Michael Preece – Dallas Decoder

Critique: ‘Dallas’ Episode 195 — ‘Resurrection’

October 14, 2015 by Chris Baker 16 Comments

Dallas, Linda Gray, Resurrection, Sue Ellen Ewing

Looking glass

“Resurrection” brings Mark Graison back from the dead and Sue Ellen Ewing back from the brink. His revival is the more surprising of the two, although hers is more satisfying. In the episode before this one, Sue Ellen went through a harrowing detoxification after her drinking landed her on skid row. The audience never doubts she’ll get sober eventually — by now, Sue Ellen’s pattern of relapse and recovery is well established — so the question becomes whether she’ll learn anything from this latest fall off the wagon. “Resurrection” demonstrates Sue Ellen is capable of growth, although we also see how hard it is for her to break her old habits.

The hour begins with Sue Ellen in a familiar setting: The Ewings have once again committed her to a sanitarium, where they hope she’ll get the help she needs to deal with her alcoholism. Sue Ellen tells her doctor she wants to recover at home, and when he says she can be released only with J.R.’s consent, she replies, “So I’m in jail — and he has the key.” Once again, Sue Ellen is casting herself as her husband’s victim. Her sense of helplessness continues in the next scene, when Dusty sneaks into her room after bribing an orderly. She begs Dusty to take her away, and then weeps when he tells her that he only came to check on her.

But all is not lost. At the end of “Resurrection,” the smarmy orderly offers to sell Sue Ellen a bottle of vodka. “I don’t know if it’s your brand, but that doesn’t always matter, does it?” he sneers. We’ve been down this path before — during Sue Ellen’s second-season sanitarium stay, villainous Nurse Hatton used mouthwash bottles to smuggle booze to Sue Ellen — and for a moment, it looks like history is going to repeat itself. With the vodka bottle in the foreground, director Michael Preece holds the camera on Linda Gray’s face, where we watch Sue Ellen’s struggle play out for several agonizing seconds. Finally, she runs across the room, grabs the call button and pushes it. “Get out!” she shouts.

This is a triumphant moment, even after Sue Ellen collapses against the wall and cries. “I can do it. I know I can do it,” she says, then looks up and adds, “I just need help. Help me. Help me.” This might be the closest we ever get to a religious moment on “Dallas,” although that’s not why the scene touches me. Instead, I’m moved by Sue Ellen’s self-discovery: She’s realizing she has the capacity to change. It’s another spectacular performance from Gray, who has been handed the best material she’s received yet on “Dallas” and is making the most of it.

Mark’s return at the end of “Resurrection” doesn’t pack the same emotional punch — how could it? — but it’s nicely done nonetheless. Throughout the episode, Pam feels increasingly pressured as she weighs competing offers from J.R. and Jeremy Wendell to buy Christopher’s share of Ewing Oil. Pam also is being followed by a shady private-eye type who reports to an unseen figure in the back of a limousine. It’s hinted the private eye could work for either J.R. or Jeremy, but in the final scene, we learn the truth. The limo arrives at Pam’s house while she’s in the backyard, arguing on the phone with the chairman of Wentworth Industries. Frazzled, she slams down the receiver, breaks into tears and turns to leave — when she runs into Mark. Victoria Principal looks appropriately stunned and collapses into the arms of John Beck, making his first “Dallas” appearance in more than a year. (Just think: This is only the first of two “dead” lovers who’ll show up at Pam’s house before the season is over.)

Other “Resurrection” highlights include Barbara Bel Geddes, who continues to remind the audience how much she was missed during the preceding year, when Donna Reed was playing Mama. Bel Geddes exudes quiet authority each time she appears in this episode, whether Miss Ellie is entertaining Wendell’s offer to buy Ewing Oil over lunch at Les Saisons (a real Dallas restaurant that closed in 2001) or shocking J.R. by revealing that she’s actually thinking of selling. I also appreciate Dack Rambo, who continues to make Jack an interesting character: When he’s not counseling Charlie on her middle-school crushes, he’s assuring both J.R. and Cliff that he’ll side with them in the latest battle for Ewing Oil. There also are quite a few small touches that reflect this season’s renewed commitment to realism, including Ellie’s visit to a Southfork stable to check on an injured horse and Jenna helping Charlie with her Spanish homework at the kitchen table.

Mostly, though, I appreciate how “Resurrection” helps keep alive the spirit of Bobby, which feels somewhat surprising in retrospect. I might have expected the show to move on quickly after Patrick Duffy’s departure, but four episodes after Bobby’s demise in “Swan Song,” his presence is still felt. In another great performance from Bel Geddes, Ellie visits Bobby’s grave and shares her struggle to hold the family together (echoes of Bobby’s memorable visit to Mama’s grave during the first season of TNT’s “Dallas”), while Larry Hagman and Principal have a poignant exchange in which their characters interrupt their bickering to confide how much they each miss Bobby. After all these years, J.R. and Pam finally have something in common.

“Resurrection” even shows Duffy: When Pam goes back to work at Barnes-Wentworth for the first time since the funeral, she takes a framed picture of Bobby off her desk and puts it in a drawer, only to remove it moments later. This episode’s best nod to Bobby, though, is also the slyest: When Jack is shown shopping for a new car in a luxury auto dealer’s showroom, he briefly inspects a red Mercedes convertible before moving on to a Lamborghini, and then a Porsche. Was this a subtle acknowledgment from the producers that — for all Jack’s strengths — he’s no Bobby Ewing?

Grade: A

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Walking dead

‘RESURRECTION’

Season 9, Episode 4

Airdate: October 11, 1985

Audience: 18.7 million homes, ranking 6th in the weekly ratings

Writers: Hollace White and Stephanie Garman

Director: Michael Preece

Synopsis: Jeremy offers to buy Miss Ellie’s share of Ewing Oil, while Jack promises to back both J.R. and Cliff in the takeover fight. Sue Ellen rejects a sanitarium orderly’s offer to sneak her a drink. Pam is stunned when Mark returns.

