Knots Landing – Dallas Decoder

Dallas Parallels: Old Habits

January 15, 2014 by Chris Baker 6 Comments

Booze has always flowed as freely as oil on “Dallas.” The Southfork cocktail hour was a family tradition on the original show, and J.R. and Bobby each kept lots of liquor on hand to entertain the parade of cartel members and other business associates who marched in and out of their offices each day. The imbibing continues on TNT’s “Dallas:” John Ross and Christopher routinely visit bars, and on more than one occasion, both men have come home and knocked back a stiff drink after tangling with their enemies (or each other).

To their credit, neither series shies away from depicting the downside of indulgence. J.R., Bobby and even Miss Ellie (!) all nursed hangovers at various points during the original “Dallas,” while John Ross has done the same thing on TNT’s sequel show. (Remember when he struggled to get out of bed after drinking too much with Marta del Sol the night before?) Most notably, the Ewing family also includes two alcoholics — Sue Ellen and Gary — whose struggles to stay sober never seem to end.

A handful of scenes, filmed 33 years apart, underscore this point. In “No More Mr. Nice Guy, Part 2,” one of the original “Dallas’s” fourth-season episodes, Gary comes home to Southfork to be with his family after J.R. is shot. Gary is newly sober after going on a nasty bender during “Knots Landing’s” previous season, and so when he runs into Sue Ellen in the nursery, he’s eager to commiserate with her. But as Gary soon discovers, Sue Ellen is still in denial about her drinking problem. “I am not an alcoholic,” she snaps. “I’ll admit that I take a drink on occasion to steady my nerves. But I can stop. I have stopped for months at a time.” Gary’s response: “Yeah, yeah. So did I. Thought I had it beat. But then I took a drink. And another. And pretty soon, I was on a rampage.”

The scene ends with Sue Ellen ordering Gary to “stop preaching at me” and storming out of the room. The characters don’t interact again until 33 years later, when Gary returns to Southfork during the second season of TNT’s “Dallas.” Once again, he’s recovering from a recent relapse, while Sue Ellen has two decades of sobriety under her belt. Both characters seem to be at peace with their inner demons, though, even joking about their shared disease when they run into each other at Ewing Energies. Sue Ellen spots Gary pouring himself a cup of coffee and holds out her mug, quipping that it’s “the beverage of choice for recovering alcoholics everywhere.”

Then the unthinkable happens: J.R. is shot and killed, sending the grief-stricken Sue Ellen back to the bottle. She confesses her relapse while eulogizing her ex-husband, but when Gary confronts her after the funeral and tells her it’s time to get back on the wagon, Sue Ellen lies and says she’s already stopped drinking. That night, when Sue Ellen and Gary run into each other in the Southfork kitchen, he once again offers to help her. Finally, she comes clean. “I know I need help. But I need to do it myself,” she says.

The TNT scenes demonstrate how hard it is for these two characters to break their old patterns. Sue Ellen no longer denies that she’s an alcoholic like she did in 1980, although she initially tries to cover up her relapse when Gary confronts her. (“Dallas’s” brilliant costume designer, Rachel Sage Kunin, offers a clever nod to Sue Ellen’s unending struggle by dressing Linda Gray in a black and white suit, not unlike the one she wore during her scene with Ted Shackelford 33 years earlier.) Sue Ellen continues to cover up her relapse a few episodes later when Ann questions her about her drinking and Sue Ellen denies it.

Gary has trouble breaking his old habits too. His determination to help Sue Ellen in 2013 recalls his attempt to bond with her in 1980, as well as his efforts to mentor fellow alcoholic Earl Trent during “Knots Landing’s” second season. Gary is often said to be the weakest of the Ewing brothers, but I find his concern for Sue Ellen endearing and — dare I say it? — heroic.

I hope Sue Ellen someday beats the bottle once and for all, but as far as Gary is concerned, I hope he never changes.

‘I Am Not an Alcoholic’

Dallas, Gary Ewing, Linda Gray, No More Mr. Nice Guy Part 2, Sue Ellen Ewing, Ted Shackelford, TNT

Yes, you are

In “No More Mr. Nice Guy, Part 2,” a fourth-season “Dallas” episode, Sue Ellen (Linda Gray) watches as Gary (Ted Shackelford) finishes playing with John Ross in the Southfork nursery.

GARY: Oh, he’s a great kid, Sue Ellen.

SUE ELLEN: I know. He’s just my whole life.

GARY: You must have really suffered when you realized you’d almost lost him.

SUE ELLEN: I don’t know what you’re talking about.

GARY: The car accident, when you’d been drinking. [Notices her stony expression] Uh, I’m sorry. I didn’t mean to dig up old ghosts.

SUE ELLEN: There are no ghosts.

GARY: I can understand why you don’t want to talk about it. I’m an alcoholic, and I know what that’s like. But you can lick it if you want to.

SUE ELLEN: Gary, I am not an alcoholic. Well, I’ll admit that I take a drink on occasion to steady my nerves. But I can stop. I have stopped for months at a time. [Smiles]

GARY: Yeah, yeah. So did I. Thought I had it beat. But then I took a drink. And another. And pretty soon, I was on a rampage. I never realized I was capable of that kind of violence.

SUE ELLEN: Gary, I want you to stop right now. Stop preaching at me. I am not an alcoholic, and I am not violent. [Leaves the room, slamming the door behind her]

‘I Know I Need Help’

Dallas, Ewings Unite!, Gary Ewing, Linda Gray, Sue Ellen Ewing, Ted Shackelford, TNT

Yes, you do

In “Ewings Unite!,” a second-season “Dallas” episode, Sue Ellen (Linda Gray) enters the Southfork kitchen, where Gary (Ted Shackelford) sits at the bar, working on a laptop.

GARY: [Closing the laptop] I know why you called Valene. It’s not going to work.

SUE ELLEN: I called Valene to get the two of you back together again.

GARY: You need help, Sue Ellen. And unlike my wife, I help people in trouble.

SUE ELLEN: Valene left you because she knew it was the only way to get you sober again. And she was right. She left you because she loves you. I know I need help. But I need to do it myself. You taught me that when you fall down, you get back up again. [Kisses him on the cheek] One day, she may be gone. And you don’t want to regret the loss of every moment that you could have spent with her. [She begins to walk away.]

GARY: If you ever need anything, I’m just a phone call away.

SUE ELLEN: I know that.

How do you feel about Sue Ellen and Gary’s struggles to remain sober? Share your comments below and read more “Dallas Parallels.”

Filed Under: Dallas Parallels, Features Tagged With: Ewings Unite!, Knots Landing, Linda Gray, No More Mr. Nice Guy Part 2, Rachel Sage Kunin, Ted Shackelford, TNT

‘Dallas’ 2013: Hail and Farewell to Those We Lost

December 31, 2013 by Chris Baker 7 Comments

In 2013, “Dallas” fans said goodbye to several people who contributed to the original series. Here’s a list of those we lost, along with a few notable deaths that occurred among the show’s extended family. Click on each person’s name to learn more about his or her career at IMDb.com.

Deanne Barkley

Died April 2 (age 82)

Barkley wrote “Curiosity Killed the Cat,” a ninth-season episode. She also produced several television movies.

