for both of you. But that’s it. Hands off.

ROGER: My, you’re a tough lady.

PAM: Yes, I am.

ROGER: Alright, let’s be reasonable. [Sits] I’m sorry if I offended anybody.

PAM: I’m not here for an apology. Just stay away from my niece.

ROGER: And if I don’t? What will you do? Sic the Ewing family on me?

PAM: Maybe, but I don’t think I’ll have to. I can take care of people like you myself.

ROGER: Are you threatening me?

PAM: Yes, I guess you might say that.

ROGER: [Menacing] I don’t like threats.

PAM: [Sternly] Well, then consider it a promise. And consider this too: I did you a favor coming here myself this time. But if there’s a next time, you will deal with my husband. [Turns and leaves]

Filed Under: Dallas Scenes of the Day, Dallas Scenes of the Day (Classic), Features Tagged With: Dennis Redfield, Prodigal, Victoria Principal

Critique: ‘Dallas’ Episode 98 – ‘The Prodigal’

January 4, 2013 by Chris Baker 21 Comments

Welcome back

“The Prodigal” marks the triumphant return of Pam Ewing. What’s that you say? You didn’t realize she had gone away? Well, consider this: The Pam who emerges during “Dallas’s” third season – the one who cries a lot and obsesses over having children – doesn’t bear much resemblance to the strong-willed, independent-minded heroine we meet when the show begins. That’s the Pam we see again in “The Prodigal.” It’s nice to have her back.

Pam’s “return” comes toward the end of the episode, when a frightened Lucy tells her that Roger has become obsessed with her. (Lucy leaves out the detail about having sex with Roger after discovering the shrine he’s built to her.) Pam springs into action and asks for the location of Roger’s studio. “Don’t you think you should wait for Bobby?” Lucy asks. Pam ignores the question. “Lucy, what’s the address?”

The next time we see Pam, she’s entering Roger’s studio, where she introduces herself as Lucy’s aunt and explains she’s there to deliver “a warning.” Roger smirks. “A warning? You’re too pretty to give warnings,” he says. Pam tells him to “cut out the phony charm” and orders him to stay away from Lucy. He responds by asking if she plans to “sic the Ewing family” on him if he fails to obey. “Maybe, but I don’t think I’ll have to,” Pam says. “I can take care of people like you myself.”

See what I mean? This is the Pam I fell in love with during early “Dallas” episodes like “Lessons,” when she rescues Lucy from her high school blackmailer, and “Black Market Baby,” when she stands up to Bobby’s chauvinism. Victoria Principal always delivers great performances – even when Pam is weepy and preoccupied with children – but the actress is at her best during moments like these. In this scene, Pam is calm and direct, which makes her seem genuinely intimidating. Principal makes me believe Pam is a woman you don’t want to mess with.

Pam and Roger’s encounter is one of several great confrontations in “The Prodigal.” I also love when Katherine and Cliff get in a screaming match over his management of her father’s company (Katherine: “You disgusting little man!” Cliff: “I might be a disgusting little man, but I am president of Wentworth Tool and Die now!”), as well as Afton’s visit to Sue Ellen’s townhouse, where they exchange deliciously bitchy barbs (Afton: “We both do seem to have the same taste in men.” Sue Ellen: “The fact that you were sleeping with my ex-husband doesn’t mean we have the same taste in anything.”).

I also like the scene where Clayton visits Afton in her dressing room to learn more about Cliff, his rival for Sue Ellen’s affections. Howard Keel and Audrey Landers are two of my favorite “Dallas” performers, and it’s nice to see them share screen time. But I also can’t help but think: Since these two have such gorgeous singing voices, wouldn’t it have been nice if this scene had been set to music?

Grade: A

_______________________________________________________________________________________________________________________________________________

Just duet

‘THE PRODIGAL’

Season 5, Episode 21

Airdate: March 5, 1982

Audience: 28.4 million homes, ranking 2nd in the weekly ratings

Writer: David Paulsen

Director: Michael Preece

Synopsis: J.R. uncovers evidence Christopher is his son. Bobby threatens Farraday when he returns to Dallas and demands hush money. Pam warns Roger to stay away from Lucy. While researching her new book, Donna learns Jock and Sam once staged a land grab that resulted in another man’s suicide. Afton tells Sue Ellen that Clayton is in love with her. Katherine clashes with Cliff and cozies up to J.R.