Cast: John Beck (Mark Graison), Bever-Leigh Banfield (Nurse Curtis), Barbara Bel Geddes (Miss Ellie Farlow), Alan Fudge (Dr. Lantry), Tony Garcia (Raoul), Linda Gray (Sue Ellen Ewing), Laurence Haddon (Franklin Horner), Larry Hagman (J.R. Ewing), Joshua Harris (Christopher Ewing), Jenilee Harrison (Jamie Ewing), Susan Howard (Donna Krebbs), Steve Kanaly (Ray Krebbs), Howard Keel (Clayton Farlow), Ken Kercheval (Cliff Barnes), Jared Martin (Dusty Farlow), George O. Petrie (Harv Smithfield), Priscilla Beaulieu Presley (Jenna Wade), Victoria Principal (Pam Ewing), Dack Rambo (Jack Ewing), Debbie Rennard (Sly), Rex Ryon (Orderly), Deborah Shelton (Mandy Winger), William Smithers (Jeremy Wendell), Woody Watson (Detective)

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

Filed Under: Critiques, Critiques (Classic), Opinion Tagged With: Barbara Bel Geddes, Dack Rambo, Donna Reed, Larry Hagman, Linda Gray, Michael Preece, Patrick Duffy, Resurrection, Swan Song, Victoria Principal

Critique: ‘Dallas’ Episode 193 — ‘Rock Bottom’

September 30, 2015 by Chris Baker 7 Comments

Dallas, Linda Gray, Rock Bottom, Sue Ellen Ewing

Bottom’s up

“Dallas” fans will always remember Sue Ellen drinking with the bag lady and winos at the end of “Rock Bottom.” Like J.R.’s shooting and Bobby’s “death,” this is a scene that sticks with us for the right reasons. Step back and consider what happens here. A beautiful and wealthy woman, dressed in soiled designer clothing, is standing on skid row, guzzling a bottle of cheap wine. It has all the makings of something funny, or worse, campy. But it’s not. This is a moment of pure heartbreak, especially when you watch the whole episode and see how masterfully Linda Gray portrays Sue Ellen’s slow, steady, sad downfall.

“Rock Bottom” begins with Sue Ellen returning to Southfork to be with her grief-stricken in-laws after Bobby’s funeral. Before she makes it to the front door, though, J.R. tells her no one wants to see her. (“You’re just a bad memory that doesn’t know when to go away.”) This is what triggers her devastating bender. She goes to a cocktail lounge, where the bartender cuts her off and a not-so-good-Samaritan steals her purse and car. Next, she winds up in an alley, where she meets the bag lady and runs away when the woman offers her a sip of her booze. Before we know it, Sue Ellen is waking up in a third-rate motel and realizing the strange man who lured her there has stolen her ring. Holding an empty vodka bottle, she catches a glimpse of herself in the mirror. “J.R.’s right. They’re all right,” she cries. “You are disgusting. I hate you!” Finally, she goes back to the alley. Once again, the bag lady offers her a sip. This time, Sue Ellen doesn’t refuse.

Through it all, Gray strikes each note perfectly. The script gives her surprisingly little dialogue, but she needs no words. Gray has always done much of her acting with her eyes, a skill that serves her especially well here. They telegraph Sue Ellen’s confusion when the creep takes off with her car, her fear when she’s harassed by a couple of lowlifes on skid row, her desperation when she begins gulping from the bag lady’s bottle. Gray’s eyes also register Sue Ellen’s shock when she realizes her ring is missing, which is a crucial moment in the episode. Throughout “Rock Bottom,” director Michael Preece cleverly uses Sue Ellen’s clothing and jewelry as a metaphor for her unraveling. First she loses her hat, then her blouse becomes torn and untucked. Finally, the ring disappears — and with it, so does Sue Ellen’s identity.

When I watched “Rock Bottom” with my family as a kid, I can remember my mom saying Sue Ellen’s decline seemed unbelievable. Surely a woman this rich and classy would never wind up on skid row. Perhaps it did seem outlandish 30 years ago, but I’m not sure that’s true today. We all know stories about young people from “good” families whose lives are wrecked by the horrors of addiction. Why couldn’t it happen to someone like Sue Ellen? Even if her situation is exaggerated, you have to admire Gray’s ability to make the emotions feel real. This performance seems even more impressive after reading Gray’s memoirs, “The Road to Happiness is Always Under Construction,” in which she recalls how much she enjoyed taking Sue Ellen into the gutter. “We had a ball in that alley,” she writes. Isn’t it amazing that something so dramatic for the audience was fun for the cast and crew to film?

Nothing else in “Rock Bottom” matches the power of Sue Ellen’s storyline, but there are many other good scenes. George O. Petrie, such a comforting figure as Harv Smithfield, does a nice job reading Bobby’s letter during the opening of the will. I also like the scene where Jack tries to befriend Charlie — now that Patrick Duffy is gone, you can see Dack Rambo’s character pivoting to the role of resident hero — as well as the scene where Donna tells Jenna she’s pregnant. Susan Howard makes her character seem both excited and nervous, while Priscilla Beaulieu Presley gets to be the voice of wisdom as Jenna counsels Donna on the joys of motherhood.

“Rock Bottom” also gives us the scene of Pam almost crashing her car on the highway — foreshadowing the fiery accident that will mark Victoria Principal’s exit from “Dallas” two seasons from now — along with a fun nod to the past: Desmond Dhooge, who plays Digger’s fellow barfly Harvey in “Digger’s Daughter,” reprises the role here, except now the character is one of the winos Sue Ellen meets in the alley. The other notable casting is Lou Diamond Phillips as a thug who harasses Sue Ellen on the sidewalk. This is one of Phillips’ first roles and he does a fine job, although the other ruffian — played by Sami Chester — gets the best line when he touches one Sue Ellen’s shoulder pads and says, “She looks like a Dallas Cowboy!”

This is the kind of line I probably missed in 1985. It makes me glad I now get to watch the show on DVD with the closed-captioning turned on — one more example of how Dallas” gets better with age.

Grade: A

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Gang’s all here

‘ROCK BOTTOM’

Season 9, Episode 2

Airdate: September 27, 1985

Audience: 20.5 million homes, ranking 7th in the weekly ratings

Writer: Joel J. Feigenbaum

Director: Michael Preece

Synopsis: Sue Ellen goes on a devastating bender. Bobby’s will leaves his share of Ewing Oil to Christopher and appoints Pam administrator, unnerving J.R. Cliff tries to rally the cartel against J.R. Charlie rebuffs Jack’s attempt to befriend her.

