Jerrold Immel – Dallas Decoder

The Best & Worst of Dallas: Season 7

February 19, 2015 by Chris Baker 35 Comments

“Dallas’s” seventh season clocks in at 30 hours, making it the show’s longest season yet. Does quantity equal quality?

Performances

Winning loser

If Cliff Barnes were played by anyone other than Ken Kercheval, we’d probably hate him. Cliff is foolish, petty, self-centered — yet throughout the seventh season, Kercheval brings a startling amount of vulnerability to the role. Cliff doesn’t want to beat J.R. as much as he wants to be J.R. — and who can blame him for that? The more I watch Kercheval, the more I appreciate his ability to balance Cliff’s bombast with pathos and humanity. What a great actor.

Storylines

Is there anything more satisfying than seeing J.R. climb back to the top? When the season begins, his marriage to Sue Ellen is on the rocks, Bobby and Pam’s pending divorce is no longer a sure thing and Cliff is stealing big deals out from under him. By the end of the year, J.R. has everyone right where he wants them: Sue Ellen is back in his bedroom, Bobby is poised to marry Jenna and Cliff’s life is ruined. Once again, we’re reminded of a fundamental truth: “Dallas” is at its best when J.R. is at his worst.

Best storyline runners-up: Ray’s trial for euthanizing Mickey, a plot twist that dared to inject some topicality into “Dallas’s” narrative mix, and Miss Ellie’s struggle to tell Clayton about her mastectomy, another sensitively handled subplot that’s still ahead of its time. The season’s most disappointing stories: No, not Sue Ellen and Peter’s affair, which at least had the whole fortysomething-woman-gets-in-touch-with-her-sexuality thing going for it. Instead, the last-and-least prize goes to Bobby and Jenna’s “love story,” as dreary a romance as “Dallas” has ever offered.

Episodes

Bag that nag, honey

“The Road Back” delivers the most exciting episode opening in “Dallas” history. Southfork is ablaze when Bobby roars into the driveway in his convertible, leaps into the pool and races into the house to rescue the Ewings. This episode also gives us the classic scene where Pam admonishes Sue Ellen for sipping champagne and Sue Ellen purrs, “Pam, don’t be a nag.” What “Dallas” fan hasn’t dreamed of saying that to Victoria Principal’s character?

Scenes

I’ve written before about how much I love the scene where J.R. visits Pam and warns her to not call off her divorce from Bobby. The score, the staging, the performances — this is a highlight of the series, not just the season. Best scene runners-up: Bobby’s shocking shooting, Bobby and Pam’s breakup in Thanksgiving Square, Pam slapping Katherine, J.R. accusing Sue Ellen of treating him like a “stud service,” J.R. confronting Sly about her spying and any time Larry Hagman shared a screen with Kercheval.

Worst scene: Lady Jessica picks up a knife in the Southfork kitchen and wonders whether she should chop Miss Ellie’s vegetables or Mama herself. Who thought turning “Dallas” into a horror movie was a good idea?

Supporting Players

Good. Bye.

John Beck shines in “Love Stories,” the episode where Mark Graison learns he’s dying and quietly slips out of Pam’s life. This is the most interesting thing Mark ever did; too bad for the underappreciated Beck it came during the character’s farewell. At the other end of the spectrum: Alexis Smith. Yes, she brought admirable gusto to her role as Lady Jessica, but if I wanted to see someone named Alexis camp it up, “Dallas” isn’t the show I’d watch.

Behind the Scenes

And now let us pause to honor Bradford May, whose brilliant cinematography transformed the seventh season into “Dallas’s” most gorgeous year ever. Under his lighting, Southfork was exquisite, Ewing Oil finally looked like a real executive suite and the Oil Baron’s Club radiated class and sophistication. “The May way” elevated the storytelling this season, making it easier to overlook flaws in other aspects of the production. He departed “Dallas” before the season concluded — one of the great blunders on a show that had more than a few — but his contribution to this franchise will never be forgotten.

The year’s other backstage VIP: Jerrold Immel, whose seventh-season version of the “Dallas” theme music remains my favorite. Every time I watch the titles and hear Immel’s synthesized riff (it occurs right when the split-screen sequence starts), I can’t help but smile.

Costumes

Christopher Atkins, Dallas, Peter Richards

Little boy, blue

I usually don’t complain about good-looking dudes showing skin, but Peter’s Speedo is the worst costume in “Dallas” history. Every time he pranced around in that thing, we were reminded how Christopher Atkins — an otherwise fine actor — was too boyish to play Peter, who is supposed to be so studly, Sue Ellen can’t resist him. (Sue Ellen swooning over Mickey in his jean cutoffs? That I’d believe.) Best accessory: Katherine’s hats, of course.

Quips

Was this J.R.’s quippiest season yet? I can’t think of another year where he delivered so many classic gems. To Pam: “I don’t give a damn about you or your happiness, honey. But I do care about what’s good for me.” To Katherine: “Loving always makes me thirsty.” To Edgar: “Once you give up integrity, the rest is a piece of cake.” My favorite, though, is this one, which he delivered to Vaughn: “J.R. Ewing doesn’t get ulcers. He gives ’em.” That one should have hung on a sign above his office door, don’t you think?

What do you love and loathe about “Dallas’s” seventh season? Share your comments below and read more “Best & Worst” reviews.

Filed Under: Best & Worst, Best & Worst (Classic), Opinion Tagged With: Alexis Smith, Bradford May, Christopher Atkins, Jerrold Immel, John Beck, Ken Kercheval, Larry Hagman, Love Stories, Martin E. Brooks, Road Back, Victoria Principal

The Dal-List: Classic ‘Dallas’s’ 8 Ewing Barbecues, Ranked

March 3, 2014 by Chris Baker 13 Comments

Dallas, John Ross Ewing, Josh Henderson, Julie Gonzalo, Pamela Rebecca Barnes Ewing, Trust Me, TNT

Upholding tradition

The Ewings throw another Southfork barbecue in “Trust Me,” TNT’s latest “Dallas” episode. Here’s a list of every barbecue from the classic show’s era, ranked in order of preference. (Please note: The two rodeo episodes aren’t included. Don’t worry; they’ll get their own list one day.)

Bert Remsen, Bobby Ewing, Clayton Farlow, Dallas, Dandy Dandridge, Howard Keel, Patrick Duffy

Top gun

8. Barbecue VIII (1987). The original “Dallas’s” final barbecue feels a little warmed over, sad to say. Things briefly get exciting when aging wildcatter Dandy Dandridge (Bert Remsen) shows up and tries to shoot Cliff — a nifty bit of poetic justice that recalls Digger’s attempt to kill Jock in “Dallas: The Early Years.” The rest of the affair, though, is more of a retread than an homage: J.R. and Cliff exchange insults for the umpteenth time, Sue Ellen once again tries to get under her husband’s skin and Christopher spends another episode moping around because he’s adopted. Is this “Groundhog Day” or a Southfork shindig?

Cliff Barnes, Dallas, Ken Kercheval, Linda Gray, Sue Ellen Ewing

Dances with wolves

7. Barbecue II (1982). Most of the action at this party happens on the dance floor: With Pam upstairs mooning over baby Christopher, Bobby waltzes with Katherine, whose crush on her brother-in-law is as plain as Ray’s extra-martial interest in sexy Toni. Later, J.R. stands on the balcony and seethes while watching Sue Ellen and Cliff (Linda Gray, Ken Kercheval) — whose shirt appears to have lost all its buttons — have a jolly time two-stepping below. As if that wasn’t bad enough, Miss Ellie receives the fateful phone call informing her that Jock’s helicopter crashed on its way home. Way to kill the festive mood, “Dallas.”

Afton Cooper, Audrey Landers, Cliff Barnes, Dallas, Ken Kercheval

Birds of a feather

6. Barbecue IV (1983). This barbecue is mostly fun: Bobby and Mark Graison give each other the stink eye at the bar, Jenna Wade is bitchy to Pam on the patio and Afton Cooper (Audrey Landers) runs around the driveway in a Native American-inspired outfit that features the most strategically placed tassels in the history of costume design. So why doesn’t this soiree rank higher? Blame baby-faced stalker Peter Richards, who summons Sue Ellen to the barn, where he gives her a smooch and professes his undying love for her. Gross! It’s enough to make us lose our appetite for Mama’s chili.

Dallas, Fern Fitzgerald, Jamie Ewing, Jenilee Harrison, J.R. Ewing, Marilee Stone

Slap splash

5. Barbecue V (1984). Myth: Every time the Ewings throw a barbecue, someone gets pushed into the Southfork swimming pool. Fact: This only happens once, and it occurs at the 1984 hootenanny, when Marilee Stone (Fern Fitzgerald) slaps Cousin Jamie (Jenilee Harrison), who responds by shoving Marilee into the water. The best part is the hilarious kicker: When J.R. reaches down to pull Ms. Stone out of the chlorinated water, he says, “Marilee, you all right, honey? Did it go up your nose?” No matter how many times I watch this episode, I never tire of seeing Larry Hagman deliver that line.

Dallas, J.R. Ewing, Larry Hagman, Pam Ewing, Victoria Principal

Dis-invite

4. Barbecue VII (1986). This hoedown ends on a dramatic note, with Bobby arriving with evidence that proves Wes Parmalee, the man who claims to be back-from-the-dead Jock, is an imposter. Before we get to that, though, we’re treated to several scenes that showcase Hagman’s comedic genius. In one, J.R. chastises Pam (Victoria Principal) for inviting “that moron brother of yours to my barbecue.” Later, J.R. witnesses Cliff and Jamie’s latest marital spat and can’t resist offering his two cents. Jamie: “You know, Cliff Barnes, you’re the sorriest excuse for a man that I have ever met!” J.R.: “Well, I’ll second that!”

