DALLAS REDUX

Jon Ross (Josh Henderson) faces his father J. R. (Larry Hagman)

DALLAS (2012).

After Dallas wrapped up its fourteen year run, it turned out that there was still life left in those enduring characters. First there were two telefilms, J. R. Returns (1996) and War of the Ewings (1998), both of which had continuity problems and both of which were forgettable, below the level of the best episodes of the series. There was also a prequel telefilm I have not yet seen and  a reunion special which brought together several of the cast members to reminisce, with host Larry Hagman amusingly referring to the show's thirteen years when the series actually lasted fourteen seasons. Then came the reboot in 2012, which was a whole different story. The show wisely focused -- at least at first -- on the younger generation, which included J. R.'s son Jon Ross (Josh Henderson) and Bobby's adopted son, Christopher (Jesse Metcalf of Beyond a Reasonable Doubt), who were each billed first in the credits on alternating episodes. The show was also smart enough to retain Bobby Ewing (Patrick Duffy), Sue Ellen (Linda Gray), and especially J. R. (Larry Hagman). We first see J,. R. despondent in a nursing home, but he gets out of his funk, shows up at the Oil Baron's Ball on a walker, then throws that walker away and gets back into the action, which includes a whole love-hate thing with Jon Ross.

It's terrific that the show has several vital cast members who are now seniors, but annoying that Duffy, Gray and Hagman -- despite their very large parts -- are not listed as bonafide stars of the show but only listed under "with." Hagman wheeled and dealed for the first two seasons, but then passed away, as did his character. Frankly I had always thought that Gray and Duffy, while competent, were lightweights, but in their senior years these two actors really stepped up their game. Gray has a superb scene when she is hungover at J. R.'s grave site, and Duffy, out of J. R.'s long shadow, not only delivers an impassioned knock-out performance, but becomes the true star of the show and its most important and pivotal character. That's saying a lot when there are so many younger, good-looking and talented co-stars, especially Josh Henderson as Jon Ross, a devilishly charismatic "bad boy" who has a lot more sex appeal than his father ever did (if they ever remake Hud, Henderson would make you forget Paul Newman). Brenda Strong (who was mostly unseen in Desperate Housewives, although her deceased character was the narrator), Mitch Pileggi [Shocker], who was also in the final seasons of the original show, and especially the wonderful Judith Light [Save Me] as a mother from Hell also make a strong impression. Watch her getting turned on as she insists a drug dealer do a body search on her for hidden wires!

Ken Kercheval, who managed to appear in every season of the original show, as well as the two telefilms, is back as Cliff Barnes. Cliff always seemed vaguely demented, and in this reboot, he is clearly demented, his actions those of a lunatic, such as allowing his own daughter to be nearly blown up and killing his unborn grandchildren because he still wants to strike back at those damn Ewings. Kercheval seems to be having fun playing a man who has been turned, a bit improbably, into a hateful villain.

Dallas only lasted three abbreviated seasons (ten episodes for the first season, and fifteen apiece for the last two) and ended on a cliffhanger that will never be resolved. I think there was way too much of those Mexican drug dealers in the final season, and they were simply not that interesting. The writers, who managed to make the characters more dimensional than in many soap operas, certainly had enough material to work with without dragging in an ever-present drug cartel, and that may have hastened the series' abrupt cancellation. Still, Dallas was a fun ride while it lasted.

Verdict: Some fine acting, interesting developments, and good scripting help put this over. ***.

SAVE ME

Too much sympathy? Judith Light and Stephen Lang

SAVE ME (2007). Director: Robert Cary.

When a gay drug addict named Mark (Chad Allen) nearly dies, his brother puts him in a Christian facility named Genesis House. The place, which tries to convert homosexuals to heterosexuals through faith and prayer, is run by Gayle (Judith Light) and her husband, Ted (Stephen Lang). Gayle turned her son out of the house at sixteen after he came out; six months later he committed suicide -- she blames his sexual orientation instead of her narrow-minded rejection of same. Mark begins to fall -- rather quickly -- for some of the homophobic spirituality at Genesis House, even as fellow resident Scott (Robert Gant) begins to rebel; more importantly, the two begin to fall for each other. Will they give in to the negative attitudes of Gayle and Ted, or have the strength to break free and be themselves? Save Me is an interesting movie but in trying so hard not to present Ted and especially Gayle as formulaic hateful villains, the movie doesn't come down nearly hard enough on the thoroughly discredited "ex-gay" movement -- these people do serious damage to hundreds of innocent and confused youths. Lang and Light both give excellent performances -- Light is especially outstanding playing a woman who is both dangerous and self-deluding and in some ways pitiable -- and Allen and Gant are also terrific as the lovers. Robert Baker is also notable as the sad Lester, who has never given in to his "impulses" and probably never will due to the "loving," misguided notions of Ted and Gayle. Save Me does illustrate the horrors of homophobia, and has some good sequences and poignant moments, especially at the upbeat but nevertheless depressing conclusion. Unfortunately director Cary feels a need to "resist the temptation to judge Judith .. or any of the people at the ministry" as if he was completely unacquainted with the sheer, lying viciousness of anti-gay bigots. In trying to humanize them --- not necessarily a bad thing in of itself as far as characterization is concerned -- he seems to be excusing their behavior. But these people are no different from racists or anti-Semites; it's hard to keep a balance when dealing with such evil. The screenplay -- which is good but doesn't go nearly far enough -- is by Robert Desiderio, the husband of Judith Light, who served as co-producer. NOTE: As if to make up for the film's failure to more sharply condemn the ex-gay industry, the DVD has information on it as well as resources for people who want to reconcile their orientation with their religion.

Verdict: Not bad, but it needs a much edgier script. ***.