Cast: Barbara Bel Geddes (Miss Ellie Farlow), Sami Chester (Thug), Desmond Dhooge (Harvey), Fern Fitzgerald (Marilee Stone), Linda Gray (Sue Ellen Ewing), Larry Hagman (J.R. Ewing), Lou Hancock (Bag lady), Jenilee Harrison (Jamie Ewing), Susan Howard (Donna Krebbs), Steve Kanaly (Ray Krebbs), Howard Keel (Clayton Farlow), Ken Kercheval (Cliff Barnes), Jaren Martin (Dusty Farlow), Shalane McCall (Charlie Wade), George O. Petrie (Harv Smithfield), Lou Diamond Phillips (Thug), Priscilla Beaulieu Presley (Jenna Wade), Victoria Principal (Pam Ewing), Dack Rambo (Jack Ewing), Deborah Shelton (Mandy Winger), Paul Sorensen (Andy Bradley), Don Starr (Jordan Lee)

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

Filed Under: Critiques, Critiques (Classic), Opinion Tagged With: Desmond Dhooge, Digger’s Daughter, George O. Petrie, Linda Gray, Lou Diamond Phillips, Michael Preece, Rock Bottom, Sami Chester, Victoria Principal

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

August 26, 2015 by Chris Baker 11 Comments

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

Bottle shock

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

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

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

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

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

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

Grade: B

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Tin men

‘DEEDS AND MISDEEDS’

Season 8, Episode 28

Airdate: May 3, 1985

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

Writer: David Paulsen

Director: Michael Preece

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

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

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

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

Critique: ‘Dallas’ Episode 186 — ‘Sentences’

August 17, 2015 by Chris Baker 13 Comments

Dallas, Jenna Wade, Priscilla Beaulieu Presley, Sentences

It’s a crime

Do you hate to see the judge send Jenna Wade to prison in “Sentences”? I do. Not because I think it’s unfair to punish Priscilla Beaulieu Presley’s character for a crime she didn’t commit. No, I’m sorry to see Jenna go to jail because I know she’ll be free by the end of the season. Think about it: If “Dallas” took place in real time, Jenna’s seven-year sentence means she’d be released in the spring of 1992, about a year after the series had gone off the air. How nice would it have been to never have to look at her again after this episode?

I know that sounds harsh, so let me make something clear: I have nothing against Presley, who is a capable and appealing actress. My gripe is with her hollow character. Jenna’s personality changes depending on whatever the story calls for. When the show needed someone to threaten Bobby and Pam’s marriage, Jenna (played by Morgan Fairchild and later, Francine Tacker) was a conniving vixen. Once Bobby and Pam were divorced and Patrick Duffy needed a new leading lady, Jenna was recast with Presley and turned into someone the audience could root for: a down-on-her-luck single mom who was willing to wait tables to make ends meet. Now that “Dallas” is laying the groundwork for Bobby and Pam’s reconciliation, Jenna has been reduced to a plot device. She exists solely to illustrate Bobby’s nobility: He’s such a good guy, he’ll fight to keep her out of jail, even though his heart belongs to another woman.

More than anything, this is why Jenna’s eighth-season storyline is one of “Dallas’s” worst narrative miscues. The show is asking the audience to invest in a character who is maddeningly inconsistent. To get an idea of what I mean, imagine if Sue Ellen was tried for murder instead of Jenna. Sure, we’d probably complain the court scenes were draggy, but the writers also would have had a deeper, richer character to build a storyline around. Sue Ellen might have collapsed under the pressure of a trial or she might have risen to the occasion and fought to prove her innocence, but you can bet the character would have been recognizable in either instance. Jenna, on the other hand, becomes a different person every time her circumstances change.

As much as Presley’s character weighs down “Sentences,” the episode isn’t a total loss. The show continues to slowly restore Larry Hagman’s character, giving J.R. a good scene in which he shows Nathan Billings the tape he made of him sleeping with Rhonda Cummings. When Billings sees himself on the TV, director Michael Preece appears to zoom in on actor Nicolas Pryor while pulling back the camera, a neat trick that recalls a similar shot of Roy Scheider in “Jaws.” (Spielberg himself borrowed the technique from Hitchcock.) In another clever touch, Preece uses the mirrors in J.R. and Sue Ellen’s bedroom to show us both characters’ expressions when she confronts him about his affair with Mandy. I also like how J.R. initially denies the affair, but as he stands at the dresser and slowly empties his pockets, he eventually unburdens himself and acknowledges the truth: Not only is he sleeping with Mandy, he’s fallen for her.

“Sentences” also offers an encounter between J.R. and Pam, although it isn’t quite as entertaining as their confrontation a few episodes ago in “Legacy of Hate.” J.R. visits his ex-sister-in-law and says that now that Jenna has gone to jail, he hopes Bobby and Pam will reconcile. Her response (“Did you suddenly find religion, or did your doctor tell you that you only have a week to live?”) isn’t as amusing today as it was in 1985, but more importantly, I wish we knew what J.R. is up to. Are we supposed to assume he wants Pam back on Southfork so she’ll stop supporting Cliff’s lawsuit to seize two-thirds of Ewing Oil? Ambiguities aside, I love how this scene begins: Pam is giving Christopher an afternoon snack when J.R. arrives and bends down to receive a kiss from the boy, only to end up with a cheek full of graham cracker crumbs. Eric Farlow’s reaction upon spotting Hagman (“Uncle J.R.!”) is also charming.

Other small but memorable moments in “Sentences” include Jackie interrupting Cliff and Pam to relay a radio news bulletin that Jenna has been found guilty. Sherril Lynn Katzman is quite good here; her expression lets us know that Jackie realizes her announcement will annoy Cliff, but she’s going to deliver the news anyway because Pam deserves to know. I also get a kick out of a later scene in which Cliff bursts into Pam’s office to tell her that Bobby has confessed to being Charlie’s father to gain custody of her. Who doesn’t get a kick out of Cliff’s description of the girl: “What’s that kid’s name? Charlie?” (At least Cliff is better informed than Ray, who mistakenly refers to Mickey as his nephew in this episode.)

“Sentences” also includes a memorable scene at the Oil Baron’s Club, where Marilee runs into Sue Ellen and eagerly tells her that J.R. was recently spotted around town with Mandy. This is delicious and fun, and not just because Linda Gray and Fern Fitzgerald are dressed to the nines. It’s also interesting to see the actresses share a scene and be reminded that their characters were once ladies who lunched and volunteered together on the charity circuit. The death of Marilee’s husband and her rise to power in his company moved her out of Sue Ellen’s orbit and into J.R.’s, but when you go back and watch Fitzgerald’s early appearances, you can see hints of the snide, cutting character she’d eventually become. Marilee’s steady, consistent development over the years makes her another contrast with whichever-the-way-the-wind blows Jenna.

You can also see Marilee as a template for Sue Ellen, who’ll eventually join her frenemy in the business world. At this point during “Dallas’s” run, though, Sue Ellen and Marilee are leading very different lives, although it’s not like they have nothing in common. I mean, do these bitches know how to rock a hat or what?

Grade: B

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Top hat

‘SENTENCES’

Season 8, Episode 25

Airdate: March 29, 1985

Audience: 19.5 million homes, ranking 6th in the weekly ratings

Writer: Arthur Bernard Lewis

Director: Michael Preece

Synopsis: J.R. blackmails Billings into shutting down Cliff’s offshore oil operation and urges Pam to reconcile with Bobby. When Jenna is sentenced to a seven-year prison term, Bobby is awarded custody of Charlie and resumes his investigation into Veronica’s death. Marilee tells Sue Ellen about J.R.’s affair with Mandy. Ray urges Lucy to contact Mitch.

