Bypass – Dallas Decoder

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

November 4, 2015 by Chris Baker 9 Comments

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.

Filed Under: Critiques, Critiques (Classic), Opinion Tagged With: Barbara Bel Geddes, Barbara Carrera, Barbara Curran, Bypass, Corey Allen, Ellie Saves the Day, Jim Davis, Linda Gray, Peter Dunne, Priscilla Beaulieu Presley, Shalane McCall, Victoria Principal, Wind of Change

Critique: ‘Dallas’ Episode 179 — ‘Legacy of Hate’

July 22, 2015 by Chris Baker 18 Comments

Dallas, Legacy of Hate, Pam Ewing, Victoria Principal

Girl on fire

Who doesn’t love the first scene in “Legacy of Hate”? Pam storms into J.R.’s office and demands to know why he sent her on a wild goose chase for her presumed dead fiancé, Mark Graison. J.R. plays dumb and denies everything, which only infuriates Pam more. She vows to get even by joining Cliff and Jamie’s legal fight to seize two-thirds of J.R.’s business. “You have one soft spot, one weakness — and that’s Ewing Oil, the only thing you’ve ever really loved,” Pam says. “Cliff and Jamie and I are going to take your company away from you. And then I’m going to watch you hurt.”

Hot damn! Often when these characters clash, J.R. threatens and Pam reacts. The dynamics here are reversed. At one point, she shouts, “Shut up! Just sit there and listen!” Under different circumstances, I might complain that a line like that further undercuts J.R., who’s already lost too much mojo this season. I could also point out that the wild goose chase scheme is unusually cruel, even by his standards. But if this is what it takes to reignite the spark in Victoria Principal’s character, I’m all for it. Make no mistake: This isn’t the namby-pamby Pam of recent seasons. This is Digger’s daughter, the fierce, feisty gal who refuses to be pushed around. Isn’t it nice to have her back?

I have to believe Principal is thrilled more than anyone. It’s been a long time since we’ve seen “Dallas” give the actress material like this; not even Pam’s years-in-the-making confrontation with Katherine was this emotionally charged. Larry Hagman is impressive too. Even though the audience knows J.R. is lying, you kind of want to believe him, don’t you? The scene also gives Hagman some fun one-liners, which he tosses off with typical effortless brilliance. (My favorite: “I never liked you a hell of a lot, you know that, Pam? But I never thought you were stupid until now.”) Is Hagman trying to upstage his co-star? Or is he merely giving her what she needs to get worked up? Whatever the case, their chemistry has never crackled quite like it does here.

Credit also goes to first-time “Dallas” director Robert Becker, who shows us what we need to see and then gets out of the actors’ way. When the sequence begins, Becker shoots Principal marching off the Ewing Oil elevator, through the reception area and into J.R.’s office. Once she’s inside the room, Becker keeps Hagman seated at the desk, allowing Principal to tower over him. The staging underscores how she’s dominating him. Another nice touch: Before Pam barges into the office, Kendall tries to stop her. Phyllis pipes up and says, “No, Kendall.” It’s telling that Phyllis would rather risk J.R.’s wrath than Pam’s.

The scene is easily one of “Dallas’s” best episode openings, ranking alongside the cattle drive that begins “Bypass” and Bobby’s heroics during the Southfork fire in “The Road Back.” Nothing else in “Legacy of Hate” matches the drama of J.R. and Pam’s confrontation, although Bobby and J.R.’s fight in the Southfork swimming pool comes close. I also like the episode’s quieter moments, including a good scene where Miss Ellie has a late-night heart-to-heart chat with J.R. in the Southfork kitchen. (He sips a beer, of course. Don’t the Ewing brothers ever drink milk to help them get back to sleep?) In another nice scene, Clayton offers to give Jamie one of his oil companies if she agrees to call off her lawsuit against the Ewings. It’s an outright bribe, but Howard Keel is so gentlemanly, he makes the offer seem perfectly honorable. I also like hearing Clayton refer to the Ewings as his family.

“Legacy of Hate” contains striking bit of continuity too: When J.R. plays Bobby the tape of his conversation with Cliff, the dialogue matches what he says when the exchange is depicted as a one-sided telephone call in “Déjà Vu.” The producers deserve applause for going to the trouble of making sure the two scenes sync, since I’m not sure even fervent fans would have noticed when these episodes aired weeks apart in 1985. I wish the same attention to detail was observed during “Legacy of Hate’s” next scene. After J.R. learns he’s been ratted out by Gerald Kane, the pilot he hired to lie to Pam, J.R. calls him and threatens to send over some “friends” if he doesn’t leave Texas right away. “Nobody, but nobody, double-crosses J.R. Ewing,” he says. True enough, but since when does J.R. give his enemies this kind of warning?

There’s also some humor in “Legacy of Hate,” although I’m not sure it’s intentional. When Mandy walks out on Cliff after Jamie interrupts their romantic dinner at home, she says, “I’m getting out, because three’s a crowd.” Could this be a sly reference to the sitcom that featured Jenilee Harrison before she arrived on “Dallas”? There’s an even funnier moment during J.R. and Bobby’s pool fight. After J.R. lands in the water and Bobby leaps into the water to punch him some more, watch Hagman. His face breaks into a comical, bug-eyed expression straight from his “I Dream of Jeannie” days. The expression is visible only a second, which makes me wonder if Hagman did it to amuse the crew, the stuntman or maybe just himself.

This is the kind of thing fans probably would have missed when this episode aired 30 years ago, before we all had the ability to search, scan, pause and replay scenes. Seeing it now is a reminder that no matter how many times we watch this show, there’s almost always something new to discover.

