A Farewell to Barnes: Remembering Ken Kercheval

Cliff Barnes, Dallas, Ken Kercheval

Lone star

Cliff Barnes was a loser, but Ken Kercheval was anything but. By portraying Cliff as an endearing jackass, Kercheval won the hearts of “Dallas” fans and created a character who, in some ways, was as essential to the show’s success as Larry Hagman’s J.R. Ewing. Cliff could be petty, foolish and hopelessly oblivious, but Kercheval brought so much humanity to the role, you couldn’t help but like the schmuck. Deep down, I bet some of us even rooted for him.

Kercheval’s death this week has unleashed a torrent of Cliff clips on social media, reminding everyone how good he was in his career-defining role. Talk about an actor with range! Cliff was the bumbling nemesis who prompted many of J.R.’s most memorable quips (“Oh Barnes, you just get dumber and dumber every day”) and the unlikely lothario who treated so many of the show’s leading ladies like Texas dirt, but he also was the wounded soul who sweetly reconciled with his runaway mama over a bowl of licorice; the protective big brother who knowingly winced when he heard the radio bulletin announcing that Pam’s true love Bobby had been mowed down in her driveway; the humbled avenger who sat on a park bench with Miss Ellie and sought forgiveness for waging war on her family. In the hands of a lesser actor, Cliff would have been just another soap opera character whose motivations changed with the wind. Kercheval made him real.

The true secret to Cliff’s appeal, though, lay in his rivalry with J.R. With the exception of Patrick Duffy and perhaps Hayden Rourke, did Larry Hagman ever have a better on-screen foil than Ken Kercheval? I couldn’t possibly pick a favorite scene between J.R. and Cliff, but their schoolyard showdown-style exchange of insults in the 1984 episode “And the Winner Is …” stands out. Kercheval and Hagman are fire and ice here: While Cliff rages (“You can’t stand the fact that Barnes-Wentworth is going to be bigger than Ewing ever dreamed of being!”), J.R. stands his ground, calmly burrowing ever deeper under Cliff’s skin (“You’re going to bankrupt your mama’s company and wind up just like your daddy: a drunk and a bum”). Despite all the bluster, Kercheval always injected a hint of envy into his performance, letting the audience see that Cliff didn’t want to beat J.R.; he wanted to be J.R. Once you realize that’s where Cliff is coming from, how can you not feel for the poor slob? After all, who among us doesn’t want to be J.R.?

Cliff Barnes, Dallas, J.R. Ewing, Ken Kercheval, Larry Hagman

Mutual admiration society

Truth be told, I think J.R. secretly admired Cliff’s tenacity, although like his character, Kercheval never got the respect he deserved. Despite being the show’s most delightfully unpredictable performer — you didn’t watch Ken Kercheval, you experienced him — he never scored an Emmy. (Neither did Hagman, but at least he got nominated.) Just as puzzlingly, Kercheval was in “Dallas” from the beginning and did as much as anyone to transform the show into a hit, yet he wasn’t promoted to the opening credits until the third season. Of course, once he finally showed up, the close-ups chosen for his three-way split screen captured the character in all his multi-faceted glory: Confused Cliff, Chipper Cliff, Crabby Cliff. Perfect.

Regardless, Kercheval ended up getting the last laugh. Besides Hagman, he was the only member of the cast to appear in all 14 seasons of the original series before going on to appear in the first reunion movie and all three seasons of TNT’s sequel series. Altogether, Kercheval logged 360 hours of “Dallas” across its various incarnations, second only to Hagman, who clocked more than 380 hours. And while Cliff never became an icon like J.R., Kercheval’s character made his mark in popular culture nonetheless. A Washington Post editorial once derided then-Vice President George H.W. Bush as “the Cliff Barnes of American politics — blustering, opportunistic, craven and hopelessly ineffective all at once” (ouch). Kercheval also deserves credit for making pocket squares seem so stylish in the 1980s — and is it possible his cheapskate character did more to popularize Chinese food in the American diet than Panda Express?

It’s been touching to see so many of Kercheval’s former cast mates honor him online this week, especially Audrey Landers, whose Afton Cooper did so much to humanize Cliff, and Julie Gonzalo, who holds the distinction of being the last “Dallas” actor to share a scene with Kercheval during the final season of the TNT series. Linda Gray, Charlene Tilton and both of Kercheval’s on-screen sisters, Victoria Principal and Morgan Brittany, also wrote nice things about him, along with Leigh McCloskey. As far as I can remember, McCloskey’s character, pretty-boy plastic surgeon Dr. Mitch Cooper, never shared a meaningful moment with Cliff, yet McCloskey penned a lovely tribute to Kercheval on Facebook, remembering how kind the actor was to him when he joined the cast. Everyone, it seems, had affection for “Kenny.”

