Charlene Tilton – Dallas Decoder

Critique: ‘Dallas’ Episode 191 — ‘Swan Song’

September 18, 2015 by Chris Baker 33 Comments

Bobby Ewing, Dallas, Patrick Duffy, Swan Song

Exit the hero

“Swan Song” is a masterpiece. This is the best “Dallas” episode ever made because it dares to set aside so many of the show’s conventions — wheeling, dealing, double-crossing — to focus on what matters most: the characters and their relationships. Mostly, “Swan Song” tells the story of Bobby and Pam’s long-awaited reunion, which is cut short when he sacrifices his life to save hers. It’s pure soap opera, yet the performances from Patrick Duffy, Victoria Principal and the other actors are so heartfelt, every emotion rings true. Even though it’s 30 years later, and even though Bobby’s death later turned out to be a dream, “Swan Song” still moves me.

Like “A House Divided,” the 1980 segment that kicked off the “Who Shot J.R.?” phenomenon, “Swan Song” deserves to be remembered as a watershed moment for “Dallas.” Not only was this supposed to be Duffy’s final appearance as Bobby, it also was intended as the last hurrah for producer Leonard Katzman, who wrote and directed the episode before departing to run his own show on another network. Both men eventually returned to Southfork, which would have been unthinkable when the cameras were rolling on this episode in March 1985. (I examine the backstage drama in a companion post, “‘Swan Song: Making a ‘Dallas’ Classic.”) Watching it today, you get the impression everyone involved wanted to send Duffy and Katzman off on a high note. Did they ever.

More than anything, “Swan Song” is remembered for two scenes: Bobby pushing Pam out of the path of the speeding car and his deathbed farewell to his family. Neither sequence would pack as much punch if weren’t for two earlier, quieter moments. First, Pam summons Bobby to her home to discuss their future. The couple has been divorced for years, and now he’s engaged to Jenna Wade, one of the show’s other long-suffering heroines. Bobby tells Pam he still loves her, but she says it will destroy Jenna if he doesn’t go through with the wedding. “As much as I love you, you have to marry her,” Pam says. It’s a line straight out of a Douglas Sirk movie, but it’s crucial to our understanding of Principal’s character — and Duffy’s, for that matter. Bobby and Pam have always been willing to sacrifice their own happiness to spare the feelings of others. That’s what makes them perfect for each other.

Later, Bobby returns to Pam’s home and tells her he’s decided it would be wrong to marry one woman when he’s in love with another. This is something the audience has known for a long time, but “Dallas” fans are always one step ahead of the characters in matters of the heart. Finally, Bobby asks the question Pam — and the audience — has longed to hear: “Will you … marry me … again?” Duffy delivers the line with a sweet, almost nervous enthusiasm, while Principal responds by simultaneously bursting into tears and laughter. The characters kiss, and she elegantly reaches behind her head to turn off the lamp. It’s “Swan Song’s” most romantic moment — until Katzman kills the mood by cutting to the scene outside, where the mysterious driver who’s been following Bobby silently pounds her fists onto the steering wheel.

End of the road

Bobby Ewing, Dallas, Pam Ewing, Patrick Duffy, Swan Song, Victoria Principal

Scream queen

“Swan Song’s” climactic action sequence begins the morning after Bobby’s proposal. A landscaper arrives at Pam’s house and parks his vehicle next to Bobby’s (this will be important later), while inside, the happy couple are beginning to plan their future together. After carrying little Christopher downstairs to breakfast — eggs and toast, not that you need to be reminded — Pam walks Bobby outside. She tells him how bad she feels for Jenna. He reassures her they’re doing the right thing, kisses her goodbye and walks to his car. In the distance, the stalker starts her ignition. Through her windshield we see Pam run over to give Bobby one more kiss, and then the stalker’s car begins moving. The motion slows, our hearts race. Bobby spots the speeding car and shouts Pam’s name. As she turns, he pushes her out of the way, allowing the vehicle to strike him. He rolls over the hood, the roof, the trunk. When he finally hits pavement, we hear the thud.

What happens next is seared into the memories of “Dallas” fans. Pam — dressed in that beautiful white sweater and pants — crawls to Bobby, turns him over and rests his bloodied head on her lap. It’s not unlike Jackie Kennedy cradling her husband in the moments after his assassination. Our point of view switches to the stalker’s car, which has slammed into the landscaper’s truck. He rushes over, reaches inside and pulls off the woman’s blonde wig, which turns her head toward the camera. Katherine Wentworth’s eyes — lifeless, yet still crazed — stare back at us. We then return to Bobby and Pam, who emits a guttural scream. In my behind-the-scenes post, Duffy says the sound she produced made his ears ring. I believe it. Principal has ceased being an actress at this moment. She is Pam Ewing, clutching the hand of the man she loves as he lay dying.

‘It’s Bobby’

Dallas, J.R. Ewing, Larry Hagman, Swan Song

Last call

If “Swan Song” had ended here, we’d still remember it as a great hour of television. But “Dallas” doesn’t let us off the hook that easily. The episode now shows us the characters finding out what’s happened to Bobby. Cliff is standing in his living room, arguing with his new wife Jamie and her brother Jack, when a radio bulletin announces the “bizarre turn of events” that’s caused Bobby to be rushed to the hospital. (This is the same radio voice that announced Bobby’s shooting at the beginning of this season, by the way.) When the newsman says the incident occurred at the home of “Mr. Ewing’s ex-wife,” Ken Kercheval closes his eyes and winces. The announcer may be puzzled by what’s happened, but Cliff knows.

Across town, J.R. is awakening in the home of his mistress, Mandy Winger. He’s decided to spend the day with her, so he calls Ewing Oil to let the secretaries know he won’t be coming into work. At the office, Phyllis is hunched over her desk, sobbing. Sly answers the phone and tells J.R. that everyone has been trying to reach him. He asks why she’s upset, but we don’t get to hear Deborah Rennard’s character break the news. Instead, Katzman holds the camera on Larry Hagman as J.R.’s face falls. In the background, we hear a few solemn notes of the “Dallas” theme. “It’s Bobby,” J.R. says as he puts down the phone, grabs his hat and rushes out the door.

This is one of the most powerful moments in the episode. Much credit goes to Hagman, whose reaction is flawless, and composer Lance Rubin, who was smart enough to use the theme music to signal the gravity of the situation. But don’t overlook Deborah Tranelli, the actress who plays Phyllis. More than anyone else in this episode, she serves as a stand-in for the audience. Bobby was Phyllis’s boss, but she also knew him the way we do — as a friend. Phyllis’s tears are ours. Without saying a word, Tranelli delivers one of “Swan Song’s” most haunting performances.