Bruce Baron

Died April 13 (age 63)

In the eighth-season episode “Shattered Dreams,” Baron played the Texan who tried to chat with Sue Ellen and Pam during their visit to Hong Kong. He also headlined several Asian B-movies in the 1980s and ’90s.

Marc Breaux

Died November 19 (age 89)

Breaux is best known as the choreographer of “The Sound of Music” and “Mary Poppins.” He also acted, including appearing in the fourth-season episode “End of the Road, Part 1” as Mark Harrelson, Jordan Lee’s attorney.

Martin Cassidy

Died August 26 (age 75)

Cassidy played Frank Carp, the private detective J.R. hired to learn more about Mandy Winger, in the eighth-season episode “Shadows.” Cassidy also played various roles in four “Knots Landing” episodes in 1983 and 1990.

Linden Chiles

Died May 15 (age 80)

Chiles played Christopher Mainwaring Sr., father of Lucy’s closeted fiancé Kit, in the second-season episode “Royal Marriage.” His other roles include the dad on the acclaimed ’70s family drama “James at 15.” Chiles continued to work until his death; his final role will be in “Road to Paloma,” a film slated for release next year.

Charles Cooper

Died November 29 (age 87)

Cooper played Herb Reynolds in the second-season episode “The Heiress.” “The Heiress.” In “The Crucible,” a 13th-season episode, he played Curley Morrison, one of the men murdered by Jessica Montford. Cooper also did several episodes of “The Practice” and made appearances in “Star Trek V: The Final Frontier” and “Star Trek: The Next Generation.”

Steve Forrest

Died May 18 (age 87)

After starring in the ’70s cop show “S.W.A.T.,” Forrest joined “Dallas” at the end of the 1985-86 “dream season” as mysterious ranch hand Ben Stivers. When Pam woke up, Forrest stayed with the show, except now his character was named Wes Parmalee, who claimed to be the presumed-dead Jock Ewing. Forrest appeared in 15 episodes altogether.

Dan Gerrity

Died November 20 (age 59)

In the 13th-season episode “Sex, Lies and Videotape,” Gerrity played Mike, the bartender who served Cliff in the scene where he meets and flirts with Rose McKay. Gerrity also played a maitre’d on “Knots Landing” and became a stage actor in Los Angeles and a public radio journalist in Santa Fe, New Mexico.

Laurence Haddon

Died May 10 (age 91)

Haddon played Franklin Horner, the Ewings’ banker, in 17 episodes from 1980 to 1986. He also played Mitch Ackerman, the doctor who delivered Val’s twins and helped arrange their kidnapping, during “Knots Landing’s” sixth season. The character was named after the production supervisor for “Dallas,” “Knots Landing” and “Falcon Crest.” Haddon was also a regular on “Mary Hartman, Mary Hartman,” playing one of television’s first non-stereotypical gay men.

Julie Harris

Died August 24 (age 87)

Harris, the most celebrated actress in Broadway history, played Lillimae Clements, Lucy Ewing’s other grandmother, on “Knots Landing” from 1980 until 1987. (The 1982 episode “Daniel” briefly reunited her with Larry Hagman, her co-star in the 1959 Broadway production of “The Warm Peninsula.”) Harris received six Tonys, an Oscar nomination and an Emmy nomination during her storied career.

Jane Kean

Died November 26 (age 90)

In the third-season episode “Mastectomy, Part 1,” Kean played Mitzi, the waitress at the diner where Sue Ellen and Dusty Farlow have a secret rendezvous. Kean is probably best known as Joyce Randolph’s replacement in “The Honeymooners” revivals of the 1960s and ’70s. She also did two guest spots on the David Jacobs-produced ’80s western “Paradise.”

Dudley Knight

Died June 27 (age 73)

Knight played the Dallas hotel shop manager where Val signed copies of “Capricorn Crude” in “New Beginnings,” the fourth-season “Knots Landing” episode that also featured appearances by Hagman, Patrick Duffy and Eric Farlow.

Arthur Malet

Died May 18 (age 85)

During the fifth season, Malet appeared twice as Forest, the Herbert Wentworth loyalist who tipped off Rebecca to Cliff’s embezzlement scheme. The actor returned during the 13th and 14th seasons as Ryan, one of the inmates who befriend J.R. during his stint in the sanitarium.

Paul Mantee

Died November 7 (age 82)

Mantee played Cochran, the Air Force general who told J.R. about Holly Harwood’s contract to supply the military with fuel, in the sixth-season episode “A Ewing is a Ewing.” He later became a regular on “Cagney & Lacey” and “Hunter.”

Shirley Mitchell

Died November 11 (age 94)

Mitchell played the woman who let Jenna into the missing Jack Ewing’s apartment in the ninth-season episode “Twenty-Four Hours.” Mitchell’s career spanned six decades and included guest spots on “I Love Lucy,” “Petticoat Junction,” “Three’s Company,” “CHiPs” and “The Fresh Prince of Bel-Air.”

Dale Robertson

Died February 27 (age 89)

During the sixth season, Robertson appeared in five episodes as Frank Crutcher, the first man to court Miss Ellie after Jock’s death. He is best known for his many western roles, including starring in the 1960s television series “Tales of Wells Fargo.” Robertson joined “Dallas” after appearing as a regular during “Dynasty’s” first season.

Mann Rubin

Died October 12 (age 85)

Rubin wrote two episodes of “Knots Landing,” including “New Beginnings,” which drew 21.3 million homes, becoming the most-watched broadcast in the show’s history. (It’s the only “Knots Landing” episode to follow an original episode of “Dallas” on CBS’s Friday night schedule.) Rubin’s TV writing credits date to the 1940s.

Kirk Scott

Died November 16 (age 77)

Scott played Ewing Oil’s public relations chief in the sixth-season episode “Barbecue Three” and one of the private eyes J.R. hired to find Jenna after she jilted Bobby in the eighth-season entry “Déjà Vu.” During Season 13, he made three appearances as Mr. Spangler, the lawyer who executed Atticus Ward’s estate.

Bea Silvern

Died August 23 (age 87)

In the 10th-season episode “The Ten Percent Solution,” Silvern played Senator Dowling’s maid. Two years later, she returned in “Fathers and Other Strangers” as Sarah Ewing, one of the Jews rescued by Jock Ewing during World War II. She was also a regular on “The Secrets of Midland Heights,” one of the Lorimar-produced nighttime soaps of the early ’80s.

Jean Sincere

Died April 3 (age 93)

In 14th-season episode “Heart and Soul,” Sincere played the hotel maid who discovered Johnny Danzig’s dead body. She began her career in the 1940s and continued to perform after she turned 90, including a recurring role on “Glee” as a librarian.

Valentin de Vargas

Died June 10 (age 78)

De Vargas played Patrick Wolfe, the first prosecutor in Jenna Wade’s murder trial, in two eighth-season episodes. His first role was as a Latino student in the “Blackboard Jungle” in 1955.

What do you remember about these artists? Share your memories below and read more features from Dallas Decoder.