Cast: Mary Armstrong (Louise), Pat Colbert (Dora Mae), Patrick Duffy (Bobby Ewing), Marj Dusay (Bernice Billings), Stephen Elliott (Scotty Demarest), Eric Farlow (Christopher Ewing), Fern Fitzgerald (Marilee Stone), Linda Gray (Sue Ellen Ewing), Heidi Hagman (Jury Forewoman), Larry Hagman (J.R. Ewing), Jenilee Harrison (Jamie Ewing), Susan Howard (Donna Krebbs), Steve Kanaly (Ray Krebbs), Howard Keel (Clayton Farlow), Ken Kercheval (Cliff Barnes), Virginia Kiser (Judge Roberta Fenerty), Frederic Lehne (Eddie Cronin), Laura Malone (Janice Hopper), Shalane McCall (Charlie Wade), Allan Miller (Assistant District Attorney Frederick Hoskins), Priscilla Beaulieu Presley (Jenna Wade), Victoria Principal (Pam Ewing), Nicholas Pryor (Nathan Billings), Donna Reed (Miss Ellie Farlow), Debbie Rennard (Sly), Sherril Lynn Rettino (Jackie Dugan), Dean Santoro (Raymond Furguson), Deborah Shelton (Mandy Winger), Charlene Tilton (Lucy Ewing), Deborah Tranelli (Phyllis)

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

Filed Under: Critiques, Critiques (Classic), Opinion Tagged With: Eric Farlow, Fern Fitzgerald, Francine Tacker, Ken Kercheval, Legacy of Hate, Linda Gray, Michael Preece, Morgan Fairchild, Nicolas Pryor, Patrick Duffy, Priscilla Beaulieu Presley, Sentences, Sherril Lynn Katzman

Critique: ‘Dallas’ Episode 183 — ‘Dead Ends’

August 5, 2015 by Chris Baker 16 Comments

Dallas, Dead Ends, Pam Ewing, Victoria Principal

Inner sanctum

The title “Dead Ends” refers to Pam’s fruitless search for Mark Graison, but it also describes “Dallas’s” final batch of eighth-season episodes. This show is now killing time. The writers don’t have enough story to fill 30 hours of television, and so the material they’ve come up with is getting stretched thin. There are occasional flashes of inspiration — in “Dead Ends,” most of them are supplied by Victoria Principal and the always reliable director Michael Preece — but for the most part, “Dallas” has entered its weakest era since its earliest days, when the series was still figuring itself out.

Here’s an example: “Dead Ends” shows J.R. receiving a visit from Swiss business associate Conrad Bunkhouser, who reviews their scheme to sell Ewing Oil assets to one of J.R.’s dummy corporations. The scene is virtually identical to an exchange these two characters had during the previous episode, right down to J.R.’s reminder that Bobby must never find out about the deal. There’s also a scene of Sue Ellen and Pam having their umpteenth conversation about the latter’s conflicted feelings about Mark, as well as a meeting where Bobby and Scott Demarest cross-reference the passenger lists from the two flights Veronica Robinson took from Tokyo to Dallas. We actually see Bobby start to tick off the names, one by one (Abbott, B.; Anderson, G.; Avildson, H. …), which is every bit as exciting as it sounds.

The only thing more tedious than Bobby’s attempt to clear Jenna for murder is J.R.’s pursuit of Mandy. He shows up on her doorstep and begs her to see him in “Dead Ends,” just like he did two episodes ago in “Sins of the Fathers.” I appreciate the show’s willingness to mix things up by denying J.R. what he wants, but this has been going on for almost an entire season. I’m ready to see him win again. Even this episode’s clash between J.R. and Cliff lacks punch. (Well, not literally.) In fact, the only time Larry Hagman’s character comes alive is when J.R. is moping around his office and Sly arrives to say she’s ready to come back to work. Preece cleverly stages the scene by having Hagman sit at J.R.’s desk in the foreground, and then Debbie Rennard pops through the door in the distance. It’s almost as if J.R.’s angel has appeared on his shoulder.

Principal figures into this episode’s other good scenes. First, after Mr. Chan refuses to allow Pam to visit the clinic he runs, she calls him and declares she isn’t going to back down from her attempt to see “Mr. Swanson,” the mysterious patient she believes is Mark. “You see, I’m very rich, and very determined. And if I have to, I’ll buy that damned clinic and walk in as the owner,” Pam says. It’s another example of how Principal’s character has finally regained her spirit after taking those detours into lunacy and wishy-washiness during previous seasons. Then, in the final scene, Principal is quite moving when Pam bribes her way into the clinic and comes face to face with Swanson, only to discover it isn’t Mark after all.

Or is it? After Pam leaves the room in tears, we’re led to believe her escort, Mr. Wong, has tricked her, although we can’t be sure why. Is J.R. leading Pam on another wild goose chase, or could Wong be working for Mark? When I watched this episode as a kid, I was absorbed with this storyline, as well as Jenna’s murder trial, J.R. and Mandy’s romance and Cliff and Jamie’s lawsuit. (I’m sure I also was fascinated by the perfectly placed wisps of hair that peek out from Marilee Stone’s hat in the Oil Baron’s Club scene, although I can’t say for sure.)

Now I watch “Dead Ends” and realize how lackluster it is. “Dallas” is capable of much better, as we see in the classic “Swan Song” episode that ends the eighth season. I look forward to revisiting that installment, which probably will seem that much sweeter once I’ve finished slogging through the remaining hours that precede it.

Grade: C

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Happy returns

‘DEAD ENDS’

Season 8, Episode 22

Airdate: March 1, 1985

Audience: 21 million homes, ranking 7th in the weekly ratings

Writer: Leonard Katzman

Director: Michael Preece

Synopsis: Pam comes face to face with the mystery man whose trail brought her to Hong Kong, but it turns out to not be Mark. The police rule Veronica’s death an overdose, but Bobby sets out to prove she was murdered. J.R. and Mandy go on a date, while Cliff and Jamie grow closer. Eddie bids Lucy farewell.