Drunk history

3. Barbecue I (1978). Here’s the one that started it all. “Dallas’s” first season ends with an episode that takes place in a single day, as Texas’s newest in-laws, the Ewings and the Barneses, get together for an epic Southfork cookout. Everyone gets down in the dirt at this one: Digger and Sue Ellen each fall off the wagon, J.R. falls flat on his face when Bobby punches him and Pam falls from the hayloft and suffers a miscarriage. My favorite scene belongs to caterers Tilly and Sam, who spend the afternoon gossiping about the Ewings. This is the only time these characters ever appeared on “Dallas”; is it too late to bring them back?

Center of attention

2. Barbecue III (1982). The second barbecue of 1982 finds everyone hatin’ on poor J.R. The members of the cartel are royally peeved that he’s undercut them by opening a chain of cut-rate gas stations, and so is Bobby, who’s so upset, he gets drunk (!), neglects Pam (!!) and flirts with Holly Harwood (!!!). Finally, the cartel gangs up and confronts J.R. It’s showdown at the Southfork corral! But wait, what’s this? Here come the other Ewings, who circle J.R. and remind the cartel that when you take on one member of the clan, you take them all on. It’s not just the quintessential Ewing Barbecue scene, it’s quintessential “Dallas.”

Dale Midkiff, Dallas, Dallas: The Early Years, Jock Ewing, Molly Hagan

Get the party started

1. Barbecue VI (1986). My sentimental favorite. The prequel movie “Dallas: The Early Years” culminates at a 1951 barbecue, where a teenaged J.R. loses his virginity in the barn and a drunken Digger shows up with a gun and takes aim at Jock (Dale Midkiff). Ellie (Molly Hagan) intervenes and saves her husband’s life, and then with all the Barnes and Ewing children frolicking around them, Jock embraces Ellie and turns reflective. “What are these poor kids going to end up like?” he asks. Cut to the final scene: After bratty Cliff tangles with J.R., he drags kid sister Pammy away from her new playmate — little Bobby Ewing. Jerrold Immel’s famous theme music rises in the background, the camera pulls back for a bird’s eye view of the ranch and then the familiar shots from “Dallas’s” classic title sequence begin to sweep across the screen. Now that’s how you end a barbecue!

What’s your favorite “Dallas” barbecue? Share your comments below and read more “Dal-Lists.”

Filed Under: Dal-Lists, Opinion Tagged With: Audrey Landers, Bert Remsen, Dale Midkiff, Dallas: The Early Years, Fern Fitzgerald, Jenilee Harrison, Jerrold Immel, Josh Henderson, Julie Gonzalo, Ken Kercheval, Larry Hagman, Linda Gray, Molly Hagan, TNT, Trust Me, Victoria Principal

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

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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 125 — ‘The Sting’

August 7, 2013 by Chris Baker 7 Comments

Ben Piazza, Dallas, Ray Krebbs, Steve Kanaly, Sting

Stung

Which Ewing brother do you root for in “The Sting”? I cheer for Bobby at the top of the hour, when he thwarts J.R.’s illegal sale of 100 million barrels of oil to Cuba. It’s nice to see Bobby finally outfox J.R., who’s been riding high in their fight for control of Ewing Oil. Of course, once Bobby secures his victory, my sympathies shift to J.R. With his plot foiled, J.R. finds himself at the mercy of Garcia, the unscrupulous middleman in the Cuban deal. How can you not feel for sorry for the old boy as he squirms under Garcia’s thumb?

The effortless switching in the role of underdog makes “The Sting” an especially clever episode of “Dallas.” I also love the terrific opening sequence, which picks up where “Caribbean Connection,” the previous hour, left off. J.R.’s crony Walt Driscoll rushes out of his motel room, cash-stuffed briefcase in hand, as he heads to the airport to complete the Cuban deal. As he pulls out of the parking lot in his big Oldsmobile, Ray’s pickup truck suddenly strikes it. With Driscoll distracted, Bobby emerges from the crowd of sidewalk gawkers and switches the briefcase with the replica he commissioned in “Caribbean Connection.” Bobby then follows Driscoll to the airport, where he watches as security guards discover a stash of guns in the briefcase and haul him away.

These are fun, exciting scenes. Jerrold Immel’s tingling underscore, which is also heard when Southfork goes up in flames in the sixth-season finale, lends the sequence a sense of mystery. The music fits the action beautifully since we don’t know what Bobby’s up to until the guns are finally revealed. The establishing shots are crucial too. Imagine if Larry Elikann, the director, and Fred W. Berger, the editor, hadn’t shown Driscoll placing his briefcase on the passenger seat when he gets into his car. We’d have no idea what Bobby is doing when he reaches inside the car and switches the real case with the fake one. I also like how “The Sting” plays on the audience’s familiarity with “Dallas.” The moment we see a white pickup’s fender enter the frame, we know instantly whose truck this is.

The other keys to the success of this sequence: Ben Piazza and Steve Kanaly. Piazza, one of the great “Dallas” guest stars, is believably bewildered as the hapless, in-over-his-head Driscoll. I kind of feel bad for the guy when Ray rams his Oldsmobile, and again when those hulking security guards find the guns in his case. Kanaly, in the meantime, is a hoot. What a kick to see Ray pretend to be the kind of straight-and-narrow, by-the-book yokel who insists on flagging down a cop after a fender bender. Kanaly looks like he’s having a ball here, as well as in two other scenes. In the first, a very drunk Ray and Bobby stumble home after celebrating their coup. Later, Ray confronts J.R. and confirms his role in the sting against him. The scene reminds us that this is Ray’s victory as much as it is Bobby’s.

Speaking of J.R.: “The Sting” showcases Larry Hagman too. He gives some of his best performances when J.R.’s back is to the wall, as this episode demonstrates J.R. is flustered when he finds Driscoll behind bars, enraged when he discovers Bobby undermined him and desperate when he tries to salvage the deal with Garcia. David Paulsen’s script also gives Hagman one great line after another. I love when J.R. refuses to bail out Driscoll, telling him, “I wouldn’t give you the dust off my car.” Later, after he’s ended another frustrating phone call with Garcia, J.R. looks up from his desk and sees Holly striding into his office. “When it rains, it pours,” he says, rubbing his temple. Hagman delivers another great line when Katherine drops by Ewing Oil and tells J.R. the two of them have something to talk about. “Oh, don’t tell me. Not Cliff Barnes. I couldn’t handle that,” he says.

“The Sting” also does a nice job exploring Bobby and Pam’s increasingly awkward separation. Miss Ellie and Clayton bump into Pam while she’s dining with Mark in a restaurant, resulting in an uncomfortable moment for everyone. (In one of the show’s most amusing understatements, Ellie tells Clayton, “In many ways, Dallas is a very small place.”) Later, when Bobby arrives at Pam’s hotel room to pick up Christopher for the weekend, the topic of Pam’s date with Mark comes up. Katherine inserts herself into the conversation. “Bobby, it’s not the way it sounds. … Pam was just trying to help Cliff,” she says. This prompts Pam to snap, “Katherine, stop it! I don’t have anything to hide.”

“The Sting” is also remembered as the episode where Lucy finally tells Mickey she was once raped. Charlene Tilton delivers a tender, moving performance, and so does Timothy Patrick Murphy, who makes his character’s sweetness every bit as believable as the cockiness he exhibited when he joined the show. I also like the exchange where Lucy and Mickey share their first kiss. “Lucy, I never asked a girl if I could kiss her. I just always did it. I’m not real sure what to do right at this moment,” he says. Is there any doubt this is Lucy’s most charming romance?

The other highlight of “The Sting”: Elikann’s direction, which is much more artful than what we usually see on “Dallas.” In addition to his work in the opening sequence, I love when Elikann has Patrick Duffy and Hagman lock eyes and shout at each other in the scene where J.R. confronts Bobby. I also like how J.R.’s roll in the hay with Serena ends with him popping a bottle of champagne, and then the scene switches to a waiter popping a cork in the restaurant where Pam and Mark are dining. Interestingly, although Elikann directed several “Knots Landing” episodes and the “Dallas: The Early Years” TV movie, “The Sting” is the only “Dallas” episode he helmed. Perhaps an exchange between Hagman and “Dallas” creator David Jacobs holds a clue. Elikann’s name comes up in the audio commentary on the “Reunion, Part 2” DVD, which was recorded in 2004. Jacobs remembers the director being “very gruff” and tells Hagman that Elikann recently died. “Did he?” Hagman responds. “Good.” He was kidding … I think.

Grade: A

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Charlene Tilton, Dallas, Lucy Ewing, Mickey Trotter, Timothy Patrick Murphy

Good romance

‘THE STING’

Season 6, Episode 22

Airdate: March 11, 1983

Audience: 23.1 million homes, ranking 1st in the weekly ratings

Writer: David Paulsen

Director: Larry Elikann

Synopsis: Bobby plants guns in Driscoll’s case, which leads to Driscoll’s arrest at the airport. Garcia, Driscoll’s contact in Puerto Rico, demands $10 million from J.R. to complete the Cuban oil deal. Holly vows revenge against J.R. when she discovers the deal is in jeopardy. Katherine offers to spy on Bobby for J.R. After telling him about her past, Lucy and Mickey make love. Pam and Mark’s deepening relationship angers Bobby.