Filed Under: Features, Features Tagged With: Arthur Malet, Bea Silvern, Bruce Baron, Curiosity Killed the Cat, Dale Robertson, Dan Gerrity, Daniel, David Jacobs, Déjà Vu, Deanne Barkley, Dudley Knight, End of the Road Part 1, Eric Farlow, Fathers and Other Strangers, Heart and Soul, Jane Kean, Jean Sincere, Julie Harris, Kirk Scott, Knots Landing, Larry Hagman, Laurence Haddon, Linden Chiles, Mann Rubin, Marc Breaux, Martin Cassidy, Mastectomy Part 1, New Beginnings (1982), Patrick Duffy, Paul Mantee, Royal Marriage, Shattered Dreams, Shirley Mitchell, Steve Forrest, Ten Percent Solution, Valentin de Vargas

Drill Bits: TV Hall of Fame Won’t Induct Larry Hagman in 2014

December 30, 2013 by Chris Baker 8 Comments

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

Let him in

Sorry to deliver bad tidings during the holidays, but it looks like Larry Hagman won’t be inducted into the Television Academy’s Hall of Fame next year.

The academy announced its 2014 honorees before Christmas and Hagman wasn’t on the list. The inductees will be Jay Leno, Julia Louis-Drefus, producer David E. Kelley, media mogul Rupert Murdoch, programming executive Brandon Stoddard and sound engineer Ray Dolby, who’ll be honored posthumously.

Like a lot of Hagman’s fans, I’ve been hoping the late actor would finally get his spot in the Hall of Fame, which the academy’s chairman and chief executive, Bruce Rosenblum, refers to as the organization’s “highest honor” in its announcement. Hagman should have been inducted a long time ago, but including him in 2014 might have helped make amends with fans who were justifiably outraged when the academy excluded him from the special tributes during this year’s Primetime Emmys broadcast.

I’m not the only one who thought this could have been Hagman’s year. Chris Beachum, senior editor of the awards website Gold Derby, listed Hagman among 24 possible inductees for 2014, along with journalist Ed Bradley and filmmaker Ken Burns. (Louis-Dreyfus and Kelley were on Beachum’s list too.)

According to the Hall of Fame announcement, candidates are submitted by academy members to a selection committee chaired by Peter Roth, president of Warner Bros. Television Group, which includes the studio that produces TNT’s “Dallas.” Presumably, the committee reviews the nominations, weighs each individual’s contributions to television and chooses the final selections.

I suppose it’s possible no one submitted Hagman’s name this year, but that seems mighty unlikely, especially after the brouhaha that erupted over his snub during the Emmy tributes. No matter where the blame lies, isn’t it a shame Hagman is once again being overlooked by the medium he helped shape?

Vote for ‘Dallas’

TNT’s “Dallas” is one of the choices in TV.com’s race for this year’s best nighttime soap opera. The show was in the lead until a few days ago, when it slipped to second place behind FX’s “Sons of Anarchy.” (If you’re puzzled by “Sons of Anarchy’s” inclusion in the soap opera category, get in line.)

Cast your votes here. The polls close Wednesday, January 2.

OWN It, Darlin’

Dallas, Linda Gray, Sue Ellen Ewing, TNT

Encore, encore!

Did you miss Linda Gray’s recent appearance on “Oprah: Where Are They Now?” You have another opportunity to catch it: OWN is scheduled to repeat the episode Friday, January 3, at 6 p.m. (Sue Ellen Ewing is back on Friday night, at least for one week.) Also, if you missed it, be sure to check out my recent tribute to Gray, who is Dallas Decoder’s Woman of the Year for 2013.

Life on the D-List

’Tis the season for list-making, and so TV Guide has published its ranking of the 60 best series of all time. The good news: “Dallas” makes the cut. The bad news: It’s in 47th place.

Look, I love lists and understand the tough calls that go into making them, but shouldn’t “Dallas” rank a little higher? After all, the series ran 14 seasons, pioneered serialized storytelling, produced the biggest prime-time cliffhanger of all time, held the top spot in the Nielsens for three seasons and inspired a sequel that’s about to begin its third year.

If nothing else, couldn’t TV Guide have ranked “Dallas” 38th instead of “Buffy the Vampire Slayer”? Or 46th, instead of “Barney Miller”?

Elsewhere, Entertainment Weekly is out with its list of the best and worst episodes for 50 shows, including TNT’s “Dallas.” As EW sees it, the second-season finale, “Legacies,” was the show’s finest hour in 2013 while “Trial and Error” was the worst, although the magazine doesn’t seem to have many complaints about it. Neither do I.

Return Engagement?

Will “Knots Landing’s” Gary and Valene pay another visit to TNT’s “Dallas” anytime soon? Ted Shackelford and Joan Van Ark have different opinions, she tells Showbiz 411. Says Van Ark: “Ted’s not sure if we’re ever going back. But I’m convinced we are. I’d like to mix it up with Sue Ellen some more.”

You said it, honey. “Dallas” fans are spoiling for a Sue Ellen/Val rematch after this year’s showdown.

#DallasChat Returns January 6

Reminder: #DallasChat, my Monday evening Twitter discussion of all things “Dallas,” is taking a break for the holidays. The next #DallasChat will be held January 6 at 9 p.m. Eastern time. Don’t miss it.

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

Filed Under: Drill Bits, News Tagged With: Joan Van Ark, Knots Landing, Larry Hagman, Legacies, Linda Gray, Ted Shackelford, TNT, Trial and Error

Critique: ‘Dallas’ Episode 128 — ‘Tangled Web’

August 19, 2013 by Chris Baker 16 Comments

Dallas, Linda Gray, Sue Ellen Ewing, Tangled Web

Truth hurts

Sue Ellen refuses to believe Holly Harwood’s claim that she’s sleeping with J.R., so Holly invites her to visit her home and see for herself. At the end of “Tangled Web,” Sue Ellen accepts the challenge. Our heroine, clad in a huge fur coat, parks her car in Holly’s driveway, where J.R.’s Mercedes sits. She exits the vehicle and slowly walks toward the house, her heels clicking and clacking with every step. The door is unlocked, and for a moment, Sue Ellen seems to lose her nerve. But she presses on, and in the final shot, she stands silently in the bedroom doorway and sees her husband making love to Holly.

This is a brilliant, devastating sequence. The shots of Sue Ellen are interspersed with scenes of J.R. and Holly in bed; the audience knows what Sue Ellen is going to see before she does, allowing the tension to build until it’s almost unbearable. Director Nicholas Sgarro shows Sue Ellen parking her car, and then he cuts to J.R., wrapped in a bed sheet, popping open a fresh bottle of champagne as Holly massages his shoulders. We see Sue Ellen begin to cross the driveway, and then we cut to Holly pulling J.R. close. For most of Sue Ellen’s scenes, there is no underscore; the only sounds we hear are her heels on the driveway, some crickets in the distance and the soft music playing in Holly’s bedroom. And then, the final shot: a tight close-up of Linda Gray’s tear-streaked face. In a poignant touch, we hear her sniffle as the frame freezes and the credits flash.