Cast: Lewis Arquette (Dr. Kensington) Tyler Banks (John Ross Ewing), Barbara Bel Geddes (Miss Ellie Ewing), Peter Brandon (Lowell Greer), Morgan Brittany (Katherine Wentworth), Patrick Duffy (Bobby Ewing), Bill Erwin (Abel Greeley), Tom Fuccello (Senator Dave Culver), Fern Fitzgerald (Marilee Stone), Phyllis Flax (Mrs. Chambers), Linda Gray (Sue Ellen Ewing), Larry Hagman (J.R. Ewing), Art Hindle (Jeff Farraday), Susan Howard (Donna Krebbs), Steve Kanaly (Ray Krebbs), Howard Keel (Clayton Farlow), Ken Kercheval (Cliff Barnes), Audrey Landers (Afton Cooper), Gary Pagett (Murphy), Priscilla Pointer (Rebecca Wentworth), Victoria Principal (Pam Ewing), Dennis Redfield (Roger Larson), Debbie Rennard (Sly), Charlene Tilton (Lucy Cooper), Deborah Tranelli (Phyllis), Ray Wise (Blair Sullivan)

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

Filed Under: Critiques, Critiques (Classic), Opinion Tagged With: Audrey Landers, Black Market Baby, Howard Keel, Lessons, Prodigal, Victoria Principal

Dallas Scene of the Day: ‘Good Luck, Ray’

January 2, 2013 by Chris Baker 3 Comments

Used and abused

In “Dallas’s” fifth-season episode “The Maelstrom,” Ray (Steve Kanaly) approaches Bonnie (Lindsay Bloom) at the Longview bar, then leads her to a booth where they sit across from each other.

RAY: I want to straighten a few things out.

BONNIE: Is that middleweight waiting outside?

RAY: Look, I’m sorry about what happened. Honest.

BONNIE: You’re sorry? My jaw is still sore. [Begins to leave]

RAY: Bonnie, let me explain something … about me. I’ve been feeling real down. I still can’t understand all the reasons myself. Let’s just say there were some things in my life I just couldn’t handle. So I figured I’d better get back to where I belong.

BONNIE: With crazy broads like me?

RAY: No, you’re a good person, Bonnie. But you were –

BONNIE: Available?

RAY: Yeah. Bonnie, I tell you. If I can make it work out with Donna, the truth is –

BONNIE: That’s where it’s at for you?

RAY: That’s right. I feel terrible about using our – about using you. It was wrong. I know it.

BONNIE: Listen. You’re wife isn’t one of my favorite people. You understand? But if it can work for you, for keeps … [smiles] then you can’t beat it.

RAY: You mean that, don’t you?

BONNIE: [Leans back] Come on. You don’t think I know the difference between this and something real? What is all this? Musical beds. One-night stands. It adds up to nothing. [Raises her glass] So, here’s hoping you can make it work. Good luck, Ray.

RAY: Thank you, Bonnie. [Reaches across the table, touches her arm]

Filed Under: Dallas Scenes of the Day, Dallas Scenes of the Day (Classic), Features Tagged With: Lindsay Bloom, Maelstrom, Steve Kanaly

Critique: ‘Dallas’ Episode 97 – ‘The Maelstrom’

January 2, 2013 by Chris Baker 13 Comments

Old habits

Oh, these Ewing women. How they confound me. Every time it seems like they’re about to find happiness on their own terms, they fall back into frustrating old patterns. This usually means falling back into the arms of men who are no good for them.

In “The Maelstrom,” after Sue Ellen puts the kibosh on reconciling with J.R., she sleeps with Cliff. You can’t blame Sue Ellen for being reluctant to get back together with her ex-husband, but why is she taking up with Cliff again? The last time these two had a fling, things didn’t go well: Sue Ellen wanted to leave J.R. for Cliff, but Cliff dumped her because he feared their affair would ruin his political career. Nice guy, huh? (If you haven’t watched the great scene in the second-season episode “For Love or Money” when Cliff breaks up with Sue Ellen, check it out. Linda Gray will break your heart.)