Cast: Sam Anderson (Inspector Frank Howard), Burke Byrnes (Pete Adams), Philip Chan (Edward Chan), Roseanna Christiansen (Teresa), Pat Colbért (Dora Mae), Ben Cooper (Parrish), Patrick Duffy (Bobby Ewing), Stephen Elliott (Scotty Demarest), Fern Fitzgerald (Marilee Stone), Linda Gray (Sue Ellen Ewing), Larry Hagman (J.R. Ewing), Jenilee Harrison (Jamie Ewing), Erik Holland (Conrad Buckhouser), Susan Howard (Donna Krebbs), Steve Kanaly (Ray Krebbs), Howard Keel (Clayton Farlow), Ken Kercheval (Cliff Barnes), Sam Lam (Wong), Fredric Lehne (Eddie Cronin), Priscilla Beaulieu Presley (Jenna Wade), David Price (Swanson), Victoria Principal (Pam Ewing), Donna Reed (Miss Ellie Farlow), Debbie Rennard (Sly), Sherril Lynn Rettino (Jackie Dugan), Dean Santoro (Raymond Furguson), Deborah Shelton (Mandy Winger), Don Starr (Jordan Lee), Charlene Tilton (Lucy Ewing), Deborah Tranelli (Phyllis)

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

Filed Under: Critiques, Critiques (Classic), Opinion Tagged With: Dead Ends, Debbie Rennard, Larry Hagman, Michael Preece, Sins of the Fathers, Swan Song, Victoria Principal

Critique: ‘Dallas’ Episode 178 — ‘Bail Out’

July 20, 2015 by Chris Baker 17 Comments

Bail Out, Dallas, Linda Gray, Sue Ellen Ewing

Truth to power

Bobby springs Jenna from jail in “Bail Out,” while Sue Ellen liberates her own tongue. After discovering J.R. has cheated on her yet again, she stops playing the dutiful wife and begins speaking her mind, even if it means telling loved ones things they don’t want to hear. This isn’t the first time we’ve seen Sue Ellen assume the role of Southfork’s resident truth-teller, although when it’s happened in the past, it’s usually because she’s been drinking. Our heroine is sober in “Bail Out,” making this episode another early glimpse of the independent, wiser character she’ll become in “Dallas’s” later years.

In the first act, Sue Ellen wakes up — a metaphor, perhaps — and has coffee with Miss Ellie in the dining room. When the conversation turns to Jamie’s efforts to split up Ewing Oil, Ellie is surprised to hear Sue Ellen hopes Jamie succeeds. “We have to keep what is ours. That company means everything to this family,” Ellie says. Sue Ellen gently points out Ellie’s hypocrisy, reminding the Ewing matriarch she once tried to force the sale of the business to keep J.R. and Bobby from fighting over it. Ellie defends herself, saying this situation is different because her sons are no longer at each other’s throats. She also urges Sue Ellen to think of John Ross, who’s poised to run the company someday. Sue Ellen’s response: “I know. That used to matter to me very much. Maybe he’d be better off without it.”

Did you ever think you’d hear Sue Ellen Ewing say such a thing? After all, this is the woman who spent “Dallas’s” earliest episodes in a virtual race with Pam to bear the Ewings’ first grandson. Now she’s admitting what’s she’s known for some time: being a Ewing wife and mother isn’t all it’s cracked up to be. Sue Ellen’s newly brutal honesty is also on display later in the episode, when she warns Jenna about the Ewings’ looming war with Jamie. Sue Ellen predicts the battle will cause Bobby to revert to the cutthroat tactics he used during the contest for Ewing Oil. “Wait and see,” she says. “The Ewing boys are alike in certain ways. I found it out, and so did Pam.”

You may not like everything Sue Ellen has to say in “Bail Out,” but you have to admire “Dallas’s” willingness to allow the character to change. You also have to admire Linda Gray’s ability to make Sue Ellen’s evolution so believable. In the scene with Donna Reed, Gray’s delivery is beautifully heartfelt. (It helps that the conversation takes place right after Sue Ellen awakens, so Gray gets to perform with little makeup and her hair a little messy. It’s Sue Ellen, unvarnished.) Gray also is impressive in her scene with Priscilla Beaulieu Presley. It would have been easy to bring an air of classic Sue Ellen bitchiness to this exchange, but Gray takes a different approach. She treats her character’s speech as a helpful warning, not a hurtful threat.

The other standout performer in “Bail Out” is Victoria Principal, who is fantastic in the episode-ending scene where pilot Gerald Kane visits Pam and confesses he lied about flying Mark Graison to the Caribbean to seek a cure for his disease. This tightly written, three-minute exchange requires Principal to exhibit a range of emotions — shock, anger, disgust — and she hits each one with precision. (Future Oscar winner James Cromwell is also quite good, making Kane’s guilt and shame palpable.) The best moment comes when Pam demands to know who paid Kane to lie to her. “No one has any reason to do something like that to me,” she says, but of course she must know in her heart who’s responsible. When Kane tells her the culprit is J.R. Ewing, Pam strikes him and repeats the name: “J.R. Ewing?!” It’s a testament to director Michael Preece that this doesn’t come off as a campy soap opera slap. Instead, it feels genuinely reflexive, as if Pam can’t help lashing out.

Speaking of J.R.: He finally seduces Mandy in this episode, luring her to a high-rise hotel suite under the ruse that she’s visiting something called “Club 1900.” When she arrives, she’s in no mood for his charms and angrily tosses a glassful of champagne in his face. He responds by grabbing and kissing her hard; she squirms for a few seconds but eventually melts in his arms. It’s not quite as unappetizing as the scene where J.R. forces himself on Sue Ellen in the second-season classic “Black Market Baby,” but it’s uncomfortable nonetheless. Other moments in “Bail Out” also evoke earlier storylines, including one where Ray encourages Lucy and Eddie to get soil samples before starting construction on their housing project. It’s a subtle nod to Ray’s disastrous foray into the real estate business during the fourth season. Sue Ellen and Ellie’s conversation about John Ross’s future also has echoes of Mama’s memorable speech (“Where will this all end?”) during the contest for Ewing Oil.

Homages like these have become a hallmark of “Dallas’s” eighth season. Each one feels like a treat for fans who absorb every last detail of the Ewings’ lives. You have to admire the show’s willingness to honor fans this way. Is it any wonder so many of us continue to reward “Dallas” with our loyalty?

Grade: B

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Cheers!

‘BAIL OUT’

Season 8, Episode 17

Airdate: January 25, 1985

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

Writer: David Paulsen

Director: Michael Preece

Synopsis: Bobby bails out Jenna and reunites her with Charlie. Sue Ellen warns Jenna about the looming battle for Ewing Oil. Cliff and Jamie gather evidence for their lawsuit. J.R. and Mandy have sex. Kane tells Pam that J.R. paid him to lead her on a wild goose chase.

