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Depression and, by extension, mental illnesses have been discussed quite a lot in recent years, with many Bollywood celebrities (cue in Deepika Padukone) talking about their experiences and/or supporting different causes related to it. In Nepal too, it wouldn’t be wrong to say there is a lot more awareness about mental health and the importance of a healthy mind now than ever before, though we are still far from normalizing mental health issues. Shaheen Bhatt’s ‘I’ve Never Been (Un)Happier’ could help us do just that by giving us a clear insight into the mind of someone living with anxiety and depression. 

I’ve Never Been (Un)Happier is a candid account of the author’s traumatic emotional experiences and battles with a mental condition that feels debilitating. Shaheen was diagnosed with depression when she was 18 when she had already been living with it for five years. Till then, she didn’t have a name for why she felt so sad and hollow most of the time, despite not having any reason for it.

As filmmaker Mahesh Bhatt’s daughter, one would think her fairly privileged lifestyle would warrant a happy life. But Shaheen says her pain doesn’t come to her because of her lifestyle and neither is it taken away because of it.

Yes, growing up, she had a comfortable life (though not a lavish one as most would believe because “filmmakers in the 90s didn’t exactly break the bank”). Financial security meant she could seek the support she needed. But her family background came with its own pressures. She was surrounded by famous, successful, and ambitious people but on some days her ambition would simply be to get herself to leave her bedroom.

Shaheen hasn’t sugarcoated or downplayed anything and the brutal honesty with which she writes makes the book unputdownable. What I especially liked about the book is how easy it is to read, and thus grasp. Shaheen doesn’t beat about the bush or make excuses for her behavior. Her “it is what it is” attitude helps you connect with the author and feel for her, even if you haven’t been through similar experiences.

Time and again, Shaheen shows you other vulnerable sides to her—being unable to attend classes, her relationship with food and the subsequent weight gain, and comparing herself to her older half-sibling Pooja—who was working in films when Shaheen was growing up—as well as her younger sister, Alia—who, she says, was effortlessly charming even as a child. There are also instances when you feel she is having an intimate conversation with you. You can relate to many of her experiences and Shaheen becomes a friend you have always secretly wished for.

I would highly recommend this slim book because it has the power to bring about some much-needed change in perspective on depression and mental health.

Non-fiction

I’ve Never Been (Un)Happier

Shaheen Bhatt

Published: 2019

Publisher: Penguin Random House India

Language: English

Pages: 165, Paperback

When the eponymous Enola Holmes, in her introduction within the first few minutes of the movie, says, “Mother said we were free to do anything at Ferndell… and be anyone,” you immediately realize that this is more than just a detective movie. Released by Netflix on September 23, “Enola Holmes” masks as a mystery movie but deep inside is a feminist reiteration that challenges men’s traditional positions and beliefs.

The analytical, penetrative, and eccentric private detective Sherlock Holmes and his aristocratic elder brother Mycroft are brought to the screen again. But this time, they are not the center of attraction. This is the time for young Enola (Millie Bobby Brown) to show her prowess and establish herself as an independent woman. Tutored by her mother Eudoria Holmes (Helena Bonham Carter) at home on literature, history, science, and martial arts, Enola possess skills similar, or maybe even surpassing, Sherlock. The 16-year-old is a free-spirited, independent, and outspoken girl, exactly like her mother raised her, but considered ‘unladylike’ and even criminal in Victorian England, the era this story is based on. 

The credit for creating the powerful character of Enola does not go to Sherlock Holmes’ original creator Sir Arthur Conan Doyle. The film is rather based on the first book published in the series “The Enola Holmes Mysteries” (2006) written by Nancy Springer, and adapted for the screen by Jack Thorne, and directed by Harry Bradbeer.

Enola’s quiet and comfortable life at Ferndell Hall changes abruptly one day when her mother disappears without a word. Her brothers Sherlock (Henry Cavill) and Mycroft (Sam Claflin)—who have long since abandoned their family—return home to help find her, but are not as serious about the task as Enola would like. Instead Mycroft, who is legally Enola’s guardian after their mother’s disappearance, wants to admit Enola into a finishing school where she will be taught to be ladylike and get ready for marriage to the best possible suitor. Obviously, Enola has no intention of being trained or married, so she escapes from her home to London to find her mother, on the way getting entangled with the young Viscount Tewkesbury (Louis Partridge) who will also be a part of this adventure.

