He Who Is Always Right
Before we go knee-deep in the review, I will summarize the past 5 seasons for those of you who never had the chance to see the show. Below is an exhaustive list of keywords/phrases that will more or less substitute for 90-something hours that would be spent on watching the actual thing:
- "It's not lupus"
- Environmental reaction
- Auto-immune
- Cancer
- Infection
- White cell count
- "Differential diagnosis people!"
- "His liver is shutting down"
- "Search his house"
- Toxins
- Heavy metals
- Drugs
- "You have no medical evidence to support that diagnosis"
- "That's an excellent metaphor"
- "You've stolen my metaphor"
- "I'm not getting the metaphor"
- "I think I pushed that metaphor too far"
- CT scan
- MRI
- "People lie"
- Respiratory arrest
- Cardiac arrest
- "Bizarre is good"
- "It explains all the symptoms"
- Biopsy
- Lumbar puncture
- Vasculitis
- Toxoplasmosis
- Necrosis
- Meningitis
- "If I'm right, he should walk out of here tomorrow morning"
- "If you are wrong, patient dies"
- "So, I need to know..."
- "Are you really going to see a patient?"
- "You were right"
The parallels between Sherlock Holmes and Gregory House has always been a subject of interest among the show's followers. The creator David Shore admits his admiration towards Doyle's legendary detective and confirms that it was his intention to create House as a lonely and detached drug-addict just like Holmes himself. House is indeed the medical counterpart of Sherlock Holmes with every sense of the word; he never fails to solve the case, he is always indifferent to his clients, he never takes a case unless he is interested in it and he has James Wilson to act as his Dr. Watson whenever he needs further intellectual stimulation (wikipedia lists a lot more similarities such as House's door number and the fact that both play some instruments, in case you are interested). But once you switch from the characters to the story, the similarities end; because essentially, House M.D. is more similar to a collection of pulp detective novels where the old servant turns out to be the murderer in each case. It sometimes becomes a frustrating experience to know the outcome and go through the whole ordeal anyway.
I have always related watching House on TV to watching and admiring the perfection of a Greek or Renaissance sculpture; the perfection in human physical appearance being replaced in this case by the perfection in terms of medical expertise and powers of observation. It is for this reason that the question of how much a human being is capable of doing the things that House is doing is irrelevant; because the show isn't (and never tries to be) realist. And this represents neither a flaw nor a success but merely a choice.
Having praised the House character to the sky, I must admit that all the other characters are quite pale in comparison. Especially his trio of a team (both the old one and the new one) exist only to enhance the contrast between themselves and Gregory House so that the amazing originality of the title character is never lost to the audience. Every now and then, like spoilt kids calling for attention, these characters take the center stage with their stories of dead husbands, dead family members, fatal diseases, family problems, personality issues and so on; but their complexity and multi-layered structures are mostly illusionary. Robert Sean Leonard (James Wilson) and Lisa Edelstein (Lisa Cuddy) do their best with their acting to make up for this but the rest of the House M.D. cast is a bunch of talent-free 'actors' who make the matters much worse for their characters.
How much blind trust is too much? All the fun and jokes aside, stripped of all the webs of human relationships and their complexity, what remains of House M.D. on a serious note is this question. How reasonable is it to surrender all senses of reason and opinion and blindly trust the instincts of a human being, regardless of how 'good' that human is at what he is doing? This issue is touched every now and then but it's not the firm grasp of a confident artist but more like the gentle touch of a stranger to a newborn baby, scared of contaminating the subject at hand. House M.D. misses all the opportunities to use this question to its advantage on its way to become a more valuable artistic piece. Among all the repetition and humdrum events drowning our characters in Princeton-Plainsboro, there is definitely more room for philosophical discussion on this notion.



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