For Packer, screen psychiatrists are not created from imagination alone. Rather, film psychiatrists reflect the public’s ideas, fears, and hopes about the field of psychiatry. Packer describes a period in the late 1950s and early 1960s—a period she terms the “Golden Age” for cinema psychiatrists—when a spate of films portrayed psychiatrists as compassionate and unrealistically omniscient. The 1957 film The Three Faces of Eve, which Packer calls the “poster film” for the Golden Age of Psychiatry, portrays a psychiatrist named Dr. Luther, who successfully treats a housewife (Eve) with multiple personality disorder. The film paints a rosy picture of Dr. Luther’s treatment of Eve, who comes into his care after being abandoned by her husband and trying to kill her daughter. While she initially presents with two personalities—Eve White, a humble housewife, and Eve Black, a wild, party-going alter-ego—Dr. Luther’s treatment prompts a third, stable personality to emerge. At the end of the film, Eve (now called Jane, the name of the stable personality) remarries and reunites with her daughter. Typical of Golden Age films, Dr. Luther’s treatment of Eve was portrayed as effective and final. In contrast, the real-life woman the film was based on, Chris Costner Sizemore, reported exhibiting additional personalities and requiring ongoing treatment from multiple psychiatrists after her initial “cure.” In contrast to their demonized counterparts in the majority of films Packer reviewed, Golden Age film psychiatrists were idealized and imbued with healing powers far beyond the available treatments of the day. Packer credits this Golden Age of screen psychiatry to societal enthusiasm about the major medical successes of the 1950s, including development of the polio vaccine. When chlorpromazine was introduced in the United States in 1954, it seemed possible that mental illness, like polio, would soon be eliminated by benevolent, and heroic, doctors.