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Psychoanalysis in film is something that comes up time and time again. Through film, the psychoanalytic processes are explored, and in most cases resolved, as a character, and sometimes the psychologists themselves, find meaning within their own lives. The film Good Will Hunting, (Gus Van Sant, 1997, Miramax International) starring Matt Damon and Robin Williams, explores the basic theories of psychology, as Sean (Williams), helps Will (Damon) come to terms with his gift of intelligence. As the story progresses, Will finds himself being able to open up to Sean. Sean finds that not only is he the help Will has been looking for, but Will is also helping him realize, and value a few things about his own life. Will Hunting is an orphan with a history of physical and mental abuse within his family. After a few run ins with the law, Will is now twenty years old and spends most of his days hanging out with his friends Chuckie, Billy and Morgan. Will is able to solve complex mathematical theorems almost without thinking. Spending his days working as a janitor, Will finds himself solving problems on a blackboard that University Professor Lambeau puts up for his enthusiastic students. After catching Will out solving a problem his students could not, Lambeau gets a hint of his genius, but Will has yet another run in with the law. Will is thrown in prison, but after Lambeau finds out about this, he offers to watch Will under his own supervision – on the condition that Will must meet with him weekly to discuss mathematics, and also a psychiatrist to discuss his personal problems. The real problem is, Will isn’t as enthusiastic about his gift as everyone else. The representations of Psychiatrists within this film are somewhat stereotypical until we are introduced to Sean. The first psychiatrist Will is sent to see is seated behind a desk, which is filled with books he most probably has never even read. He is a grey haired, old man in a suit who sits up-right, dangling his glasses from his hands, looking to be listening to Will intently. Every word he says involves moving his hands to explain his point. Will is sitting slouched in a chair opposite him, aware after reading his book, that this psychiatrist is obviously not genuine – and a waste of his time. This first psychiatrist doesn’t seem to adapt to any particular form of therapy that is recognized. He simply tells Will to quit being a punk, but in bigger words, he says: “No more tomfoolery, no more ballyhoo”. Yes, psychiatrists may at times seem as if they are talking in a different language, but if one is unable to connect with a patient by firstly not using words which the young patient, Will, might relate to, and secondly just telling him to cut out his bad ways – the patient has no reason here to listen to any word the psychiatrist is saying. Will then jumps back at the psychiatrist, by asking him if he finds it hard to hide the fact that he is gay.
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