Grade: A

_______________________________________________________________________________________________________________________________________________

Slam dunk

‘LEGACY OF HATE’

Season 8, Episode 18

Airdate: February 1, 1985

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

Writer: Arthur Bernard Lewis

Director: Robert Becker

Synopsis: Pam and Bobby each confront J.R., who denies sending her on a wild goose chase. Cliff gains Pam as an ally in his fight with Jamie but loses Mandy’s support. The Ewings are stunned when Cliff and Jamie try to freeze Ewing Oil’s assets. Scotty tells Bobby they must find Naldo’s girlfriend, Veronica Robinson. Eddie cheats on Lucy with Betty.

Cast: Burke Byrnes (Pete Adams), Larry Cedar (Martin), Roseanna Christiansen (Teresa), Lisa Cutter (Model), Patrick Duffy (Bobby Ewing), Stephen Elliott (Scotty Demarest), Eric Farlow (Christopher Ewing), Rosemary Forsyth (Ann McFadden), Linda Gray (Sue Ellen Ewing), Larry Hagman (J.R. Ewing), Jenilee Harrison (Jamie Ewing), Susan Howard (Donna Krebbs), Steve Kanaly (Ray Krebbs), Howard Keel (Clayton Farlow), Ken Kercheval (Cliff Barnes), Fredric Lehne (Eddie Cronin), Sarah Partridge (Model), George O. Petrie (Harv Smithfield), Priscilla Beaulieu Presley (Jenna Wade), Victoria Principal (Pam Ewing), Donna Reed (Miss Ellie Farlow), Sherril Lynn Rettino (Jackie Dugan), Dean Santoro (Raymond Furguson), Deborah Shelton (Mandy Winger), Danone Simpson (Kendall), Charlene Tilton (Lucy Ewing), Deborah Tranelli (Phyllis), Morgan Woodward (Punk Anderson), Kathleen York (Betty)

“Legacy of Hate” 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: Bypass, Déjà Vu, Howard Keel, Jenilee Harrison, Larry Hagman, Legacy of Hate, Road Back, Robert Becker, Victoria Principal

‘Dallas’ 2014: Remembering Those We Lost

December 31, 2014 by Chris Baker 2 Comments

Several people who contributed to “Dallas” died during the past 12 months. Here’s a list of those we lost, along with notable deaths that occurred among the show’s extended family. Click on each person’s name to learn more about his or her career at IMDb.com.

James Avery

James Avery

December 31, 2013 (age 68)

Avery, who is best known as Uncle Phil on “The Fresh Prince of Bel-Air,” played Fowler, the judge who allowed Bobby to keep Christopher in the 11th–season episode “Malice in Dallas.”

Jerry Biggs

Jerry Biggs

Died March 30 (age 63)

Biggs appeared in bit parts in three episodes between 1982 and 1986, including playing a customer who flirted with Lucy at the Hot Biscuit in the eighth-season episode “Family.”

Lew Brown

Lew Brown

Died July 27 (age 89)

Brown played Clarence, a Ewing Oil employee, in the seventh-season episode “My Brother’s Keeper.” He returned for two 10th-season episodes as Harrigan, a newspaperman who exposed J.R.’s connection to B.D. Calhoun.

Robert Cawley

Robert Cawley

Died June 23 (age 85)

Cawley played an instructor at the ice-skating rink where Bobby and Christopher met Lisa Alden in “Tough Love,” an 11th-season episode. He also played an oil field worker in the 1998 “Dallas” reunion movie, “War of the Ewings.”

Vince Davis

Vince Davis

Died May 23 (age 59)

Davis played one of Sue Ellen’s business advisors in the 10th-season episode “Once and Future King” and a waiter who served J.R. and Wilson and Kimberly Cryder in “Hustling,” an 11th-season entry.

Michael Filerman

Michael Filerman

Died January 25 (age 75)

Filerman, “Dallas’s” executive program supervisor in 1978, later served as executive producer of “Knots Landing,” “Falcon Crest,” “Flamingo Road,” “Sisters” and other prime-time serials.

Med Flory

Med Flory

Died March 12 (age 87)

In the third-season episode “The Lost Child,” Flory played private eye Cal McBride, who J.R. hired to follow Sue Ellen when she began secretly seeing Dr. Elby. Other credits include “Lassie” and “Daniel Boone.”

Stefan Gierasch

Stefan Gierasch

Died September 6 (age 88)

Gierasch played Ben Masters, the storekeeper who helped Tom Owens seek revenge against Jock in the third-season classic “The Dove Hunt.” Other credits include a 1992 episode of “Knots Landing.”

Michael A. Hoey

Michael A. Hoey

Died August 17 (age 79)

Hoey directed “Missing,” a ninth-season episode, along with multiple episodes of “Falcon Crest” and “Fame.” He later produced several Primetime Creative Arts Emmy broadcasts.

Russell Johnson

Russell Johnson

Died January 16 (age 89)

Johnson, the Professor on “Gilligan’s Island,” played Sheriff Wyatt Mansfield in the ninth-season episode “Twenty-Four Hours.” Other credits include “Vanished,” a 1971 TV movie with Larry Hagman, Jim Davis and Denny Miller.

Dennis Lipscomb

Dennis Lipscomb

Died July 30 (age 72)

Lipscomb played Nelson Harding, an IRS agent who helped J.R. pressure the Ewings to declare Jock dead, in the sixth-season episode “Billion Dollar Question.” His later credits include episodes of “ER” and “The X-Files.”

Ann Marcus

Ann Marcus

Died December 3 (age 93)

Marcus, a writer on “Peyton Place,” helped revitalize “Knots Landing” during its next-to-last season and co-wrote “Knots Landing: Back to the Cul-de-Sac” with “Dallas” scribe Lisa Seidman.