Cast: Beau Billingslea (Dr. Miller), Burke Byrnes (Pete Adams), Roseanna Christiansen (Teresa), Pat Colbért (Dora Mae), James Cromwell (Gerald Kane), Val De Vargas (Patrick Wolfe), Patrick Duffy (Bobby Ewing), Stephen Elliott (Scotty Demarest), Linda Gray (Sue Ellen Ewing), Larry Hagman (J.R. Ewing), Jenilee Harrison (Jamie Ewing), Susan Howard (Donna Krebbs), Steve Kanaly (Ray Krebbs), Howard Keel (Clayton Farlow), Ken Kercheval (Cliff Barnes), Clyde Kusatsu (Dr. Albert Matsuda), Fredric Lehne (Eddie Cronin), Shalane McCall (Charlie Wade), Joe Nesnow (Judge Lanley), George O. Petrie (Harve Smithfield), Priscilla Beaulieu Presley (Jenna Wade), Victoria Principal (Pam Ewing), Donna Reed (Miss Ellie Farlow), Dean Santoro (Raymond Furguson), Deborah Shelton (Mandy Winger), Danone Simpson (Kendall), Charlene Tilton (Lucy Ewing), Deborah Tranelli (Phyllis)

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

Filed Under: Critiques, Critiques (Classic), Opinion Tagged With: Bail Out, Black Market Baby, Donna Reed, James Cromwell, Linda Gray, Michael Preece, Priscilla Beaulieu Presley, Victoria Principal

Critique: ‘Dallas’ Episode 171 — ‘Charlie’

June 24, 2015 by Chris Baker 19 Comments

Charlie, Charlie Wade, Dallas, Shalane McCall

Gone girl

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

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

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

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

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

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

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

Grade: B

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Pink different

‘CHARLIE’

Season 8, Episode 10

Airdate: November 30, 1984

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

Writer: Leonard Katzman

Director: Michael Preece

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

Cast: Michael Alldredge (Steve Jackson), Patrick Duffy (Bobby Ewing), Linda Gray (Sue Ellen Ewing), Larry Hagman (J.R. Ewing), Jenilee Harrison (Jamie Ewing), Susan Howard (Donna Krebbs), Steve Kanaly (Ray Krebbs), Howard Keel (Clayton Farlow), Ken Kercheval (Cliff Barnes), Fredric Lehne (Eddie Cronin), Shalane McCall (Charlie Wade), Daniel Pilon (Renaldo Marchetta), Priscilla Beaulieu Presley (Jenna Wade), Victoria Principal (Pam Ewing), Donna Reed (Miss Ellie Farlow), Sherril Lynn Rettino (Jackie Dugan), Deborah Shelton (Mandy Winger), Danone Simpson (Kendall), William Smithers (Jeremy Wendell), Charlene Tilton (Lucy Ewing)

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

Filed Under: Critiques, Critiques (Classic), Opinion Tagged With: Barbara Bel Geddes, Charlene Tilton, Charlie, Donna Reed, Michael Preece, Patrick Duffy, Priscilla Beaulieu Presley, Shalane McCall

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

June 17, 2015 by Chris Baker 15 Comments

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

Look who’s lurking

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

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

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

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

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

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

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

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

Grade: B

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Say, can’t you see?

‘OIL BARON’S BALL III’

Season 8, Episode 8

Airdate: November 16, 1984

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

Writer: David Paulsen

Director: Michael Preece

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

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

“Oil Baron’s Ball III” is available on DVD and at Amazon and iTunes. Watch the episode and share your comments below.

Filed Under: Critiques, Critiques (Classic), Opinion Tagged With: Barbara Bel Geddes, Charlene Tilton, Donna Reed, Howard Keel, Larry Hagman, Linda Gray, Michael Preece, Oil Baron’s Ball III, Travilla

Critique: ‘Dallas’ Episode 154 — ‘Fools Rush In’

December 17, 2014 by Chris Baker 8 Comments

Dallas, Fools Rush In, J.R. Ewing, Larry Hagman

With a twist

One reason Larry Hagman is so damn good is because he knows what the audience wants and how to give it to us. Take “Fools Rush In’s” most entertaining scene, when J.R. chews out Katherine for inadvertently making a Bobby/Pam reconciliation possible. It’s somewhat ridiculous to see a grown man so consumed with his brother’s love life, and so Hagman plays the scene accordingly, making J.R.’s bluster more amusing than anything else. The funniest moment comes when Katherine declares she has “no objection” to Pam’s pending marriage to Mark and J.R. mockingly snaps, “Oh, you have no objection to that, do you? Well, you just better keep pushing until that happens, honey!” Who doesn’t love to see Hagman deliver a line like that?

Of course, great acting involves more than indulging the audience. When “Fools Rush In” begins, J.R. has figured out Sue Ellen has been having an affair and he responds in typical J.R. style — by being extra nice to his wife while he secretly plots revenge. After attending Punk and Mavis Anderson’s anniversary party together, J.R. escorts Sue Ellen to her room and says how much he enjoyed spending the evening with her. Sue Ellen looks positively stricken while J.R. beams — until his back is turned and we see his face drop. Is he having reservations about the trap he’s about to spring? Does he fear he might end up pushing his fragile wife too far? There’s no way to know and it doesn’t really matter. What’s important is that we catch a glimpse of J.R.’s humanity. It’s an example of Hagman giving us what we need to see.

While Hagman deserves much credit for highlighting J.R.’s complexities in “Fools Rush In,” he gets an assist from scriptwriter David Paulsen. We don’t know the details of J.R.’s scheme against Sue Ellen and her lover Peter Richards, but we know he wants to bring the couple closer. Notice how J.R. uses John Ross to achieve this goal. First, he waits until the family is gathered around the breakfast table to suggest hiring Peter to spend time with the child, knowing how excited John Ross will be when he hears his camp counselor might be visiting him at Southfork on a regular basis. How could Sue Ellen say no? Likewise, when J.R. approaches Peter with the idea, he brings along his son, essentially daring Peter to turn him down and break the boy’s heart. Who knew John Ross would turn out to be one of Daddy’s best accomplices?

I also like how Paulsen and director Michael Preece treat the return of Dennia Patrick’s duplicitous banker Vaughn Leland, who makes his first “Dallas” appearance since the fifth season. “Fools Rush In” begins with Cliff scrambling to raise the money he owes the government until — lo and behold! — Vaughn shows up on his doorstep and offers him a loan, which Cliff desperately accepts. At the end of the episode, we see J.R. in his office, fixing drinks for himself and an unseen guest. “Well, everything seems to be moving in the right direction,” he says. Preece’s camera follows him as he carries the drink across the room to — yep, you guessed it — Vaughn, who it turns out is in cahoots with J.R. It’s a nifty twist.

Speaking of Vaughn: I was a little puzzled when Afton reacted so coolly to seeing him in this episode, until I remembered J.R. put her up to sleeping with Vaughn during her early days on “Dallas.” I’m glad the writers didn’t forget about their past, even if I almost did. Other nice touches in “Fools Rush In” include the scene where J.R. hires a detective to snoop into the past of Lucy’s newest boyfriend, Peter. J.R. explains to the private eye why he cares about his niece: “She’s the daughter of my brother Gary, who I’m particularly fond of.” Another fun moment comes when Bobby tells Sue Ellen that Jenna accused him of being stubborn. “Well, you’re not the most flexible person in the world,” Sue Ellen says.