Cast: Mary Armstrong (Louise), John Beck (Mark Graison), Barbara Bel Geddes (Miss Ellie Ewing), Stephanie Blackmore (Serena), Morgan Brittany (Katherine Wentworth), Lois Chiles (Holly Harwood), Roseanna Christiansen (Teresa), Henry Darrow (Garcia), Patrick Duffy (Bobby Ewing), Fern Fitzgerald (Marilee Stone), Linda Gray (Sue Ellen Ewing), Larry Hagman (J.R. Ewing), Susan Howard (Donna Krebbs), Steve Kanaly (Ray Krebbs), Howard Keel (Clayton Farlow), Ken Kercheval (Cliff Barnes), Audrey Landers (Afton Cooper), Timothy Patrick Murphy (Mickey Trotter), Russ Marin (Matthew), Ben Piazza (Walt Driscoll), Victoria Principal (Pam Ewing), John Reilly (Roy Ralston), Debbie Rennard (Sly), Paul Sorensen (Andy Bradley), Don Starr (Jordan Lee), Charlene Tilton (Lucy Ewing), Morgan Woodward (Punk Anderson)

“The Sting” 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: Ben Piazza, Charlene Tilton, Fred W. Berger, Jerrold Immel, Larry Elikann, Larry Hagman, Patrick Duffy, Reunion Part 2, Steve Kanaly, Sting (1983)

The Dal-List: ‘Dallas’s’ 35 Greatest Moments (So Far)

April 2, 2013 by Chris Baker 69 Comments

Barbara Bel Geddes, Bobby Ewing, Charlene Tilton, Dallas, Jim Davis, Jock Ewing, J.R. Ewing, Larry Hagman, Linda Gray, Lucy Ewing, Miss Ellie Ewing, Pam Ewing, Patrick Duffy, Sue Ellen Ewing, Victoria Principal

Icons

“Dallas” debuted 35 years ago today. To commemorate its anniversary, here’s my list of the franchise’s 35 greatest moments.

Dallas, Digger's Daughter, J.R. Ewing, Larry Hagman

Gripping grin

35. J.R. meets his match. “Dallas’s” first episode ends with Pam turning the tables on J.R. (Larry Hagman) after he tries to make it look like she was cheating on Bobby with Ray. “Looks like I underestimated the new Mrs. Ewing,” J.R. declares as he watches his baby brother and sister-in-law drive away. “I surely won’t do that again.” Hagman then smiles, ever so slightly. It lets us know J.R. has finally found a worthy adversary – and he couldn’t be happier about it.

Dallas, J.R. Ewing, Larry Hagman, TNT, Venomous Creatures

Here we go again

34. Rivalry redux. When the truth comes out that Rebecca Sutter Ewing is actually Pamela Rebecca Barnes, J.R. pops into her office for a tête-à-tête. She turns out to be as ballsy as her namesake aunt, telling J.R.: “I must have done something right to deserve a visit from you.” J.R., for his part, shows he hasn’t lost his step. “You’re not the first Pam to fox her way into the henhouse,” he tells her with a sly grin. “I’m 1 for 1 on flushing out Pamelas. And I plan on being 2 for 2.” Fabulous.

Cliff Barnes, Dallas, Full Circle, Ken Kercheval, Priscilla Pointer, Rebecca Wentworth

All is forgiven

33. The “licorice scene.” Cliff (Ken Kercheval) invites estranged mom Rebecca (Priscilla Pointer) to his apartment. Nervous small talk gives way to anger, as Cliff tells Rebecca how much her abandonment hurt him. She begins to leave, but Cliff stops her. “Mama,” he says, his voice cracking. “You didn’t take any licorice, and I remembered you liked it.” The music swells, mother and son embrace and we’re reminded why Cliff is the original “Dallas’s” most human character.

Ann Ewing, Brenda Strong, Dallas, TNT, Trial and Error

True confessions

32. Ann testifies. After shooting ex-husband Harris, Ann (Brenda Strong) goes on trial. In stirring testimony, she recalls how he and his mother Judith tormented her, but Ann also concedes her own failings – including how her pill addiction led to daughter Emma’s abduction. “God had punished me by taking my baby,” Ann says through tears. Before this scene, I wondered how we could forgive Ann for her crime. Afterward, I wondered how we couldn’t.

Barbara Bel Geddes, Bobby Ewing, Clayton Farlow, Dallas, Howard Keel, J.R. Ewing, Larry Hagman, Miss Ellie Farlow, Patrick Duffy, Ray Krebbs, Steve Kanaly, Sting

Adios, Ray

31. Ray rides into the sunset. After Ray (Steve Kanaly) returns to Southfork and helps the Ewings win a range war, they bid him adieu as John Parker’s piano music plays in the background. Ray’s final moments with Ellie, Clayton, Bobby and even J.R. are touching, but the most moving part comes when he looks around and declares, “There’s a part of me that’s never going to leave here.” When major characters depart “Dallas,” the show usually screws it up. Not this time.

Close Encounters, Dallas, Deborah Shelton, Linda Gray, Mandy Winger, Sue Ellen Ewing

Get smart

30. Sue Ellen meets Mandy. At the Ewing Rodeo, Sue Ellen (Linda Gray) runs into Mandy (Deborah Shelton), J.R.’s latest mistress, and offers her some advice: Get away while you can. It’s our first glimpse of a newly sober, newly wise Sue Ellen, but Mandy refuses to listen and turns to leave. That’s when Sue Ellen delivers a zinger: “Isn’t it strange how the mistress always thinks she’s smarter than the wife? If she’s so smart, why is she the mistress?” She’s got you there, darlin’.

Bobby Ewing, Dallas, Jim Davis, Jock Ewing, Pam Ewing, Reunion Part 2, Victoria Principal

Sale of the century

29. “Sold!” After Bobby marries Pam, a drunken Digger barrels onto Southfork and recounts everything Jock “took” from him – including Pam, for whom Digger demands $10,000. “She was a Barnes and now she’s a Ewing, just like the oil wells,” he says. Bobby and Pam watch in horror as Jock (Jim Davis) tosses a $100 bill at Digger, who scoops it up. “Sold!” he declares as he leaves. Harsh? Yes, but after this scene, there was no doubt which family Pam belonged with.

Charlene Tilton, Dallas, End of the Road Part 2, Leigh McCloskey, Lucy Ewing, Mitch Cooper

Pomp and circumstance

28. The royal wedding. The marriage of Lucy and Mitch (Charlene Tilton, Leigh McCloskey) was doomed from the start, but man, aren’t their nuptials fun? The two-part episode gives us lots of “Dallas” firsts, including the first Southfork wedding, the first time someone gets dunked in the pool (Lucy pushes Mitch) and the first appearance of Afton, who sleeps with J.R. during the reception – in his own marital bed! No wonder Sue Ellen still holds a grudge.

Dallas, Quality of Mercy, Ray Krebbs, Steve Kanaly

Have mercy

27. Who killed Mickey Trotter? When the plug is pulled on his comatose cousin Mickey, Ray blocks the door to his hospital room so the doctors can’t enter and revive him. It’s the beginning of a medical mystery that yields riveting performances from Kanaly, Tilton and Kate Reid as Lil, Mickey’s mom. Only at Ray’s murder trial do we learn the truth: He did disconnect Mickey’s life support, but only because Lil didn’t have the strength to do the mercy killing herself.

Barbara Bel Geddes, Dallas, Miss Ellie Ewing, Ray Krebbs, Steve Kanaly, Survival

Stop! Or Mom will shoot

26. Ellie grabs her gun. The Ewings are awaiting word on J.R. and Bobby after their plane crashed in Cato Swamp. Miss Ellie (Barbara Bel Geddes) answers the door to find a snoopy reporter. “Ray, get me the shotgun out of the hall closet,” she says, then tells the newshound: “Anybody on my land, without invitation, is a trespasser. So unless I see your tail heading out of here … I’m going to blow it off.” It’s classic “Dallas”: Modern Texans defending old traditions like land and family.

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

Queens’ speeches

25. Pam’s surprise. After Bobby’s “death,” Ellie eulogizes him at the Oil Baron’s Ball, followed by Pam (Victoria Principal), who stuns everyone by announcing she won’t sell her shares of Ewing Oil to Westar as planned. J.R. is overjoyed, assuming this means Pam will sell them to him. She sets him straight: “I’m not selling at all. From now on, it’s going to be you and me. I’ll see you at the office, partner.” It’s one of many great moments from the unjustly maligned “dream season.”

Barbara Bel Geddes, Dallas, Miss Ellie Ewing, Requiem

Southfork soothsayer

24. Mama sees all. In 1983, when Sue Ellen tried to justify J.R.’s latest quest for power, Ellie delivered a spot-on prophesy: “Think ahead, Sue Ellen. Think 25 or 30 years ahead. I won’t be here then. And the fight won’t be between J.R. and Bobby. It’ll be between John Ross and Christopher. … Your loyalty to your husband is a wonderful thing. But you’re a mother too. And where will this all end?” Impressive, huh? Too bad no one ever thought to ask her where Pam is.

Ann Ewing, Brenda Strong, Dallas, Revelations, TNT

Bra-vo!

23. Sting! When Harris tries to blackmail Sue Ellen into aiding his dirty dealings, Ann begs him to stop. Harris confirms his crimes and suggests he’ll ease up on Sue Ellen – if Ann sleeps with him. Slowly, Ann unbuttons her blouse … and reveals a hidden mic. “Extortion, blackmail and a confession to money laundering, all recorded,” she says triumphantly. Ann then slugs Harris and hints she’ll shoot him if he doesn’t leave the Ewings alone. She wasn’t kidding, was she?

Adoption, Dallas, Donna Krebbs, Susan Howard,

Armor on

22. Pow! Donna (Susan Howard) is none too happy when Ray begins an affair with barfly Bonnie. Fed up with his philandering, she dons her fur coat, heads to the saloon and offers Bonnie $15,000 to leave Texas. Bonnie agrees, so Donna cuts the offer by a third. “Now that we know what you are, let’s haggle over your fee,” she says. Bonnie tosses a drink in Donna’s face – and then Donna belts her. Who knew “Dallas’s” classiest leading lady possessed such a mean right hook?