Frank Marth

Frank Marth

Died January 12 (age 91)

Marth played Dr. Sidney Grovner, Lucy’s physician, in “Billion Dollar Question.” He also played doctors on “Starsky & Hutch,” “The Six Million Dollar Man” and “Aloha Means Goodbye,” a 1974 TV movie.

Denny Miller

Denny Miller

Died September 9 (age 80)

Miller, a star of “Wagon Train,” played Max Flowers, Cliff’s foreman at Gold Canyon 340, in four episodes during the seventh season. Miller and Hagman also did episodes of “The Rockford Files” and “Barnaby Jones” together.

Ed Nelson

Ed Nelson

Died August 9 (age 85)

“Peyton Place” star Nelson originated the role of Jeb Amos in the second-season classic “Bypass.” Nelson and “Dallas” producer Leonard Katzman also worked together on a 1955 film, “New Orleans Uncensored.”

Byron Weiss

Byron Weiss

Died March 14 (age 51)

Weiss performed stunts for “War of the Ewings” and two TNT episodes, “Blame Game” and “Guilt By Association.” He also worked on Jesse Metcalfe’s 2010 series, “Chase,” and the Katzman-produced “Walker, Texas Ranger.”

What do you remember about these artists? Share your memories below and read last year’s tributes.

Filed Under: Features, Features Tagged With: Ann Marcus, Billion Dollar Question, Blame Game, Bypass, Byron Weiss, Dennis Lipscomb, Denny Miller, Dove Hunt, Ed Nelson, Family, Frank Marth, Guilt By Association, Hustling, James Avery, Jerry Biggs, Jim Davis, Knots Landing, Knots Landing: Back to the Cul-de-Sac, Larry Hagman, Lew Brown, Lost Child, Malice in Dallas, Med Flory, Michael Filerman, Michael Hoey, Missing, My Brother’s Keeper, Once and Future King, Robert Cawley, Russell Johnson, Stefan Gierasch, TNT, Twenty-Four Hours, Vince Davis, War of the Ewings

Critique: ‘Dallas’ Episode 138 — ‘Ray’s Trial’

November 11, 2013 by Chris Baker 12 Comments

Dallas, Ray Krebbs, Ray's Trial, Steve Kanaly

His day in court

I always remembered the mystery surrounding Mickey Trotter’s death as boiling down to a single question: Did Ray or Lil pull the plug on him? Last week, when I re-watched “Ray’s Trial” for the first time in a few years, I realized “Dallas” also poses a second, more complicated question: Did Mickey want to live or die? Ray and Lucy each offer different answers during the course of the episode, and technically, both of their statements are accurate. Does that mean both statements are also true? I’m not sure anyone can answer that definitively, which makes the storyline feel a lot more interesting than I previously gave it credit for.

To appreciate this aspect of “Ray’s Trial,” it’s worth remembering two crucial scenes from the preceding episodes. In “My Brother’s Keeper,” when Mickey is struggling to come to grips with his paralysis, he pulls Ray aside and tells him, “The idea of living like a vegetable with some damn machine keeping me alive disgusts me. It’s the worst horror I can imagine. … If it happens, I hope and pray that no one’s going to let me live that way.” Later, in “The Quality of Mercy,” Mickey’s mood brightens when he realizes Lucy is determined to stand by him despite the fact that he’ll never walk again. “Who knows? Maybe we’ll get married yet,” Mickey tells her.

But this is “Dallas,” so of course that never happens. When Mickey slips into a coma, his respirator is disconnected off-screen by either Ray or Lil, the two people with him at the time. The district attorney charges Ray, although the show goes out of its way to drop hints that the real culprit is Lil and Ray is only covering up for her. “Dallas” doesn’t solve the mystery until the next episode, allowing the audience to spend “Ray’s Trial” pondering what Mickey wanted, which turns out to be the more interesting question anyway. At the top of the hour, Ray meets with his lawyer and recalls Mickey’s “worst horror” comment, holding this up as evidence that Mickey preferred death to being kept alive via medical machinery. Later, when Lucy testifies at Ray’s trial, she recalls the marriage plans she and Mickey were making before he slipped into the coma. “He wanted to live. He really did,” she says.

Once again, these are two characters offering two technically accurate but fundamentally different answers to the question of whether Mickey wanted to live or die. Who you choose to believe may come down to where you stand on the issue of euthanasia, which is where “Ray’s Trial” ultimately falls short. Scriptwriter Arthur Bernard Lewis doesn’t devote much time to examining the moral implications of Mickey’s death, which is somewhat surprising considering the difference of opinion Ray and Donna apparently bring to the issue. At one point, Ray tells his lawyer, “What I did was not immoral.” This seems to put him at odds with Donna, whose personal beliefs are hinted at in the previous episode when she declares, “Nobody has the right to play God.” So why doesn’t “Ray’s Trial” give us a scene of husband and wife debating the issue?

Even if the material feels incomplete, Steve Kanaly makes the most of it. In my recent interview with him, Kanaly recalled growing up watching westerns and admiring actors like Gary Cooper. The comment must have lodged itself in the back of my mind because when I watched “Ray’s Trial” a few days later, I was struck by how much Kanaly reminds me of Cooper. The actors share similarly quiet, dignified mannerisms, and both are able to say a lot without uttering a single line of dialogue. In Kanaly’s case, watch his haunted eyes in this episode and you’ll see everything that the script doesn’t tell us about what Ray is feeling.

The other performer to watch is Charlene Tilton, who appears only twice but makes a lasting impression. She does a beautiful job delivering Lucy’s tearful testimony, which supplies “Ray’s Trial” with its moment of emotional catharsis. My favorite scene, though, comes a few moments later, when Donna comforts Lucy in the courthouse corridor after Lucy reluctantly testifies against Ray. This is a brief scene and the script doesn’t give Tilton much dialogue, but none is needed. Her anguished expression says it all. The courtroom scenes also feature a couple of old pros — Richard Jaeckel as prosecutor Percy Meredith and Glenn Corbett as Paul Morgan, Ray’s defense lawyer — as well as a young Steven Williams, who appears here as a bailiff and later plays the police captain on “21 Jump Street.”