When I listed “Dallas’s” 35 greatest moments in the spring, I ranked this scene at No. 20. I now wonder if I should have moved it a little higher. The sequence is much more artistic than what we usually see from “Dallas” and other early ’80s television dramas. The toggling between Sue Ellen in the driveway and J.R. and Holly in bed reminds me of the crosscuts that have become a signature of TNT’s “Dallas,” although if these scenes were produced today, it almost certainly wouldn’t be so eerie and quiet. The sequence also makes me wish Sgarro had directed more episodes of the original series. “Tangled Web” is his only “Dallas” credit, although he helmed 54 hours of “Knots Landing” and no doubt had a hand in establishing that show’s stylish look.

“Tangled Web’s” ending is easily this episode’s best moment, but it isn’t the only good one. I also like when Miss Ellie questions Clayton about his relationship with Sue Ellen. Barbara Bel Geddes stammers through her dialogue, as Ellie gradually musters the courage to ask Clayton if Sue Ellen is the mystery woman he once loved. Bel Geddes’ halting delivery is her trademark and one of the reasons Ellie always feels so believable. She speaks the way people do in real life. The actress also possesses a sincerity that other “Dallas” cast members, no matter how wonderful they are, lack. Consider the “Tangled Web” scene where Ray tells Aunt Lil that Jock was his father. This is another moving scene, and Kate Reid is quite good here, but her delivery feels more deliberate than Bel Geddes’. When I watch Reid, I never forget I’m seeing an actress affecting a homespun, humble sensibility, whereas Bel Geddes regularly disappears into her role. In other words: Lil comes off like a character, while Ellie feels like a person.

“Tangled Web” also offers several fun moments, including the scene where J.R., returning from his triumphant tour of the Caribbean, sweeps into the Ewing Oil offices with presents for the secretaries and a box of cigars for Bobby. “That little deal I made down in Cuba is going to make me the new daddy of Ewing Oil. Have a Havana?” J.R. says, reaching into his suit pocket and retrieving a cigar for his brother. (I wonder how Larry Hagman, an anti-smoking zealot, felt about that line?) Indeed, David Paulsen’s script is chock full of terrific one-liners. Katherine to Cliff, after he denies Bobby the use of the Tundra Torque: “You vicious little man!” Clayton to Sue Ellen, after she’s told him about J.R.’s trip: “Doggone, old J.R. went to Cuba. And they let him out?” Afton, after Cliff laments that he thought of himself “for once” in his life: “For once? No, not for once. For always! Cliff, you are the only person you ever do think of!”

“Tangled Web” also marks the end of Pam’s vacation on the French Riviera, one of my least favorite sixth-season subplots. Pam has left Bobby, but is it really appropriate for her to travel halfway around the world with Mark Graison, a man who quite obviously has designs on her? Toward the end of “Tangled Web,” Pam seems poised to sleep with Mark, but the mood is killed when Afton calls to warn her that Katherine has set her sights on Bobby. It reminds me of the fourth-season episode “Start the Revolution With Me,” when a tipsy Pam is having a jolly time in her hotel room with Alex Ward — until Bobby calls from Dallas.

Perhaps Pam should stop answering the phone call when she goes away. Better yet, maybe she should stop traveling with men who aren’t her husband.

Grade: A

_______________________________________________________________________________________________________________________________________________

Exposed

‘TANGLED WEB’

Season 6, Episode 25

Airdate: April 1, 1983

Audience: 21.3 million homes, ranking 4th in the weekly ratings

Writer: David Paulsen

Director: Nicholas Sgarro

Synopsis: J.R. is released from the Cuban jail, collects his $40 million and returns to Dallas. Sue Ellen walks in on J.R. and Holly in bed. Bobby plans to ask for Pam’s help getting the Tundra Torque, but Katherine tells him that Pam is in France with Mark. Afton calls Pam to warn her about Katherine’s interest in Bobby, prompting Pam to cut short her vacation. Clayton tells Miss Ellie that he once loved Sue Ellen. Ray tells Lil that Jock was his father.

Cast: Tyler Banks (John Ross Ewing), John Beck (Mark Graison), Barbara Bel Geddes (Miss Ellie Ewing), Morgan Brittany (Katherine Wentworth), William Bryant (Jackson), Lois Chiles (Holly Harwood), Patrick Duffy (Bobby Ewing), Nate Esformes (Perez), Linda Gray (Sue Ellen Ewing), Larry Hagman (J.R. Ewing), Dennis Holahan (George Walker), Susan Howard (Donna Krebbs), Steve Kanaly (Ray Krebbs), Howard Keel (Clayton Farlow), Ken Kercheval (Cliff Barnes), Kenneth Kimmins (Thornton McLeish), Audrey Landers (Afton Cooper), Cindy Landis (waitress), Tom McFadden (Jackson’s partner), Santos Morales (Cuban leader), Marnie Mosiman (manicurist), Victoria Principal (Pam Ewing), Kate Reid (Lil Trotter), Debbie Rennard (Sly), Jacqueline Ray Selleck (Marie Walker), Danone Simpson (Kendall), Charlene Tilton (Lucy Ewing)

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

Filed Under: Critiques, Critiques (Classic), Opinion Tagged With: Barbara Bel Geddes, Kate Reid, Knots Landing, Larry Hagman, Linda Gray, Nicholas Sgarro, Start the Revolution With Me, Tangled Web, TNT

Critique: ‘Dallas’ Episode 123 — ‘Brothers and Sisters’

July 31, 2013 by Chris Baker 11 Comments

Brothers and Sisters, Cliff Barnes, Dallas, Ken Kercheval

Sad as hell

In the best scene from “Brothers and Sisters,” Pam watches as Cliff finally unleashes the guilt that’s been consuming him since Rebecca took his spot aboard the doomed Wentworth jet. “I was supposed to be on that trip! She died and I lived!” he screams. Director Larry Hagman shoots Ken Kercheval in a tight close-up, with the colorful window in Cliff’s living room in the background. It reminds me of Howard Beale delivering one of his jeremiads in front of the stained glass that adorns his news set in “Network.” This homage probably wasn’t intentional, but the comparison fits nonetheless. Kercheval is every bit as mesmerizing as Peter Finch was in that movie. (Coincidentally or not, Kercheval has a small role in “Network.”)

In this scene and others, what impresses me most about Kercheval is his fearlessness. He never holds back during Cliff’s most dramatic moments, seemingly giving the role every ounce of energy he possesses. The result is a character who feels utterly human. Cliff and Pam’s conversation in “Brothers and Sisters” lasts just two and a half minutes, yet during that span Kercheval manages to convey a full range of emotion: depression, anger, self-pity, insecurity, love. The actor achieves this not only through the way he delivers his dialogue, but also through his body language. To see what I mean, watch this scene with the sound muted. Focus on how Kercheval carries himself: the hunched shoulders that demonstrate Cliff’s tension, the downward glances that telegraph his guilt, the way he presses his hands to his chest when Cliff finally gives voice to the rage within him. It’s fascinating.

