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    Psychology at the movies

    Great Gatsby director relies on Menninger Clinic doctor to get therapy scenes right

    Allegra Fradkin
    Jun 11, 2013 | 1:11 pm

    Dr. W. Walter Menninger was surprised a couple of years ago when Baz Luhrmann, the famed director, writer and producer of The Great Gatsby, sought out his expertise in the feature film’s development stages —particularly because Menninger had never read the novel from which the film was being adapted.

    In 1919 Menninger’s father, grandfather, and uncle started the Menninger Clinic, a groundbreaking psychiatric practice in Topeka, Kansas. The clinic moved to Houston in 2003 and has since expanded.

    In order to include some of F. Scott Fitzgerald’s original language from the novel, which is written in first person from protagonist Nick Carraway’s perspective, Luhrmann had to find a way for Carraway to be writing in the film. After scouring archives and conducting exhaustive research on the Roaring Twenties, when the story is set, Luhrmann and his team decided it might be plausible for the narrator — overwhelmed by Jazz Age excess — to be in therapy.

    “Luhrmann’s approach very much intrigued me. It made sense—having the patient articulate the story, writing about it if they’re not comfortable talking about it directly."

    Through their research of 1920s psychiatric institutions, they stumbled upon the Menninger Clinic. Luhrmann knew he had to get in touch with Menninger, the retired president of the clinic who goes by “Dr. Walt,” and pick his brain about psychiatric methods from the time period.

    He crossed his fingers that Menninger would confirm that writing was, in fact, a prevalent form of therapy at the time. The two planned a meeting in New York.

    “Luhrmann’s approach very much intrigued me. It made sense—having the patient articulate the story, writing about it if they’re not comfortable talking about it directly,” Menninger told CultureMap. The doctor’s input “was an affirmation for Luhrmann.”

    Luhrmann could breathe a sigh of relief now that he had been given the green light regarding the concept’s validity. He swore Menninger to secrecy and arranged another meeting, this time with the stars of the film, for several weeks later.

    At this get-together Menninger was instructed to do some role-playing with Tobey Maguire, who portrays Carraway in the film. They were to act as therapist and patient, and the session was to be videotaped.

    “Nick had gotten into a social situation with Gatsby that was in its own way corrupting. He was disillusioned with humankind, depressed, discouraged,” Menninger said. “It was a matter of helping him regain some sense of equilibrium and get over the depression.”

    “I talked to him as if he were reluctant to talk,” he said. “I said, ‘Well, write it down.’ ”

    What sort of treatment would Nick receive if he were around in 2013?

    “He’d be given antidepressants and discharged. Maybe there would be a follow-up," said Menninger.

    “Part of the difficulty in today’s world is that there’s a push to have a quick fix in two weeks."

    “Part of the difficulty in today’s world is that there’s a push to have a quick fix in two weeks. People are not taking time to really work out the emotional stress they’re experiencing either by talking it out or writing it down like they did back in those days."

    The Menninger Clinic is the exception in this case. The facility still has a focus on traditional psychotherapy with comprehensive, individualized treatment programs that run for six to eight weeks.

    The premiere

    The movie opens with a scene very reminiscent of Maguire and Menninger's role-play session. The audience gets a glimpse inside an eerily isolated building labeled “The Perkins Sanitarium.” A therapist, portrayed by Jack Thompson, thumbs Nick Carraway’s file, which lists morbid alcoholism, insomnia, fits of anger, and anxiety among his diagnoses.

    “I had no idea that the brief encounter we had would have such an influence on the final product,” Menninger said. “There’s no question [Luhrmann] was most appreciative of my input.”

    Menninger was instructed to do some role-playing with Tobey Maguire, who portrays Carraway in the film. They were to act as therapist and patient, and the session was to be videotaped.

    Menninger attended the movie’s premiere and the party that followed at the Plaza Hotel.

    “It was really a delight to see how they put it together,” he said. “It was so consistent with what I suggested.”

    There were a few aspects of the film that necessitated some outside insight and research for Menninger.

    “I didn’t realize, I must confess, when I went to the premiere, that they had given the psychiatrist my name,” he said. “Dr. Walter Perkins”— the name of the “warm psychiatrist who helps Nick find his voice”—was in fact a nod to Dr. Walt.