This episode’s other notable moments include Mark Graison’s polo match, which might be “Dallas’s” most thrilling horseback riding sequence since Jock Ewing surged across the Southfork plains at the beginning of the second-season classic “Bypass.” “Ray’s Trial” also marks Lois Chiles’ final appearance as Holly Harwood. In her last scene, Holly approaches J.R. in a cocktail lounge and taunts him over losing the battle for Ewing Oil. Besides giving Chiles one last opportunity to spar with Larry Hagman, I like how this scene mimics J.R. and Holly’s first on-screen encounter, which also takes place in a cocktail lounge.

The other highlight of “Ray’s Trial” is the arrival of Priscilla Presley, who makes her “Dallas” debut as Jenna Wade. It’s a fine first appearance, although it includes a bit of a curiosity. In one of Presley’s scenes, Bobby pulls up in front of Jenna’s home as she approaches the sidewalk. He invites her to join him for lunch, but when director Michael Preece offers us a close-up shot of Bobby’s car radio, we see the clock reads “5:45.” From this, we can deduce one of two things: Either Ewings eat lunch very late, which makes them a lot different than you and me, or Bobby has yet to figure out how to set the clock in his car, in which case he’s just like us.

Grade: B

_______________________________________________________________________________________________________________________________________________

Hello again

‘RAY’S TRIAL’

Season 7, Episode 7

Airdate: November 11, 1983

Audience: 22.4 million homes, ranking 2nd in the weekly ratings

Writer: Arthur Bernard Lewis

Director: Michael Preece

Synopsis: Ray goes on trial and frustrates Donna with his reluctance to defend himself. Bobby runs into Jenna, who now works as a waitress. J.R. woos the cartel.

Cast: Charles Aidman (Judge Emmett Brocks), Christopher Atkins (Peter Richards), John Beck (Mark Graison), Morgan Brittany (Katherine Wentworth), Lois Chiles (Holly Harwood), Glenn Corbett (Paul Morgan), Michael Cornelison (Dr. Snow), Patrick Duffy (Bobby Ewing), Eric Farlow (Christopher Ewing), Fern Fitzgerald (Marilee Stone), Steven Fuller (bailiff), Tony Garcia (Raoul), Linda Gray (Sue Ellen Ewing), Larry Hagman (J.R. Ewing), Susan Howard (Donna Krebbs), Richard Jaeckel (Assistant District Attorney Percy Meredith), Steve Kanaly (Ray Krebbs), Omri Katz (John Ross Ewing), Howard Keel (Clayton Farlow), Ken Kercheval (Cliff Barnes), Audrey Landers (Afton Cooper), Joseph R. Maross (Dr. Blakely), Andrea McCall (Tracy Anders), Priscilla Presley (Jenna Wade), Victoria Principal (Pam Ewing), Kate Reid (Lil Trotter), Paul Sorensen (Andy Bradley), Don Starr (Jordan Lee), Charlene Tilton (Lucy Ewing)

“Ray’s Trial” 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: Arthur Bernard Lewis, Bypass, Glenn Corbett, Larry Hagman, Lois Chiles, Michael Preece, My Brother’s Keeper, Priscilla Presley, Quality of Mercy, Ray’s Trial, Richael Jaeckel, Steve Kanaly, Steven Williams

Critique: ‘Dallas’ Episode 132 — ‘The Road Back’

September 30, 2013 by Chris Baker 29 Comments

Bobby Ewing, Dallas, J.R. Ewing, Larry Hagman, Patrick Duffy, Road Back

What hath they wrought?

With “The Road Back,” “Dallas” delivers the first hour of its seventh season and the most thrilling opening in its history. It begins with a nighttime shot of Southfork, which looks familiar against the dark sky except for the flames shooting out of the roof. Director Nick Havinga then brings us inside the house, where we find the occupants right where we left them at the end of “Ewing Inferno,” the previous season’s cliffhanger: Sue Ellen and John Ross are asleep in their beds, each unaware of the smoke filling their rooms; Ray is unconscious in the foyer; and J.R. has collapsed in a hallway. Next, we see Bobby zipping down Braddock Road in his red convertible. When he spots the blaze, he slows down and stares for a moment. “Oh, my God,” he says.

And then, the rescue sequence: As Jerrold Immel’s underscore surges, Bobby guns the car down the driveway and screeches to a halt near the garage. He leaps out of the vehicle and dives into the swimming pool, then runs into the house, where he finds Ray awakening. Together, the two men race upstairs and drag the dazed J.R. down the hall and through the doors to the balcony. Bobby and Ray go back into the house and retrieve Sue Ellen and John Ross, and when they return to the terrace, Ray orders everyone into the pool below. With sirens wailing in the background, J.R. cradles the screaming John Ross and jumps into the water.

When I revisited “The Road Back” for this critique, I had no doubt these scenes would retain their emotional value, but I was surprised by how well they hold up from a technical perspective. The wide shots of the burning house look a little crude by today’s standards, but they still work. Likewise, the scenes inside the home are as chaotic and scary now as they were three decades ago. “Dallas” producer Leonard Katzman built replicas of the Southfork sets so he could burn them down, so those are real flames you see surrounding Patrick Duffy, Steve Kanaly and Larry Hagman. I’m guessing “The Road Back’s” opening was filmed at the same time as the final scenes in “Ewing Inferno,” although if it turned out Katzman staged one fire for the cliffhanger and another for the resolution, I wouldn’t be surprised. This man had a DeMillian appreciation for spectacle.

