Talk therapy - the new "Dr. Phil"

Replacing “The Sopranos” mob boss, blood, and guns as weapons, HBO’s newest series focuses on the power of words as weapons – their assaultive ability to reveal unwelcome truths or awaken new revelations and deep-seeded emotions. Moreover, for HBO’s newest drama “In Treatment,” action is created with these words, triggering feelings and releasing secrets. Unlike Dr. Malfi of “The Sopranos,” “In Treatment” is the new “Dr. Phil” with Paul Weston as the leading man.

Adapted from the popular Israeli series “Be ‘Tipul” created by Hagai Levi, “In Treatment” centers on psychotherapist Paul Weston, played by Gabriel Byrne, and his daily sessions with his patients. Mondays through Thursdays are appointments with his patients – Laura, Alex, Sophie and the married couple Jake and Amy before concluding on Fridays. For the Friday episodes, the role of psychotherapist-patient is reversed and the viewer is witness to Paul’s sessions with his own therapist, Dr. Gina Toll (Dianne Wiest), in which Paul is now the patient, placed under the scrutinizing questioning of his former colleague.

Within the framework of little music, unchanging scenery, and minimal camera work, the focus is now on the actors and their abilities to portray characters burdened with secrets and issues, needing the security of the intimate home-office to delve deeper into their troubled lives. Because of the lack of “extras” (i.e. special effects, varied settings, etc.) within this series, it is a necessity for the actors to be able to capture and hold the viewer’s attention and, for the most part, the actors do this. Though slow at times, they exploit the scripts for every bit of theatricality and their stage is the office.

This is what makes the show work. The actors, such as Byrne, Melissa George, and Wiest, connect with their characters and, as a result, connect with each other. As Paul’s patient “Laura,” George convincingly conveys her infatuations with Paul as she explains to him how he has become the “center of her life.” The melodramatic nature of her character is highlighted with her comment that she came to “[the office] in darkness and now [is] leaving into a bigger darkness.” What could potentially be perceived as an uncomfortable voyeuristic experience is expertly shifted to one of sexual confusion and loss of self. This loss is all too real for many patients undergoing therapy.

Complementing George’s performance as the patient is the performance by Byrne. Whether he is playing the doctor or the patient, he has the uncanny ability to convey frustration, exhaustion or surprise with a shift in the chair or a raise of an eyebrow. He is believable as a psychotherapist, asking the leading questions, probing for answers, and even responding professionally to the retorts thrown back to him by his patients. With his unwavering expressions, Byrne’s eyes see through everyone but himself.

The connection between Wiest and Byrne is one of experience as they circle each other with words, truths, and unfinished business in their dialogues. Despite her few lines, her wisdom and curiosity are apparent with her mercilessly directed questions which makes her a good fit for her character as Paul’s mentor – a therapist for the therapist.

Despite the excellent performances and the ability of the words to draw the viewer in, like ‘erotic transference,’ there just is not enough momentum in the dialogues to keep the viewer’s attention. There is progress to be made, revelations to be had, tears to be shed and diagnoses to be determined if one can wait long enough to get there.