J.R. Ewing, a Texas oil baron, uses manipulation and blackmail to achieve his ambitions, both business and personal. He often comes into conflict with his brother Bobby, his arch-enemy Cliff Barnes and his long-suffering wife Sue Ellen.
The residents of Knots Landing, a coastal suburb of Los Angeles, deal with various issues such as infidelity, health scares, rape, murder, kidnapping, assassinations, drug smuggling, corporate intrigue and criminal investigations.
A wealthy mystery man named Charlie runs a detective agency via a speakerphone and his personal assistant, John Bosley. His detectives are three beautiful women, who end up in a variety of difficult situations.
Five years after J.R. Ewing lost Ewing Oil and apparently committed suicide, he turns up alive and well. He returns to Dallas and plots to bring his family back together, and regain control of Ewing Oil from his archenemy Cliff Barnes.
Popular evening soap opera-style television drama. The show was set in Dallas, Texas and chronicled the exploits of wealthy Texas oil millionaires. Many of the plots revolved around shady business dealings and dysfunctional family dynamics.Written by
Tad Dibbern <DIBBERN_D@a1.mscf.upenn.edu>
When Patrick Duffy was asked to return to the show in 1986, his wife told him that the only way it could happen is if his character had actually died in a dream. This led the producers to decide that Bobby Ewing's death (in addition to the entire 1985-86 season) was just a dream that Pam Ewing had. See more »
Oh Barnes, you just get dumber and dumber every day.
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In the Hungarian dubbed version, during the entire series, J. R. Ewing (Larry Hagman) is called 'Jockey Ewing', and Sue Ellen Ewing (Linda Gray) is called 'Samantha Ewing'. The reason of using the alternate names is a mystery, although rumor has it that Sue had to be renamed because her English name sounded too close to "SZU ellen", which is Hungarian for "against the Soviet Union", and such a name would be unacceptable in a (at the time) socialist country. See more »
to see Dallas for an East European is always a strange experience. under the Communist regime, it was a fairy tale. under the democratic regime - a promise. but, always, in a strange way, more than fiction. because Larry Hagman creates a spectacular bad guy, splendid mixture between Shere Khan and Darth Vader. because it has the gift to be more than one of many soap opera from the same period but a phenomenon. because, its spectacular longevity transforms the viewer in part of story. sure, all is a fiction . but the dose of reality is right for discover the trace of series in every day life. it has the right story and the right actors. this is its success roots. and the seal for a period looking the perfect story for understand the reality escaping from it.
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