I also love how Kercheval always seems to bring out the best in his co-stars. This is something I never thought much about until I heard Patrick Duffy praise Barbara Bel Geddes during the audio commentary on the DVD for “A House Divided.” Duffy says he always stepped up his game when Bobby had a scene with Miss Ellie, and it seems like Kercheval had a similar effect on his fellow performers. In “Brothers and Sisters,” Victoria Principal has to work hard to keep up with Kercheval, but she gets the job done. Pam goes toe to toe with Cliff during their shouting match, although Principal’s best moment comes at the end of the scene, when Pam holds her brother in her arms and reminds him how much Rebecca loved him. Principal is the saving grace here; she allows a display of raw emotion to end on a warm note.

The best subplot in “Brothers and Sisters”: Katherine asks Bobby to meet her for lunch at a Dallas restaurant, knowing Pam will be there with Mark Graison. It feels like the kind of thing Abby would have orchestrated on “Knots Landing,” which might be why I like it so much. (Not every great soap opera scheme must involve a multi-million-dollar business deal, something the “Knots Landing” writers knew better than anyone.) Indeed, Katherine’s stunt demonstrates how smart the “Dallas” producers were to bring back Morgan Brittany, who filled the void created when Afton went from troublemaking vixen to put-upon heroine. I especially like how Katherine’s shenanigans lead to Bobby and Pam’s crackling confrontation at the end of the episode. “You know, I wonder whatever happened to the phrase ‘for richer or poorer, for better or worse’? Do you remember any of that?” Bobby asks. Pam’s response: “I wonder what happened to the Bobby Ewing I said those words to?”

The other great moments in “Brothers and Sisters” are small but meaningful. The kitchen scene where Donna realizes Ellie is nervous about her date with Clayton is sweet, and so is Mickey and Lucy’s conversation by the pool, where she tells him she isn’t ready to start dating again. I also love seeing Sly and Phyllis arrive together at the office, chatting about the latter’s date the night before. It’s a throwaway line, but isn’t it nice to know these women have lives outside the office? The next scene is equally revealing: Phyllis enters Bobby’s office and discovers him asleep on the sofa. Rather than wake him, she quietly returns to her desk, buzzes Bobby on the intercom and lets him believe she thinks he merely came to work extra early. Nice of her not to embarrass the boss when he’s sleeping off a hangover, huh?

I also get a kick out of the scene where TV host Roy Ralston drops by Ewing Oil with a bag full of fan mail for J.R., who enchanted Ralston’s viewers after appearing on his show, “Talk Time.” (I wonder: Was Hagman’s real-life fan mail used in this scene?) Ralston urges J.R. to run for office and to treat his show as a platform for his candidacy. This pre-sages what happened in real life nine years later, when another famous Texas, Ross Perot, turned a string of guest spots on “Larry King Live” into a presidential campaign. I doubt the “Dallas” producers ever seriously considered giving J.R. a career in politics — it would have upset the balance of power on the show — yet it’s tantalizing to consider nonetheless.

Mr. Ewing goes to Washington. Imagine the possibilities!

Grade: A

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Here comes trouble

‘BROTHERS AND SISTERS’

Season 6, Episode 20

Airdate: February 25, 1983

Audience: 21.2 million homes, ranking 2nd in the weekly ratings

Writer: Will Lorin

Director: Larry Hagman

Synopsis: Katherine schemes to drive a wedge between Bobby and Pam. With Pam and Christopher gone, Bobby throws himself into the fight for Ewing Oil. Holly discovers J.R. is shipping oil to Puerto Rico, unaware the real destination is Cuba. Talk show host Roy Ralston encourages J.R. to run for office. Lucy tells Mickey she needs time before she’s ready to date again. Clayton sells the Southern Cross and makes plans to move to Dallas.

Cast: Mary Armstrong (Louise), John Beck (Mark Graison), Barbara Bel Geddes (Miss Ellie Ewing), Morgan Brittany (Katherine Wentworth), Lois Chiles (Holly Harwood), Roseanna Christiansen (Teresa), Patrick Duffy (Bobby Ewing), Tom Fuccello (Senator Dave Culver), Linda Gray (Sue Ellen Ewing), Larry Hagman (J.R. Ewing), Ben Hartigan (Holly’s advisor) Susan Howard (Donna Krebbs), Steve Kanaly (Ray Krebbs), Howard Keel (Clayton Farlow), Ken Kercheval (Cliff Barnes), Timothy Patrick Murphy (Mickey Trotter), Ben Piazza (Walt Driscoll), Debbie Rennard (Sly), Victoria Principal (Pam Ewing), John Reilly (Roy Ralston), Danone Simpson (Kendall), Marilyn Staley (waitress), Charlene Tilton (Lucy Ewing), Deborah Tranelli (Phyllis)

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

Filed Under: Critiques, Critiques (Classic), Opinion Tagged With: Barbara Bel Geddes, Brothers and Sisters, House Divided, Ken Kercheval, Knots Landing, Larry Hagman, Morgan Brittany, Patrick Duffy, Victoria Principal

Critique: ‘Dallas’ Episode 113 — ‘The Wedding’

June 26, 2013 by Chris Baker 26 Comments

Dallas, Cliff Barnes, J.R. Ewing, Ken Kercheval, Larry Hagman, Linda Gray, Sue Ellen Ewing, Wedding

What is she thinking?

“The Wedding” is a strong episode with a silly ending. In the final scene, J.R. and Sue Ellen stand under a big tent in the Southfork driveway, where a minister is conducting their second marriage ceremony. He asks “if there be any man” who can say why the couple shouldn’t be remarried. Cliff, who is seated in the audience, suddenly springs to his feet. The camera zooms in on Ken Kercheval, the music swells and Philip Capice’s closing credit flashes onto the screen. That’s it.

This is less of a cliffhanger than a pause. Since there was no doubt in 1982 that J.R. and Sue Ellen were indeed going to be remarried, I wonder: What about this scene was supposed to be suspenseful? How big of a jackass Cliff would make of himself when the story resumed the following week? Indeed, most of what everyone remembers about J.R. and Sue Ellen’s second trip to the altar — her dance with Cliff, J.R. and Cliff’s fistfight, the scene where half the actors wind up in the Southfork swimming pool — happens in the follow-up segment, “Post Nuptial.” Couldn’t the “Dallas” producers have put some of that good stuff in “The Wedding”?

Of course, even if the final scene is underwhelming, you have to appreciate the lavishness of J.R. and Sue Ellen’s ceremony. At this point during “Dallas’s” run, Southfork had hosted only one other wedding: Lucy and Mitch’s, which was shot on the show’s Hollywood soundstage. J.R. and Sue Ellen’s nuptials were filmed at the “real” ranch. This makes their event look and feel like an honest-to-goodness outdoor affair, with real blue skies and actual wind blowing through the actors’ hair. When it comes to Southfork, there’s no substitution for the real thing.

“The Wedding” also reminds us how much TV weddings have changed over the years. Director Leonard Katzman shows us every step of Sue Ellen’s walk down the aisle and allows us to hear all the vows recited by the minister (who, by the way, is played by Parley Baer, the veteran character actor who portrayed the hard-of-hearing man J.R. encounters in the “Knots Landing” episode “A Family Matter”). Three decades later, when Christopher and Pamela Rebecca were married in the first episode of TNT’s “Dallas,” their ceremony was depicted in a musical montage set to an Adele song. There was no need to hear the wedding march or the vows because at this point, TV audiences have been “trained” to understand how weddings work.