Bobby Ewing, Dallas, Ray Krebbs, Road Back, Steve Kanaly

Open flames

21. Bobby to the rescue. “Dallas’s” sixth season ends with J.R., Sue Ellen, John Ross and Ray trapped inside Southfork as flames sweep through the house. We knew they’d survive; we just didn’t know how. The seventh-season premiere supplies our answer: In “Dallas’s” most thrilling opening, quick-thinking Bobby comes home, soaks himself in the pool and dashes into the house, where he rescues everyone. We should’ve known: Bobby always saves the day.

Dallas, Linda Gray, Sue Ellen Ewing, Tangled Web

Face of fear

20. Sue Ellen’s discovery. Sue Ellen doesn’t want to believe it when Holly Harwood tells her she’s sleeping with J.R., but she agrees to come by the vixen’s house, where Holly says Sue Ellen will find J.R. in her bed. The audience watches as the fur-clad Sue Ellen arrives at Holly’s, slowly crosses the driveway (click clack go the heels), turns the front door knob and finally reaches the bedroom, where her worst fears are confirmed. It’s a brilliant, devastating sequence.

Barbara Bel Geddes, Brother Can You Spare a Child?, Cliff Barnes, Dallas, Miss Ellie Farlow

Making peace

19. Cliff asks for forgiveness. After Dandy Dandridge accuses Cliff of trying to cheat him out of their big gas strike, Cliff begins to see his daddy’s feud with Jock in a new light. Summoning Ellie to a Dallas park, Cliff extends a long-overdue olive branch. “Digger was wrong, and I was wrong. If it’s not too late. I’d like to make peace. I’d like to ask you to forgive me,” he says. It’s my favorite performance from Kercheval and a consequential moment in “Dallas” history.

Bobby Ewing, Dallas, Jim Davis, Jock Ewing, J.R. Ewing, Larry Hagman, Patrick Duffy, Wheeler Dealer

Honor thy daddy

18. Molotov cocktails. “Dallas’s” best cocktail scene: Ellie worries Sue Ellen didn’t get enough to eat at dinner. J.R. waves around a liquor bottle and declares his wife “gets all the nourishment she needs from this.” He then declares Pam is “cracking up” and calls her daddy “a saddle tramp and a thief” and her mama “a whore.” That’s when Bobby (Patrick Duffy) punches J.R., forcing a furious Jock to separate them. Don’t you wish your family gatherings were this much fun?

Barbara Bel Geddes, Dallas, Jim Davis, Jock Ewing, Mastectomy Part 2, Miss Ellie Ewing

Great performances

17. Ellie gets cancer. Ellie gets breast cancer in the 1979 “Mastectomy” two-parter, which won Bel Geddes an Emmy. It’s a brave performance from the actress, who had been treated for the disease in real life. Davis is equally moving as Jock struggles to comfort his wife. In one scene, he tells her it “doesn’t matter” that she’s lost a breast. “Because I’m not young anymore?” she snaps. “Don’t you think I care the way I look?” Rarely has “Dallas” felt so real.

Bye, Bobby

16. Bobby’s funeral. After Bobby “dies” saving Pam, the Ewings bury him in a lush Southfork pasture, near the treehouse that Jock built for him as a boy. All of Bobby’s loved ones are there, including Pam, whose Jackie Kennedy-esque pillbox hat reinforces the idea that “Dallas’s” version of Camelot is ending. As the gathering disperses, J.R. movingly tells Bobby he wishes he’d taken the time to let him know how much he loved him. It’s one of the few times we see J.R. cry.

Dallas, John Ross Ewing, J.R. Ewing, Larry Hagman, Paternity Suit, Tyler Banks

Welcome to fatherhood

15. J.R. becomes a daddy. When the Ewings learn the results of the paternity test that proves J.R., not Cliff, fathered John Ross, J.R. enters the Southfork nursery, picks up his son, holds him close and kisses him. According to “Dallas” historian Barbara A. Curran, CBS received 10,000 positive letters in response to J.R.’s embrace of his son. Later, David Jacobs, the show’s creator, called it “Dallas’s” best scene: “Just a private moment between J.R. and 100 million people.”

Dale Midkiff, Dallas, Dallas: The Early Years, Jock Ewing, Miss Ellie Ewing, Molly Hagan

When they were young

14. In the beginning. “Dallas: The Early Years,” Jacobs’ 1986 prequel movie, ends at a 1951 Southfork barbecue, where Jock and Ellie (Dale Midkiff, Molly Hagan) embrace as a teenaged J.R. spars with bratty Cliff. Moments later, Cliff drags kid sister Pammy away from her new playmate: Little Bobby. Jerrold Immel’s theme swells, the camera pulls back for a bird’s eye view of the ranch and then the familiar shots from “Dallas’s” famous titles sweep across the screen. Perfect.

Barbara Bel Geddes, Dallas, Miss Ellie Ewing, Waterloo at Southfork

Mad mama

13. Mama vs. the cartel. When J.R.’s latest plot backfires and the cartel takes advantage of him, Ellie comes to junior’s defense. She summons the group to the Ewing Oil offices, where she blasts them, one by one. “I don’t apologize for what my son did,” Ellie says. “It’s a family matter. We may be wrong and we may be right, but we’re Ewings. We stick together – and that’s what makes us unbeatable.” Foolish oil barons. Shouldn’t they know better than to mess with mama?

Dallas, J.R. Ewing, Larry Hagman, Long Goodbye, Pam Ewing, Victoria Principal

Prey, meet hawk

12. A classic clash. During Bobby and Pam’s separation, J.R. tells her if she doesn’t go through with the divorce, he’ll destroy Bobby, Cliff and everyone else she cares about. “You’ve known me long enough to know I don’t make idle threats,” J.R. says as he circles her. The chilling moment tells us much about their rivalry. Cliff might have been J.R.’s most persistent enemy and Jeremy Wendell might have been the most powerful, but no one threatened J.R. quite like Pam.

Blast from the Past, Bobby Ewing, Dallas, Patrick Duffy,

Good morning indeed

11. Bobby’s back! (Or is he?). CBS announced Duffy would return to “Dallas” a few weeks before the 1985-86 season finale aired, but no one knew how he’d come back or who he’d play. In the episode’s last scene, Pam awakens and finds Bobby – or someone who looks an awful lot like him – lathering up in her shower. No matter how you feel about the notorious “dream” twist, you have to admit: It was nice to have Duffy back on the show – and in his birthday suit no less!

Changing of the Guard, Dallas, J.R. Ewing, Larry Hagman, Leonor Varela, Marta del Sol, TNT, Veronica Martinez

Welcome back

10. J.R. returns. TNT’s first episode ends with John Ross visiting J.R. in the nursing home. The younger man is dejected because Uncle Bobby just sold Southfork to conservationist Marta del Sol. But wait, what’s this? J.R. is sipping champagne with Marta! It turns out the two are in cahoots. “Bobby may not be stupid, but I’m a hell of a lot smarter,” J.R. tells his son as he doffs his Stetson and flashes his grin. For me, this is the moment I knew “Dallas” was truly back.

Dallas, J.R. Ewing, Larry Hagman, Linda Gray, New Beginnings, Sue Ellen Ewing

Two of a kind

9. J.R. and Sue Ellen reminisce. After putting John Ross to bed, J.R. and Sue Ellen retreat to their room, where they recall their courtship in warm, nostalgic terms. For a couple that is usually at war with each other, this scene is about the characters taking off their armor – symbolized by Sue Ellen’s dressing gown and J.R.’s removal of his coat and tie – and showing each other they still care. You can’t understand their love story until you’ve seen this moment.

Bobby Ewing, Check and Mate, Dallas, Larry Hagman, J.R. Ewing, Patrick Duffy

Lose some, win some

8. Bobby beats J.R. After a yearlong contest for control of Ewing Oil, Harv Smithfield declares J.R. the winner. But wait, what’s this? Here comes Thornton McLeish with news that Bobby’s Canadian fields have come in, making Bobby the victor. The twist concluded one of “Dallas’s” greatest storylines, an arc that touched all the characters and made “Tundra Torque” part of every “Dallas” diehard’s vocabulary. We never like to see J.R. get beat, but when Bobby does it, we let it slide.

Barbara Bel Geddes, Dallas, Ellie Saves the Day, Miss Ellie Ewing

To the rescue

7. Ellie saves Southfork. J.R. secretly mortgages Southfork to finance a risky deal, only to have it blow up in his face. With the loans due, the Ewings scramble to pay the banks but come up empty. After a stroll around the ranch, Ellie gathers everyone and announces she’ll raise the cash by allowing Ewing Oil to drill on the land. It’s an early example of an enduring “Dallas” theme: Sometimes you have to set aside your principles to protect your family.

Dallas, Fall of the House of Ewing, John Ross Ewing, J.R. Ewing, Larry Hagman, Omri Katz

Don’t forget it, boy

6. J.R. schools John Ross. J.R. is giving John Ross one last look around Ewing Oil when Wendell, the new owner, orders them off the premises. “Take this eyesore with you,” he says as he reaches for Jock’s portrait. J.R. is incensed: “Touch that painting and I’ll kill where you stand!” J.R. takes the picture off the wall, holds it aloft and – with trumpets blaring in the background – declares: “John Ross, this is Ewing Oil.” I dare you to watch this scene without getting chills.

Bobby Ewing, Dallas, Executive Wife, Jim Davis, Jock Ewing, Patrick Duffy

Word

5. Jock schools Bobby. Bobby, furious that Jock has yanked millions of dollars out of Ewing Oil without telling him, interrupts Daddy’s lunch at the Cattlemen’s Club. “You gave me the power to run that company, and damn it, I intend to run it,” Bobby fumes. “Let me tell you something, boy,” Jock huffs. “If I did give you power, you got nothing. Nobody gives you power. Real power is something you take!” Six words that sum up the Ewing creed – and “Dallas” itself.