Death is but a dream

Dallas, Ray Krebbs, Steve Kanaly, Swan Song

Sob brother

The deathbed farewell is a familiar trope in drama, but the “Dallas” cast infuses Bobby’s goodbye with heart and grace. This was a company of actors who cared about each other and their work, and in this scene, it shows. Steve Kanaly’s sobbing is touching, and so is the single tear that streams down Hagman’s face. This also is one of Donna Reed’s best performances as Miss Ellie. Yes, Bobby’s death would have been even more memorable if it had featured Barbara Bel Geddes, but Reed looks believably stricken. Of course, nothing gets me like the moment Bobby’s monitor flat lines, jolting Pam. I don’t know if Principal did this instinctively or if she was following Katzman’s direction, but seeing Pam almost jump out of her skin makes the shock of Bobby’s death palpable. I also love what Principal does next, throwing back her head in quiet agony. It’s an exquisite performance.

Perhaps no one rises to the occasion, though, quite like Duffy. It would have been easy to overplay a scene like this, as we’ve all seen actors in other movies and TV shows do. But Duffy strikes every note perfectly, from his groggy greeting upon waking up (“Hey, Ray”) to the break in voice when he addresses Ellie (“Oh, Mama, I’m sorry”). Duffy brings to bear all the years he spent creating this character; if Bobby’s death feels like the loss of a real person, it’s because of the actor playing him. It’s also worth noting how smartly Katzman wrote this scene. He injects a little mystery into the exchange by having Bobby declare, “All that wasted time. We should have been married.” Is he speaking to Pam or Jenna? It seems clear now, but I can remember debating this with my mom in 1985. On the other hand, when Bobby says, “Be good to each other. Be a family,” do we have any doubt which Ewing that line is directed toward?

Never the same

Bye, Bob

There’s much more to love about “Swan Song.” This episode also gives us one of the great bedroom fights between J.R. and Sue Ellen (“Joan of Arc would have been a drunk if she had been married to you”); another touching moment from Kanaly when Ray pleads with his estranged wife Donna to come back to him; and Lucy’s sentimental farewell to the Ewings after remarrying Mitch. “I’m going to miss you all. I’ll never be the same again,” she says. I have no doubt the line describes Charlene Tilton’s own sentiments as much as it does her character’s. (Although this was Tilton’s swan song too, she eventually returned, like Duffy and Katzman.)

And yet “Swan Song” isn’t flawless, is it? During the proposal scene, the shadows on Duffy’s face are distracting, Katherine’s wig and her tomato juice throwing scene are undeniably campy, and there’s at least one glaring continuity error: On the morning of the accident, we see Bobby putting on brown boots — but when he’s run over in the driveway a few minutes later, he’s wearing black shoes. The show also gives away quite a bit of the plot in the pre-credits roll, although I suppose that doesn’t matter now that we know how the story ends. Some fans also gripe that “Dallas” was foolish to kill off Bobby in the first place since Duffy ended up returning, but I admire the boldness of his death. Killing major characters is common on television today, but it didn’t happen so much in the 1980s. And let’s face it: “Dallas” handles Bobby’s demise much better than it did Jock’s, which dragged on far too long.

Does it matter that the most memorable parts of “Swan Song” later turned out to be one character’s dream? Not really. Yes, Bobby’s death has gone down in television history with an asterisk next to it, but that doesn’t diminish the quality of the production and the amount of heart that went into honoring the character by giving him a meaningful sendoff. It brings to mind something I learned reading comic books as a kid: So what if this is an imaginary story. Aren’t they all?

Grade: A+

_______________________________________________________________________________________________________________________________________________

Death becomes her

‘SWAN SONG’

Season 8, Episode 30

Airdate: May 17, 1985

Audience: 23.3 million homes, ranking 1st in the weekly ratings

Writer and Director: Leonard Katzman

Synopsis: Sue Ellen asks Dusty to help her get sober. Donna tells Ray she’s pregnant. Cliff contemplates ending his marriage to Jamie. Lucy and Mitch are remarried. Bobby proposes to Pam and she accepts, but a vengeful Katherine mows him down in the driveway. At the hospital, Bobby bids farewell to his family before dying.

Cast: Mary Armstrong (Louise), Morgan Brittany (Katherine Wentworth), Roseanna Christensen (Teresa), Pat Colbert (Dora Mae), Patrick Duffy (Bobby Ewing), Walker Edmiston (Parson Carson), Eric Farlow (Christopher Ewing), Linda Gray (Sue Ellen Ewing), Larry Hagman (J.R. Ewing), Jenilee Harrison (Jamie Barnes), Susan Howard (Donna Krebbs), Steve Kanaly (Ray Krebbs), Omri Katz (John Ross Ewing), Howard Keel (Clayton Farlow), Ken Kercheval (Cliff Barnes), Jared Martin (Dusty Farlow), Shalane McCall (Charlie Wade), Leigh McCloskey (Dr. Mitch Cooper), Priscilla Beaulieu Presley (Jenna Wade), Victoria Principal (Pam Ewing), Dack Rambo (Jack Ewing), Donna Reed (Miss Ellie Farlow), Debbie Rennard (Sly), Deborah Shelton (Mandy Winger), Charlene Tilton (Lucy Ewing), Deborah Tranelli (Phyllis), David White (Mark)

“Swan Song” 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, Charlene Tilton, Deborah Rennard, Deborah Tranelli, Donna Reed, House Divided, Ken Kercheval, Lance Rubin, Larry Hagman, Leonard Katzman, Patrick Duffy, Steve Kanaly, Swan Song, Victoria Principal, Who Shot J.R.?

Critique: ‘Dallas’ Episode 189 — ‘Deeds and Misdeeds’

August 26, 2015 by Chris Baker 11 Comments

Dallas, Deeds and Misdeeds, Linda Gray, Sue Ellen Ewing

Bottle shock

Sue Ellen’s scenes in “Deeds and Misdeeds” aren’t easy to watch. The previous episode ended with her taking her first drink in almost two years, and in this hour, she continues slipping back into her old habits. Sue Ellen leads everyone to believe her relapse was only temporary, yet she swipes a bottle of vodka from the living room and stuffs it in her purse when no one is looking. Alcohol is once again overpowering her, which director Michael Preece brilliantly symbolizes in one scene by filming Linda Gray through the bottles on the Southfork liquor cart. It’s as if the booze is bigger than she is.

As much as I love this shot, no moment in “Deeds and Misdeeds” is more powerful than Sue Ellen’s visit to John Ross in the hospital. She’s wracked with guilt — the reason she fell off the wagon in the first place is because J.R. accused her of being a neglectful mother when their son fell ill with appendicitis — and Gray’s tentative body language does as much to convey her character’s remorse as her tears. Sue Ellen approaches the child slowly, then tenderly strokes his hair and says, “I’m so sorry. Mommy should have been here so you didn’t have to go through that operation alone.” John Ross tells her that “it wasn’t your fault” and wraps his arms around her neck, which might be the saddest thing I’ve ever witnessed on this show. This sweet little boy isn’t hesitating to forgive his mother, yet we know it’ll be a long time before she can forgive herself.