Besides the ending, my only other gripe with “The Wedding” is the lack of attention paid to Sue Ellen. Here’s a woman who is about to remarry a man who has caused her tremendous pain, yet we never see her question if she’s doing the right thing or reflect on what she learned during the season-and-a-half she spent away from him. Don’t get me wrong: “Dallas” makes a smart decision by reuniting these characters, who are always more entertaining together than they are apart. I just wish Will Lorin’s script had given us a clearer understanding of what’s going on inside Sue Ellen’s head. Then again, maybe she isn’t sure either.

Besides, Miss Ellie and Clayton are the real star attraction of “The Wedding.” He comes to Southfork to escort Sue Ellen down the aisle but winds up spending most of his time with Ellie. Their scenes together showcase the warm rapport between Barbara Bel Geddes and Howard Keel and make it clear to the audience how well-suited their characters are for each other: Clayton laments never having a large family, while Ellie confides her fear that J.R. and Bobby’s contest will tear the Ewings apart. The only moment that rings false occurs when Ellie tells Clayton how much he reminds her of Jock. If you ask me, Keel was an ideal replacement for Jim Davis because their characters were so different. Whereas Jock was rough around the edges, Clayton was a refined gentleman. And yet isn’t it impressive how easily Clayton slides into Jock’s place? By the end of the hour, Clayton is stepping between J.R. and Bobby to keep them from scuffling during a rowdy Southfork cocktail hour and standing at Ellie’s side as she greets the wedding guests. These are things Jock once did, but Clayton handles them well.

Other highlights of “The Wedding” include Lucy’s encounter in the Southfork kitchen with Mickey, where the ranch’s resident rebels take an instant dislike to each other. (Except not really. Like Ellie and Clayton, it’s pretty clear Lucy and Mickey are destined for romance.) I also like J.R.’s visit to Holly, where he recommends she sell one of her company’s divisions to Petro State. Notice that Lorin doesn’t feel obligated to remind us what Petro State is; the “Dallas” producers trust the audience to remember J.R. set up this dummy corporation a few episodes ago. And even though Cliff’s big move at the end of “The Wedding” isn’t all that dramatic, I can’t help but enjoy the scene where J.R. invites his nemesis to the ceremony. Yes, it’s a cruel thing for J.R. to do, but how can you not love seeing the delicious smile Larry Hagman flashes when he encourages Cliff to come watch him marry the woman who dumped him?

The other actor to watch in “The Wedding:” the bearded extra who pops up throughout this episode. He first appears as a patron in the restaurant where Punk summons J.R. for a drink. Later, when Bobby, Pam, Ray and Donna head to the nightclub, we see the bearded man boogeying on the dance floor. Finally, he plays one of the guests at J.R. and Sue Ellen’s wedding. (In the image above, you can see the man’s face behind Sue Ellen’s right shoulder.) Forget whether or not Cliff is going to disrupt the wedding; the real cliffhanger is: Who is this bearded man, and why is he stalking the Ewings?

Grade: A

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Barbara Bel Geddes, Clayton Farlow, Dallas, Miss Ellie Ewing, Wedding

Golden couple

‘THE WEDDING’

Season 6, Episode 10

Airdate: December 3, 1982

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

Writer: Will Lorin

Director: Leonard Katzman

Synopsis: Clayton visits Southfork and spends time with Miss Ellie, which hurts Rebecca. At J.R.’s behest, Holly prepares to sell part of her company, unaware the buyer is J.R.’s dummy corporation. Dave persuades Donna to join the new Texas Energy Commission. Lucy and Mickey meet and instantly dislike each other. At J.R. and Sue Ellen’s wedding, when the minister asks for objections, Cliff rises.

Cast: Parley Baer (minister), Tyler Banks (John Ross Ewing), Barbara Bel Geddes (Miss Ellie Ewing), Lois Chiles (Holly Harwood), Patrick Duffy (Bobby Ewing), Tom Fuccello (Senator Dave Culver), Linda Gray (Sue Ellen Ewing), Larry Hagman (J.R. Ewing), Alice Hirson (Mavis Anderson), Susan Howard (Donna Krebbs), Steve Kanaly (Ray Krebbs), Howard Keel (Clayton Farlow), Ken Kercheval (Cliff Barnes), Audrey Landers (Afton Cooper), Doug McGrath (Gentry), Timothy Patrick Murphy (Mickey Trotter), Priscilla Pointer (Rebecca Wentworth), Victoria Principal (Pam Ewing), Danone Simpson (Kendall), Don Starr (Jordan Lee), Charlene Tilton (Lucy Ewing), Deborah Tranelli (Phyllis), Ray Wise (Blair Sullivan), Morgan Woodward (Punk Anderson)

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

Filed Under: Critiques, Critiques (Classic), Opinion Tagged With: Barbara Bel Geddes, Family Matter, Howard Keel, Jim Davis, Ken Kercheval, Knots Landing, Larry Hagman, Leonard Katzman, Linda Gray, Parley Baer, TNT, Wedding, Will Lorin

The Art of Knots Landing: ‘New Beginnings’

June 11, 2013 by Chris Baker Leave a Comment

J.R. (Larry Hagman) asks Valene (Joan Van Ark) to sign his copy of “Capricorn Crude,” her novel inspired by the Ewings, in this 1982 publicity shot from “New Beginnings,” a fourth-season “Knots Landing” episode.

Filed Under: Art of Dallas, Art of Dallas (Classic), Features Tagged With: Joan Van Ark, Knots Landing, Larry Hagman, New Beginnings

Knots Landing Scene of the Day: ‘You Are Disgusting!’

June 11, 2013 by Chris Baker 3 Comments

Joan Van Ark, Knots Landing, New Beginnings, Val Ewing

Needled

In “New Beginnings,” a fourth-season “Knots Landing” episode, Valene (Joan Van Ark) is seated behind the counter in a bookstore, signing a copy of her book for a customer (Rita Crafts).

VAL: There you go. [Slides the book across the counter]

CUSTOMER: I’ll bet you’re glad this day’s almost over.

VAL: [Smiles] Oh, no. Not really. I enjoy meeting people who buy my book.

CUSTOMER: Thank you.

The customer walks away as a man slides an open book in front of Val.

VAL: OK, how would you like that signed, sir?

She looks up and sees it’s J.R. (Larry Hagman).

J.R.: “To my favorite brother-in-law in the whole wide world.”

VAL: What are you doing here?

J.R.: Well, aren’t you going to sign it? I bought it fair and square, with the promise that you’d autograph it for me.

VAL: [Whispers] You are disgusting!

J.R.: [Looks around with mock concern] Come on, darlin’. Your public’s waiting. [She scribbles on the page, closes the book, slides it toward him and looks away.] Oh, thanks. [Examining her signature] Oh, that’s just wonderful. I’m going to stick this in my special collection of memorabilia. Right next to the knitting needles of Madame Defarge.

VAL: Leave me alone, J.R.

J.R.: Well, honey, what’s the rush? You know, it’s not often I get a chance to talk to a real, live celebrity. [Chuckles] You know, everybody said I’d hate what you wrote about us, but I don’t. I really don’t. And it’s nice having a best-selling authoress in the family. Especially since I own her publishing company.