Dallas, Family Business, J.R. Ewing, Larry Hagman, TNT

The man

4. The man comes around. The TNT episode “Family Business” ends on a thrilling note: With Johnny Cash’s “The Man Comes Around” playing in the background, Rebecca shoots Tommy, while back at the ranch, seriously ill Bobby collapses. The most poignant moment of all comes before the montage, when J.R. glances at Ellie’s picture, takes a shot of bourbon and signs the Southfork deed, returning ownership to Bobby. In that instant, our hero grows. So does “Dallas.”

Dallas, J.R.'s Masterpiece, Linda Gray, Sue Ellen Ewing, TNT

Farewell, J.R.

3. J.R.’s funeral. “Dallas” bids farewell to J.R. with a moving, instant-classic episode featuring Emmy-worthy performances from Gray and Duffy. Who’ll ever forget Sue Ellen getting drunk in J.R.’s bedroom the night before his burial, or her heartbreaking eulogy? What about the poignant final scene, when Bobby spots J.R.’s hat and tearfully declares, “I love you brother.” This is the moment the TNT series rose to the occasion – and then surpassed it.

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

Saving the day, again

2. “Swan Song.” Leonard Katzman’s masterpiece. Donna reveals her pregnancy to Ray. J.R. threatens to send Sue Ellen back in the sanitarium. Pam nobly tells Bobby to go back to Jenna, but he chooses Pam instead. It culminates with the dramatic driveway sequence in which Katherine runs over Bobby, followed by his deathbed farewell, the most moving scene in “Dallas” history. It’s all so beautifully done, it’s almost enough to make you regret it turned out be a dream.

Dallas, House Divided, J.R. Ewing, Larry Hagman

Top gun

1. “Who Shot J.R.?” “Dallas’s” most famous storyline is also its greatest extended moment, and not just because it sparked a worldwide phenomenon. Nothing better demonstrates the show’s ability to create multi-dimensional characters who fascinate audiences and make us care. Despite his dastardliness, after J.R. was shot, we couldn’t help but feel sympathetic toward him as he struggled to regain his ability to walk and cope with his exile from Ewing Oil. Likewise, once Kristin was identified as his assailant – in a broadcast watched by 83 million people – how could you not feel sorry for her, especially after J.R. vowed to “handle” her his “own way”? Will “Dallas” ever top this moment? Who knows? I just hope the people who make the show never stop trying.

Now it’s your turn. Share your choices for “Dallas’s” greatest moments below and read more “Dal-Lists.”

Filed Under: Dal-Lists, Opinion Tagged With: Barbara A. Curran, Barbara Bel Geddes, Brenda Strong, Charlene Tilton, David Jacobs, Deborah Shelton, Jerrold Immel, Jim Davis, John Parker, Kate Reid, Ken Kercheval, Larry Hagman, Leigh McCloskey, Leonard Katzman, Linda Gray, Nicholas Sgarro, Patrick Duffy, Priscilla Pointer, Steve Kanaly, Susan Howard, TNT

Critique: TNT’s ‘Dallas’ Episode 18 – ‘J.R.’s Masterpiece’

March 12, 2013 by Chris Baker 96 Comments

Dallas, J.R. Ewing, J.R.'s Masterpiece, Larry Hagman, TNT

Still here

It isn’t quite accurate to call “J.R.’s Masterpiece” the first “Dallas” episode without J.R. Ewing. Our hero is present, even if he isn’t physically there. We see Larry Hagman in the special opening credits, which offer a moving, mournful version of Jerrold Immel’s classic theme music and memorably end with J.R. disappearing into white light. Beyond that, we feel J.R.’s spirit in every scene, every line, every breath. It’s gratifying and even a little exhilarating to see the show honor this character so thoroughly. This will be remembered as the hour that Cynthia Cidre, Michael M. Robin and seemingly everyone else associated with “Dallas” rose to the occasion – and then surpassed it.

The two most unforgettable moments in “J.R.’s Masterpiece” belong to Linda Gray. In the first, Sue Ellen enters J.R.’s bedroom on the night before his funeral and removes from her purse the letter he sent her before his death. She sits at his table, looks at a framed photograph from their second wedding and smiles. Then she notices J.R.’s decanter of bourbon, emblazoned with his name. With the sad country tune “The Bottom” playing in the background, Sue Ellen pours herself a glass and contemplates it for a few moments, just like she did with the wineglass in “Venomous Creatures,” an earlier second-season episode. On that occasion, J.R. arrived on her doorstep and gave her the encouragement she needed to resist temptation. This time around, he isn’t here to save her. And so Sue Ellen downs the bourbon. Hard. And then she pours herself another glass. And then another.

It’s a tense, wrenching scene on its own, but I also appreciate how it echoes one of my favorite moments from TNT’s other great “Dallas” episode, the first-season entry “Family Business.” In that scene, J.R. sits at the same table, glances at a picture of Miss Ellie and takes a swig of bourbon before signing the Southfork deed over to Bobby. In a show where the booze flows as freely as ever, both scenes are about J.R. and Sue Ellen turning to the bottle to find courage they can’t muster on their own. He needs it to do the right thing, she needs it to just get through the night.

Seeing Sue Ellen fall off the wagon is tough for me and other longtime “Dallas” fans who remember how hard she fought to get sober. But I’m also the first to admit that her relapse makes riveting television. I have no idea where “Dallas” will take Gray’s character after “J.R.’s Masterpiece,” but my guess is she won’t return to the path of self-destruction. Sue Ellen isn’t the woman she used to be. She’s wiser, more confident, more aware. We see this during the episode’s other great moment: her mesmerizing eulogy at J.R.’s gravesite, where she confesses her relapse to the other Ewings. “I’m a bit drunk right now,” she says. This line startles me even more than the one at the top of the hour, when the Mexican policewoman announces J.R.’s death. I don’t think we’ve ever seen Sue Ellen acknowledge her demons so forthrightly, which makes me think she’ll find the courage to reclaim her sobriety sooner rather than later.

As remarkable as Sue Ellen’s admission is, the most emotional part of her speech comes when she reads aloud J.R.’s letter. He writes, “For me to apologize now for all the wrongs I’ve done you would take up all the time I’ve got left. So I’m hoping it will suffice for me to say that I was never worthy of you.” The note ends with a request: “When I get back to Dallas, will you have dinner with me?” But that’s not what J.R. is actually asking, is it? He really wants to know if Sue Ellen will forgive him for all those “wrongs.” She knows this too, which is why it’s so heartbreaking when she kneels, touches his casket and sobs, “Yes, yes, J.R. The answer is yes.”

‘He Never Pretended’

Bobby Ewing, Dallas, J.R.'s Masterpiece, Patrick Duffy, TNT

Grand scheme

The other eulogies in Cidre’s script are beautifully written, capturing the essence of each character’s connection to J.R. with an impressive economy of words. In his speech, Bobby says, “Throughout my life, it’s pretty much been easy for me to do good, because I could always count on J.R. to do bad. … Now I have to figure out just what I’m supposed to do in this grand scheme of things.”

When I wrote down this line and looked at it, I realized it could be seen as Bobby’s response to J.R.’s admission last season, when he told Bobby, “I don’t know who I’d be without you.” The line acknowledged what the audience always knew – that J.R. was incapable of checking his worst impulses and needed Bobby to do it for him. Now, hearing Bobby wonder aloud what he’ll do without J.R. raises the intriguing prospect that Patrick Duffy, always the unsung hero of this franchise, will soon be able to show us other sides to his character.

In the other eulogies, Ray recalls fearing how he could never make his father proud the way J.R. did, which isn’t exactly how I remember Jock’s sentiments toward J.R. and Ray, but the speech nonetheless reflects the deep-seated insecurities that always haunted Steve Kanaly’s humble cowboy. Ted Shackelford also does a nice job delivering Gary’s single line (“Every step backwards or forward I ever took in my life was because of J.R.”), which perfectly fits his tortured character – and probably every other Ewing.

The most unexpected tribute comes from Lucy. “Things I thought were so horrible that J.R. did just seem honest now,” she says. “He never pretended to be anything other than himself.” It’s surprising to hear Lucy offer admiration for J.R., yet you can’t deny the profundity of her statement. I’m also touched by the shot Robin, the director, gives us of Lucy weeping during the funeral. Given Charlene Tilton’s well-known affection for Hagman in real life, I have no doubt those tears come from the actress’s heart.

It would be wrong to overlook the newer cast members, who are every bit as impressive as the “Dallas” veterans during this sequence. Jordana Brewster’s tears move me when Elena recalls the pep talk J.R. gave her after her father’s death (“Honey, how are you going to make your daddy proud?”), and I also appreciate Jesse Metcalfe’s Duffy-esque stoicism during Christopher’s speech, when he remembers J.R.’s attempt to comfort him after Pam abandoned the family: “I don’t know why your mama left, Christopher. Especially when she had such a good, smart little boy like you. But you’re a Ewing now. So stop crying and behave like one.”

It’s somewhat surprising that Josh Henderson has no lines at J.R.’s burial. Then again, are any needed? The dazed expression Henderson wears throughout this episode and especially at the funeral tells us everything we need to know about what John Ross is feeling.

‘What You Choose to Recall’

The bottom

Not all of the dramatic moments in “J.R.’s Masterpiece” happen at the funeral. Duffy and Brenda Strong have a big fight scene that’s been a long time coming, as Bobby lashes out at Ann for keeping so many secrets from him during the course of their marriage. And as with all of the new “Dallas’s” best episodes, the smaller moments are touching too. Christopher comforts Sue Ellen when she breaks down in the morgue. Ray reaches for her hands as she returns to her seat after her eulogy. Bobby sits alone in J.R.’s room and notices his brother’s hat hanging on the back of the chair.

The lighter moments are welcome too. The best of these is seeing Sue Ellen commiserate with Cally and Mandy at the memorial, a surprisingly sweet scene that offers another reminder of how much Sue Ellen has grown. It’s also hard to not get a kick out of Ken Kercheval’s appearance, when Cliff crashes the memorial, ranting and raving about the Barnes/Ewing feud. As much as I’ve come to enjoy Kercheval’s performance on the new “Dallas” as the Godfather-like Cliff, it’s nice to be reminded of his character’s combustible side.