Tributes like these are a reminder that while the rest of us have lost a favorite TV star, the cast members are mourning the death of an old friend. Kercheval somewhat famously used to say he never watched “Dallas” when it was on the air. As he explained when I interviewed him in 2012, once he played a scene in front of the cameras, he felt no compulsion to tune in on Friday night and watch it. But Kercheval also talked about how much he enjoyed working with actors like Gray, Landers and his close pal Barbara Bel Geddes, and he expressed amazement that people still recognized him as Cliff, even when he traveled abroad. I didn’t include this in the published interview, but I asked him if he thought it was strange that fans like me still obsess over “Dallas” after all these years. His matter-of-fact answer: “Yeah.” He added that he appreciated the fans and was thankful for their support, but in the end, the show was just a show. “I mean, you know, to me, it was just a job,” he said.

Fair enough. To him, maybe “Dallas” was just a job. But didn’t he do it well?

What are your favorite memories of Ken Kercheval on “Dallas”? Share your comments below and read more opinions from Dallas Decoder.

#DallasChat is Cooking Up Something Special for Nov. 21

Barbara Bel Geddes, Bobby Ewing, Charlene Tilton, Dallas, Donna Krebbs, J.R. Ewing, Larry Hagman, Linda Gray, Miss Ellie Ewing, Pam Ewing, Patrick Duffy, Sue Ellen Ewing, Susan Howard, Victoria Principal

Past supper

Dallas Decoder’s next #DallasChat on Twitter will be Monday, November 21, from 8 to 9 p.m. Eastern time.

This will be our second Thanksgiving-themed #DallasChat, so the topic will be “Talkin’ Turkey II.”

If you’re new to #DallasChat or need a refresher, here’s how it works: During each hour-long discussion, I tweet 10 questions from my Twitter handle, @DallasDecoder. Participants respond to the questions and comment on each other’s answers, making each chat a big group conversation.

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 hope you can participate in our discussion. See you there!

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

The Mamas Will Bring the Drama to Our May 2 #DallasChat

Barbara Bel Geddes, Dallas, J.R. Ewing, Larry Hagman, Miss Ellie Ewing

Good mama, bad son

Dallas Decoder’s next #DallasChat on Twitter will be Monday, May 2, from 8 to 9 p.m. Eastern time.

Our theme: “Mama Drama II.” Like our previous discussion from two years ago, we’ll focus on the moms of “Dallas.”

If you’re new to #DallasChat — or if you need a refresher — here’s how it works: During each 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. Was Miss Ellie a good mom? #DallasChat

A1. Yes, of course. Imagine how much worse J.R. would have been if she hadn’t been around. #DallasChat

Here are three more 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 hope you can participate. See you there!

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

George Kennedy: ‘Dallas’ Villain, Real Life Hero

Carter McKay, Dallas, George Kennedy, Jeri Gaile, Rose McKay

Rose and the briar

George Kennedy was nothing if not versatile. The actor, who died last week at 91, brought to life such diverse characters as Joe Patroni, the everyman hero of the “Airport” disaster flicks, and Ed Hocken, the dimwitted police captain in the “Naked Gun” movies. Kennedy’s most famous role is the one that won him a best supporting actor Oscar: Dragline, the leader of the chain gang in “Cool Hand Luke.” With the exception of Robert Redford, Paul Newman never had a better sidekick than George Kennedy.

“Dallas” fans also remember Kennedy as Carter McKay, the burly, blustery oil baron who did battle with the Ewings during the original show’s final seasons. The series was already running on fumes when Kennedy arrived, but there were flashes of inspiration, and he played a central role in many of them. The Ewing Oil/Westar tanker collision gets my vote for the second-best business storyline in “Dallas” history (after J.R. and Bobby’s contest for control of Ewing Oil, of course), while the Southfork range war brought the show back to its western roots, at least for a little while. Both stories cemented McKay’s status as a worthy antagonist to the Ewings.

But even when the material wasn’t great, it was still a hoot to watch Kennedy act opposite Larry Hagman. J.R. routinely got a rise out of McKay, causing him to erupt in ruddy-faced anger; it was almost as much fun as watching J.R. toy with Cliff Barnes. Kennedy also had a nice rapport with Patrick Duffy, whose character’s heroics seemed to irk McKay as much as J.R.’s mischief. In fact, the McKay line that “Dallas” diehards probably remember best — “Don’t give me that crap!” — was directed at Bobby, not J.R. You also have to admire the deference Kennedy showed Barbara Bel Geddes in the memorable range-war scene in which Miss Ellie zooms past McKay’s hired guns in her Volkswagen convertible (one of the few times Mama is shown driving), throws the car in park, marches up to his front porch and gives him a piece of her mind.