This time around, Sue Ellen is divorced and Cliff is out of politics, but they’re no better suited for each other now than they were then. It’s pretty clear Sue Ellen only wants Cliff because she knows it will make J.R. jealous. Witness “The Maelstrom” scene where she calls Cliff and, as J.R. listens, tells him how much she enjoyed spending the previous night with him. I also don’t believe for a second Cliff loves Sue Ellen. He’s chasing her for the same reason she’s chasing him: to upset J.R.

Lucy’s latest romance is odder still. Earlier in the fifth season, she sleeps with Roger, the photographer helping her get started in her modeling career, only to decide later she wants to keep their relationship strictly professional. Fair enough. But in “The Maelstrom,” obsessive Roger reveals the shrine to Lucy that he’s built inside his studio, which ought to send her scurrying from the room. Instead, Lucy and Roger fall into a passionate embrace and have sex. Huh?

The absurdity of it all makes “The Maelstrom” one of the season’s weakest entries, but the hour isn’t a total loss. Patrick Duffy, the episode’s director, delivers several clever shots. I especially like how he pans his camera above Charlene Tilton and Dennis Redfield during their love scene and zooms in on one of the glamour shots of Lucy plastering Roger’s wall. Sue Ellen’s shadowy arrival at Cliff’s apartment is also cool, and it’s nice to see Bobby and Ray branding cattle, even if the footage is recycled from the second-season episode “Bypass.”

Speaking of Ray: “The Maelstrom” scene where he breaks up with Bonnie is the episode’s highlight, thanks to sensitive performances from Steve Kanaly and Lindsay Bloom. This feels like a conversation between two people who’ve made bad choices but aren’t necessarily bad people. I also like when Donna calls home and speaks to Ray, who thanks her for sticking with him through his depression. The fact that Donna interrupts Ray while he’s shaving is significant since the stubble he’s worn since “The Search” had come to symbolize the dark cloud that enveloped him after Jock’s death.

J.R. and Katherine’s exchange in “The Maelstrom” also holds up well, and not just because this is the first time master villains Larry Hagman and Morgan Brittany appear together on “Dallas.” In the scene, Katherine, a local TV reporter (she does have a job, you know), is doing person-on-the-street interviews about the Dallas restaurant scene’s recessionary struggles when she comes across J.R., who says the economic downturn hasn’t affected his eating out habits. “My eating in habits haven’t changed much either,” he cracks.

Watching this scene recently, it occurred to me: Three decades after “The Maelstrom” was produced, people are once again watching their wallets when they go out to eat. Who knew an old “Dallas” episode could be so timely?

Grade: C

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Ready for her close up

‘THE MAELSTROM’

Season 5, Episode 20

Airdate: February 26, 1982

Audience: 30 million homes, ranking 1st in the weekly ratings

Writer: Will Lorin

Director: Patrick Duffy

Synopsis: Ray sobers up and bids Bonnie farewell. Sue Ellen sleeps with Cliff, upsetting J.R. J.R.’s lawyer informs him the child that Bobby and Pam are adopting might be J.R.’s son.

Cast: Barbara Bel Geddes (Miss Ellie Ewing), Lindsay Bloom (Bonnie), Peter Brandon (Lowell Greer), Morgan Brittany (Katherine Wentworth), Patrick Duffy (Bobby Ewing), Fern Fitzgerald (Marilee Stone), Bruce French (Jerry Macon), Linda Gray (Sue Ellen Ewing), Larry Hagman (J.R. Ewing), Art Hindle (Jeff Farraday), Susan Howard (Donna Krebbs), Steve Kanaly (Ray Krebbs), Howard Keel (Clayton Farlow), Ken Kercheval (Cliff Barnes), Leigh McCloskey (Dr. Mitch Cooper), Pamela Murphy (Marie), Victoria Principal (Pam Ewing), Dennis Redfield (Roger Larson), Debbie Rennard (Sly), Joey Sheck (waiter), Don Starr (Jordan Lee), Charlene Tilton (Lucy Cooper), Deborah Tranelli (Phyllis), Ray Wise (Blair Sullivan)

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