The other highlight of “J.R.’s Masterpiece”: the music. Merle Haggard’s “My Favorite Memory,” with its references to “what you choose to recall,” opens J.R.’s Petroleum Club memorial, setting the stage for the unexpectedly warm reminiscing that follows. I also like the foreboding strings at the top of the hour, when Bobby, Sue Ellen, John Ross and Christopher arrive in Mexico. Equally haunting: what sounds like Alison Krauss’s version of “Down to the River to Pray,” which is interspersed throughout the graveside eulogies. The most memorable song, though, remains Tara Holloway’s spectacular rendition of “The Bottom” during Sue Ellen’s relapse. Who will ever be able to listen to that song again without thinking of Linda Gray’s incredible performance in that scene?

As for the mystery that begins in the closing moments of “J.R.’s Masterpiece”? I’ll confess: When I read that Cidre, Robin and company planned to kill off Hagman’s character with another “Who Shot J.R.?” mystery, I cringed. I didn’t want my hero to go down in defeat. But the idea that J.R. spent his final days crafting a “masterpiece” scheme against his enemies – a grand plan that will now be carried out by his family – might mean ol’ J.R. will be able to go out on top after all.

All of the questions raised by the end of the episode are tantalizing. Why was J.R. tracking down Christopher’s “mother” – and which mother are we talking about: Kristin or Pam? Will John Ross end up using the gun that J.R. left him? Could there be significance to Christopher’s vow to help John Ross find J.R.’s killer so they can confront the bad guy (or gal) as “brothers”? What’s in the document that J.R. left for Bobby, and what should we make of Bobby’s tearful smile and last line: “I knew you’d have at least one more left up your sleeve, J.R. It is a good one. I love you brother.”

Until we get the answers, we won’t know what J.R.’s masterpiece will be. But at least we know what “Dallas’s” looks like.

Grade: A+

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Hat tip

‘J.R.’s MASTERPIECE’

Season 2, Episode 8

Telecast: March 11, 2013

Writer: Cynthia Cidre

Director: Michael M. Robin

Audience: 3.6 million viewers on March 11

Synopsis: Bobby, Sue Ellen, John Ross and Christopher learn J.R. was shot and killed during a robbery in Mexico. Sue Ellen falls off the wagon. After the funeral, Bum reveals J.R. had been searching for Christopher’s mother and that he went to Mexico to follow a lead on Harris. J.R. also leaves a gun for John Ross and a document for Bobby, who refuses to reveal its contents to John Ross and Christopher.

Cast: Kuno Becker (Drew Ramos), Emma Bell (Emma Brown), Jordana Brewster (Elena Ramos), Mark Cuban (himself), Patrick Duffy (Bobby Ewing), Marlene Forte (Carmen Ramos), Julie Gonzalo (Pamela Barnes), Linda Gray (Sue Ellen Ewing), Castulo Guerra (Carlos del Sol), Josh Henderson (John Ross Ewing), Robert Anthony Hunt (minister), Jerry Jones (himself), Steve Kanaly (Ray Krebbs), Ken Kercheval (Cliff Barnes), Jesse Metcalfe (Christopher Ewing), Kevin Page (Bum), Hugo Perez (Dr. Garcia), Mitch Pileggi (Harris Ryland), Cathy Podewell (Cally), Mayor Mark Rawlings (himself), Tony Sears (George GIilchriest), Ted Shackelford (Gary Ewing), Deborah Shelton (Mandy), Brenda Strong (Ann Ewing), Charlene Tilton (Lucy Ewing)

“J.R.’s Masterpiece” 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: Brenda Strong, Charlene Tilton, Cynthia Cidre, Family Business, J.R.’s Masterpiece, Jerrold Immel, Jesse Metcalfe, Jordana Brewster, Josh Henderson, Larry Hagman, Linda Gray, Michael M. Robin, Patrick Duffy, Steve Kanaly, Ted Shackelford, TNT, Venomous Creatures

The Dal-List: Classic ‘Dallas’s’ 8 Most Moving Funerals

March 7, 2013 by Chris Baker 10 Comments

Dallas, Family Ewing, J.R. Ewing, Larry Hagman

Texas mourn

J.R. Ewing will be laid to rest in “J.R.’s Masterpiece,” a special “Dallas” episode that TNT will telecast on Monday, March 11. Raise a glass of bourbon (and don’t forget the branch!) as we recall the most moving funerals from the original series, as well as two Ewing funerals seen on its “Knots Landing” spinoff.

Dallas, J.R. Ewing, J.R. Returns, Larry Hagman

Surprise, surprise

8. J.R. Ewing. It’s easy to forget that J.R. (Larry Hagman) already had one funeral. In “J.R. Returns,” a 1996 “Dallas” reunion movie, he faked his death as part of a convoluted plot to wrest control of Ewing Oil from Cliff. The memorial service brought Bobby, Sue Ellen, John Ross and Christopher together at Southfork, along with Cliff, who announced, “I just came to make sure he was dead.” While John Ross (Omri Katz) was eulogizing his father, J.R. himself arrived – on the back of a truck hauling pigs, no less. “Hey, what’s going on? Bobby throwing a party?” he asked. It was silly, but what I wouldn’t give to have J.R. turn up as a surprise guest in “J.R.’s Masterpiece.”

Chris Weatherhead, Dallas, Fathers and Sons and Fathers and Son, J.R. Ewing, Larry Hagman, Meg Callahan

Black cat down

7. Blackie Callahan. Blackie who? As “Dallas” neared the end of its run, the producers cast Denver Pyle as Blackie, an aging wildcatter who helped J.R. find oil in the town where Jock had his first strike. In the 1991 episode “Fathers and Sons and Fathers and Sons,” one of “Dallas’s” final hours, J.R. attended Blackie’s funeral, where his daughter Meg (Chris Weatherhead) realized J.R. had been paying Blackie royalties out of his own pocket. The scene was surprisingly touching, not just because it showcased J.R.’s softer side, but also because of Meg’s poignant dialogue: “I guess that’s what life’s all about. The young taking over from the old, shaping things their way.” How prophetic.

Abby Ewing, Dallas, Donna Mills, Knots Landing, Finishing Touches

Black widow

6. Gary Ewing. “Knots Landing” fans were stunned when Gary (Ted Shackelford) was suddenly murdered in 1984. Everyone on the cul-de-sac turned out for his funeral, which was seen at the end of the episode “Finishing Touches.” The sad affair brought out the best in everyone – except for Gary’s widow Abby (Donna Mills), who refused to make peace with his ex-wife Valene. As the minister read from Ecclesiastes, a lone guitarist strummed in the background and we saw Gary’s friends and neighbors mourning him quietly. Then the camera cut to … Gary, seated in what looked like a police station. It turned out he was alive and in a witness protection program. Thank goodness Miss Ellie never heard about any of this!

Dallas, Gary Ewing, Knots Landing, Love and Death, Ted Shackelford

Bachelor father

5. Valene Ewing. When Joan Van Ark left “Knots Landing” in 1992, the producers “killed off” Valene in a fiery car crash. CBS had slashed the show’s budget, so no departed stars came back for her funeral, which was seen in the episode “Love and Death.” But two important figures in Val’s were mentioned, at least: Lilimae was said to be not up for the trip, while Lucy was traveling in Europe and couldn’t be reached. At the memorial service, Val’s best friend Karen MacKenzie eulogized her as “the little engine that could.” It proved too much for Gary and Val’s little girl Betsy, who ran away in tears. She missed her mommy, but she was probably also afraid Karen was going to break into her “Pollyanna” speech.

Bobby Ewing, Cliff Barnes, Dallas, Jock's Trial Part 2, Ken Kercheval, Pam Ewing, Patrick Duffy, Victoria Principal

Digger departed

4. Digger Barnes. Poor, old Digger. After a life of hard livin’, Keenan Wynn’s tragic character was laid to rest in the last scene of the 1980 episode “Jock’s Trial, Part 2.” It was a fittingly humble affair. When the minister asked Digger’s sister Maggie if she’d like him to say anything special, she wearily responded, “No, please. Just the 23rd Psalm. It’s all he’d have had patience for.” The funeral was difficult for Pam (Victoria Principal), who had just discovered that Digger wasn’t her “real” daddy, and Cliff (Ken Kercheval), who slowly walked away from the gravesite before the final freeze frame. Maybe Cliff was sad – or maybe he was just ticked that so many Ewings showed up.

Bobby Ewing, Dallas, Katherine Wentworth, Morgan Brittany, Pam Ewing, Patrick Duffy, Requiem, Victoria Principal

Fit for a queen

3. Rebecca Wentworth. Priscilla Pointer’s grande dame received a grand sendoff in “Requiem,” a 1983 episode directed by Hagman. He memorably showed three black limos arriving at the cemetery and allowed us to watch as the Barneses and Ewings exited the cars, one by one. In true “Dallas” style, Pam was accompanied by Bobby (Patrick Duffy) and half-sister Katherine (Morgan Brittany), who was secretly plotting to steal him for herself. The crowd also included a slew of recurring characters – including Punk and Mavis Anderson and Marilee Stone – and a throng of paparazzi. It felt like the kind of funeral that a Texas society matron would receive – but what was up with all those palm trees in the background?

Bobby Ewing, Dallas, Patrick Duffy, Tunnel of Love

Cry Bobby

2. April Ewing. When Bobby’s wife April (Sheree J. Wilson) was killed during their Parisian honeymoon, he buried her in the City of Lights. This always struck me as odd. Shouldn’t April have been laid to rest in Dallas or maybe Ohio, where she grew up? On the other hand, you can’t deny that the funeral, seen in the 1990 episode “Tunnel of Love,” is as sad as April’s death. Bobby is the only mourner there, although young cyclist Mark Harris (played by Duffy’s son Padraic and named for his “Man From Atlantis” character), who tried to help Bobby rescue April, watches from the distance. The fact that priest conducts the service in French reinforces the sense of isolation. Never before has our hero seemed so alone.