Indeed, Kennedy ensured McKay was more than a one-note villain. The actor could be downright cuddly in his scenes with Jeri Gaile, whose endearing performance as McKay’s young wife Rose was another bright light during “Dallas’s” final years. Kennedy also did a nice job conveying McKay’s struggles to re-connect with his estranged children, including the drug-addicted Tommy. These scenes seem even more poignant when you realize Kennedy’s family dealt with the scourge of addiction in real life: He and his wife adopted one of their grandchildren after the girl’s mother became addicted to drugs. One of the most touching tributes to Kennedy last week came from Fox News Channel’s Bill O’Reilly, who hailed him as “a hero” and aired a 2002 clip in which Kennedy opened up about his family’s troubles.

It’s also been heartening to see so many “Dallas” fans pay tribute to Kennedy on social media and sites like this one. Some of this might have to do with the fact that the death of a “Dallas” star is a relatively rare thing: Among the actors who appeared in the original show’s opening credits, Kennedy is the only seventh who has died. (The others: Jim Davis, Donna Reed, Dack Rambo, Howard Keel, Bel Geddes and Hagman.) But I also hope Kennedy’s death will prompt fans to revisit — and reassess — the show’s later seasons. Even when the storytelling isn’t great, Kennedy is quite good. We’re fortunate he was part of the show we all love.

What are your favorite memories of George Kennedy on “Dallas”? Share your comments below and read more opinions from Dallas Decoder.

Celebrate Leap Day With #DallasChat

Barbara Bel Geddes, Bobby Ewing, Dallas, Jim Davis, Jock Ewing, J.R. Ewing, Larry Hagman, Miss Ellie Ewing, Patrick Duffy

Fab foursome

Dallas Decoder’s next #DallasChat on Twitter will be Monday, February 29, from 8 to 9 p.m. Eastern time.

Given the date, our theme will be “Leap Day.”

If you’re new to #DallasChat — or if you need a refresher — here’s how it works: During each 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. Leap Day comes once every four years. What’s something in “Dallas” that’s almost as rare? #DallasChat

A1. That’s easy: a moment of peace in the Ewing family! #DallasChat

Here are three more 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 hope you can participate. See you there!

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

Critique: ‘Dallas’ Episode 200 — ‘Close Encounters’

Close Encounters, Dallas, J.R. Ewing, Larry Hagman

Man of the hour

“Close Encounters,” the 200th hour of “Dallas,” is the kind of episode only this show could produce. Most of the action takes place at a Southfork charity rodeo, where the characters wheel, deal and confront each other over their various romantic entanglements — taking occasional breaks to climb into a saddle and test their calf-roping and barrel-racing skills. Sure, we’ve seen this kind of thing before on “Dallas,” but that doesn’t make it any less fun. If nothing else, “Close Encounters” demonstrates how the Ewings — after almost a decade on the air — had yet to wear out their welcome. Then again, did they ever?

Like the third-season classic “Rodeo,” the only other episode that depicts a Southfork rodeo, “Close Encounters” focuses on J.R. and Sue Ellen’s extramarital inclinations. He spends each episode sneaking around with a mistress (Kristin in “Rodeo,” Mandy in “Close Encounters”), while Sue Ellen finds herself being tempted by Dusty in both installments. The Sue Ellen of 1985 is much smarter and more confident than the 1979 version, however. She dictates the terms of her affair with Dusty in “Close Encounters” (it was the other way around in “Rodeo”), but her progress is also on display during her memorable confrontation with Mandy. In “Close Encounters’” best scene, Sue Ellen pulls the poor, disillusioned young woman aside and warns her that J.R. has a history of mistreating women, but Mandy refuses to listen. Finally, an exasperated Sue Ellen asks, “Isn’t it strange how the mistress always thinks she’s smarter than the wife? If she’s so smart, why is she the mistress?” The line is equal parts wisdom, compassion and bitchiness — and Linda Gray captures each nuance perfectly.

There’s much more to love about “Close Encounters”: Pam and Jenna’s awkwardly poignant exchange, which marks the first time the onetime rivals have seen each other since Bobby’s funeral; Miss Ellie’s “give ’em hell” pep talk to Sue Ellen before the latter participates in the barrel race (you can feel the affection between Gray and Barbara Bel Geddes here); and Angelica Nero’s gigantic, floppy pink hat, which is a look so bold, even Katherine Wentworth wouldn’t have dared it. There’s also the scene where Patricia defends her parenting skills to J.R. “There’s nothing wrong with the way Sue Ellen was brought up,” she says. Larry Hagman waits a beat before delivering J.R.’s retort: “No, just the way she turned out.”

