When the Bough Breaks: A Documentary About Postpartum Depression


Three brave women discuss that which society deems to be a stigma.

(2016) Documentary (Gravitas Ventures) Brooke Shields (narrator), Carnie Wilson, Aarti Sequeira, Lindsay Gerszt, Diana Lynn Barnes, Bradley Gerszt, Haiti Harrison, Peggy Tanous, Naomi Knoles, Joy Burkhard, Raul Martinez,, Jenna Liddy, Tanya Neybould, Jane Honikman, David Arredondo, Vivian Burt, Jacqueline Goodman, Angela Burliing, Staci Janisse, Randy Gibbs, Candyce Carpenter. Directed by Jamielyn Lippman

 

For a long time women who felt down after giving birth were dismissed as having “the baby blues” or some such. “You’ll get over it,” was the prevailing logic. “Suck it up and get back to cleaning the house!” It hasn’t been until relatively recently that postpartum depression was seen as something serious – and occasionally lethal.

The first smart decision the filmmakers made was getting Brooke Shields involved as a narrator and producer. She in many ways became the face of postpartum depression when she wrote a book confessing her own issues and how she got through it – and was promptly read the riot act by Tom Cruise for admitting to taking medication for it. Some of you might remember that embarrassing moment in the actor’s career.

The genesis of the project was Lindsay Gerszt who suffered from a severe postpartum depression after the birth of her son Hunter. The filmmakers follow her through six years of a variety of different therapies, including acupuncture and electronic stimulation. We see how her husband Bradley copes (or doesn’t) with her situation, which I think is an excellent move on the part of Lippman – depression doesn’t just affect a single member of the family. Everyone has to deal with it.

There are a lot of talking heads here, mainly of women who have been through one of the various forms of PPD and some who have survived the worst of all – Postpartum Psychosis whose sufferers often have religious-based hallucinations and do bodily harm to themselves or their children including murdering them.

We do get some clinical information from various psychologists and specialists but the fact remains that PPD can strike any woman regardless of family history, social standing or culture. There are some things that can make you more susceptible to it (like a history of depression) but it can literally happen to anyone.

The filmmakers do talk about one of the worst aspects of PPD and that’s the stigma attached to it. There’s basically a stigma attached to any mental issue but in the case of Postpartum it really gets in the way of getting well. A lot of women won’t talk about the feelings they have because they are ashamed and feel that they’re “bad mommies.” Postpartum Depression often affects the bonding between women and their babies; women report feeling like they need to get away from their babies and don’t want to be around them. They cry often and sleep a great deal. Even the sight of women and their children in the mall can set off feelings of inadequacy. In some cases that feeling of alienation extends to their husbands/significant others and family members often bear the brunt of the victim’s frustrations and anger.

Again, with celebrities like Brooke Shields and Carnie Wilson (of Wilson-Phillips) coming out to share their experiences, things are getting a little better in that regard but we’re only starting to catch up now. Still screening for Postpartum Depression and Postpartum Psychosis isn’t standard in most states and for some women and their children, that can be fatal.

One of the faults I have with this movie is that it isn’t terribly representative. Most of the women here are well-to-do, live in beautiful homes, drive expensive cars – and most importantly can afford all manners of therapy for as long as they need it. That’s simply not the norm however; towards the end we get the experiences of a couple of families who are less affluent but in both cases it’s sufferers of Postpartum Psychosis whose illness leads to tragic ends. I think the movie would do a whole lot more good if women of less means can relate to the women in the film; I suspect many will look at the movie and say “But I can’t afford any of that” and instead of getting help they do like women have done through the ages and just suck it up, buttercup. It looks like nearly all of the women are from Southern California as well.

I will add this caveat that I saw this immediately after watching HBO’s excellent Cries from Syria which really makes this look a little bit like First World Problems and that’s achingly unfair. Post-Partum Psychosis claims the lives of women and children all over the globe and to put an exclamation point during the end credits, we are informed that two of the women interviewed for the film had taken their own lives since filming had been completed. If you are pregnant, about to be pregnant or know someone who is pregnant or about to be, you owe it to yourself – and them – to give this a watch. It could help you save the life of someone you love.

REASONS TO GO: The filmmakers make some excellent points about the demonization of mental illness.
REASONS TO STAY: Dwells too long on the experiences of celebrities and the rich; I would have liked to see more focus on women who don’t have the means to get six years worth of therapy.
FAMILY VALUES: Some frank discussion of violent events and childbirth as well as some profanity.
TRIVIAL PURSUIT: The project began when Lindsay Gerszt and Tanya Neybould discussed their postpartum depression with their friend filmmaker Jamielyn Lippman and the three determined to make a documentary about the condition which remains stigmatized.
BEYOND THE THEATERS: iTunes
CRITICAL MASS: As of 3/14/17: Rotten Tomatoes: No score yet. Metacritic: No score yet.
COMPARISON SHOPPING: Babies
FINAL RATING: 6.5/10
NEXT: The Founder

Hollywood Beauty Salon


Lookin' GOOD!!

Lookin’ GOOD!!