Good grief

1. Bobby Ewing. Bobby’s burial in 1985’s “The Family Ewing” is exquisite. Everything feels right: It’s a fairly intimate gathering in a lush Southfork pasture, attended by the Ewings, the Barneses and close associates like Harv Smithfield. Even the wardrobe is perfect, right down to Pam’s Jackie Kennedy-esque pillbox hat. Director Nick Havinga allows us to hear the minister deliver the 23rd Psalm under Jerrold Immel’s solemn score, and then after the family disperses, we’re left with J.R. delivering his memorable speech at Bobby’s gravesite. “I wish I’d take the time to tell you how much I love you,” he says with wet eyes. Does it matter that this scene turned out to be part of Pam’s dream? Yes, but only a little.

What “Dallas” funerals moved you most? Share your choices below and read more “Dal-Lists.”

Filed Under: Dal-Lists, Opinion Tagged With: Chris Weatherhead, Denver Pyle, Family Ewing, Fathers and Sons and Fathers and Sons, Finishing Touches, J.R. Returns, J.R.’s Masterpiece, Jerrold Immel, Jock’s Trial Part 2, Keenan Wynn, Knots Landing, Larry Hagman, Morgan Brittany, Nick Havinga, Omri Katz, Padraic Duffy, Patrick Duffy, Priscilla Pointer, Requiem, Sheree J. Wilson, Ted Shackelford, TNT, Tunnel of Love, Victoria Principal

The Best & Worst of Dallas: Season 3

September 6, 2012 by Chris Baker 13 Comments

“Dallas’s” third season offers lots to celebrate – and a few things to curse.

Performances

Can’t touch this

Larry Hagman and Linda Gray do mighty impressive work in Season 3, but even they can’t touch Jim Davis and Barbara Bel Geddes. Since I began re-watching “Dallas,” the nicest discovery has been how good Davis is as Jock, especially in third-season episodes like “The Dove Hunt,” when he stares down rifle-wielding Tom Owens, and “Return Engagements,” when the humbled Ewing patriarch is a surprise guest at Gary and Valene’s wedding.

Barbara Bel Geddes, Dallas, Miss Ellie Ewing

This either

Meanwhile, Bel Geddes brings her trademark quiet strength to “Ellie Saves the Day” and “Return Engagements,” but the actress also shows us her character’s vulnerable side in “Mastectomy, Part 1” and “Mastectomy, Part 2,” the episodes that won Bel Geddes an Emmy. She earned the award, but I can’t help but think how much sweeter her victory would have been if the equally deserving Davis had been honored too.

Storylines

Choosing the season’s best narrative is tough – Sue Ellen’s struggle with motherhood and Ray and Donna’s tortured love story are each strong contenders – but J.R.’s risky Asian oil deal gets my vote for most compelling plot. This storyline isn’t about exploring J.R.’s business acumen as much as it is about delving into his psyche: By revealing how far the character is willing to go to build Ewing Oil (he mortgages Southfork!), the show lets us know J.R. is every bit as compulsive as Sue Ellen. She may be powerless over booze, but he’s addicted to his own ambition.

Least favorite storyline: Lucy becomes engaged to Alan Beam to spite J.R. Really, “Dallas”?

Episodes

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

Save them, Mama

Choosing the third year’s finest hour is tough. A strong case can be made for “A House Divided,” the finale that famously ends with J.R. getting shot (for the second time this season, after he’s ambushed in “The Dove Hunt”). But my ultimate choice is “Ellie Saves the Day,” the poignant hour that brings the Ewing empire to the brink of collapse. If you want to understand why Bobby fought so hard to protect his mama’s legacy on TNT’s “Dallas,” watch this episode.

Worst third-season entry: “Power Play.” Lucy romances Alan at a roller disco, Kristin captures their canoodling with some artfully framed Polaroid snapshots and Jock starts jive talking. “You dig?” he asks Lucy at one point. Um, no big guy. We don’t.

Scenes

Dallas, J.R. Ewing, Kristin Shepard, Larry Hagman, Mary Crosby

Gusher!

So many choices: I love when Patricia Shepard predicts John Ross’s future in “The Silent Killer,” the pep talk Bobby offers a worried Jock in “Ellie Saves the Day” and the “Paternity Suit” sequence where J.R. picks up his infant son for the first time. There’s also Miss Ellie’s encounter with phony-baloney Marilee Stone and Linda Bradley (also from “Paternity Suit”), as well as the lovely beach scene where Gary and Val make amends with Lucy, which occurred on “Knots Landing” but is too good to not mention here.

Ultimately, my favorite scene is the “Mother of the Year” sequence that mimics the rhythms of an oil strike. J.R. sits in his office, staring at his telephone, depressed because he hasn’t hit a gusher in Asia. Then the phones begin ringing as news of his big strike trickles in, leading to J.R.’s joyful eruption (“Yee-ha! We hit!”). Brilliant.

The season’s most ridiculous moment: when Kristin “accidentally” pours her drink into her sister’s lap during their “Divorce, Ewing Style” lunch date. Sue Ellen, how did you not know you were being set up?

Supporting Players

The best, fur sure

Susan Howard, who was still a guest star during “Dallas’s” third season, is the best supporting player, hands down. This is the year Donna is torn between honoring the memory of her dead husband and beginning a new life with Ray – and the actress does a beautiful job conveying her character’s torment. Besides Patrick Duffy, no one delivers breathy, soul-searching dialogue better than Howard.

Costumes

Forget about the metaphorical value associated with the jeans the rebellious Sue Ellen wears in “Rodeo” and focus on how good Linda Gray looks in them. Get it, girl!

The green spandex pants Kristin wears in the same episode might be the season’s most dated costume, but I’ll confess: I kind of love it.

Music

I also love, love, love John Parker’s “I’ll Still Be Loving You,” which is heard at the end of “Rodeo,” when Ray finally calls Donna after ignoring her letters. The tune, which becomes another of Ray’s anthems, is rivaled only by Jerrold Immel’s theme as my favorite piece of “Dallas” music.

Quips

Best: “Once I heard you were back in town, I just had some of my friends check out some of the cheaper motels.” – J.R.’s greeting to Val in “Secrets.” I could watch Hagman and Joan Van Ark go at it all day.

Worst: “And when I didn’t get married, I thought I was gonna die. But instead, I went to college.” – Lucy recalling her romantic history to Alan Beam in “The Heiress.” Oh, “Dallas.” Charlene Tilton is such a charming actress. Why do you insist on giving her ridiculous lines?

What do you love and loathe about “Dallas’s” third season? Share your comments below and read more “Best & Worst” reviews.

Filed Under: Best & Worst, Best & Worst (Classic), Opinion Tagged With: Barbara Bel Geddes, Charlene Tilton, Divorce Ewing Style, Dove Hunt, Ellie Saves the Day, Heiress, House Divided, Jerrold Immel, Jim Davis, Joan Van Ark, John Parker, Knots Landing, Larry Hagman, Linda Gray, Mastectomy Part 1, Mastectomy Part 2, Mother of the Year, Power Play, Return Engagements, Rodeo, Secrets, Silent Killer, Susan Howard, TNT

The Best & Worst of Dallas: Season 2

September 5, 2012 by Chris Baker 7 Comments

“Dallas” was still figuring itself out during its second season, which means there was plenty to hail and heckle.

Performances

Don’t mess with Mama

Although every member of the ensemble has great moments this season, no one is as consistently wonderful as Barbara Bel Geddes. Miss Ellie becomes a somewhat frustrating character as “Dallas” progresses – she too often casts a blind eye to J.R.’s shenanigans, in my view – but Season 2 is the year you do not want to mess with Mama. We see her demand J.R. clean up his act, order Julie to stay away from Jock and urge Pam to fight for her marriage. (There’s also Ellie’s encounter with the poor sap who makes the mistake of sneaking onto Southfork; see “Scenes” below.) In just about every second-season episode, Bel Geddes demonstrates how lucky “Dallas” is to have her.

Episodes

“Black Market Baby” is the most intriguing, “For Love or Money” is the saddest and “Royal Marriage” is a sentimental favorite, but “John Ewing III, Part 2” gets my vote for the season’s all-around best episode. Linda Gray is mesmerizing in the scene where Sue Ellen tearfully confesses her sins to Bobby, but Larry Hagman, Ken Kercheval and Victoria Principal all have terrific moments too.

Hands down, the season’s weakest hour is “Runaway,” the first – and so far only – “Dallas” episode to receive a “D” grade from me. Run away, indeed.

Scenes

Ten words of dialogue are all you need to describe Season 2’s best scene: “Ray, get me the shotgun out of the hall closet.”

The worst scene? The “Call Girl” sequence where Leeann Rees (Veronica Hamel) lures drunken Ben Maxwell (Fred Beir) into Pam’s bed while J.R.’s sleazy photographer furiously snaps pictures outside the window. What a farce. I half expect Mr. and Mrs. Roper to come charging into the room, wondering what all the commotion is all about.

Supporting Players

Knockout

I don’t care how many times I watch it, Joan Van Ark’s performance at the end of “Reunion, Part 2” always knocks me out. In the blink of an eye, Valene goes from anguished when she bids Gary adieu to enraged when she confronts J.R. for driving away his middle brother. With the exception of Linda Gray, no actress in “Dallas” history has better chemistry with Larry Hagman than Van Ark. What a shame she didn’t spend more time at Southfork.