Indeed, more than anything, I get a kick out of watching Hagman in episodes like this. J.R. is all smiles when he’s in the public spotlight at the rodeo, even though he’s privately seething over Patricia’s nosiness, Sue Ellen’s flirtation with Dusty and the fact that Cliff is buzzing around like a gnat, trying to horn in on his dealings with Angelica. And who doesn’t love this episode’s climactic scene, when J.R. — through gritted teeth — announces Dusty has won the coveted belt buckle that designates him as the rodeo’s best all-around cowboy? (Dusty was the winner in “Rodeo” too, although Jock Ewing presented the prize back then.)

“Close Encounters” also brings Ray and Donna’s pregnancy storyline to a close: She suffers a miscarriage after a caged bull causes her to take a spill. The expression on Susan Howard’s face when Donna falls says so much about the character’s fear, while Steve Kanaly does a nice job conveying Ray’s anguish in the hospital scenes. The episode also offers its share of curiosities: Why do the producers show Ray congratulating the taciturn adolescent Rocky on his victory in the rodeo’s junior competition? Is the point to demonstrate that Ray is good with children, thus making Donna’s miscarriage at the end of the episode seem even more tragic? Or was there some subplot involving Rocky that was left on the cutting-room floor? Why is this kid so mopey, after all?

In the same spirit, what should we make of the cameo by Mark White, the real-life Texas governor who appears at the beginning of the rodeo? Besides becoming the first person to play himself on “Dallas” (following appearances by Gerald and Betty Ford and Henry Kissinger in a 1983 “Dynasty” episode), White manages to deliver a hilariously brief speech when he greets the rodeo-goers thusly: “Thank you. Thank you. It’s really great to be with y’all up here today. Thank you.”

A politician who limits his public pronouncements to just 16 words? How did we not know this season was going to turn out to be a dream?

Grade: A

_______________________________________________________________________________________________________________________________________________

Close Encounters, Dallas, Linda Gray, Sue Ellen Ewing

Changed woman

‘CLOSE ENCOUNTERS’

Season 9, Episode 9

Airdate: November 15, 1985

Audience: 19.8 million homes, ranking 9th in the weekly ratings

Writer: Hollace White and Stephanie Garman

Director: Corey Allen

Synopsis: Angelica decides to do business with Ewing Oil. Sue Ellen raises Mandy’s doubts about J.R. and resumes her romance with Dusty. Donna suffers a miscarriage after falling at the Ewing Rodeo.

Cast: John Beck (Mark Graison), Barbara Bel Geddes (Miss Ellie Farlow), Barbara Carrera (Angelica Nero), Gino De Mauro (Rocky), Jim Gough (Announcer), Linda Gray (Sue Ellen Ewing), Larry Hagman (J.R. Ewing), Robert Harper (Doctor), Joshua Harris (Christopher 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), Shalane McCall (Charlie Wade), Priscilla Beaulieu Presley (Jenna Wade), Victoria Principal (Pam Ewing), Dack Rambo (Jack Ewing), Deborah Rennard (Sly), Deborah Shelton (Mandy Winger), Merete Van Kamp (Grace), Governor Mark White (Himself)

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

Dallas Scene of the Day: ‘I Cannot — I Will Not — Sell’

Dallas, Pam Ewing, Victoria Principal, Wind of Change

Speech, speech!

In “The Wind of Change,” a ninth-season “Dallas” episode, Miss Ellie (Barbara Bel Geddes) calls Pam (Victoria Principal) to the stage at the Oil Baron’s Ball to accept Bobby’s posthumous Oilman of the Year Award.

PAM: There’s a lot of wisdom in what Miss Ellie has had to say here tonight. I guess that’s where Bobby got his from. It is only right that Bobby’s son should keep this award. It will forever remind him of his father’s achievements, his business expertise, his standing in the oil community. And that’s good, but maybe that’s not enough. Remembering his father’s achievement is one thing, but appreciating his heritage is quite another. And that is something that he must do. As most of you know, I had intended to sell Christopher’s share of Ewing Oil to Westar. But I’ve slowly come to realize that if I did that, I might not be doing what Bobby would have wanted. Bobby always said that Ewing Oil and the Ewing family were inseparable. Working with his family is my son’s birthright, and I don’t want to take away his chance to follow in his father’s footsteps: to honor him, by emulating him; to carry the torch, so to speak; to work beside you, as Bobby had. Therefore, with apologies to those who may not understand my change of heart, I cannot — I will not — sell Christopher’s share of Ewing Oil to Westar.

The audience applauds as Pam exits the stage and is approached by J.R. (Larry Hagman) and Mark (John Beck).