Not everything here works. I’m disappointed we don’t actually see the Andersons’ anniversary party, which the Ewings have been anticipating for several episodes. Not even Oil Baron’s Balls and Ewing Barbecues receive this much buildup. Also, as much as I get a kick out of seeing Ken Kercheval squirm in the scenes where Cliff struggles to raise the money he owes the government, I can’t help but think the feds must have been running one hell of a racket in the 1980s. They allow Cliff to bid tens of millions of dollars more than his competitors for the offshore oil leases, and then they show up unannounced at his office, demanding payment just days after the auction ended? Who says the Reagan administration was business friendly?

But nothing stretches credibility quite like the “Fools Rush In” scene where Pam asks Mark’s physician, Jerry Kenderson, to reveal her fiancée’s mysterious medical diagnosis — and with very little prodding, Kenderson blabs all. So much for doctor-patient confidentiality rules! Then again: Since everyone on “Dallas” is ethically challenged, why should we expect the doctors to be any different?

Grade: B

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Foolin’ around

‘FOOLS RUSH IN’

Season 7, Episode 23

Airdate: March 9, 1984

Audience: 22.5 million homes, ranking 1st in the weekly ratings

Writer: David Paulsen

Director: Michael Preece

Synopsis: Cliff borrows money from banker Vaughn Leland to finance his offshore oil scheme, unaware that J.R. and Vaughn are in cahoots. J.R. warns Katherine to keep Bobby away from Pam, who learns Mark is dying but doesn’t know it. J.R. also springs a trap for Peter, hiring him to spend time with John Ross at Southfork. Bobby has second thoughts about breaking up with Jenna. Miss Ellie and Clayton set a wedding date.

Cast: Christopher Atkins (Peter Richards), John Beck (Mark Graison), Barbara Bel Geddes (Miss Ellie Ewing), Gerald Berns (James Kenyon), Morgan Brittany (Katherine Wentworth), Barbara Cason (Iris Porter), Roseanna Christiansen (Teresa), Robert Donavan (Metcalf), Patrick Duffy (Bobby Ewing), Eric Farlow (Christopher Ewing), Linda Gray (Sue Ellen Ewing), Larry Hagman (J.R. Ewing), Barry Jenner (Dr. Jerry Kenderson), Steve Kanaly (Ray Krebbs), Omri Katz (John Ross Ewing), Sherill Lynn Katzman (Jackie Dugan), Howard Keel (Clayton Farlow), Ken Kercheval (Cliff Barnes), Audrey Landers (Afton Cooper), Shalane McCall (Charlie Wade), Dennis Patrick (Vaughn Leland), Priscilla Beaulieu Presley (Jenna Wade), Victoria Principal (Pam Ewing), Charlene Tilton (Lucy Ewing), Peter White (Ellis Newton)

“Fools Rush In” 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: David Paulsen, Dennis Patrick, Fools Rush In, Ken Kercheval, Larry Hagman, Michael Preece

The Dallas Decoder Interview: Margaret Michaels

July 14, 2014 by Chris Baker 5 Comments

Margaret Michaels

Margaret Michaels occupies a unique place in “Dallas” history. In 1988, one year after Victoria Principal left the original series, Michaels played Pam Ewing in two scenes designed to give the character closure after her fiery car crash and disappearance from Southfork. The following season, Michaels returned for a few episodes as Jeanne O’Brien, a Pam lookalike. I spoke to her recently about her “Dallas” experiences.

Let’s start at the beginning. How did you get the role of Pam?

I have a very dear friend who was a stuntwoman and happened to be the driver who ran over Bobby in the episode where he supposedly died. She and I were visiting the set of one of Patrick Duffy’s TV movies, and when my friend introduced me to him, he asked if I was an actress. The next thing I knew, I was reading for [“Dallas” producer] Leonard Katzman.

No kidding? So Katherine Wentworth’s stunt double is friends with the other Pam Ewing?

Isn’t that funny? My friend, Linda, is such a kick. I used to go with her when she was doing stunts with [stuntman] Hal Needham. We’d watch them blow up cars in San Pedro. She’s a fun friend, let me tell you. [Laughs]

So when you met Patrick, did he remark on your resemblance to Victoria?

I don’t remember him making that comment, but he must have felt that way, otherwise I would not have met with Leonard.

Let’s talk about that. You spent a year on the daytime soap “Santa Barbara” before “Dallas.” Had anyone commented on your resemblance to Victoria before?

First of all, I think we all look like someone. And several people had said they thought we looked alike. I think if we were standing next to one another, people might not make that distinction. Yet photographically, it certainly works. And please keep in mind: I’ve never met Victoria Principal. I do have a couple of friends who know both of us, and they say we have a strong resemblance. I’ve always taken that as a compliment.

Once a heroine

So you read for Mr. Katzman, and then you got the part. Was it intimidating to step into the role of Pam, even if it was for just one episode?

I think it’s difficult for any actor to fill the role of a beloved character like Pam. She was established by Victoria, who was loved both as Victoria and as Pam. And so as an actor, you want to get it right. And as a fan who watched the show, you really, really want to be believable. So I understood the importance of that scene.

Ah, so you were a fan of the show?

Absolutely! I think everyone I knew was a fan of “Dallas.”

That’s very cool! Your familiarity with the show must have been helpful to you in preparing for the role.

It was, certainly. I already knew that Bobby was the love of Pam’s life. I knew that stepping away from your child in order to save them from more heartbreak had to be probably one of the most difficult decisions she would ever make. And I also knew that her love for and bond with her brother Cliff would make seeing him again almost impossible. That’s a tremendous amount of information for an actor to go into a scene with. So for me, I think having created the raspy voice, in addition to the scars on my neck and face, probably made it easier for me to slide into that role.

Oh, interesting. You changed your voice for the scene?

I did. I tried to mimic that of a burn victim because, of course, Pam’s crash was an absolute explosion of fire. I’ve always found it amazing that anyone could have survived it.

Yes. She’s a miracle woman!

But that kind of intense fire, it doesn’t just disfigure a person’s face, it damages their vocal cords. So I tried to make [my voice] a little raspy, so there wasn’t clarity to each sentence. I’ve had family members who were with the fire department, and my husband had a very good friend who ran a burn center. And when someone has had a tremendous insult to their vocal cords, it alters the sound of their voice.

You also mentioned the makeup you wore. Was that very involved?

Very involved, and that’s why I applaud the makeup department. It takes a long time to build that kind of scar tissue on the neck and face. Actually, that may have taken as long as doing the scene.

So what was it like to actually film the scene? It’s a heartbreaking moment — Pam telling Cliff she never wants to see him again.