“The Road Back” also includes a fantastic scene where Bobby summons J.R. to a Southfork pasture to broker a truce between him and Ray, whose beef with J.R. caused the fire in the first place. Ray angrily reminds J.R. how he made an enemy of Walt Driscoll, the vengeful bureaucrat who tried to kill J.R. but ended up injuring Ray’s cousin Mickey instead. J.R. responds by pointing out that Bobby and Ray had a hand in ruining Driscoll too. “None of us have clean hands, boys. None of us,” J.R. says, and for once, he isn’t twisting the truth. In another poignant moment, J.R. and Bobby stand inside the charred Southfork living room and survey the damage. “We sure made a mess out of everything. Ewing Oil, Southfork, the family. Every damn thing,” J.R. says. It’s nice to see him humbled for a change, no?

I also like the scenes in “The Road Back” that show J.R being nice to the embittered Sue Ellen, not just because it’s good to see his compassionate side, but also because it allows Linda Gray to deliver some terrific zingers. In my favorite exchange, J.R. gets a call from Bobby and rushes out of the hotel room where he’s staying with his wife and son. “I’ll be back as soon as I can,” J.R. says. “Don’t remind me,” Sue Ellen responds. Later, when J.R. encourages Sue Ellen to get some rest, she turns to Pam and quips, “Isn’t it wonderful how thoughtful he can be when he’s caught with his boots parked under the wrong bed?”

(J.R. and Sue Ellen’s dynamic here brings to mind the third-season opener “Whatever Happened to Baby John, Part 1,” when he makes a sincere attempt to patch up his broken marriage, only to discover she’s unwilling to forgive him. Other scenes in “The Road Back” also harken to earlier “Dallas” moments. For example, when J.R. drives away from his meeting with Bobby and Ray, the shot of his Mercedes rolling across the Southfork plains recalls a similar shot at the end of “Digger’s Daughter.” Also, during “The Road Back’s” cattle drive sequence, we hear Ray speak on his walkie-talkie to Hal, a ranch hand seen during the first season, while Miss Ellie and Clayton spend this episode at Lake Takapa, the subject of a major fourth-season storyline.)

Of course, even though the tragic events of the previous season reveal J.R.’s humanity in “The Road Back,” this episode makes it clear he hasn’t been fully redeemed. In one scene, he schemes with Katherine Wentworth to ensure Bobby and Pam don’t reunite. Later, after Sue Ellen delivers her “boots-parked-under-the-wrong-bed” remark, J.R. and Pam get into a nasty spat. (J.R.: “I’ve never heard a woman open her mouth more and say less.”) His most mischievous moment comes in the final scene, when J.R. and Bobby visit Harv Smithfield and tell him they want to call off their fight for Ewing Oil. I believe J.R. feels genuine regret, but when Harv tells the brothers that it’s legally impossible to end their contest, notice the slight, ever-so-subtle smile that break across J.R.’s face. My guess is this is Hagman’s way of signaling to the audience that even though J.R. feels bad about everything that’s transpired, he’s glad he’s going to have a chance to beat Bobby after all.

“The Road Back” also offers the classic scene where Pam takes Sue Ellen to a French fashion boutique to rebuild her wardrobe after the fire, only to watch in horror as Sue Ellen lustily accepts the glass of champagne offered by snooty Madam Claude. Says Sue Ellen when Pam suggests they should leave: “Pam, don’t be a nag.” This episode is also chockablock with casting trivia: Omri Katz makes his first appearance as John Ross; Dan Ammerman, who originated the role of Ewing family physician Dr. Danvers in the second-season episode “Bypass,” shows up here as the Farlows’ doctor; and daytime soap opera star Stephen Nichols (“Days of Our Lives,” “General Hospital”) and Fox News Channel anchor Arthel Neville have bit roles.

“The Road Back” also marks the debut of my favorite version of the “Dallas” title sequence music, the one that features the synthesized riff when the signature three-way split screens begin. The sound effect is pure ’80s, which his probably why I love it so. “The Road Back” is also the first “Dallas” episode to feature the work of cinematographer Bradford May, whose camerawork gives the show a rich, textured look. It’s a dramatic contrast from other years, especially toward the end of “Dallas’s” run, when the show looks flat and washed out. Sadly, May is with “Dallas” for just 27 episodes. I’m not sure why he didn’t last the whole seventh season — there are conflicting explanations for his departure — but one thing is certain: Thanks to him, “Dallas” finally looks as good as it is.

Grade: A

_______________________________________________________________________________________________________________________________________________

Dallas, John Ross Ewing, Omri Katz, Ray Krebbs, Steve Kanaly

Hot heir

‘THE ROAD BACK’

Season 7, Episode 1

Airdate: September 30, 1983

Audience: 23 million homes, ranking 2nd in the weekly ratings

Writer: Arthur Bernard Lewis

Director: Nick Havinga

Synopsis: Bobby rescues J.R., Sue Ellen, John Ross and Ray from the fire and later brokers a truce between his feuding brothers. J.R. and Bobby tell Harv they want to call off the contest, but Harv informs them it’s legally impossible. Sue Ellen discovers the car accident wasn’t her fault. Mickey emerges from his coma. Mark fears the fire will reunite Bobby and Pam, while J.R. and Katherine agree to work together to keep them apart. Clayton tells the Ewings that Miss Ellie needs rest and won’t return to Southfork for awhile.