My least-favorite guest stars: the three actors who portray the bad guys in “Kidnapped.” What’s the bigger crime here: holding Bobby hostage or the witless Edward G. Robinson imitations these villains-of-the-week deliver? Then again, what do you expect when performers are given lines like, “We may have the wrong goose – but he can still lay the golden egg!”

Costumes

Cliff Barnes, Dallas, Ken Kercheval, Pam Ewing, Victoria Principal

Timeless

I loved the striped hoodie, green pants and knee-high tan boots Pam wears during the “Election” scene where Cliff persuades her to organize a fashion show fundraiser for his state senate campaign. You could put this outfit on Jordana Brewster on TNT’s “Dallas” and she’d look just as stylish as Victoria Principal does in 1978.

Pam also gets my vote for worst outfit: the weird “pants dress” she sports in “Black Market Baby.”

Music

Season 1 gives us Jerrold Immel’s classic “Dallas” theme music, but Season 2 brings us many of John Parker’s magical background tunes, including “The Only Lovers,” Bobby and Pam’s theme; “The Adulteress,” Sue Ellen’s bluesy signature; and “The Loyal Foreman,” Ray’s anthem. (If you don’t own it already, do yourself a favor and purchase Parker’s classic “Dallas” soundtrack today.)

Quips

Best: “Bobby, come on. Women marry homosexuals all the time. It seems to suit a lot of them.” – J.R.’s response in “Royal Marriage” after Bobby questions his insistence Lucy marry the closeted oil-and-cattle heir Kit Mainwaring.

Worst: In “Fallen Idol,” J.R. expresses his annoyance with Guzzler Bennett’s name-dropping thusly: “The next thing you know, the name of that actress is gonna be Farrah Fawcett-Guzzler.” Oh, J.R.! Leave the pop culture references to Sue Ellen.

What do you love and loathe about “Dallas’s” second season? Share your comments below and read more “Best & Worst” reviews.

Filed Under: Best & Worst, Best & Worst (Classic), Opinion Tagged With: Barbara Bel Geddes, Black Market Baby, Call Girl, Election, Fallen Idol, For Love or Money, Fred Beir, Jerrold Immel, Joan Van Ark, John Ewing III Part 2, John Parker, Jordana Brewster, Ken Kercheval, Kidnapped, Larry Hagman, Linda Gray, Reunion Part 2, Royal Marriage, Runaway, TNT, Veronica Hamel, Victoria Principal

Critique: TNT’s ‘Dallas’ Episode 10 – ‘Revelations’

August 9, 2012 by Chris Baker 38 Comments

Ann Ewing, Bobby Ewing, Brenda Strong, Dallas, Patrick Duffy, Revelations, TNT

Resolved

No one gets shot, run over or blown up at the end of “Revelations” – and for this, we should be thankful. As much fun as the original “Dallas’s” season finales were, they feel a little gimmicky in retrospect. Smart storytelling, not splashy cliffhangers, keep today’s television audiences hooked.

Cynthia Cidre, the creative force behind TNT’s “Dallas,” seems to recognize this, so instead of trying to recreate old-school theatrics, she delivers a finale that focuses on concluding most of the show’s first-season storylines. This is a wise approach, but it might also be a function of circumstance: Since “Revelations” was filmed before “Dallas’s” second season was assured, the episode was no doubt crafted so it could serve as a satisfying series finale, if need be.

Whatever the reason, Cidre and “Revelations” co-writer Robert Rovner tie up a lot of loose ends, although one or two things also unravel. Mostly, though, this is an hour of victory laps: J.R. and John Ross confess their sins and are granted immunity by the feds. Sue Ellen tells her cheering supporters she’s staying in the gubernatorial race. Bobby recovers his health and his ranch. Christopher gets the girl.

Of course, the moment that leaves me cheering loudest belongs to Ann, who wears a wire and tricks Harris into admitting his illegal schemes against Sue Ellen. When Ann reveals her sting and Harris tries to snatch the recording device hidden beneath her blouse, she pops him in the mouth and declares, “You make a move against me, Sue Ellen or any member of my family – you’re going to jail.”

What a great scene. Brenda Strong’s delivery is determined, but it also carries a hint of vulnerability. This is probably how most of us would sound if we found ourselves conducting a sting against a creepy ex, heaven forbid. We still don’t know Ann’s secret – one of the few loose ends “Revelations” leaves hanging – but no matter. We know who Ann is, and thanks to Strong, we love her.

The other great scene in “Revelations” comes before the opening credits, when J.R. stands at Bobby’s hospital bedside and pleads with him to wake up after his surgery. J.R.’s speech echoes Bobby’s own soliloquy in “Changing of the Guard” but more importantly, it offers a glimpse into J.R.’s soul. “I love you, Bobby, and I don’t know who I’d be without you,” he says, gripping his brother’s hand. J.R. is finally acknowledging what the audience has known for a long time: He is incapable of checking his own impulses; he needs Bobby to do it for him.

A similar dynamic exists between John Ross and Elena, as we’re reminded in the charming scene where he proposes to her in the old Ewing Oil office space. “My life and everything I want it to be is better with you,” John Ross says while on bended knee. It’s a revealing line, but when Elena accepts John Ross’s proposal, the sweet smile that spreads across Josh Henderson’s face does more to humanize his character than any of the dialogue. (By the way: Kudos to Rob Cairns for scoring the beginning of this scene with a few notes from Jerrold Immel’s “Dallas” theme music.)

Visually, “Revelations” is another artistic achievement for the TNT series. Director Steve Robin’s opening shot of Tommy’s slow motion fall to the floor is creepily exquisite, particularly when the blood spurts out of the hole in his chest at the moment of impact. (This raises a question, though: If Tommy doesn’t start bleeding until he hits the floor, how do Rebecca and those stuffed monkeys wind up splattered?) I also love when the camera follows John Ross as he throws open the plastic tarp and sweeps into the old Ewing Oil office space with Elena in tow.

The two episode-ending montages are also fabulous. In the first, we hear Sue Ellen deliver her speech over scenes featuring other characters: When she talks about making mistakes, we see Carmen return Elena’s ring to John Ross; when the speech turns to overcoming adversity, we watch Ann embrace a wistful-looking Bobby on the Southfork patio.

The second montage – this one set to Johnny Cash’s “God’s Gonna Cut You Down” – intersperses scenes of Christopher and Elena making love with images of John Ross staring out the window of his new office. In the last shot, the camera pulls back on John Ross, now with J.R. at his side, until we get a panoramic nighttime view of the dazzling Dallas skyline.

This brings me to a gripe: In this final scene, I’m disheartened to see John Ross declare he wants J.R. to teach him “every dirty trick” he knows. I understand John Ross is angry after Elena spurns him, but as we saw in the previous episode, “Family Business,” he is more interesting when he’s rising above J.R.’s wicked ways, not embracing them. John Ross has grown so much this season; I hate to see him go backward.

I’m also troubled by the big revelation in “Revelations” – not that Rebecca is Cliff’s daughter (what “Dallas” fan didn’t see that coming?), but that he’s the mastermind behind her scheme. I can accept that Cliff, despite his wealth and success, is still hell-bent on getting revenge against the Ewings, but I have trouble believing he would use his own daughter in a plot to hurt Christopher, the son of his beloved sister Pam. (Not to mention the fact Cliff knowingly allowed Rebecca to marry her own cousin, which is pretty icky, even if they’re not blood relatives.)

Hopefully, Cliff’s motivations will become clearer when “Dallas’s” second season begins in January, along with the precise identity of Julie Gonzalo’s character: Is the actress playing Pamela Rebecca, the daughter we discovered Cliff had toward the end of the original “Dallas’s” run, or is this another daughter we never knew about?

Whoever she is, I love hearing Frank (the menacing Faran Tahir) call Gonzalo’s character “Miss Barnes.” At its best, “Dallas” has always been the story of two families whose fates are forever linked – the Ewings and the Barneses – and I’m thrilled the new show is returning to those roots.

No matter how the rest of this storyline plays out, here’s hoping the new “Dallas” will maintain the quality of its past few episodes. The show hit its stride as it barreled toward the end of the first season. Can it keep the momentum going in Season 2? That’s the real cliffhanger here.

Grade: B

_______________________________________________________________________________________________________________________________________________

Revealed

‘REVELATIONS’

Season 1, Episode 10

Telecast: August 8, 2012

Writers: Cynthia Cidre and Robert Rovner

Director: Steve Robin

Audience: 5.9 million viewers (including 4.3 million viewers on August 8, ranking 7th in the weekly cable ratings)

Synopsis: After the gunshot kills Tommy, Rebecca’s mysterious associates dispose of his body. Bobby recovers from his seizure. J.R. and John Ross confess to their fraud scheme and are granted immunity from the feds, who nab Cano. Elena accepts John Ross’s marriage proposal but returns the ring after she discovers his role in the fraud. Christopher discovers Rebecca isn’t Tommy’s sister and tells her their marriage is over, then reunites with Elena. John Ross tells J.R. to teach him to play dirty so he can take Ewing Energies away from Christopher and Elena. Rebecca apologizes for botching her scheme and pledges loyalty to the mastermind behind her plot: her father, Cliff.

Cast: Carlos Bernard (Vicente Cano), Jordana Brewster (Elena Ramos), Patrick Duffy (Bobby Ewing), Marlene Forte (Carmen Ramos), Julie Gonzalo (Rebecca Ewing), Linda Gray (Sue Ellen Ewing), Larry Hagman (J.R. Ewing), Josh Henderson (John Ross Ewing), Ken Kercheval (Cliff Barnes), Alex McKenna (Rebecca Sutter), John McIntosh (Dr. Bennett), Jesse Metcalfe (Christopher Ewing), Glenn Morshower (Lou), Kevin Page (Bum), Mitch Pileggi (Harris Ryland), Brenda Strong (Ann Ewing), Faran Tahir (Frank), Gail Washington (nurse)

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