VAL: You what?

J.R.: That’s right. Lock, stock and all the profits. I’m glad to keep it in the family. Oh, golly. I forgot. You’re on your way out of the family, aren’t you?

VAL: Well, you know what they say. Behind every cloud there’s a silver lining. Now would you please step aside because I’ve got paying customers to attend to. [Takes a book from someone else and smiles]

J.R.: Oh, of course. I’m looking forward to your new book. And just remember: I have first rights.

VAL: Yes, thank you.

As he walks away, the first customer approaches him.

CUSTOMER: Aren’t you J.R.?

J.R.: Yeah, that’s right.

CUSTOMER: Oh, would you sign this for me, please? [Hands him her book and a pen]

J.R.: Well, sure. [Looks at Val and shrugs] There you go.

CUSTOMER: Oh, thank you so much.

J.R.: My pleasure. [Chuckles]

Filed Under: Dallas Scenes of the Day, Dallas Scenes of the Day (Classic), Features Tagged With: Joan Van Ark, Knots Landing, Larry Hagman, New Beginnings, Rita Crafts

Critique: ‘Knots Landing’ Episode 59 — ‘New Beginnings’

June 11, 2013 by Chris Baker 8 Comments

J.R. Ewing, Knots Landing, Larry Hagman, New Beginnings

Home field advantage

“New Beginnings” is chockablock with trivia. Larry Hagman and Patrick Duffy both guest star in this “Knots Landing” episode, the only time two marquee players from “Dallas” appear in the same hour of the spinoff series. (Eric Farlow, who was little Christopher Ewing on “Dallas,” pops up too, along with Philip Levien, who had two roles on “Dallas” and appears here as a record producer.) “New Beginnings” also marked the only time “Knots Landing” followed its parent show in CBS’s Friday night lineup. Not only did this allow the spinoff to crack Nielsen’s weekly top 10 for the first time, the episode’s audience — viewers in 21.3 million homes tuned in — makes “New Beginnings” the most-watched “Knots Landing” broadcast ever.

This also happens to be one of Hagman’s most satisfying “Knots Landing” guest spots. In most of J.R.’s earlier visits to the show, the writers strained to come up with excuses to bring the Texas oil baron to the suburbs of Southern California. (The biggest eye-roller: J.R. shows up to steal the prototype for the environmentally friendly car engine that Sid Fairgate is building in his garage.) “New Beginnings” deftly avoids this dilemma by having all of J.R. and Bobby’s scenes take place in Dallas, where Gary has come for the reading of Jock’s will. This solution is so simple — instead of bringing J.R. to “Knots Landing,” take “Knots Landing” to him — you have to wonder why the producers didn’t try it sooner.

Even though J.R. and Bobby are on their home turf, scriptwriter Mann Rubin keeps the spotlight on Gary, whose storyline dominates this episode. In “Jock’s Will,” the “Dallas” segment that sets up “New Beginnings,” Gary learns his late father left him $10 million, but the inheritance comes with strings attached: For the first few years, Gary is entitled only to the interest the money earns. Gary then spends most of “New Beginnings” pouting about the terms of the will, until he finally realizes he isn’t angry at Jock; he’s sad that his dad is dead.

The scene where Gary explains this epiphany to his girlfriend Abby is quite poignant. Jock and Gary never quite figured out how to relate to each other; now they’ll never get another chance to try. Shackelford is adept at making the audience feel the rage that’s always brewing within Gary, but he also does a nice job in scenes like this, which demonstrates how much of his character’s anger is rooted in heartbreak. Later, when Gary stands up to J.R., you can tell Shackelford is enjoying the opportunity to remind the audience that his character does, in fact, have a backbone. Shackelford also has a good scene at the top of the hour, when Bobby gently reminds Gary that his inheritance, even though it comes with strings, is nothing to scoff at. (More trivia: This will be Duffy and Shackelford’s last scene together until their recent reunion on TNT’s “Dallas.”)

In addition to bringing Abby into the mix, Rubin’s script makes room Gary’s other love, estranged wife Valene. In the episode’s first scene, after director Lorraine Senna shows us a sweeping aerial shot of the Dallas skyline while the familiar “Dallas” theme music plays, we watch as Abby arrives at Gary’s hotel to surprise him. Unbeknownst to them, Val is also staying at the hotel while in town to publicize her new Ewing-inspired novel, “Capricorn Crude.” The two women have several close calls throughout the episode but never run into each other until the last scene, when they both respond to a bellhop’s page for “Mrs. Gary Ewing.” The exchange that follows is appropriately bitchy (“Success seems to agree with you” says Abby; “I might say the same about you,” replies Val), but it’s also kind of bittersweet. This is especially true when the slow, sentimental version of the “Knots Landing” theme begins playing under the dialogue.

Of course, Donna Mills and Joan Van Ark have their best moments with Hagman. When Gary leaves the hotel to visit Southfork, J.R. visits Abby, who asks him why he feels so threatened by his ne’er-do-well middle brother. J.R.’s response is revealing. “That man is full of anger and frustration. Maybe even hatred, I don’t know. If he ever channeled all that energy … well, it could make my life miserable,” he says. Later, Val is signing books in the hotel gift shop when she looks up and sees the next person in line is none other than J.R. “I bought it fair and square with the promise that you’d autograph it for me,” he says with mock innocence. Her hissed response: “You are disgusting.”

The scene really does nothing to advance the storyline in this episode, yet it’s still the most entertaining exchange during the hour. This is the last time we ever see Val clash with J.R., which might make the scene kind of sad — if it wasn’t so much fun.

Grade: A

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Man of the hour

‘NEW BEGINNINGS’

“Knots Landing” Season 4, Episode 6

Airdate: October 29, 1982

Audience: 21.3 million homes, ranking 4th in the weekly ratings

Writer: Mann Rubin

Director: Lorraine Senna

Synopsis: Gary is angry about the strings attached to his inheritance from Jock but comes to accept it with help from Abby. J.R. tells Val he bought the company that published her book.

Cast: Rita Crafts (customer), Kevin Dobson (Mack MacKenzie), Patrick Duffy (Bobby Ewing), Reynaldo Duran (bellhop), Eric Farlow (Christopher Ewing), Larry Hagman (J.R. Ewing), Julie Harris (Lilimae Clements), Lisa Hartman (Ciji Dunne), James Houghton (Kenny Ward), Dudley Knight (bookstore manager), Michele Lee (Karen Fairgate), Philip Levien (Andy), Claudia Lonow (Diana Fairgate), Donna Mills (Abby Cunningham), Pat Petersen (Michael Fairgate), Michael Sabatino (Chip Roberts), Ted Shackelford (Gary Ewing), Louise Sorel (Bess Riker), Steve Shaw (Eric Fairgate), Joan Van Ark (Valene Ewing), James Winkler (desk clerk)

Share your comments about “New Beginnings” below.