J.R.: [Beaming] Well, I’ve got to admit in front of God and everybody else that what you did tonight is going to be remembered as a wise and historic decision.

PAM: Well, I’m surprised to hear you say that, but I’m happy to hear you say it.

J.R.: [Chuckles] Well, not as happy as I am, honey. I’ll tell you what: I’ll get our lawyers together and we’ll just close this little deal.

PAM: What deal?

J.R.: For Christopher’s share.

PAM: J.R., when I said that I wasn’t selling to Wendell, I didn’t mean that I was selling to you.

J.R. [Confused] What?

PAM: I’m not selling at all. From now on, it’s going to be you and me. I’ll see you at the office, partner. [Walks away with Mark, leaving J.R. stunned.]

Watch this scene in “The Wind of Change,” available on DVD and at Amazon and iTunes, and share your comments below.

Critique: ‘Dallas’ Episode 198 — ‘The Wind of Change’

Barbara Bel Geddes, Dallas, Miss Ellie Ewing Farlow, Pam Ewing, Victoria Principal, Wind of Change

Keepers of the faith

Who doesn’t get chills at the end of “The Wind of Change”? Pam takes the podium at the Oil Baron’s Ball and delivers a stirring tribute to Bobby, then announces she’s decided to not sell Christopher’s share of Ewing Oil to Jeremy Wendell. As Pam exits the stage to applause, J.R. — who’s been desperately fighting Wendell’s takeover — rushes to his ex-sister-in-law’s side and praises her “wise and historic decision.” J.R. assumes Pam is going to sell the shares to him, but she quickly bursts his bubble. “I’m not selling at all,” she says. “From now on, it’s going to be you and me. I’ll see you at the office, partner.”

This is a great scene for a lot of reasons, beginning with the way it allows Pam to slide into Bobby’s old role as J.R.’s most effective antagonist. In one swoop, she manages to save J.R.’s bacon and ruin his day — just like Bobby used to do. The twist also carries more than a hint of destiny: Early plans for “Dallas” called for Bobby to be killed off at the end of the first season, leaving Pam as the spirited young widow, fighting for her place in the Ewing empire. Now Victoria Principal finally gets to play that character, except the conflict is far richer because the show has almost a decade’s worth of conflict between J.R. and Pam to draw upon.

Just as importantly, the Oil Baron’s Ball scene casts Pam in another role: as a kindred spirit to Miss Ellie. Earlier in “The Wind of Change,” Mama visits Pam and talks about how she used to dream of John Ross and Christopher growing up, side by side. “And then they’d finally start running the business together the way Jock used to — tough, honest,” Ellie says. “I had faith that they’d always do the right thing. I had faith.” It’s another nicely written monologue from Peter Dunne — delivered beautifully by Barbara Bel Geddes — and it lends extra poignancy to Pam’s big speech at the end of the episode. Her decision to hold onto the Ewing Oil shares doesn’t just mean Christopher will one day follow in Bobby’s footsteps; it also means Pam is poised to succeed Ellie as keeper of the Ewing faith.

‘I’m Pregnant Now!’

Dallas, Donna Krebbs, Ray Krebbs, Steve Kanaly, Susan Howard, Wind of Change

Into the fire

With its emphasis on family and legacy, “The Wind of Change” bears more than a passing resemblance to the third-season classic “Ellie Saves the Day,” another episode that found the Ewing empire on the brink of ending. Both episodes are filled with somber moments, although “The Wind of Change” takes the theme of dashed dreams one step further with a subplot about Ray and the pregnant Donna learning their child will be born with Down syndrome. The performances from Steve Kanaly and Susan Howard are believably anguished, especially in the scene where Ray suggests Donna abort the child. “You can get pregnant again,” he says. “I’m pregnant now!” she shouts. We’re used to the Krebbses keeping “Dallas” grounded, but never have their problems felt this real.

And yet “The Wind of Change” manages to be a fun episode too, doesn’t it? The scenes at the Oil Baron’s Ball are everything we’ve come to expect from these affairs. When J.R. isn’t smiling and pretending he’s not seething about Wendell’s takeover, he’s discreetly caressing mistress Mandy Winger’s arm — something his nosy mother-in-law, Patricia Shepard, doesn’t miss. The ball scenes also find mysterious newcomer Angelica Nero spying Jack across the crowded room (this is Barbara Carrera’s “Dallas” debut), Jamie tossing a cream pie in Cliff’s face and Sue Ellen’s triumphant return to the public eye after her latest sanitarium stay.