As said earlier, Enola Holmes is not your quintessential mystery movie. Most mystery movies/detective flicks we’ve watched—including the various productions of Sherlock Holmes himself—focus more on the plot, the crime, the situation, and on finding the culprit. But Enola Holmes, even with its twist and turns, gives more space to the personal and political aspects of being a woman in the aristocratic English society.

The story is of a time when women were not allowed to vote and any woman asking to be treated equally would be charged for sedition. Enola is detested by her eldest brother Mycroft, for possessing the same spirit and qualities of Sherlock. Fearing her free spirit and liberality would not be accepted by his high society, Mycroft wants to “break up and build her up” in a strict boarding school.

The movie features stellar performance from 16-year-old Millie Bobby Brown. She embodies Enola’s characters with energy and sparkle. Brown personifies the young, intelligent, insightful, defiant, rebellious, and yet oppressed Enola as if she was born into that era and lived through Enola’s experiences. The rest of the cast are only supporting crew for Brown as she makes the entire film her own.

But despite ticking so many right boxes, the movie has a few shortcomings. First, in trying to depict the socio-political context to establish its setting, the film falters on storytelling. The mysteries are jumbled up and predictable, and do not complement the extraordinary skills of Enola. Also the 2hrs 3mins length is a little too long.

Who should watch it?

Enola Holmes is similar to the stories of Sherlock Holmes, but retold with a modern touch. The film has a feminist bent and a diversity of characters. While most reiterations of Sherlock Holmes onscreen productions were dominantly white, Enola Holmes gives some space to colored faces as well. So this is a must watch in this time as the society embraces greater diversity and inclusiveness. We’re sure the audience will enjoy Enola Holmes as much as any other detective movie they have watched of late.

Enola Holmes

Rating: 3.5 stars

Genre: Crime/Drama

Actors: Millie Bobby Brown, Henry Cavill, Sam Claflin

Director: Harry Bradbeer

Run time: 2hrs 3mins

Recently, on a cold weekday afternoon, I was browsing through the children’s section at Ekta Books in Thapathali, Kathmandu. I wanted a pick-me-up as the weather had been dreary for a while, leaving me lethargic and a little upset. A good book ought to solve the problem, I thought. Only this time I wanted something fun and heartwarming, and where better to look than children’s literature!

I picked up ‘The One and Only Ivan’ by Katherine Applegate on a staff’s recommendation. She said it’s been selling well and is also apparently on a school syllabus in Nepal.

The One and Only Ivan is a tale of love and friendship that revolves around a silverback gorilla named Ivan. He has been living in a cage, which he calls domain, for years at the Big Top Circus Mall and knows nothing of the real world. His world is all that he can see through his cage-bars.

However, Ivan, not knowing another way of life, is content. He eats all he wants, and enjoys painting, which sells at the gift store for “$20, $25 with a frame’. He loves Stella, a rescued circus elephant, and Bob, the dog, who sleeps on his tummy. Then Mack, the mall operator, brings in Ruby, a baby elephant. She was taken from her family and isn’t used to a confined life. It is Ruby who makes Ivan realize there’s an entirely different world out there and they aren’t meant to be where they are.

Applegate’s incredible story is inspired by a real-life gorilla named Ivan who lives in Zoo Atlanta. He spent almost three decades at a circus-themed mall in Washington state after being captured as an infant in the Democratic Republic of Congo. He enjoys a celebrity status at the zoo where he is known for his paintings that are “signed” with his thumbprint.

The book is airy, comprised of short sentences, paragraphs, and chapters. The prose is often poetry-like with Ivan making fun observations about human nature. “Humans speak too much. They chatter like chimps, crowding the world with their noise even when they have nothing to say.” The story is a bit slow and sad at times but you feel an instant connection with Ivan and thus don’t want to put the book down.

