Under pressure from his family, his producers, and the censorship office, a young Burmese director struggles to make his feature film in Money Has Four Legs. Written by Maung Sun and Ma Aeint, and directed by Sun, the comedy feature cleverly uses the film-within-a-film trope to lightly take aim at Myanmar’s strict censorship while also recognizing film’s place in Burmese culture.
Wai Bhone (Okkar Dat Khe) is an experienced director of under-appreciated straight-to-video films, but his father was an award-winning theatrical filmmaker and Wai is determined to follow in his footsteps. Wai’s big directorial debut is a remake of a classic Burmese gangster movie, starring two self-involved actors and backed by a producer who only signed on out of respect for Wai’s late father. The budget is tight, as is Wai’s advance. At home, Wai and his wife Seazir (Khin Khin Hsu) struggle to pay rent and support their young daughter. Seazir constantly worries, particularly after the bank she works at declares bankruptcy and she loses her job as a result. Wai’s alcoholic brother-in-law Zaw Myint (Ko Thu) makes matters worse when he insists on being part of Wai’s film and subsequently breaks one of the cameras. Wai’s life mimics his art as he and Zaw decide to rob the bankrupt bank. When Zaw and the money go missing, Wai must resort to even wilder actions to regain control of his film and regain his family’s support.
From the opening scene, the viewer is aware of the censorship rules under which both the actual film and the film-within-the-film must operate. Director Wai Bhone (Okkar Dat Khe) is given many notes from the censorship office, among them: less swearing (“futhermucker” is one hilarious alternative suggested), avoid showing sex scenes, reduce drinking and smoking, show the Burmese as polite and the police as important, and the film cannot end with the bad guy ‘getting away with it.’ The viewer tucks these aside, watching as Money cleverly toes the line of abiding by censorship and poking fun at it.
Throughout Money, there are many references to film’s significance in Myanmar’s history and culture. Wai’s apartment is located in the heart of the filmmaking district, as the landlady is quick to point out to prospective tenants. It is part of the reason Wai is reluctant to give up the place, as it serves as a connection to his late filmmaking father. Another person advises Wai they must “safeguard” the film industry. Sun and Aeint also tease film audiences about their obsession with movie stars; Zaw’s request to rent a movie directed by Wai Bhone gets a blank look from the shopkeeper, whereas naming the stars of the film produces immediate recognition.
The film’s title is a reference to a conversation between Zaw and Wai in which Zaw jokes that money must have four legs because it always runs faster than us. This ties in well with Wai’s increasingly desperate need for money and his attempts to track it down when the stolen money goes missing. There’s a delightful scene at the end that juxtaposes monks blessing Wai’s house, advising to share one’s merits with everyone, and money flying out of Wai’s trunk for all to grab as he drives across a busy bridge, inadvertently following the monks’ advice.
The narrative lags a bit in places, but overall it is fairly balanced between the filmmaking plot and the plot around Wai’s family. Eventually, the two narratives intersect nicely so the problems become intertwined. Wai’s need for money becomes an issue for both his family and his production, driving him to resolve both by robbing a bank. Occasionally, the comedy of errors are predictable; we learn that Zaw has a history of causing problems on set, and sure enough, he causes problems on set. However, Money also presents many fun twists and surprises that keep viewers engaged and laughing.
As Myanmar continues to face intense conflict and protests after the February military coup, Money Has Four Legs is perhaps a much-needed source of laughter while also serving as a solid reminder of the importance of independent film. It’s a terrifying time for many in Myanmar, and the conflict has directly impacted the filmmakers of Money and their families; co-writer and producer Ma Aient was taken by the military junta in June and is currently imprisoned as a political prisoner. The international film community, including many film festivals, have called for her release.
Money Has Four Legs premiered at the 2020 Busan International Film Festival and also screened at this year’s Locarno Film Festival.
Score: B+