The latter scene is shot from Sue Ellen’s point of view, an example of the visual flair that was a hallmark of director Corey Allen, helming his first “Dallas” episode since the second season. In another “Wind of Change” scene, Allen shoots Priscilla Beaulieu Presley and Shalane McCall galloping across a Southfork field on horseback (shades of Jim Davis’s cattle drive scene in “Bypass,” Allen’s first “Dallas” episode), while a breakfast conversation between Ellie and Clayton is staged on the Southfork balcony, which offers such dramatic, sweeping views of the ranch, I’ll never understand why other directors didn’t use the setting more often. I also love the cross-cut editing between Ray and Donna’s argument over their child and Jack and Jenna’s conversation about what the Krebbses are enduring.

The other great artistic achievement in “The Wind of Change” belongs to costume designer Travilla, who outfitted the actresses in gowns that became iconic. The secrets behind the dresses are almost as interesting as what we saw on screen. According to a newspaper article quoted in Barbara Curran’s book, “Dallas: The Complete Story of the World’s Favorite Prime-Time Soap,” the beaded black gown worn by Bel Geddes weighed 20 pounds and cost $5,000, while Principal’s white dress weighed 30 pounds, making it hard for her to walk. As for Gray’s famous black dress? It was lined with plastic bags attached with safety pins.

Sue Ellen may be sober, but I guess she hasn’t completely left her bag lady days behind her. Who knew?

Grade: A+

_______________________________________________________________________________________________________________________________________________

Dallas, J.R. Ewing, Larry Hagman, Wind of Change

Dallas deflation

‘THE WIND OF CHANGE’

Season 9, Episode 7

Airdate: November 1, 1985

Audience: 20.2 million homes, ranking 7th in the weekly ratings

Writer: Peter Dunne

Director: Corey Allen

Synopsis: At the Oil Baron’s Ball, Bobby is named Oilman of the Year, prompting Pam to change her mind about selling Christopher’s share of Ewing Oil to Jeremy Wendell. Sue Ellen leaves the sanitarium and moves in with her mother, while Mandy returns to Dallas and resumes her relationship with J.R. Ray and Donna learn their child will be born with Down syndrome.

Cast: John Beck (Mark Graison), Barbara Bel Geddes (Miss Ellie Farlow), Barbara Carrera (Angelica Nero), Fern Fitzgerald (Marilee Stone), Tony Garcia (Raoul), Linda Gray (Sue Ellen Ewing), Larry Hagman (J.R. Ewing), Joshua Harris (Christopher 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), Frances Lee McCain (Dr. Amy Rose), Shalane McCall (Charlie Wade), Greg Michaels (Private eye), Priscilla Beaulieu Presley (Jenna Wade), Martha Scott (Patricia Shepard), Victoria Principal (Pam Ewing), Karen Radcliffe (Barbara), Dack Rambo (Jack Ewing), Carol Sanchez (Angela), sDeborah Shelton (Mandy Winger), William Smithers (Jeremy Wendell), Don Starr (Jordan Lee)

“The Wind of Change” is available on DVD and at Amazon and iTunes. Watch the episode and share your comments below.

Critique: ‘Dallas’ Episode 197 — ‘Mothers’

Barbara Bel Geddes, Dallas, Martha Scott, Mothers, Patricia Shepard

Lives of mothers

“Mothers” brings back Patricia Shepard, who visits Southfork and is stunned to discover her daughter Sue Ellen is being treated for alcoholism. Patricia’s arrival allows “Dallas” to delve into Sue Ellen’s past, drawing a connection between her troubled childhood and the addiction that now overwhelms her. The episode also examines the prickly relationship between Miss Ellie and Patricia, two women who are united by the marriage of their children but who otherwise have very little in common. It all adds up to another hour that allows the women of Southfork to step into the spotlight. Just think: It took only nine seasons for them to get there.

This is an episode with many interesting moments, beginning with Sue Ellen’s visit to Dr. Gibson, a therapist at the sanitarium where she’s receiving treatment. Linda Gray’s dialogue reveals new information about her character — we learn Sue Ellen’s father was an alcoholic too — epitomizing new producer Peter Dunne’s determination to dig deeper into familiar figures like Sue Ellen Ewing. The Gibson character also is put to good use. She’s full of insight, refusing to allow Sue Ellen to blame other people for her problems. “It doesn’t matter whose fault it is. What matters is where you go from here,” Gibson says. The good doctor is played by Bibi Besch, a wonderful character actress who makes everything she appears in better. What a shame this is Gibson’s only “Dallas” appearance while Dr. Ellby — Sue Ellen’s creepy, glass-eyed therapist during the early seasons — logged 19 (!) episodes.