    “I didn’t pick up on it, but my daughter recognized that [Jack Thompson] looked just like me,” he said. “Only afterwards did I notice the resemblance, looking in a mirror after the show.”

    There was one aspect of the film that troubled him. How did the English Tudor brick building in Topeka translate to a castle on an island in the movie?

    “I thought they kept the movie tasteful and appropriate. Other than having to cross a moat to get to the sanitarium!” Menninger laughed. "I thought, Oh my goodness, what is that from?"

    After doing some investigating, the doctor discovered the inspiration for the setting choice. In a photo from Kansas’s archives of the early Menninger Clinic, there’s a pond on one side of the building that, from a certain angle, looks fairly imposing.

    Make sure to watch the film’s end credits to see Menninger's shout-out. “You have to stay an extra 15 minutes!” he says.

    Tobey Maguire, left, portrays Nick Carraway in the movie and Leonardo DiCaprio plays Jay Gatsby

    Tobey Maguire and Leonardo DiCaprio in The Great Gatsby
      
    Photo courtesy of Warner Bros. Pictures
    Tobey Maguire, left, portrays Nick Carraway in the movie and Leonardo DiCaprio plays Jay Gatsby
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    Movie Review

    Live action Lilo & Stitch remake offers up frenzied fun and nostalgia

    Alex Bentley
    May 23, 2025 | 2:30 pm
    Lilo & Stitch
    Courtesy of Disney
    Lilo & Stitch returns to theaters this weekend.

    The project to turn every single Disney animated movie into a “live action” film has rarely seemed like anything but a money grab by the movie studio. Most of the films have failed to update the original in any meaningful way, and in many of the cases, they’re almost shot-for-shot remakes, making the reason for the new film’s existence even more confusing.

    Having almost exhausted the supply of their 20th century movies, Disney has now remade 2002’s Lilo & Stitch. The film follows an alien experiment, originally known as 626 (voiced by Chris Sanders), created by Jumba ( Zach Galifianakis) for the benefit of an alien race led by the Grand Councilwoman (Hannah Waddingham). Unfortunately, 626 is too uncontrollable for them, and is banished to the faraway planet known as Earth.

    Landing in Hawaii, the creature soon to be known as Stitch gloms on to a young girl named Lilo (Maia Kealoha), who mistakes it for a dog while looking for companionship following the death of her parents. Tracked by Jumba and fellow alien Pleakley (Billy Magnussen), now in human form, Stitch leaves a trail of destruction wherever he goes, much to the chagrin of Lilo’s older sister, Nani (Sydney Agudong).

    Directed by Dean Fleischer Camp and written by Chris Kekaniokalani Bright and Mike Van Waes, the film will surely be a blast of nostalgia for anyone who was a kid when the original came out. The now-3D Stitch is just as chaotic as ever, and they even included cast members from the first film like Tia Carrere (now playing a social worker for the orphaned sisters) and Amy Hill as a kindly neighbor.

    But for all of the frenzied fun that Stitch offers, there’s very little else that holds the story together. For one, the Lilo character as a real person doesn’t work as well as she does in animated form, as there’s something fluid that happens in animation that feels stilted when it’s an actual little girl. Perhaps sensing this fault, the film is loaded to the hilt with bite-sized moments that try to make the audience laugh, but do little to give the story any meaning.

    The difference between animation and live action is never more evident than with Jumba, Pleakley, and CIA agent Cobra Bubbles (Courtney B. Vance). Characters that are goofy and enjoyable in animated form come off as weird and off-putting in human form. They’re supposed to bring a sense of fun and even suspense to the film, but instead they feel like characters who are getting in the way of a better story.

    Kealoha, making her professional debut, is definitely cute and offers up some interesting moments opposite Stitch and Nani, but her lack of experience shows. Agudong turns in the best performance, giving a bit of emotional weight to a film that needed more. Galifianakis and Magnussen would have been better served as voice-only roles; neither comes off well when their characters turn into humans. Hill is like a warm hug every time she comes on screen, and the story could have used more of her.

    The new Lilo & Stitch is not an abomination, but like most of the Disney live action remakes before it, it fails to stand on its own merits. Never given a chance to be its own thing and featuring storytelling too disjointed to be effective, the film is another so-so effort from a studio that knows how to make much better movies.

    ---

    Lilo & Stitch is now playing in theaters.

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