The thing that pops into my mind first is walking onto that set and how quiet and respectful it was. That’s not always the case when you walk onto a set, until they start rolling. Michael Preece was directing that episode — and wow, Michael is truly an actor’s director. And Ken Kercheval is really a wonderful actor. He was so real. It was difficult to hold in all those emotions as Pam while watching Cliff plead for his sister to come back home.

And then Cliff walks away, and Pam is left alone with her doctor — and that’s when the audience learns she’s dying and sent Cliff away to protect him from the truth.

The wonderful part of that was it allowed me to take all this pinned up emotion from my scene with Ken and take it into the next scene with the doctor.

It sounds like you really enjoyed working with him.

The whole experience was wonderful — solemn, but wonderful. I have to tell you: On the day we shot this and I walked onto that set, I had to wonder how it was for the crew. For years, they worked with one actress as Pamela Ewing, and then suddenly they’re presented with a scene where both the character and the storyline have closure, and an entirely different person steps into the role. But the crew was lovely.

So what kind of reaction did you receive after that episode aired? Did you hear from fans?

I did. It was odd because I already had a fan base from “Santa Barbara,” and there were people who wrote and were very positive. I was thankful for that. Yet I also think this was really difficult for people who were true fans of Victoria and Pam to accept me in this role, and I think that’s completely understandable.

Repeat performance

Well, the producers must have liked what they saw because they invited you to return the following season as Pam’s double, Jeanne.

I was completely surprised when that happened. It was an out of the blue phone call. They asked, “Would you want to come back and do this character, Jeanne O’Brien?” And I thought, “Of course.” No one even questions that. It was a wonderful set to work on.

How did playing Jeanne compare to playing Pam?

It’s totally different than coming in and taking over a role that someone else created. Now you get to create all the nuances of Jeanne O’Brien. Each time I got a script, there was another layer of her personality. In my mind, I think she was trying so desperately to climb that ladder of success without really knowing who she was. I think she was very ambitious, and I do not think she was prepared for a guy like Bobby Ewing. It’s sort of like having your knight in shining armor arrive, only to realize the knight belongs to someone else, and there’s nothing you can do about it. [Laughs]

Jeanne was quite a bit different from Pam, wasn’t she?

There was that one scene in her house where she attempts to transform herself into Pam and seduces Bobby. When I got that script and read that scene, it was the first time I thought she had a darker, more manipulative, almost desperate side to herself. Because initially, she was all over the place. She was a smart real estate woman, and then all of a sudden she was the cute, sweet little date, and now I’ve got a scene where she tries to look exactly like his ex-wife. You have to wonder: What type of personality makes that choice?

Bobby Ewing, Dallas, Jeanne O'Brien, Margaret Michaels

Seeing double

And when you played Jeanne, you finally got to work with Patrick.

I absolutely loved him. He is just a wonderful human being. He’s kind and nurturing, and as an actor, he’s talented and giving. Every single time I worked with him was just pure joy.

He and Larry Hagman were famous for their practical jokes on the set. Were you ever a victim of their pranks?

Was I a victim? [Laughs] Let me tell you, it wasn’t just Larry and Patrick. It was also Ken Kercheval.

Oh, really? I haven’t heard about him before.

I don’t think Ken orchestrated anything, but he wasn’t adverse to being the quiet participant who didn’t give me a heads up. There were actually a few times where I felt like I was in the Abbott and Costello routine, “Who’s on First?” And trust me: When you’re the new kid on the show, you are not on first.

Ken also directed one of the Jeanne O’Brien episodes.

He did. He directed that darker scene where Jeanne seduces Bobby. And Larry of course directed one [of the other episodes], and as directors, both Ken and Larry were exceptional. They knew exactly what they wanted. Because they played key characters on “Dallas,” their insight into the show worked very well for them behind the lens.

Dallas, Larry Hagman, Margaret Michaels, Patrick Duffy

Who’s on first?

Do you stay in touch with any of the cast members?

I have friends who have run into Patrick and I think, “Why don’t I ever run into Patrick?” [Laughs] But I have to tell you: My husband and I were once boarding a flight from New York, and Larry and his wife were on the same flight with us. So I had an opportunity to fly from New York to L.A. and chat with him. This was years ago, and I’m always grateful now that he’s gone that I had an opportunity to spend a little bit of time with him.

So on the new “Dallas,” Pam is supposed to be dead, but a lot of fans are hoping she’ll come back — and many of them would be very happy to see you in the role.

First, I’m flattered to hear that. I was a fan of the old “Dallas” and I’m a fan of the new “Dallas.” I just love Josh Henderson and Jesse Metcalfe. They are so wonderful. I love Elena and Pamela. I adore Sue Ellen. I like her so much now because she has come into her own. And of course, like all the fans, I was hoping for that J.R./Sue Ellen reunion. Oh, and I have to tell you this, because I love this so much: I think having Cliff Barnes return as the mega-wealthy villain is pure genius.

Isn’t he great on the new show?

He’s fabulous. And Patrick’s character has layers upon layers. Bobby’s really grown into his own. I love how strong he is, and I love how he has a little bit of bad boy in him now. I think that’s a good thing for him. And you talk about Pam, but I have to tell you: I really like Bobby and Ann. I think she’s wonderful.

Oh, how nice!

So as for Pam returning? This is the only way I know how to put this: In life, we miss our family members that we lose. And art imitates life, and fans miss the characters that they lose — yet it doesn’t always mean we get them back. I think Cynthia Cidre knows exactly what she’s doing.

Nicely stated, but what about Jeanne? Would you ever be interested in playing that role again?

Oh, yeah. Sure. She’s a fun gal.

Never settle

What do you think became of Jeanne? Where do you suppose she is today?

[Laughs] Well, I don’t think Jeanne would have settled for the mundane. Knowing her, I think she probably married an older, wealthy businessman who probably taught her everything she needed to know about the corporate world. And by now, I would think she’s either divorced, maybe widowed. Regardless, I think she’s certainly doing well on her own.

And what about Margaret Michaels? Can you tell us what you’re up to these days?

Oh, sure. I actually changed my focus and started putting my creative energy in writing. I had so many stories and ideas pinned up in my brain for so long, so I decided to put them on paper. So I have a couple of production companies. I have two partners, and we have a feature that’s ready to go. I also wrote a television movie for the holiday season, and I created a series. I’ve already written the pilot, and three episodes are finished. I know all the little twists and turns and where the characters are going. I just wish all the ideas would float out of my head and download themselves onto my USB without my having to type anything. [Laughs]

Are these projects “Dallas” fans can see soon?

I’m talking to people. This is an interesting business. My feeling is this: When you’re shooting it, then you know it’s a done deal. Until then, it’s all conversation and negotiation.

Spoken like a smart businesswoman. Jeanne would be proud!

[Laughs] Well, I just truly love doing this. I enjoy every moment of the process.

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