(2016) Documentary (Paladin) Rachel “Hollywood” Carr Timms, Sanetta “Butterfly” Watkins, Darlene Holmes Malone, Glenn Holsten, Crystal Smith, Rashida Herring, Edward Kozempel, Anthony Young, Paris Tyree, Serena Carter, Viola Wilson, Clyde Joelle, Paul Barnes, Cheryl Cobb, Irene Tindal, Margo Chavis, Marva Evans, Diane Daniels, Wilbur Ruhl, Laverne Davenport. Directed by Glenn Holsten

 

As a society we have a tendency to try to funnel the mentally ill, the substance abusers and the poor into places where we can’t see them, where they can languish largely forgotten by the world. The sad thing is that these are all human beings – troubled to be sure, but still just as human as you or I. They have feelings, they have dreams, they have hopes and they have lives. Generally, we don’t give them credit for any of that.

One glimpse of Hollywood Beauty Salon may change your minds. These aren’t drooling, feeble-minded village idiots who can’t dress themselves; at least one of them has a college degree (two of them, at that) and all of them compassion for one another. The stories they have to tell are often horrific; tales of witnessing their mothers commit suicide when they themselves are only five years old and tales of abusive relationships ending in gunfire. These are tales of bullying and foster care, of drug abuse and despair. These people have overcome some genuinely nightmarish pasts and have done so hampered by schizophrenia, paranoia, bipolar disorder and clinical depression. It’s amazing that some of them are here at all.

One of their number, Rachel “Hollywood” Carr Timms, managed to fight through the pain of losing a baby followed in short order by her partner being murdered; suicidal and hearing voices, she got the help she needed and in fact got a license as a certified psychiatric rehabilitation practitioner, enabling her to give back to the community that helped her on the road to recovery. She set up a beauty salon in a mental health recovery complex in the largely African-American district of Germantown in Philadelphia, citing that feeling beautiful helps with the recovery process. Training some of the residents there to cut hair, do manicures and pedicures and apply cosmetics helps give the residents marketable skills they can eventually use to get employment.

But strangely despite the title, this isn’t about the salon, although it does serve as something of a center for the film. It’s about the people in it; their stories, told through dramatic recreations, animated sequences or the old-fashioned way – talking to the camera and/or to each other. Filmmaker Glenn Holsten not only shows us the stories of these people but in a curious meta sort of way, shows us how the documentary itself was put together. For my money, that’s some impressive innovation.

The gist of the film is that under the aegis of Timms, the Salon is about to put on their second annual Hair and Fashion Recovery Show, in which the various clients and stylists of the Salon not only show off their skills but also their tales of recovery. We get to meet Sanetta Watkins, who wants to be known as Butterfly – not only because she loves them and their colorful wings but because they are a symbol of herself, coming out of a self-created chrysalis of loneliness and blossoming into a functioning, social human being. We also meet Edward Kozempel, once a bright and promising flutist who is diagnosed with paranoid schizophrenia and cancer – he loses everything, including his ability to make music and lives out in the streets until the program in Germantown finds him.

Dorothy Holmes Malone tells us a harrowing tale of how she grew up in foster care, always hungry and rarely being allowed to bathe except when social workers were coming for an inspection and endured a childhood full of bullying. She allows her tale to be told through dramatic recreation, her story so affecting one of the child actresses that she bursts into tears to be comforted by Malone herself.

But it is Hollywood’s story that really is at the emotional center of the film; it is hard to imagine losing nearly everything you love in life. She contemplated suicide and only her last remaining child, Cadence, convinced her to stay with the living. “Life is a choice,” she says in typical blunt fashion. She is as compassionate as they come but she can be a drill sergeant when she has to be. To me, Hollywood is the kind of hero America really needs, someone who overcame tremendous odds and gives back to her community in a tangible way. When she is doing some glamour shots for the Show, we get to see some of her inner joy and it is contagious. Everyone needs a little Hollywood in their lives.

Given the headlines of late of terrorism, mass murder and of a Presidential election that is perhaps the most depressing event in American history, it is refreshing to see a story like this one. One might even say it is necessary to our continued mental health to know that there are people out there with the kind of hearts and courage that these people exhibit just to get through their day. Sure, they break down from time to time but for the most part, these people are just like you and me. They have dreams. They have hopes. They have lives. And I’m glad we got to share a little bit in them. It truly made my day a lot better and how often can a movie do that?

REASONS TO GO: This is a movie that shows a whole lot of heart but brings a whole lot of tears. The stories as horrifying as they sometimes are all are triumphant in their own way. The animations truly enhance the story.
REASONS TO STAY: The story jumps around a little bit.
FAMILY VALUES: Some very adult themes coupled with some sexual references and allusions to violence and drug/alcohol abuse.
TRIVIAL PURSUIT: The movie was filmed over the course of four years.
CRITICAL MASS: As of 7/29/16: Rotten Tomatoes: No score yet. Metacritic: No score yet.
COMPARISON SHOPPING: Life, Animated
FINAL RATING: 8/10
NEXT: Ghostbusters (2016)