Cast: Dan Ammerman (Neal), Mary Armstrong (Louise), John Beck (Mark Graison), Morgan Brittany (Katherine Wentworth), John Devlin (Clouse), Patrick Duffy (Bobby Ewing), Eric Farlow (Christopher Ewing), Dana Gibson (Ellison), Linda Gray (Sue Ellen Ewing), Larry Hagman (J.R. Ewing), Gloria Hocking (Madam Claude), Anna Kathryn Holbrook (Ann), Susan Howard (Donna Krebbs), Steve Kanaly (Ray Krebbs), Omri Katz (John Ross Ewing), Howard Keel (Clayton Farlow), Ken Kercheval (Cliff Barnes), Betty King (Groves), Kay E. Kuter (Sampson), Michael Krueger (Henri), Timothy Patrick Murphy (Mickey Trotter), Arthel Neville (waitress), Stephen Nichols (paramedic), George O. Petrie (Harv Smithfield), Victoria Principal (Pam Ewing), Kate Reid (Lil Trotter), David Sanderson (Buck), Charlene Tilton (Lucy Ewing)

“The Road Back” 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: Arthel Neville, Bradford May, Bypass, Dan Ammerman, Digger’s Daughter, Jerrold Immel, Larry Hagman, Linda Gray, Nick Havinga, Omri Katz, Patrick Duffy, Road Back, Stephen Nichols, Steve Kanaly, Whatever Happened to Baby John? Part 1

Critique: ‘Dallas’ Episode 118 — ‘The Reckoning’

July 15, 2013 by Chris Baker 6 Comments

Dallas, Barbara Bel Geddes, Miss Ellie Ewing, Reckoning

Ewings divide!

Few moments on “Dallas” stir as many emotions for me as Miss Ellie’s testimony at the end of “The Reckoning.” Ellie, who is trying to overturn Jock’s will because it’s dividing her family, reads aloud one of the last letters he sent her before his death in South America. The words are sad and sentimental, written at a time when Jock was ill and missing his wife. When she’s finished, Ellie’s lawyer Brooks Oliver asks if she believes the letter shows Jock lacked mental competence at the end of his life. The Ewing matriarch tries to avoid answering the question, but Brooks persists. Ellie swallows hard. “If that’s the legal term you need to break the will,” she says, “then yes, Jock was not mentally competent.”

Does Ellie genuinely believe this? Scriptwriter Will Lorin keeps things ambiguous, which helps lend this scene its power. On the one hand, we learn from Jock’s letter that he was under the weather when he wrote the codicil that established the divisive contest for Ewing Oil. On the other hand, sick or not, pitting J.R. and Bobby against each other feels very much like something Jock would do. Is Ellie deluding herself when she declares otherwise? This wouldn’t be the first time she’s put on blinders where her late husband is concerned. Or could it be that Ellie is so desperate to end her sons’ rivalry that she’s willing to publicly question Jock’s mental competence, even though she knows deep down that he wasn’t delusional? Either way, I feel sorry for Mama at this moment.

Regardless of Ellie’s motivation, Barbara Bel Geddes does a nice job conveying her character’s torment. The actress uses her trademark halting delivery during the testimony, which works well because it suggests Ellie isn’t sure if she’s doing the right thing. Bel Geddes also allows her tears to flow freely, demonstrating again that she’s one of “Dallas’s” best criers. The testimony is also poignant because the letter that Ellie reads makes Jock seem more human than we usually think of him. He writes about getting older, using an expression — “I’m really feeling the years” — that sounds like something a man from Jock’s generation would say. You have to go back to “Dallas’s” ninth episode, “Bypass,” to see the character acknowledge his own mortality with such candor.

More than anything, this scene seems to offer a tribute to the courage that Jim Davis brought to his final days in the spring of 1981. Jock’s letter conjures images of him soldiering on through the jungle, just as Davis persevered when he continued to film scenes for “Dallas” despite the terrible toll cancer was taking on his body. Back then, the producers didn’t write Davis’s illness into the script because they wanted to give the dying actor hope that he would recover and be able to continue playing his character. Now, seeing Ellie read Jock’s letter in “The Reckoning,” it’s almost as if Bel Geddes is finally giving voice to her late co-star’s grit and determination. It’s quite touching.

This episode also shows us how Bobby is becoming more like J.R. as their battle for Ewing Oil rages. After learning that Gary and Ray would lose most of their inheritance if Jock’s will is overturned, Bobby tries to use the information to manipulate Pam into persuading Ellie to drop her legal challenge. Pam thinks Bobby’s suggestion is ridiculous and lets him know it. “Oh, Bobby, you know your mother. Never in a million years would she hurt Gary or Ray,” Pam says. Bobby can only sigh in exasperation.

“The Reckoning” also shows us a different side of Sue Ellen. She’s played the role of J.R.’s supportive spouse throughout his fight with Bobby, but twice in this episode she demonstrates some independence. In the first instance, while J.R. and Sue Ellen are alone in their bedroom, he muses how it would be good for him if Pam had a fling with Mark Graison, thus creating a distraction for Bobby. Sue Ellen is mortified. “J.R., I don’t want anything bad happening to Bobby and Pam’s marriage,” she declares. (Foreshadowing alert: Sue Ellen then adds, “Can you imagine if somebody did that to you and I?”) Later, during the courthouse sequence, J.R. stands in the hallway with Bobby and Sue Ellen and points out Pam and Miss Ellie, standing a few feet away. “Well, I see your little wife over there, giving aid and comfort to the opposition,” J.R. huffs. Sue Ellen’s response: “Opposition? J.R., that’s your mother.”

A final thought: “The Reckoning” is the first of two “Dallas” episodes helmed by Bill Duke, who would go on to become one of television’s most prolific directors. (Duke, a great character actor, also plays the sharecropper whom Jock befriends in “Dallas: The Early Years.”) “The Reckoning” is one of Duke’s first directing gigs, and his gifts are evident. Besides eliciting wonderful performances from Bel Geddes and the rest of the cast, Duke does two things during the courtroom scenes that I love. First, as each character testifies, we see the bailiff cross off that person’s name from the witness list. Duke also shows us periodic close-ups of the court reporter’s fingers as she rhythmically punches the keys of her typewriter. These are small touches, but they add so much to my enjoyment of these scenes.