Although it’s hard to see Sue Ellen fall behind after making so much progress during the past two seasons, I’m glad “Dallas” is finally showcasing Gray, who’s been relegated to the background for too long. “Deeds and Misdeeds” continues the show’s late-season course correction in other areas too, including the storyline over the lawsuit to control Ewing Oil. The mysterious Jack brings his cousins J.R., Bobby and Ray to California to meet wealthy Wallace Windham, a figure from Jock’s past who has information that could tilt the suit in the Ewings’ favor. The audience won’t discover what Windham knows until the next episode, but no matter. At least we get to see the Ewing men looking cooler than ever as they stroll across Windham’s driveway. It’s not as neat as the slow-motion walk from “Reservoir Dogs,” but it’ll do.

“Deeds and Misdeeds” also features a cute scene in which J.R. shows up in John Ross’s hospital room with a toy robot — Daddy looks awfully pleased with himself, doesn’t he? — as well as the impromptu wedding of Cliff and Jamie, which demonstrates how isolated Ken Kercheval’s character is from the rest of the show. Cliff asks Jordan Lee to be his best man, a somewhat surprising choice since I rarely think of these two characters as being particularly close. Other oddities include Clayton expressing surprise to learn Jock was married before Ellie — how has she not mentioned this before? — as well as Mandy’s near-orgasmic reaction when J.R. embraces her during a visit to her dressing room. If this is all it takes for J.R. to send a woman into a fit of ecstasy, no wonder he’s such a popular fellow.

Speaking of unsubtle moments: Let’s discuss the dramatic encounter between Mitch, his ex-wife Lucy and his current squeeze Joanna. It begins with Mitch and Lucy chatting in the hospital corridor about how much they’ve matured since their divorce. When she says she’s proud of him and offers a friendly hug, he notices Joanna is watching and calls her over. “Hi, Joanna,” Mitch says. “I’d like to introduce you to Lucy Ewing. Lucy, this is Joanna Pearce.” Actress Cynthia Leake says, “Hello,” … and then she delivers a Shatner-esque pause while cutting Charlene Tilton the most withering glare in the history of 1980s prime-time soap operas. This is what the kids now refer to as “throwing shade,” except that doesn’t do it justice. Tilton does a nice job looking appropriately rattled, which Joanna ignores as she turns to Mitch and says, “Well, I’ll talk to you later.” Leake then exits the scene, but not before Joanna looks Lucy up and down one last time.

This is Leake’s second “Dallas” appearance — she also played one of Peter’s fellow camp counselors in the seventh-season episode “My Brother’s Keeper” — and it demonstrates how actors in small roles can leave lasting impressions on “Dallas.” In a way, it also speaks to the resiliency of Tilton’s character. If Lucy can survive a look this dirty, she might be the hardiest Ewing of all.

Grade: B

_______________________________________________________________________________________________________________________________________________

Tin men

‘DEEDS AND MISDEEDS’

Season 8, Episode 28

Airdate: May 3, 1985

Audience: 18.2 million homes, ranking 3rd in the weekly ratings

Writer: David Paulsen

Director: Michael Preece

Synopsis: Jack introduces the Ewing brothers to Wallace Windham, who supplies them with evidence Jock owned Ewing Oil. After falling off the wagon, Sue Ellen hides her drinking from the Ewings. Cliff marries Jamie.

Cast: Roseanne Christiansen (Teresa), Patrick Duffy (Bobby Ewing), Eric Farlow (Christopher Ewing), Susan French (Amanda Ewing), Paul Gleason (Lieutenant Lee Spaulding), Linda Gray (Sue Ellen Ewing), Larry Hagman (J.R. Ewing), Jenilee Harrison (Jamie Ewing), Susan Howard (Donna Krebbs), Steve Kanaly (Ray Krebbs), Omri Katz (John Ross Ewing), Howard Keel (Clayton Farlow), Ken Kercheval (Cliff Barnes), John Larch (Wally Windham), Shalane McCall (Charlie Wade), Leigh McCloskey (Dr. Mitch Cooper), Priscilla Beaulieu Presley (Jenna Wade), Victoria Principal (Pam Ewing), Dack Rambo (Jack Ewing), Donna Reed (Miss Ellie Farlow), Debbie Rennard (Sly), Sherril Lynn Rettino (Jackie Dugan), Deborah Shelton (Mandy Winger), Don Starr (Jordan Lee), Charlene Tilton (Lucy Ewing)

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

Filed Under: Critiques, Critiques (Classic), Opinion Tagged With: Charlene Tilton, Cynthia Leake, Deeds and Misdeeds, Ken Kercheval, Linda Gray, Michael Preece, My Brother’s Keeper

Critique: ‘Dallas’ Episode 182 — ‘Shattered Dreams’

August 3, 2015 by Chris Baker 10 Comments

Dallas, Deborah Shelton, Mandy Winger, Shattered Dreams

Key lighting

It’s probably safe to say no “Dallas” episode would perform well on the Bechdel test, which some critics use to gauge sexism in movies. (To pass, a film must have at least one scene where two women talk to each other about something other than a man.) Nevertheless, there are times the series manages to resist its chauvinistic impulses. In “Shattered Dreams,” for example, Mandy refuses to allow J.R. to buy her an apartment, Lucy breaks up with Eddie when she discovers he cheated on her and Sue Ellen outsmarts a stranger who tries to flirt with her in a restaurant. It’s good to see each woman display more backbone than usual, even if they remain supporting players in the show’s male-dominated narrative.

Mandy’s storyline impresses me most. J.R. routinely uses his wealth to buy affection from the women in his life: He wooed Kristin with a closet full of new clothes, and during various stormy periods in his relationship with Sue Ellen, he’s used a new car, jewelry and a fur coat to get back in her good graces. J.R. tries this trick with mistress-in-waiting Mandy in “Shattered Dreams,” offering to set her up in a swanky condominium, but she tells him she won’t be a kept woman. “I know you’re rich, but I’m not for sale,” she says, tossing him the key to the apartment. It’s another reminder that Deborah Shelton’s character starts off being more independent and much smarter than I remembered.

Lucy, on the other hand, is a character for whom wisdom doesn’t come naturally. In “Shattered Dreams,” a guilty-yet-spiteful Betty visits Lucy and reveals she’s been sleeping with Eddie. Given Lucy’s habit of sticking with men after they’ve mistreated her, you might expect her to forgive Eddie. Instead, Lucy breaks up with him and ends their business partnership, calling it “the worst idea I’ve ever had in my life.” After all these years, Charlene Tilton’s character is finally learning from her mistakes. I’m relieved, though, that Lucy’s maturity hasn’t tempered her edge. When Eddie says he doesn’t want Betty, Lucy responds with one of the great “Dallas” lines: “Of course you don’t because she can’t set you up in your own building business. All she can do is sling hash and make love!”

