‘How to Make Millions Before Grandma Dies’ Review: Thai Oscar Entry Is a Disarmingly Sentimental Tear-Jerker

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In just a handful of gentle, tinkling piano notes, the movie “How to Make Millions Before Grandma Dies” (directed by Lahn Mah) hints that its main character might swap his jaded ambition for altruistic dedication as the story unfolds. However, the film’s straightforward emotionality doesn’t diminish its poignancy or wisdom in portraying complex family dynamics that erupt when end-of-life matters and inheritance disputes ignite tension. This Thai comedy-drama, which explores the country’s first entry to make it onto the 15-title shortlist for the international Oscar, is both touching and insightful in its exploration of such topics.

Pat Boonnitipat, a well-known director in television and documentaries, made a tremendous impact with his first major film. It was a massive hit domestically, eventually earning over $73.8 million worldwide by gaining popularity across Southeast Asia as well. This success didn’t stay within our borders; it spread to other countries in the region. The reason for its popularity is quite clear: a viral sensation on social media. This buzz started when theater staff in Manila distributed tissues before every showing, and viewers who were moved to tears shared videos of themselves online as they left the theater.

Interestingly, it might be more impactful to highlight not just the complexity and flaws, but also the underlying love within the family portrayed by Thodsapon Thiptinnakorn and Boonnitipat’s screenplay. This dynamic, rooted in a sense of intergenerational responsibility, often conflicts with personal interests, yet remains compelling. Though this dynamic is distinctively Asian, its fundamental narrative elements are universal enough to resonate across various cultures.

In a humorous yet poignant manner, the topic of death is introduced in an initial scene that takes place on the Qingming Festival day, a traditional Chinese holiday where families pay their respects at ancestral graves by cleaning, decorating, and offering food and incense. This festival holds significant importance for Mengju, affectionately known as Amah, the elderly matriarch of the story. She is often bossy and critical towards her family, usually with a valid basis.

Amah’s eldest child, Kiang (Sanya Kunakorn), works in finance. During a video call, his wife and daughter join the conversation, but Amah notes that they rarely visit her. Amah’s youngest son, Soei (Pongsatorn Jongwilas), struggles with gambling problems. The middle child, Sew (Sarinrat Thomas), is a hardworking supermarket employee and seems to be the most responsible of Amah’s three children. However, it appears that Sew’s son M (Putthipong Assaratanakul, also known as “Bullkin”) has left college with aspirations to earn money through streaming video games. This decision might reflect negatively on Amah’s own child.

When the elderly lady voices her desire for a lavish burial site, the hesitant reactions imply that her relatives won’t be covering the hefty cost themselves. During their visit at the cemetery, Mengju suffers a fall and is rushed to the hospital, where doctors discover she has advanced stomach cancer (stage 4) in its final stages. The family chooses to conceal this devastating truth from her.

Simultaneously, M observes his shrewd younger cousin Mui (Tontawan Tantivejakul) as she looks after their wealthy, elderly paternal grandfather during his last few months and eventually inherits most of his fortune upon his death. Swiftly selling the family home, Mui relocates to a contemporary high-rise apartment, where she moonlights as an alluring nurse on OnlyFans. She suggests that M position himself as Amah’s primary caregiver and move into a favorable position in her will, advising him that he’ll grow accustomed to the “old person smell” over time.

One day, without warning, M shows up at his grandmother’s house in one of Bangkok’s Chinatown areas. She runs a modest business there, selling rice porridge, or congee, at a local market street. Mengju is quick to be wary of M’s intentions, as she doesn’t readily accept his attempts to win her favor. This skepticism from Mengju causes M to reveal that his grandmother has been diagnosed with cancer.

Mengju calmly agrees with the diagnosis and stops arguing once M decides to care for her, joining her at 5 a.m. every day at her congee stand. Despite this, she’s a cantankerous woman who sticks to her routines and fiercely independent, which makes her difficult during the following family gathering, where even Kiang’s wife Pinn (Duangporn Oapirat) and daughter Rainbow (Himawara Tajiri) seldom attend.

This version aims to keep the original meaning while simplifying some of the complex sentence structures and using more common words that are easier for readers to understand.

It’s not long before it’s clear that nearly everyone desires Amah’s house, with her deteriorating health and chemotherapy proving ineffective, serving as a significant factor. Among the supporting characters, Thomas (known as Sew), shows exceptional dedication towards caring for his mother selflessly. She expresses a practical rather than pity-ridden view when she remarks, “Sons receive wealth, daughters inherit illness,” reflecting her perspective on their shared fate.

In the context of Mengju’s estate matters and her grandmother’s personal history, the deep-rooted cultural bias towards males in traditional Asian families, where sons are often privileged over daughters due to carrying on the family name, is clearly evident.

In a heartwarming moment, M is led by Mengju to meet her wealthy older brother (Wattana Subpakit) and his family at their grand residence. The gathering turns nostalgic, with the elderly siblings sharing a joyful karaoke session, until Mengju requests money from him to purchase a burial plot. She confides in M that despite taking care of their aging parents, her parents left all their wealth to her brother due to their disapproval of the husband they had arranged for Mengju in a traditional match.

The emotionally resonant film is not accurately conveyed by its international title suggesting slapstick humor; a more fitting representation of the film’s core theme can be found in the original Thai title, “Grandma’s Grandchild,” which better reflects the movie’s focus on heartfelt emotions.

Despite Jaithep Raroengjai’s score possibly skewing towards sentimental tones, M’s deepening affection for Amah, and Amah’s reciprocating feelings, are expressed with a rich emotional intensity that avoids the pitfall of clichéd sentimentality. Over time, their bond replaces M’s initial self-serving motives. The story culminates in an emotional finale where sadness is tempered by unforeseen benefits, creating a poignant and rewarding conclusion.

A powerful performance by the cast lends authenticity to the family dynamic, despite their contrasting traits. However, it’s the growing connection between M and Amah that truly captivates, portrayed with both humor and empathy by Assaratanakul – a renowned T-pop singer and Gucci endorsement figure, who adopts a casual, laid-back style for this role – and the charming newcomer Seamkhum, who shows great promise in her debut film. Remarkably, the 78-year-old actress, discovered in a senior dance competition video, has since been represented by a modeling agency and is more commonly seen in advertisements.

Beyond drawing strong performances from his cast, the director infuses the film with a vibrant feeling of location. Collaborating with cinematographer Boonyanuch Kraithong, he highlights economic boundaries in diverse Bangkok districts, particularly the historic, culturally Thai Chinese Talat Phlu community, which serves as Mengju’s home.

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2025-01-07 04:25