I also like how Duke ends this episode with a shot of Ellie emerging from the courtroom after the judge rules against her. The other Ewings follow her lead, evoking memories of the freeze frame from “Bypass,” when everyone coalesced around the wheelchair-bound Jock as he departed the hospital. One difference: In the earlier shot, all the Ewings face forward. Now they’re all headed in different directions, a family together but no longer united.

Grade: A

_______________________________________________________________________________________________________________________________________________

The ‘D’ list

‘THE RECKONING’

Season 6, Episode 15

Airdate: January 14, 1983

Audience: 22.1 million homes, ranking 4th in the weekly ratings

Writer: Will Lorin

Director: Bill Duke

Synopsis: A judge rejects Miss Ellie’s attempt to overturn Jock’s will. J.R. tells Mark that Pam is interested in him. Rebecca urges Cliff to lay off the Ewings for awhile. Donna fails again to persuade her fellow commissioners to rescind J.R.’s variance. The cartel weighs whether to uncap the Wellington property or buy out Bobby’s share.

Cast: John Beck (Mark Graison), Barbara Bel Geddes (Miss Ellie Ewing), Fred Carney (Judge Howard Mantee), Roseanna Christiansen (Teresa), Patrick Duffy (Bobby Ewing), Fern Fitzgerald (Marilee Stone), Tom Fuccello (Senator Dave Culver), Linda Gray (Sue Ellen Ewing), Laurence Haddon (Franklin Horner), Larry Hagman (J.R. Ewing), Susan Howard (Donna Krebbs), Steve Kanaly (Ray Krebbs), James Karen (Elton Lawrence), Howard Keel (Clayton Farlow), Ken Kercheval (Cliff Barnes), Audrey Landers (Afton Cooper), Julio Medina (Henry Figueroa), Donald Moffat (Brooks Oliver), George O. Petrie (Harv Smithfield), Priscilla Pointer (Rebecca Wentworth), Victoria Principal (Pam Ewing), Arlen Dean Snyder (George Hicks), Paul Sorensen (Andy Bradley), Don Starr (Jordan Lee), Charlene Tilton (Lucy Ewing), Morgan Woodward (Punk Anderson)

“The Reckoning” 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, Bill Duke, Bypass, Dallas: The Early Years, Jim Davis, Reckoning, Will Lorin

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

_______________________________________________________________________________________________________________________________________________

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.

Filed Under: Critiques, Critiques (Classic), Opinion Tagged With: Bypass, Charlene Tilton, Dennis Redfield, For Love or Money, Larry Hagman, Linda Gray, Lindsay Bloom, Maelstrom, Morgan Brittany, Patrick Duffy, Search, Steve Kanaly

Critique: TNT’s ‘Dallas’ Episode 4 – ‘The Last Hurrah’

June 28, 2012 by Chris Baker 12 Comments

Bobby Ewing, Christopher Ewing, Dallas, Jesse Metcalfe, Last Hurrah, Patrick Duffy, TNT

Fence and sensibility

I like “The Last Hurrah,” but I can’t help but feel a little disappointed by it. This episode brings together more characters from the original “Dallas” than any TNT entry so far – in addition to J.R., Bobby and Sue Ellen, we get to see Lucy, Ray and Cliff – yet none of these old favorites have much interaction with each other.

This feels like a missed opportunity when you consider the episode climaxes at the “final” Ewing barbecue, which would seem like an ideal setting to bring together the old gang. Indeed, Bobby organizes the party so friends and family can bid Southfork farewell before he completes the sale of the ranch to the del Sol conservancy. “If you are here, it’s because you have a connection to this ranch and the people who’ve lived on it,” Bobby declares in his speech to the partygoers, but as director Marc Roskin pans the crowd, we see more anonymous extras than familiar faces.

How fun would it have been to watch J.R. trade barbs again with Lucy, or to see Bobby and Ray reminisce about the ranch that has meant so much to them? According to William Keck’s recent TV Guide cover story, Roskin filmed a scene where J.R. and Sue Ellen share a sentimental dance at the party, but it was left on the cutting-room floor. What a shame.

While this might not have been a rollicking Ewing barbecue like days of yore, J.R.’s big scheme in “The Last Hurrah” is as convoluted as some of the eye-rollers he came up with during the old show’s more exasperating moments. To get Bobby’s crooked lawyer Mitch Lobell to call off his extortion scheme and draw up new legal papers making J.R. the sole owner of Southfork, J.R. hatches a plot to photograph Lobell’s son Ricky, a recovering addict with prior convictions, doing drugs. J.R. then threatens to expose Ricky’s lapse unless Lobell cooperates.

J.R. also arranges to have Marta discover John Ross and Elena are getting chummy again because he needs Marta to get angry so she’ll work with him to secretly cut John Ross out of the Southfork deal – but doesn’t this plan seem kinda reckless? J.R. knows Marta is bipolar and has a history of violence; at one point, he calls her “crazier than an outhouse rat.” Is this really the kind of person you want to become mad at your son?

Look, I love seeing TNT’s “Dallas” pay tribute to the original series, but I want it to honor the old show’s best storytelling traditions, not its outlandish impulses.

Of course, there are several solid moments in “The Last Hurrah,” beginning with Bobby and Christopher’s father/son chats, which showcase the nice chemistry developing between Patrick Duffy and Jesse Metcalfe. I also like the scene where John Ross blackmails Rebecca – Josh Henderson delivers the line about her being “an extremely resourceful woman” with a Hagman-esque twinkle – as well as Julie Gonzolo’s performance as the increasingly desperate Rebecca.