Another scene demonstrates how much the once-demure Sue Ellen has changed. While sitting with Pam in a Hong Kong restaurant, the women are approached by a stranger who overheard someone refer to them as Ewings. When he introduces himself as a fellow Texan and wonders if they’re related to “ol’ J.R.,” Sue Ellen says they’re distant cousins. The stranger offers to buy the ladies a drink, but Sue Ellen responds neither one likes alcohol — prompting Pam to quickly put down the glass of wine she was about to raise to her lips. Victoria Principal’s timing is perfect and Linda Gray’s delivery is equal parts honey and acid, recalling Julia Sugarbaker’s memorable takedowns on “Designing Women.” It’s an amusing scene, although I must say: Sue Ellen is kind of hard on the guy. The role may be written as a lothario, but Bruce Baron portrays him as a genuinely friendly out-of-towner.

Speaking of Hong Kong: Sue Ellen and Pam’s scenes were actually shot there, marking the first time “Dallas” has left the country to film an episode. I’m not sure it adds much to the storyline, though, which involves Pam’s ho-hum search for her is-he-dead-or-isn’t-he fiancé, Mark Graison. Other scenes in “Shattered Dreams” also fall flat. When Cliff asks Jamie out to dinner, she suggests they get Chinese food. It’s meant to be a cute coincidence, but it feels forced. Later, during Betty and Lucy’s poolside confrontation, Kathleen York does her best to make her character seem awestruck by the grandeur of Southfork, which isn’t easy considering the scene was filmed on the show’s less-than-convincing patio soundstage. Eagle-eyed “Dallas” viewers also will notice Ray and Donna’s bedroom makes a rare appearance in this episode, although it doesn’t match the set used when the room appeared in the fifth-season classic “Adoption.” It’s also worth noting “Shattered Dreams” marks the debut of Mandy’s living room, which is decorated with framed pictures of herself. How wonderful.

Of course, even when the storytelling and production values on “Dallas” disappoint, it’s still worth revisiting the show to be reminded of the way we once lived. In one scene, J.R. hears Cliff leave a message on Mandy’s answering machine, pops the cassette out of the machine and replaces it with another. Even in the 1980s, it was pretty easy to hack someone else’s “data.” I also get a kick out of the end of the episode, when Bobby and Jenna go to the airport to meet Veronica Robinson, who is flying to Dallas to be a star witness at Jenna’s murder trial. (Groan.) While standing outside the airport gate, Bobby and Jenna become alarmed when a couple of airport security officers rush past them and board the plane — and so Bobby and Jenna follow them with no interference whatsoever.

In a similar spirit, I love this episode’s scene of Pam and Sue Ellen flying to Hong Kong. The characters sip iced tea, nibble on a plate of fruit and make polite small talk when a friendly stewardess drops by to ask if they’d care for a magazine to read. Principal and Gray look like they’re having a grand time, and who can blame them? I mean, besides the first-class service, check out all the legroom on their plane!

Grade: C

_______________________________________________________________________________________________________________________________________________

Wall of Mandy

‘SHATTERED DREAMS’

Season 8, Episode 21

Airdate: February 22, 1985

Audience: 21.9 million homes, ranking 1st in the weekly ratings

Writer: Arthur Bernard Lewis

Director: Nick Havinga

Synopsis: Pam and Sue Ellen arrive in Hong Kong. J.R. hides assets from Bobby and tries again to woo Mandy, who refuses his attempt to set her up in an apartment. Cliff and Jamie grow closer. Lucy breaks up with Eddie after learning he’s been cheating with Betty. Veronica agrees to testify on Jenna’s behalf, but she dies mysteriously before arriving in Dallas.

Cast: Bruce Baron (Benjamin Alan Moody), Philip Chan (Edward Chan), Roseanna Christiansen (Teresa), Patrick Duffy (Bobby Ewing), Stephen Elliott (Scotty Demarest), Eric Farlow (Christopher Ewing), Linda Gray (Sue Ellen Ewing), Larry Hagman (J.R. Ewing), Jenilee Harrison (Jamie Ewing), Erik Holland (Conrad Buckhouser), Susan Howard (Donna Krebbs), Steve Kanaly (Ray Krebbs), Omri Katz (John Ross Ewing), Howard Keel (Clayton Farlow), Ken Kercheval (Cliff Barnes), Fredric Lehne (Eddie Cronin), Priscilla Beaulieu Presley (Jenna Wade), Victoria Principal (Pam Ewing), Donna Reed (Miss Ellie Farlow), Sherril Lynn Rettino (Jackie Dugan), Veronica Robinson (Gail Strickland), Deborah Shelton (Mandy Winger), Danone Simpson (Kendall), Don Starr (Jordan Lee), Charlene Tilton (Lucy Ewing), Kathleen York (Betty)

“Shattered Dreams” 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: Adoption, Bruce Baron, Charlene Tilton, Deborah Shelton, Kathleen York, Linda Gray, Shattered Dreams, Victoria Principal

Critique: ‘Dallas’ Episode 177 — ‘Winds of War’

July 15, 2015 by Chris Baker 16 Comments

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

Scene from a marriage

In “Winds of War,” J.R. insists he’s been faithful when Sue Ellen accuses him of cheating. He’s lying, of course, but why? Is he trying to spare his wife’s feelings, or is he trying to spare himself the embarrassment of another marital implosion? Does he want Sue Ellen to stay at Southfork because he fears she’ll take John Ross with her if she leaves, or does he want her there because he loves her? And what about Sue Ellen? Why does her husband’s fidelity matter to her? Is she in love with him, or is she merely dependent upon him? Does she want him, or does she need him?

None of the answers are clear, not that I’m complaining. Part of “Dallas’s” appeal lies in trying to figure out the mysteries of J.R. and Sue Ellen’s marriage, which will always be the show’s most fascinating relationship. But even when the motivations aren’t readily apparent, we can still see how these two characters are changing. Consider the “Winds of War” scene that ends with Sue Ellen tearfully ordering a double vodka at the Oil Baron’s Club. (“Just bring it, Cassie!”) We expect her to be drunk the next time we see her, since this is how she’s always coped with J.R.’s cheating. Yet in a surprising twist, Sue Ellen comes home sober, explaining to her husband that she stared at the drink for an hour before deciding he wasn’t worth a relapse.

We see changes in J.R. too. When Linda Gray delivers the line about not taking the drink, Larry Hagman’s eyes widen and he smiles slightly — as if J.R. is surprised, and perhaps more than a little proud, that his wife kept her demons in check. As the scene continues, Sue Ellen declares that she isn’t going to leave Southfork. “I have earned the right to be here,” she says. This feels like a moment of triumph for the character and an early glimpse of the grit she’ll display in later seasons. But it’s also an example of how J.R. still has power over her. Despite everything, she still can’t bring herself to leave him. Even when she can say no to booze, she can’t say no to him.

