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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

    Star TV producer James L. Brooks stumbles with meandering movie Ella McCay

    Alex Bentley
    Dec 12, 2025 | 2:30 pm
    Emma Mackey in Ella McCay
    Photo courtesy of 20th Century Studios
    Emma Mackey in Ella McCay.

    The impact that writer/director/producer James L. Brooks has made on Hollywood cannot be understated. The 85-year-old created The Mary Tyler Moore Show, personally won three Oscars for Terms of Endearment, and was one of the driving forces behind The Simpsons, among many other credits. Now, 15 years after his last movie, he’s back in the directing chair with Ella McCay.

    The similarly-named Emma Mackey plays Ella, a 34-year-old lieutenant governor of an unnamed state in 2008 who’s on the verge of becoming governor when Governor Bill (Albert Brooks) gets picked to be a member of the president’s Cabinet. What should be a happy time is sullied by her needy husband, Ryan (Jack Lowden), her agoraphobic brother, Casey (Spike Fearn), and her perpetually-cheating father, Eddie (Woody Harrelson).

    Despite the trio of men competing to bring her down, Ella remains an unapologetic optimist, an attitude bolstered by her aunt Helen (Jamie Lee Curtis), her assistant Estelle (Julie Kavner), and her police escort, Trooper Nash (Kumail Nanjiani). The film follows her over a few days as she navigates the perils of governing, the distractions her family brings, and the expectations being thrust upon her by many different people.

    Brooks, who wrote and directed the film, is all over the place with his storytelling. What at first seems to be a straightforward story about Ella and her various issues soon starts meandering into areas that, while related to Ella, don’t make the film better. Prime among them are her brother and father, who are given a relatively small amount of screentime in comparison to the importance they have in her life. This is compounded by a confounding subplot in which Casey tries to win back his girlfriend, Susan (Ayo Edebiri).

    Then there’s the whole political side of the story, which never finds its focus and is stuck in the past. Though it’s never stated explicitly, Ella and Governor Bill appear to be Democrats, especially given a signature program Ella pushes to help mothers in need. But if Brooks was trying to provide an antidote to the current real world politics, he doesn’t succeed, as Ella’s full goals are never clear. He also inexplicably shows her boring her fellow lawmakers to tears, a strange trait to give the person for whom the audience is supposed to be rooting.

    What saves the movie from being an all-out train wreck is the performances of Mackey and Curtis. Mackey, best known for the Netflix show Sex Education, has an assured confidence to her that keeps the character interesting and likable even when the story goes downhill. Curtis, who has tended to go over-the-top with her roles in recent years, tones it down, offering a warm place of comfort for Ella to turn to when she needs it. The two complement each other very well and are the best parts of the movie by far.

    Brooks puts much more effort into his female actors, including Kavner, who, even though she serves as an unnecessary narrator, gets most of the best laugh lines in the film. Harrelson is capable of playing a great cad, but his character here isn’t fleshed out enough. Fearn is super annoying in his role, and Lowden isn’t much better, although that could be mostly due to what his character is called to do. Were it not for the always-great Brooks and Nanjiani, the movie might be devoid of good male performances.

    Brooks has made many great TV shows and movies in his 60+ year career, but Ella McCay is a far cry from his best. The only positive that comes out of it is the boosting of Mackey, who proves herself capable of not only leading a film, but also elevating one that would otherwise be a slog to get through.

    ---

    Ella McCay opens in theaters on December 12.

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