I even appreciate scriptwriter Taylor Hamra’s subplot about the birth of the calf, which offers a nice contrast to the sense of finality that hangs over Southfork in the days before the barbecue. It’s probably coincidental, but the calf’s arrival also recalls the birth of a foal in “Bypass,” a classic episode from the original series.

The producers also deserve applause for upholding another longstanding “Dallas” practice: casting great character actors in supporting roles. Leonor Varela seems destined to join the long line of mentally unhinged villainesses in the “Dallas” hall of fame, while veteran Texas actor Richard Dillard is perfectly sleazy as Lobell. Dillard reminds me of Dennis Patrick, who was wonderfully smarmy as Vaughn Leland on the old show.

My favorite part of “The Last Hurrah”: the final moments in the scene where Sue Ellen expresses her concern about John Ross’s reconciliation with his father. After John Ross abruptly ends the conversation, Sue Ellen picks up the box containing Miss Ellie’s pearls, opens it and slowly caresses the beads.

Perhaps this gesture shows how Sue Ellen now understands the pain adult children are capable of causing their aging mamas, or maybe it’s just an expression of how much Sue Ellen misses Ellie and wishes she were still around to dispense motherly advice. Whatever the reason, it’s a lovely reminder that Miss Ellie remains part of “Dallas,” if only in spirit.

Grade: B

________________________________________________________________________________________________________________________________________________

Dallas, J.R. Ewing, Larry Hagman, Last Hurrah, TNT

Less hair, lots of harebrained schemes

‘THE LAST HURRAH’

Season 1, Episode 4

Telecast: June 27, 2012

Writer: Taylor Hamra

Director: Marc Roskin

Audience: 5.7 million viewers (including 4.1 million viewers on June 27, ranking 15th in the weekly cable ratings)

Synopsis: J.R. blackmails Lobell into calling off his extortion plot and cutting John Ross out of the Southfork sale, making J.R. the ranch’s sole owner. John Ross tries to blackmail Rebecca into helping him with a scheme, but she refuses and resolves to tell Christopher the truth about the e-mail that broke up him and Elena. John Ross and Elena grow closer. Cliff offers to fund Sue Ellen’s gubernatorial campaign, arousing J.R.’s jealousies. Bobby hosts Southfork’s final barbecue, where Rebecca begins her confession to Christopher.

Cast: Margaret Bowman (Miss Henderson), Jordana Brewster (Elena Ramos), Richard Dillard (Mitch Lobell), Patrick Duffy (Bobby Ewing), Marlene Forte (Carmen Ramos), Julie Gonzalo (Rebecca Ewing), Linda Gray (Sue Ellen Ewing), Larry Hagman (J.R. Ewing), Callard Harris (Tommy Sutter), Josh Henderson (John Ross Ewing), Steve Kanaly (Ray Krebbs), Ken Kercheval (Cliff Barnes), Jason London (Ricky Lobell), Jesse Metcalfe (Christopher Ewing), Kevin Page (Bum), Brenda Strong (Ann Ewing), Charlene Tilton (Lucy Ewing), Leonor Varela (Marta del Sol)

“The Last Hurrah” is available at DallasTNT.com, Amazon.com and iTunes. Watch the episode and share your comments below.

Filed Under: Critiques, Critiques (TNT), Opinion Tagged With: Bypass, Dennis Patrick, Jesse Metcalfe, Josh Henderson, Julie Gonzalo, Larry Hagman, Last Hurrah, Leonor Varela, Marc Roskin, Patrick Duffy, Richard Dillard, Taylor Hamra, TNT

The Art of Dallas: ‘Bypass’

April 12, 2012 by Chris Baker Leave a Comment

Jock (Jim Davis) suffers a heart attack and receives help from J.R. (Larry Hagman) in this 1978 publicity shot from “Bypass,”a second-season “Dallas” episode.

Filed Under: Art of Dallas, Art of Dallas (Classic), Features Tagged With: Bypass, Jim Davis, Larry Hagman

Dallas Scene of the Day: ‘We’ve Had a Good Life, Ellie’

April 12, 2012 by Chris Baker 3 Comments

Barbara Bel Geddes, Bypass, Dallas, Jim Davis, Jock Ewing, Miss Ellie Ewing

Heart to heart

In “Bypass,” a second-season “Dallas” episode, Jock (Jim Davis) lies in his hospital bed, talking to Miss Ellie (Barbara Bel Geddes).

JOCK: [Smiling] You know, Ellie, sometimes I worry I, I don’t think I’ve been a very good father.

ELLIE: Yes, you have.

JOCK: Gary pulling out. Drifter. Maybe I could’ve done better by him but just didn’t know how.

ELLIE: Jock, don’t. Look at J.R. He may get on your nerves once in awhile, but he’s done wonders for Ewing Oil – a natural born businessman. And Bobby’s working the ranch. I like that. Maybe that’s the way to solve the whole problem.

JOCK: Maybe. [Serious] Ellie if, if anything happens to me, you keep the family together, you hear?

ELLIE: Nothing’s going to happen.

JOCK: Promise me. It means a lot.

ELLIE: [Smiling] To me, too. [Chuckles] Remember when my daddy didn’t give us five years together? [Jock laughs.] Sometimes I think he was right. We’re both so headstrong. Well, we’ve raised a family – and we’re still together.

JOCK: [Pushes a tray table away and Ellie moves closer] We’ve had a good life, Ellie.

ELLIE: We still do.

She kisses him.

Filed Under: Dallas Scenes of the Day, Dallas Scenes of the Day (Classic), Features Tagged With: Barbara Bel Geddes, Bypass, Jim Davis