“Winds of War” is written and directed by Leonard Katzman, who sprinkles J.R. and Sue Ellen’s scenes with nods to other memorable moments in their marriage. In their confrontation at the end of the episode, Hagman is dressed in the same blue robe and pajamas that he wore at the beginning of the season, when J.R. won Sue Ellen back after being on the outs with her for more than a year. Also in the “Winds of War” scene, she tells him, “Don’t you ever explain anything to me again.” This recalls one of her memorable lines from their great clash two years earlier, when she chided him as “a terrific explainer.” You can even find allusions to J.R. and Sue Ellen in scenes that don’t feature them. When Bobby goes to Los Angeles and meets Veronica, the girlfriend of villainous Naldo Marchetta, he asks why she stayed with him despite his abusive tendencies. “I loved him,” she says. If a similar question was put to Sue Ellen, would her answer be any different?

Other “Winds of War” highlights include the final scene, when Cliff persuades Jamie to fight the Ewings for control of their company. Ken Kercheval delivers an urgent, heartfelt speech about how Cliff and Jamie owe it to their daddies to take back what Jock stole from them — and then when she agrees (“Let’s do it!”), he flashes a magnificently malevolent grin. Cliff has learned a thing or two from his nemesis, hasn’t he? Speaking of J.R.: I like his lie to Sue Ellen that the woman he was spotted kissing, Serena, is merely the daughter of “Congressman Hooker” (no stretch there, huh?), as well as Lucy and Eddie’s visit to Harv Smithfield’s office to formalize their real estate partnership. There’s unexpected warmth in George O. Petrie and Charlene Tilton’s exchanges. You get the impression Harv cares about Lucy and doesn’t want to see her get hurt. It’s the kind of small detail “Dallas” does so well.

Donna Reed supplies “Winds of War” with its other nice surprise. At the beginning of the episode, Miss Ellie becomes angry when she learns J.R. has kicked Jamie off Southfork. “Why, J.R.? What brought this on?” Ellie shouts. It’s the first time Reed has raised her voice since arriving on “Dallas” — and the first time she’s displayed Mama’s old fire. I like another scene between Reed and Howard Keel even more. Ellie and Clayton are dining at the Oil Baron’s Club, where she is fretting over Jamie’s future. Clayton encourages her not to make her niece’s problems her own. Ellie sits back in her chair, chuckles softly and realizes he’s right. It ends up being a rare example of two “Dallas” characters coping with their problems through laughter. The exchange also demonstrates Reed’s rapport with Keel, which feels genuinely affectionate.

At the end of this scene, Clayton asks Ellie if she’s ever considered running away from home. Reed smiles again and says, “A lot. But I think I’ll stay around and see how it all turns out.” For the first time, I wish she had been given that chance.

Grade: A

_______________________________________________________________________________________________________________________________________________

Grinning season

‘WINDS OF WAR’

Season 8, Episode 16

Airdate: January 11, 1985

Audience: 23.6 million homes, ranking 1st in the weekly ratings

Writer and Director: Leonard Katzman

Synopsis: After Sue Ellen’s friendship with Jamie collapses, she moves out of J.R.’s bedroom. Jamie leaves Southfork and agrees to join forces with Cliff to fight for control of Ewing Oil. Bobby finds Charlie in California. Lucy and Eddie form a business partnership.

Cast: Patrick Duffy (Bobby Ewing), Stephen Elliott (Scotty Demarest), Eric Farlow (Christopher Ewing), Linda Gray (Sue Ellen Ewing), Larry Hagman (J.R. Ewing), Jenilee Harrison (Jamie Ewing), Susan Howard (Donna Krebbs), Steve Kanaly (Ray Krebbs), Omri Katz (John Ross Ewing), Howard Keel (Clayton Farlow), Ken Kercheval (Cliff Barnes), Fredric Lehne (Eddie Cronin), Shalane McCall (Charlie Wade), George O. Petrie (Harv Smithfield), Priscilla Beaulieu Presley (Jenna Wade), Victoria Principal (Pam Ewing), Donna Reed (Miss Ellie Farlow), Sherril Lynn Rettino (Jackie Dugan), Deborah Shelton (Mandy Winger), Danone Simpson (Kendall), Gail Strickland (Veronica Robinson), Charlene Tilton (Lucy Ewing)

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

Filed Under: Critiques, Critiques (Classic), Opinion Tagged With: Charlene Tilton, Donna Reed, George O. Petrie, Howard Keel, Ken Kercheval, Larry Hagman, Linda Gray, Winds of War

Critique: ‘Dallas’ Episode 171 — ‘Charlie’

June 24, 2015 by Chris Baker 19 Comments

Charlie, Charlie Wade, Dallas, Shalane McCall

Gone girl

On “Dallas,” children are seen and heard. The series often involves its youngest characters in major storylines, unlike other 1980s prime-time soap operas where kids are treated as little more than props. (Does Krystina Carrington ever do anything other than smile sweetly at Mommy and Daddy?) Of course, even when “Dallas” puts kids front and center, it’s usually to tell us something about the adults on the show. Lucy’s skipping school allows Pam to assert her authority in the Ewing family, Bobby’s friendship with Luke Middens illustrates the emptiness of his childless marriage, John Ross’s kidnapping brings J.R. and Sue Ellen closer.

“Charlie” continues this tradition. This episode takes its title from Jenna Wade’s pubescent daughter, who runs away from home after learning Naldo Marchetta, her long-lost father, has come to town and wants to meet her. (Ignore the fact that Jenna sent the girl to visit Naldo during the third season.) Even though Charlie sets the plot in motion, this story is about Bobby and Jenna. Everything is told from their point of view, from Jenna’s frantic call to Bobby when she realizes Charlie is missing to the resolution, when the couple finds the girl and lovingly assures her they’ll always be a family. It’s also worth noting how director Michael Preece arranges the actors in the latter scene. He films Patrick Duffy and Priscilla Beaulieu Presley at eye level, while Shalane McCall is shot from above — the way most adults see children.

Some “Dallas” fans like to complain about McCall’s performance in “Charlie” and other episodes from the eighth season. It’s true that the older this actress gets, the whinier her delivery becomes. Nevertheless, I think everyone should cut her some slack. Remember: McCall was only 11 years old when this episode was filmed. She’s just a kid, and this is the most demanding material she’s been given since she arrived on “Dallas” a year earlier. Besides, a lot of real-life children are whiny around this age. Why should Charlie be any different?

There’s also this: Charlie, as much as she annoys some fans, isn’t as insufferable as Lucy, who has yet to fully mature. In this episode’s weirdest scene, Clayton runs into Charlene Tilton’s character and suggests she should spend more time with Miss Ellie. Lucy snaps, reminding Clayton that he isn’t her grandfather and has no right to tell her what to do. Clayton’s response: “You’re right. I’m not your grandfather, but I am your elder — and you’ll damn well talk to me with respect. Now I don’t like your manner or your tone of voice, and if you think I won’t turn you over my knee and paddle you, you’re very wrong!” I suppose the point here is to remind the audience of Clayton’s mettle, but hearing him threaten to spank a grown woman is a strange way to make this point, no matter how bratty Lucy behaves. Did this scene make audiences as uncomfortable in 1984 as it does today?