Filed Under: Critiques, Critiques (Classic), Opinion Tagged With: Donna Mills, Eric Farlow, Joan Van Ark, Knots Landing, Larry Hagman, Lorraine Senna, Mann Rubin, New Beginnings, Patrick Duffy, Ted Shackelford, TNT

Critique: ‘Dallas’ Episode 108 — ‘Jock’s Will’

June 10, 2013 by Chris Baker 16 Comments

Bobby Ewing, Dallas, Jock's Will, J.R. Ewing, Larry Hagman, Patrick Duffy

Let the games begin

At the end of “Jock’s Will,” the Ewings gather in the Southfork living room to hear Harv Smithfield read the family patriarch’s last will and testament. Everyone is present — even Gary, who has flown in from “Knots Landing” for the occasion. The scene is tense, dramatic and historic. Besides being one of the few times we see almost all of the original cast members in the same place at the same time, this also marks the beginning of “Dallas’s” greatest storyline: J.R. and Bobby’s epic battle for control of Ewing Oil.

The scene, which lasts about seven minutes, is also a showcase for Michael Preece, one of the original “Dallas’s” most skilled directors. He begins with a wide shot of the actors positioned in front of George O. Petrie, who sits at a desk that seems to have magically appeared in the living room for this scene. (I suppose the desk is like the Ewings’ television set, which only pops up when the plot calls for someone in the family to watch it.) Only four actors here have dialogue: Barbara Bel Geddes, Larry Hagman, Patrick Duffy and Petrie, who delivers almost 700 words, far more than any of the others. Even though the rest of the cast is silent, we never question what their characters are thinking, thanks to Preece’s reaction shots. When Harv announces Gary’s inheritance comes with strings attached, we see Ted Shackelford clench his jaw. Charlene Tilton’s eyes bulge when Lucy learns she’s become a multi-millionaire. Victoria Principal’s jaw drops when Pam realizes Bobby is going to have to fight J.R. for the company.

Bel Geddes gets the most dramatic response. When Ellie hears Jock’s line that Ewing Oil can only be run by “the man that wants it the most,” she furrows her brow and whispers gravely, “Oh, Jock. No.” I wonder: What are Preece and scriptwriter David Paulsen are trying to convey here? Is Ellie afraid Jock is about to return control of the company to J.R., whom she recently ousted from the president’s chair? Or does she sense — even before Harv announces it — that Jock is about to pit their sons against each other?

(In the same spirit, the announcement of the contest forces us to reconsider the end of “Where There’s a Will,” when J.R. sneaks a peek at Jock’s will. In that scene, J.R.’s reaction — “Thank you, Daddy, thank you” — leads us to believe Jock has left him the company. In “Jock’s Will,” the audience finally catches up and learns what J.R. did: that Jock wants him to compete with Bobby for control of Ewing Oil. So why does J.R. thank his daddy? Is he so confident he’ll beat Bobby that he considers the contest a mere formality? Or could it be that J.R. simply loves a good fight, and he’s thanking Jock for giving him one?)

As far as the contest itself: Some might see Jock’s decision to not choose a successor as a copout, but I believe it fits his character perfectly. Of course the old man would want his sons to duke it out to determine, once and for all, who is the better businessman. The contest also ends up producing some of the best storytelling seen on “Dallas,” as well as “Knots Landing.” (But don’t take my word for it: Hill Place, an always-interesting TV and movie blog, recently published a thorough examination of the long-range ramifications of Jock’s will on both shows.)

There’s also quite a bit of poignancy to the end of the will-reading scene. Jock’s final words are ominous: He declares that if J.R. or Bobby die before the contest is over, the remaining son will automatically take over the company. This prompts J.R. to turn to his younger brother, raise a glass of bourbon and say, “Well, Bobby, to your good health and very long life.” Three seasons later, after Duffy’s character had been killed off, J.R.’s toast seemed prescient. Now that Hagman is gone, the line feels bittersweet. I also can’t help but note the parallels between Jock’s will, which leads to the high point in their rivalry, and the letter that Bobby reads at the end of the new “Dallas’s” second season, which effectively brings their warring to an end.

The other highlight of “Jock’s Will” is the courtroom scene where the Ewing patriarch is declared dead. As the judge announces his decision (“The judgment of this court is that John Ross Ewing Sr. died in a place unknown, in the jungles of South America”), Preece gives us a tight shot of each Ewing seated in the gallery: First Pam, then Bobby, J.R., Sue Ellen and finally Ellie. Everyone looks stricken — and none more so than Mama, whose tears flow freely — but don’t overlook Bruce Broughton’s mournful background music, which also lends this scene power.

Other good scenes in “Jock’s Will” include the sequences set in Kansas, where Ray’s struggle to connect with cocky Mickey strains his relationship with Donna. I also like J.R. and Sue Ellen’s night on the town (especially the nifty overhead shot that Preece gives us of Hagman and Linda Gray on the nightclub dance floor), as well as the scene where the couple sets the date for their second wedding. Or, to be more precise: J.R. sets the date by presenting Sue Ellen with an invitation to their first wedding, with the original date (February 15, 1970) scratched out and the new one (December 3, 1982) penciled in.

I can’t help but think there’s plenty of room on that invitation for a third wedding date. How sad that we never got to see it.

Grade: A

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Barbara Bel Geddes, Bobby Ewing, Charlene Tilton, Dallas, Donna Krebbs, Gary Ewing, George O. Petrie, Harv Smithfield, J.R. Ewing, Linda Gray, Larry Hagman, Lucy Cooper, Miss Ellie Ewing, Patrick Duffy, Ray Krebbs, Steve Kanaly, Sue Ellen Ewing, Susan Howard, Ted Shackelfod

Gang’s all here

‘JOCK’S WILL’

Season 6, Episode 5

Airdate: October 29, 1982

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

Writer: David Paulsen

Director: Michael Preece

Synopsis: The Ewings have Jock declared legally dead and learn his will sets up a yearlong contest between J.R. and Bobby for control of Ewing Oil. J.R. and Sue Ellen set a wedding date. Ray and Donna bring Mickey home with them to Southfork. Pam urges Lucy to snap out of her depression.

Cast: Robert Ackerman (Wade Luce), Tyler Banks (John Ross Ewing), Barbara Bel Geddes (Miss Ellie Ewing), Roseanna Christiansen (Teresa), George Cooper (Lee Evans), Patrick Duffy (Bobby Ewing), Phyllis Flax (Mrs. Chambers), Linda Gray (Sue Ellen Ewing), Larry Hagman (J.R. Ewing), Alice Hirson (Mavis Anderson), Peter Hobbs (Judge Karns), Susan Howard (Donna Krebbs), Steve Kanaly (Ray Krebbs), Ken Kercheval (Cliff Barnes), Kenneth Kimmins (Thornton McLeish), Audrey Landers (Afton Cooper), Timothy Patrick Murphy (Mickey Trotter), George O. Petrie (Harv Smithfield), Priscilla Pointer (Rebecca Wentworth), Victoria Principal (Pam Ewing), Kate Reid (Lil Trotter), Dale Robertson (Frank Crutcher), Ted Shackelford (Gary Ewing), Don Starr (Jordan Lee), Charlene Tilton (Lucy Cooper), Morgan Woodward (Punk Anderson)

“Jock’s Will” is available on DVD and at Amazon.com and iTunes. Watch the episode and share your comments below.