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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.

    Dr. Walter Menninger and his family at the opening of The Menninger Clinic’s new Mental Health Epicenter in 2012

    Great Gatsby" sanitarium Dr. Walter Menninger and his family at the opening of The Menninger Clinic\u2019s new Mental Health Epicenter in 2012
    Photo courtesy of The Menninger Clinic
    Dr. Walter Menninger and his family at the opening of The Menninger Clinic’s new Mental Health Epicenter in 2012
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    Movie Review

    Twin sisters set out for revenge in Tarantino-esque film 'Is God Is'

    Alex Bentley
    May 15, 2026 | 10:00 am
    Kara Young and Mallori Johnson in Is God Is
    Photo by Patti Perret
    Kara Young and Mallori Johnson in Is God Is.

    The revenge story is one of the most enduring in all of cinema as it can be adapted to multiple different genres. It most naturally fits in the action/thriller genre, but comedies, dramas, Westerns, and more have made good use of characters seeking revenge. The new film Is God Is demonstrates that malleability by detailing an intensely personal story that turns into something bigger.

    Twins Racine (Kara Young) and Anaia (Mallori Johnson) have lived a difficult life, going in and out of foster care and forced to endure stares and taunts because each bears burn scars from a childhood attack. Racine, whose scars are “only” on her left arm, has developed into the protector of Anaia, who suffered burns over much of her face.

    An unexpected call from their mother, Ruby (Vivica A. Fox), who was burned almost beyond recognition in the attack, gives them a purpose: Seeking revenge on the man who ruined their lives. Setting out in a barely working car and with only a small amount of direction, the sisters attempt to fulfill the mission without losing their souls.

    Written and directed by first-time feature filmmaker Aleasha Harris, the film may remind some viewers of Quentin Tarantino’s Kill Bill, and not just because Fox has small roles in both films. Harris has a knack for dialogue, especially between the twins, that ably gets across the story exposition and entertains at the same time. There are many instances where she has the sisters hold silent conversations told on screen via subtitles to convey twin-speak, a method that deepens their connection and draws the viewer in.

    Harris also has her characters engage in the type of shocking violence that Tarantino has used to great effect. The difference here, though, is that even though the story is heightened to a certain degree, the egregious nature of the crime perpetrated upon the girls and their mother makes the whole thing feel bracingly real. This revenge plot is not meant to merely entertain; it’s designed to put the audience in Racine and Anaia’s shoes and fully embrace the call for justice.

    There are a few times when the lack of experience by Harris shows up, especially in the climactic sequence where the stunt work could have used some more precision. But overall, it’s a self-assured filmmaking debut for the playwright-turned-director, who’s adapted her own play with a richness and depth that is not often found from someone stepping behind the camera for the first time.

    Young and Johnson don’t especially look alike, but they embody the essence of twin sisters, and it’s their chemistry together that makes the story as impactful as it is. They’re joined by other strong female performances by Fox, Erika Alexander, and Janelle Monáe, each of whom brings a different vibe. And anyone who loves This is Us or Paradise should prepare themselves for a completely different kind of role for Sterling K. Brown.

    Is God Is uses a variety of inspirations for its storytelling, but in the end it becomes its own thing. The filmmaking world can always stand to have another strong Black voice, and Harris has made an auspicious debut, one that should have cinephiles wondering what she’ll do next.

    ---

    Is God Is opens in theaters on May 15.

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