Clayton and Lucy’s confrontation ends with Preece pulling back the camera to reveal Miss Ellie eavesdropping. No shock there — someone always is lurking around the corners of Southfork — although the pink floral-print blouse and striped skirt worn by Donna Reed does catch me off guard. This is the most un-Ellie outfit Reed has worn yet since taking over the role from Barbara Bel Geddes. Reed looks beautiful, but the character’s newly stylish wardrobe takes some getting used to. As readers on this site have wondered: If the producers had dressed Reed a little more plainly and softened her hair, might fans have accepted her more readily?

Mama isn’t the only person who’s changed lately. Notice how I haven’t mentioned J.R.? That’s because Larry Hagman’s character doesn’t have much to do in “Charlie.” Somewhat shockingly, the season is now one-third over and no major business storyline has been introduced. At this point last season, J.R. was figuring out Sly was spying on him for Cliff, and two years before that, the contest for control of the family empire was well underway. After this episode, “Dallas” will begin the storyline in which Jamie and Cliff join forces to claim partial ownership in Ewing Oil, a legal fight that’s not nearly as much fun as the past stories about corporate warfare.

At least J.R. finally introduces himself to Mandy Winger in this episode. I guess if we’re not going to see him wheel and deal, we’ll have to make do with watching him cat around.

Grade: B

_______________________________________________________________________________________________________________________________________________

Pink different

‘CHARLIE’

Season 8, Episode 10

Airdate: November 30, 1984

Audience: 22 million homes, ranking 2nd in the weekly ratings

Writer: Leonard Katzman

Director: Michael Preece

Synopsis: Bobby and Jenna help Charlie cope when she learns Naldo is her father. J.R. asks Mandy out for drinks. Pam’s salvage company recovers Mark’s cockpit, along with evidence he wasn’t in the plane when it crashed. Eddie sleeps with Lucy and reveals he knows that she’s a Ewing.

Cast: Michael Alldredge (Steve Jackson), Patrick Duffy (Bobby Ewing), 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), Shalane McCall (Charlie Wade), Daniel Pilon (Renaldo Marchetta), Priscilla Beaulieu Presley (Jenna Wade), Victoria Principal (Pam Ewing), Donna Reed (Miss Ellie Farlow), Sherril Lynn Rettino (Jackie Dugan), Deborah Shelton (Mandy Winger), Danone Simpson (Kendall), William Smithers (Jeremy Wendell), Charlene Tilton (Lucy Ewing)

“Charlie” 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, Charlene Tilton, Charlie, Donna Reed, Michael Preece, Patrick Duffy, Priscilla Beaulieu Presley, Shalane McCall

Hallmark Channel Showcases Two ‘Dallas’ Stars in Movies

June 19, 2015 by Chris Baker 8 Comments

Country Wedding, Hallmark Channel Jesse Metcalfe, Linda Gray, Perfect Match

Return engagements

It’s not the same as seeing “Dallas” return as a weekly series, but the Hallmark Channel will feature two of the show’s stars in new movies during the next two Saturday nights. Both productions are worth checking out, even if you find yourself pretending you’re watching an alternate-reality version of the Ewings.

Hallmark Channel, Linda Gray, Perfect Match

Reconnect

First up: “Perfect Match,” which debuts June 20 and casts Danica McKellar (“The Wonder Years”) and Paul Greene as competing wedding planners who fall for each other while helping a young couple arrange their ceremony. Linda Gray plays Gabby, the groom’s mother, and it should come as no surprise to hear she’s the best part of the movie. The script doesn’t give Gray nearly enough to do, but at this point, the actress has mastered the art of making the most of limited screen time. The twinkle in her eye when Gabby plays matchmaker for the lead characters is worth the price of admission alone. Like Sue Ellen, Gabby is stylish and classy — and every time she mentions her son’s fiancée Lucy, you might have to remind yourself she’s not referring to Charlene Tilton’s “Dallas” character — but otherwise “Perfect Match” doesn’t have much in common with the Ewing family saga. Of course, that’s not necessarily a bad thing: After all the suffering Sue Ellen did last year, isn’t it nice to see Gray in something lighter?

Country Wedding, Hallmark Channel, Jesse Metcalfe

Like old times

Up next: “A Country Wedding,” debuting June 27, stars Jesse Metcalfe as Bradley Suttons, a famous country singer who finds himself torn between the self-centered starlet he’s engaged to marry and the down-to-earth childhood sweetheart who unexpectedly re-enters his life. (Gee, wonder which gal we’re supposed to root for?) This movie is a little weightier than “Perfect Match,” and it’s certainly the more “Dallas”-like of the two: “A Country Wedding” takes place in rural Texas, so there are lots of scenes of Metcalfe riding horses, hanging out in barns and mending fences (metaphorical and otherwise). We even get to see the actor wrangle some livestock, just like he did during the calf-birthing sequence during his first year at Southfork. “A Country Wedding” also offers some surprises, beginning with this: Metcalfe can sing! He carries a tune nicely, and his musical performances give the movie its best moments. On the other hand, every time Metcalfe belts out his character’s signature tune — the melancholy “A Cowboy Rides Away” — you might find yourself thinking about how poor Christopher Ewing got blown away last year.

If that memory depresses you as much as it does me, maybe Hallmark Channel will cast more “Dallas” actors in more movies to cheer us up?

Are you looking forward to “Perfect Match” and “A Country Wedding”? Share your comments below and read more opinions from Dallas Decoder.

Filed Under: Opinion, Opinion Tagged With: Charlene Tilton, Hallmark Channel, Jesse Metcalfe, Linda Gray, TNT

Critique: ‘Dallas’ Episode 169 — ‘Oil Baron’s Ball III’

June 17, 2015 by Chris Baker 15 Comments

Dallas, J.R. Ewing, Larry Hagman, Oil Baron's Ball III

Look who’s lurking

“Dallas’s” Oil Baron’s Ball episodes are fan favorites, and for good reason. Not only do they show the cast dressed to the nines, we also get to see the actors together in one place. (The Southfork barbecue and wedding episodes are pretty much the only other occasions where this happens.) The balls often are remembered for their big moments — tearful tributes to dead Ewings, knock-down/drag-out fights — but don’t overlook the smaller scenes that show the characters gossiping about each other or commenting on the events unfolding around them. It’s not quite Altmanesque, but it’s as close as this show gets.

The most dramatic moment in “Oil Baron’s Ball III” comes at the end, when J.R. — in full-fledged jerk mode — humiliates Pam by taking the podium to announce Bobby and Jenna’s wedding date. It’s a perfectly fine way to finish the episode, although I get a bigger kick out of the vignettes that precede it: J.R. and Jordan Lee standing over an appetizer tray, bickering about Cliff; a pushy paparazzo stopping J.R. to take his picture; Ray and Donna filling their glasses at the champagne fountain while wondering if there’ll be a brawl at this year’s ball. These scenes help set the mood and allow us to feel part of the action, as if we’re moving around the room with the characters.