The scenes involving Ellie and Patricia reveal a lot too. Here are two women who couldn’t be more different. Earthy Ellie allows her children to make their own decisions — sometimes to a fault. In this episode, she wisely tells Ray he must make up his own mind about whether or not to sell his shares of Ewing Oil to Jeremy Wendell, but she also says nothing when J.R. causes a scene at breakfast, complaining about how his family is selling him out to Wendell. Contrast this with that master meddler, the status-obsessed Patricia. She pries J.R. for information about his marital life — even getting him to admit he’s had affairs (notably, she gives him a pass for this) — and later visits Sue Ellen and vows to “straighten out” her daughter’s marriage. When Sue Ellen points out that she’s always run third to J.R.’s work and his mistresses, Patricia snaps, “I didn’t raise my daughters to run third. I raised winners.” This lady is like Jock Ewing in a skirt, is she not?

Patricia and Ellie’s direct interaction tells us a lot too. Note how warmly Ellie greets Patricia when she arrives at Southfork. Only after Patricia has exited the scene do we learn the truth: “That woman’s never been anything but trouble,” Ellie tells Clayton. Mama is nothing if not a gracious hostess. It’s also worth noting that Patricia acts like she has no idea her daughter has a drinking problem, even though the Shepard matriarch’s most recent visit to the ranch came during the third season, right after Sue Ellen’s previous sanitarium stay. Perhaps this is an oversight on behalf of Dunne and the rest of the writing team, but it seems just as likely Patricia is suffering a classic case of denial. Consider what happens at the end of “Mothers,” when Patricia lashes out at Ellie. While Mama is talking about how Sue Ellen needs to learn to deal with her problems on her own, Patricia is focused on fixing her daughter’s marriage. Patricia simply has her own set of priorities.

There’s a lot more to like about “Mothers,” including the opening scene, when J.R. urges the Oil Baron’s Ball organizers to honor Bobby with the Oilman of the Year Award, as well as the final shot, when Mama overhears J.R. lamenting how he failed to keep the family business together. This episode also plants the seeds for storylines that will take on greater significance later in the season: Clayton takes a call from an associate who reports bad business news, Mark hires his friend Dr. Jerry Kenderson to run his research clinic, and Jack is followed by someone who keeps snapping photos of him. Does the stalker work for J.R.? Jeremy? Someone else? We won’t find out for several episodes, and even though the resolution ends up being disappointing, you can’t deny the mystery gets off to an intriguing start.

Mostly, though, “Mothers” belongs to the women, especially Barbara Bel Geddes and Martha Scott. Both actresses are class acts, and it’s fun to watch them go toe to toe with performances that are nuanced, subtle and above all, believable. These are the kinds of mature roles we rarely see on television today. Make no mistake: If Ellie and Patricia were characters on a contemporary soap opera like “Empire” or “Scandal,” they’d probably be reduced to trading cheap quips and dirty looks. Then again, what are the chances either of those shows would give meaningful roles to a couple of veteran actresses like Barbara Bel Geddes and Martha Scott?

Grade: B

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Barbara Bel Geddes, Dallas, J.R. Ewing, Larry Hagman, Miss Ellie Ewing, Mothers

Mama’s here

‘MOTHERS’

Season 9, Episode 6

Airdate: October 25, 1985

Audience: 19.5 million homes, ranking 8th in the weekly ratings

Writer: Hollace White and Stephanie Garman

Director: Michael Preece

Synopsis: Patricia Shepard, Sue Ellen’s mother, arrives and vows to repair her daughter’s marriage. Pam and Miss Ellie each decide to sell their shares of Ewing Oil to Wendell, but Ellie gets cold feet when she realizes it will devastate J.R. Mandy leaves town. Mark decides to fund a medical research institute and asks Jerry to run it.

Cast: John Beck (Mark Graison), Barbara Bel Geddes (Miss Ellie Farlow), Linda Gray (Sue Ellen Ewing), Bibi Besch (Dr. Gibson), Donald Craig (Oil baron), Tony Garcia (Raoul), Larry Hagman (J.R. Ewing), Joshua Harris (Christopher Ewing), Jenilee Harrison (Jamie Ewing Barnes), 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), Hal Landon (Oil baron), Jared Martin (Dusty Farlow), Shalane McCall (Charlie Wade), Priscilla Beaulieu Presley (Jenna Wade), Victoria Principal (Pam Ewing), Karen Radcliffe (Barbara), Dack Rambo (Jack Ewing), Carol Sanchez (Angela), Martha Scott (Patricia Shepard), William Smithers (Jeremy Wendell)

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

Critique: ‘Dallas’ Episode 196 — ‘Saving Grace’

Dallas, John Beck, Mark Graison, Pam Ewing, Saving Grace

Swoon song

No one will ever accuse Mark Graison of being an interesting character, but you can’t deny the man knows how to make a comeback. In “Saving Grace,” Mark re-enters Pam’s life and reveals he faked his death a year earlier to focus on finding a cure for his fatal disease. Yes, the explanation is absurd, but it’s not like we haven’t been through this kind of thing before (Dusty Farlow), and it’s not like we won’t go through it again (Bobby Ewing). Mark’s resurrection might be “Dallas’s” best return from the grave, though — or at least the one that does the least damage to the show’s credibility.

