Expectations are a tricky thing with movies, and it can be hard to temper them when some cinema staff will go so far as to hand out tissues to moviegoers as they enter the theatre. In this case, at least, Pat Boonnitipat’s critically acclaimed tearjerker How to Make Millions Before Grandma Dies (in Thai, Lahn Mah) actually lives up to the hype. The family drama is one of the biggest box office hits in Southeast Asian history and Thailand’s submission for best international feature for this year’s upcoming Academy Awards.
The film centers on a multi-generational family: the matriarch and grandmother Mengju (78-year old newcomer Usha “Taew” Seamkhum), her three adult kids, and the grandson and protagonist M (played by Thai pop artist Billkin). Mengju (in Teo Chew, “Amah”) is lonely and living by herself when her children discover that she has cancer. Like the premise of The Farewell, they decide to keep it a secret from her. Unlike The Farewell, things quickly veer off-track, in a manner that is both more conventional and also less gimmicky and more beautiful.
My experience with Thai cinema is pretty limited to high-brow art like Uncle Boonmee Who Can Recall His Past Lives or action-stunt epics like Ong Bak. This film is something else entirely. The title is descriptive and in some ways the film is as matter-of-fact as its title – with a wry sense of humor, and much more energetic and musical than expected, probably a reflection of some of the cultural differences in both drama and humor. The family members are all memorable but it’s really the relationship between the rascal grandson and the surly grandma that give this movie most of its heart. As M realizes that there might be some financial upside in moving in and taking care of his grandmother, Amah in turn is suspicious of his newfound goodwill.
M’s mother and two uncles may be the supporting characters but they’re critical players in the family drama and important in adding complexity and layers to the characters’ relationships and motivations. The mother is hard-working but underappreciated as the sole daughter, while the older uncle is obsessed with money and the younger uncle is a gambling addict and lout. In typical Asian fashion, the intergenerational dynamics are deep-seated and sometimes toxic. Forgiveness is a near-impossible, almost divine trait, but under the right circumstances scars can heal, and we see relationship between M and Amah begin to blossom. Seamkhum’s performance is phenomenal, especially when she begins to open up and be less of a grouch.
Boonnitipat’s fingerprints are all over this slice-of-life story bursting with indie style, and even the score has a vibrant, handmade feel to it and an immersive sound design. Some of the dialogue is cheesy but there are some fantastic one liners. “If you do things just you get them done, don’t do then at all” is a bit of a cliche, but M’s mother has some gems, including: “Sons inherit assets. Daughters inherit cancer.” But my favorite of them all is M’s cousin telling him, “Stay with your grandparents long enough that you don’t smell them anymore.” Over the course of the film, that’s what the audience proceeds to do as well, to take this strange old lady and become familiar with her – to become family with her.
M starts out like his younger Uncle Soei, then becomes more like his Uncle Kiang, before finally more closely resembling his mother in a full circle turn. The ending of the film will hit you like a freight train. It completely wrecked me and turned this from a 4 star to a 5 star movie. It delves into just how complicated family dynamics can be, and how even deceit and ulterior motives can lead to harm and good, but also ultimately how simple and sweet familial love can be. If you can, please watch this movie. And then please go spend time with your loved ones while you can.
Now streaming on Netflix in select countries in Asia.