I also appreciate two scenes that require no dialogue to be effective. In the first, Sue Ellen crosses the ballroom alone with a concerned expression on her face. Because we know this character so well — and because Linda Gray can say so much with a single raised eyebrow — we know exactly what’s on Sue Ellen’s mind at this moment: Where is my husband, and what kind of trouble is he getting into? Likewise, when we see J.R. lurking in the shadows, listening as Mandy encourages Pam to tell Bobby she still loves him, we know J.R. is going to throw a wrench in Pam’s plans — not because J.R. discloses his intentions to another character, but because Larry Hagman has that look. The glint in his eye and the slight, mischievous smile say it all.

Other small moments in “Oil Baron’s Ball III” stand out. Before the Ewings leave for the ball, director Michael Preece brings the characters out of their bedrooms and into the hallway to admire each other’s outfits. The men look timeless in their tuxedos, while the women look extremely ’80s in their glittery Travilla designs. Later, Charlene Tilton has a nice moment when Lucy comes home and finds John Ross at the dining room table, playing checkers with Teresa. When Lucy takes her young cousin upstairs to put him to bed, he asks why she isn’t at the ball with the rest of the family. “I’m not part of that kind of life anymore. Things that are important to your mommy and daddy really aren’t very important to me,” she says, demonstrating how much she’s grown this season.

My favorite moment of all is a fun scene that pits J.R. against Clayton. It begins with J.R. leaving for work when he finds Miss Ellie and her new husband standing in the driveway, greeting a furniture delivery crew. After Ellie explains she’s bought new bedroom furniture and leads the deliverymen into the house, J.R. notices Clayton’s car is blocking his and asks him to move “that blue thing.” Clayton tosses him the keys and says, “Be my guest.” Parking problems like this happen in many suburban families all the time; isn’t it nice to know they happen to the Ewings too? And how much do you want to bet J.R. messed with Clayton’s mirrors, just to be mean?

The only thing here that doesn’t ring true is Ellie. Donna Reed exits the scene by looking off into the distance and moving out of camera range, except she doesn’t walk as much as she floats. It’s another example of how different Reed is from Barbara Bel Geddes, who most certainly never floated. I can accept the unique sensibilities the two actresses bring to the role, but I’m having a harder time dealing with how the character is being written since Reed took over the role. In another “Oil Baron’s Ball III” scene, Ellie confides in Donna about Clayton’s difficulty adjusting to life at Southfork. Donna compares the situation to Ray’s struggle to escape the shadow of her first husband, Sam Culver. It’s a perfectly apt analogy, except Ellie can’t seem to recognize this. In the past, Mama could be naïve, but in this scene, she seems almost dim.

Nevertheless, I admire how “Dallas” has made Clayton and Ellie’s problems a major storyline. Howard Keel does an especially nice job making Clayton’s struggle feel real without ever portraying the character as weak. I also like how “Dallas” continues referencing its own past. In addition to Donna’s mention of Sam, this episode finds Bobby comparing Pam’s doubts about Mark’s death to Ellie’s struggle to accept Jock’s demise. We also see Cliff tell Mandy about Pam’s emotional breakdown during her marriage to Bobby, and we find Eddie snooping into Lucy’s past by looking up old newspaper clippings about her wedding to Mitch.

Seeing Eddie combing through the library’s mirofische collection — with help from a pretty librarian, naturally — offers a reminder of how far technology has come since this episode was produced three decades ago. If Eddie wanted to find out about Lucy’s past today, he would only have to punch her name into Google and start scrolling. But honestly, where would be the fun in that?

Grade: B

_______________________________________________________________________________________________________________________________________________

Say, can’t you see?

‘OIL BARON’S BALL III’

Season 8, Episode 8

Airdate: November 16, 1984

Audience: 22.5 million homes, ranking 2nd in the weekly ratings

Writer: David Paulsen

Director: Michael Preece

Synopsis: To humiliate Pam, J.R. announces Bobby and Jenna’s wedding date at the Oil Baron’s Ball. J.R. is intrigued when he spots Mandy. Miss Ellie worries Clayton feels uncomfortable at Southfork. Eddie breaks a date with Betty to ask out Lucy. Sly takes a break from work.

Cast: Michael Alldredge (Steve Jackson), Norman Bennett (Al), Roseanna Christiansen (Teresa), Patrick Duffy (Bobby Ewing), Eric Farlow (Christopher Ewing), Tony Garcia (Raoul), Linda Gray (Sue Ellen Ewing), Larry Hagman (J.R. Ewing), Jenilee Harrison (Jamie Ewing), Susan Howard (Donna Krebbs), Steve Kanaly (Ray Krebbs), Omri Katz (John Ross Ewing), Howard Keel (Clayton Farlow), Ken Kercheval (Cliff Barnes), Fredric Lehne (Eddie Cronin), Priscilla Beaulieu Presley (Jenna Wade), Victoria Principal (Pam Ewing), Donna Reed (Miss Ellie Farlow), Debbie Rennard (Sly), Sherril Lynn Rettino (Jackie Dugan), Deborah Shelton (Mandy Winger), William Smithers (Jeremy Wendell), Don Starr (Jordan Lee), Christopher Stone (Dave Stratton), Charlene Tilton (Lucy Ewing), Deborah Tranelli (Phyllis), Morgan Woodward (Punk Anderson), Kathleen York (Betty)

“Oil Baron’s Ball III” 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, Charlene Tilton, Donna Reed, Howard Keel, Larry Hagman, Linda Gray, Michael Preece, Oil Baron’s Ball III, Travilla

Critique: ‘Dallas’ Episode 165 — ‘Jamie’

June 3, 2015 by Chris Baker 21 Comments

Distant cousin

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

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

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

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

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

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

Grade: C

_______________________________________________________________________________________________________________________________________________

Heeere’s Katherine!

‘JAMIE’

Season 8, Episode 4

Airdate: October 19, 1984

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

Writer: David Paulsen

Director: Nick Havinga

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

Cast: Norman Bennett (Al), Morgan Brittany (Katherine Wentworth), Roseanna Christiansen (Teresa), Patrick Duffy (Bobby Ewing), Eric Farlow (Christopher Ewing), Jenny Gago (Nurse), Linda Gray (Sue Ellen Ewing), Larry Hagman (J.R. Ewing), Jenilee Harrison (Jamie Ewing), Susan Howard (Donna Krebbs), Steve Kanaly (Ray Krebbs), Howard Keel (Clayton Farlow), Ken Kercheval (Cliff Barnes), Randolph Mantooth (Joe Don Ford), Shalane McCall (Charlie Wade), Priscilla Beaulieu Presley (Jenna Wade), Victoria Principal (Pam Ewing), Marina Rice (Angela), Deborah Shelton (Mandy Winger), Danone Simpson (Kendall), Charlene Tilton (Lucy Ewing), Deborah Tranelli (Phyllis), Kathleen York (Betty)

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

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

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

May 20, 2015 by Chris Baker 25 Comments

Middlin’ along

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

Side eye

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

Metaphor much?