Much credit goes to the actors who must carry this storyline, beginning with John Beck. Some “Dallas” fans will never forgive Mark for pursuing Pam while she was still married to Bobby, but Beck’s confident charm is put to good use here. It helps him sell all the outlandish dialogue he has to deliver about secretive death-staging and international cure-seeking. Victoria Principal also hits the right notes, especially when Pam faints in Mark’s arms, then awakens and simultaneously bursts into tears and laughter. Principal also gets to utter a line that is wonderfully hilarious, but only in retrospect: “Tell me I’m not dreaming.”

I also appreciate how “Saving Grace” doesn’t shortchange Mark’s return. “Dallas” dispenses with Dusty and Bobby’s revivals with just a few lines, but this episode has several lengthy scenes where Mark explains the reason for faking his death (he didn’t want Pam to watch him die slowly), the state of his disease (in remission, not cured), and why he’s re-entering Pam’s life (because now that Bobby’s dead, she needs him). We also get to see other characters react to Mark’s return: J.R. is rattled but refuses to show it, while Cliff is speechless. (Ken Kercheval’s double-take is priceless in the fun scene where Mark surprises Cliff in the kitchen.) By the end of the hour, though, everyone has recovered from the shock: Pam and Mark are back together, and he’s vowing to put Ewing Oil out of business after hearing about J.R.’s scheme to send Pam on a wild goose chase for him during the previous season.

Indeed, “Saving Grace” marks the moment “Dallas” begins getting back to business as usual after Bobby’s death. J.R. is once again battling Jeremy Wendell, pursuing Mandy Winger and neglecting the needs of Sue Ellen, including hanging up on her therapist when he calls to suggest J.R. attend marriage counseling. (The hang-up occurs off-camera, unfortunately). These scenes are balanced with a series of exchanges that highlight the show’s renewed sense of warmth: Donna and Jenna go shopping for baby clothes, Ray playfully asks his wife if she’d like to “mess around,” Jack sweetly urges Jamie not to worry about him after someone breaks into his apartment and noses around.

Miss Ellie also shows a little love, of the tough variety, when she tells Dusty to steer clear of Sue Ellen while she’s trying to get sober. This is a good scene because it brings together two characters who don’t usually interact and reminds us that Ellie has a fifth “son”: Dusty, which is a relationship I tend to forget about. The dialogue is smart too, especially when Dusty says the idea of staying away from Sue Ellen “isn’t that simple” and Mama smiles and responds, “Let me simplify it for you.” I also like how director Nick Havinga stages the scene in a corner of the Southfork lawn, with the actors in the foreground and the house looming behind them. It makes me wish more scenes had been filmed at this angle.

Ellie is planting a tree when the scene begins, which marks the third or fourth time we’ve seen her gardening since Barbara Bel Geddes resumed her famous role a few episodes ago. Q-Less, a Dallas Decoder reader, recently pointed out the frequency of these planting scenes at the beginning of the ninth season, suggesting it symbolized how Bel Geddes was keeping the show grounded. I couldn’t agree more. Every time we see Ellie puttering around her garden, it’s as if “Dallas” is getting back to its roots. Keep digging, Mama.

Grade: B

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Barbara Bel Geddes, Dallas, Dusty Farlow, Jared Martin, Miss Ellie Ewing Farlow, Saving Grace

Blood and soil

‘SAVING GRACE’

Season 9, Episode 5

Airdate: October 18, 1985

Audience: 19.2 million homes, ranking 9th in the weekly ratings

Writer: Joel J. Feigenbaum

Director: Nick Havinga

Synopsis: Mark tells Pam he faked his death to find a cure for his disease, which is now in remission. Jack resists Cliff’s pressure to sell to Wendell. Clayton orders J.R. to stop pressuring Miss Ellie, who tells Dusty to give Sue Ellen room to recover.

Cast: John Beck (Mark Graison), Barbara Bel Geddes (Miss Ellie Farlow), Burke Byrnes (Pete Adams), Alan Fudge (Dr. Lantry), 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), Jared Martin (Dusty Farlow), Priscilla Beaulieu Presley (Jenna Wade), Victoria Principal (Pam Ewing), Dack Rambo (Jack Ewing), Debbie Rennard (Sly), Carol Sanchez (Angela), Deborah Shelton (Mandy Winger)

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