The One and Only Ivan is a good book to introduce young adults to animal rights. It can also make them empathetic towards others. But above all, it will lift their spirits and make them smile.

About the author

Katherine Applegate is an American young adult and children’s fiction writer who mostly writes science fiction, fantasy, and adventure novels. She is known for her book series namely Animorphs, Remnants, and Everworld. She also wrote the acclaimed chapter book series called Roscoe Riley Rules. The One and Only Ivan won the 2013 Newbery Medal.

Children’s literature

The One and Only Ivan

Katherine Applegate

Published: 2012

Publisher: Harper Collins Children’s Books

Language: English

Pages: 256, Paperback

“Man created God in his own image,” said Ludwig Feuerbach, a German philosopher, in 1851. Come 2019, and “man has created demons in his own image” would be the perfect description for the Hindi-language science fiction film “Cargo”.

Originally premiering at the 2019 MAMI Film Festival, Cargo was released on Netflix only this month, not generating as wide a viewership as was probably expected but still creating enough interest. Written and directed by Arati Kadav, Cargo is one of the rare Indian cinemas based on future time and science fiction. And Kadav’s imagination reels in Hindu mythological demons to be a part of the film that is borderline dark comedy.

Prahastha (Vikrant Massey) is an astronaut abroad the spaceship named Pushpak 634A run by the Post Death Transition services. A 100-plus-year-old demon himself, Prahastha’s job is to recycle dead people and get them ready for rebirth. He has been living in the spaceship alone for 75 years, following the same daily routine, with the video call with Nitigya (Nandu Madhav) his only regular contact with the outside world.

As retirement approaches for Prahastha, he is given an assistant in the form of Yuvishka Shekhar  (Shweta Tripathi), a fellow demon and astronaut. How the two interact and what changes the younger demon brings to Prahastha’s life makes up the movie’s main plot, which has plenty of undercurrents of dark humor and satire on human life and society.

Evidently made on a low budget, and not very sci-fi friendly despite its literal out-of-the-world setting, Cargo is a film that tries to bank more on its writing and acting than exciting visuals. Nonetheless, Kaushal Shah’s cinematography is crafty and manages to capture scenes that are well suited for the genre. In line with the writing that makes use of comedy, irony and satire to substantiate a very simple, twist-less plot, the cinematography and direction create an interesting collage of ideas to form Cargo.

But despite noticeable performances form the behind-the-camera team Cargo fails to capitalize on the talent it features. For one, the use of the talented leads Vikrant Massey and Shweta Tripathi is underwhelming. These actors, although relatively new to the industry, have made a mark with meaningful roles in critically acclaimed movies. But in Cargo, there is nothing to compliment them on their acting. Also, guest appearances of gifted comedian Ritwik Bhowmik and the immensely experienced Konkona Sen Sharma, which could have been delightful additions, don’t make the movie any less mundane.

Not to take away the credit from the actors, it’s the film’s slow pace that takes away the luster from what could otherwise have been a compelling premise. While there have been feature-length films in the past with just a handful of cast and next to no outdoor shootings that nonetheless have entertained us for two whole hours or so, unfortunately, Cargo, even with all its witty dialogues, off-center setting and surrealistic approach, doesn’t hold its ground for its 1h 59mins runtime. In fact when Prahastha talks about uploading the memories of dead people (the cargo) onto digital drives, it feels like the movie would have fared well as an episode of the British dystopian science fiction anthology “Black Mirror” (2013-2017) that were between 40-90 minutes.

Also noticeably underwhelming is the film’s background score. In a movie that is otherworldly, dystopian or surreal, we expect the score to be as arousing as the visuals. We understand budget constraints, but the background music doesn’t even match the effort of the cinematographer and the director.

Who should watch it?

“Cargo” is one of those films that could become a cult classic. It does have its Kubrickian moments and the writing has enough material for sequels or spinoffs. But this particular movie does not sit very well with the larger masses solely in it for entertainment.

Cargo

Rating: 2 stars

Genre: Science-fiction

Actors: Vikrant Massey, Shweta Tripathi, Nandu Madhav

Director: Arati Kadav

Run time: 1hr 59mins