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

In good hands with him

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

Bitches be crazy

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

Genus: Hipsterous precursorous

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

Me, me, me

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

Be nice, J.R.

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

Don’t poke out his eye

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

Never change, Ray

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

Blonde ambition

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

Groin show

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

Far out

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

Stay. Please.

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

Eat your heart out, Harv

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

Swoon!

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

Beats the sanitarium

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

Again with the metaphors

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

Death is but a dream

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

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

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

Critique: ‘Dallas’ Episode 157 — ‘Blow Up’

January 7, 2015 by Chris Baker 10 Comments

Cut a bitch

“Dallas” delivers its share of camp over the years, but “Blow Up” manages to pack more silliness into a single episode than virtually any other. Donna runs around the Southfork patio, snapping Polaroids of the Ewings; Lucy gets stewed to the gills and airs the family’s dirty laundry at a poolside soiree; and Lady Jessica takes a break from helping Miss Ellie chop vegetables to contemplate slicing and dicing Mama herself. These scenes aren’t without their charms, but I can’t help but wish this episode took the characters and their storylines a little more seriously.

The scenes with Donna and her camera are fun because it’s nice to think the Ewings spend their Sunday afternoons enjoying each other’s company, just like so many families do in real life. I also like the picture Donna snaps of Ray and his half-brothers sitting together and holding their beers, although the shot is so casual, it takes me out of the moment. This looks like a picture of Larry, Patrick and Steve, not J.R., Bobby and Ray. I also wish this scene could have been filmed on the real Southfork patio instead of the show’s Hollywood soundstage, which seems faker than usual. Maybe it’s the studio acoustics; notice how you hear every footstep the actors take, something that rarely happens when you see patio scenes that were shot outdoors in Texas.

The patio is also the setting for the party the Ewings throw for Jessica, although these scenes are a little more convincing because they take place at night, when the darkness helps conceal the soundstage’s shortcomings. The gathering recalls the shindig in “Triangle” (right down to Ray’s plaid suit, which he wears to both parties), although I get the biggest kick out of seeing J.R. whisper into Lucy’s ear, feeding her suspicions as they watch Sue Ellen and Peter dance. Uncle and niece are like two characters in a play standing in the shadows, commenting on the action unfolding downstage. Too bad it falls apart when Lucy gets drunk and accuses Sue Ellen and Peter of having an affair. Charlene Tilton gives this performance her all, but Lucy’s preoccupation with Peter is no more believable than Sue Ellen’s interest in him. Also, is it me or is Lucy angrier than she was last season, when she blamed Sue Ellen’s drunken driving for paralyzing Mickey Trotter?

Of course, nothing in “Blow Up” approaches the campiness of Jessica’s big scene. How can you not roll your eyes when you see her standing at the Southfork kitchen counter, a huge knife in one hand and a tomato in the other as she glares at Ellie? How about when composer Lance Rubin’s eerie piano score swells just as Donna enters the room and snaps Jessica out of her trance-like state? Perhaps this scene was genuinely creepy when it debuted in 1984, but now it plays like a parody of a slasher film from that era. “Blow Up’s” climactic moment, when Jessica enters her bedroom and cuts Ellie’s face out of one of Donna’s snapshots, holds up better. I especially like how Patrick Duffy, who directed this episode, uses a handheld camera to follow Alexis Smith as she circles the picture on the nightstand. It adds to the sense that Jessica is spinning out of control.

A lot of “Dallas” fans love the over-the-top depiction of Jessica’s villainy and Smith’s ferocious approach to the role, but I prefer the show to play it straight. Just think: At this point during the previous season, Sue Ellen was walking in on J.R. and Holly Harwood in bed. Yes, it was a scene of pure soap opera, but it set the stage for some of the darkest, most absorbing hours in “Dallas” history. The more I watch the seventh season, the more I find myself wondering what happened to the show that gave us J.R. and Bobby’s contest for Ewing Oil, the collapse of J.R. and Sue Ellen’s marriage and the sweet romance between Lucy and Mickey.

On the other hand: Not everything about “Blow Up” falls short of the show’s usual standards. There’s surprising poignancy to the scene where J.R. tells Sue Ellen it’s time they begin living again like man and wife; Linda Gray does a beautiful job conveying Sue Ellen’s inner conflict, and Hagman gives us the impression J.R. is willing to forgive his wife and abandon his secret plot against her, if only she’d give him another chance. When she turns him down, you feel sympathy for both of them.

I also like Victoria Principal’s performance, although Mark and Pam’s storyline — he doesn’t know he’s dying but she does and is desperately trying to keep the secret — is beginning to feel like demented version of a “Three’s Company” plot. Kudos also go to Morgan Brittany, who makes Katherine’s concern for Mark seem sincere. Sure, Mark’s diagnosis may represent a stroke of dumb luck for Katherine because it’s helping push Pam deeper into his arms, thus making it easier for Katherine to snatch Bobby for herself, but I also get the feeling Katherine genuinely likes Mark and feels sorry for him.

Wait, did I just suggest Katherine Wentworth is becoming a believable character? Isn’t it funny how different this show looks now that Lady Jessica around?

Grade: B

_______________________________________________________________________________________________________________________________________________

Who shot the Ewings?

‘BLOW UP’

Season 7, Episode 26

Airdate: April 6, 1984

Audience: 22 million homes, ranking 1st in the weekly ratings

Writer: David Paulsen

Director: Patrick Duffy

Synopsis: Donna becomes suspicious of Jessica, who assures J.R. that Miss Ellie and Clayton’s wedding won’t take place. J.R. feeds Lucy’s suspicions about Sue Ellen and Peter. Mark refuses to rush his wedding to Pam, who orders Cliff to not ask her fiancé for a loan. Katherine offers to sell Ewing Oil some valuable land in exchange for Bobby teaching her about the industry.

Cast: Christopher Atkins (Peter Richards), John Beck (Mark Graison), Barbara Bel Geddes (Miss Ellie Ewing), Morgan Brittany (Katherine Wentworth), Roseanna Christiansen (Teresa), Pat Colbért (Teresa), Patrick Duffy (Bobby Ewing), Walker Edmiston (Ewing Oil employee), Linda Gray (Sue Ellen Ewing), Larry Hagman (J.R. Ewing), Nanci Hammond (hostess), Alice Hirson (Mavis Anderson), 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), Audrey Landers (Afton Cooper), Shalane McCall (Charlie Wade), Denny Miller (Max Flowers), Dennis Patrick (Vaughn Leland), Priscilla Beaulieu Presley (Jenna Wade), Victoria Principal (Pam Ewing), Danone Simpson (Kendall), Alexis Smith (Lady Jessica Montford), Charlene Tilton (Lucy Ewing), Deborah Tranelli (Phyllis), Morgan Woodward (Punk Anderson)

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