After the commercial success of Yam Yasothon and its sequel, comedian-turned-director Petchtai Wongkamlao, better known Mum Jokmok, is back with a third installment of the romantic comedy set in the Northeastern province of Yasothon. Billed as an Isaan version of Romeo and Juliet, the film’s cast this time around includes Mum’s own wife, Endoo Wongkamlao, adding to Mum’s son and relatives who all play a part. With its simple narrative of starcrossed lovers and sparring families, the crazy clown caper somewhat lives up to expectations.
The film opens with Katathep (Likhit Butprom), Yam’s handsome son, returning to Yasothon and falling in love with Rum-pun (Ingfah Gatekum) after meeting her on his commute. Later, his younger brother, Khum-Phan (Bhetai Wongkamlao) also falls in love, with high school cutie Rum-Pei (Rattiyaporn Bhakdilon), who just so happens to be the younger sister of Rum-pun. As their names suggest, the two sisters are the daughters of Rum Peung (Endoo Wongkamlao) who is the ex-girlfriend of Yam and the current wife of Yam’s foe, village headman Poy (Chern Chernyim). When the blossoming loves of the four youngsters are discovered, both families, just like the Montaques and Capulets, are determined that the boys and girls should never associate again. The film follows the lovebirds as they attempt to keep their relationships going, despite the best wishes of their families to keep them apart.
The frenetic comedy, with its short, sharp scenes, doesn’t leave the audience with any real sense of romance or depth of character. In truth, there’s nothing to really differentiate the plot from those of Thai soap operas. It’s like watching a stretched-out version of Mum’s past TV shows like Ching Roi Ching Lan with just a tad more grounding in reality and without the commercial breaks. Any way you look at it, it’s obvious the film isn’t looking to break any new ground, nor is it trying to be meaningful, but a little more emotional resonance, a little more subtlety, wouldn’t have gone astray.
The movie tries every trick in the book to make audiences burst out laughing in every scene, from newly-invented slang (like “dog-elbowed face,” as highlighted in the trailer), poo and ass jokes, and endless slapstick acts (complete with goofy sound effects). Frankly, we think it’s a little insulting that this lightweight film equates being carefree and from upcountry with continuous head-slapping and gratuitous japes.
On the bright side, the film is certainly colorfully shot, which only serves to remind us that there’s more to enjoy in life than poor, unimaginative jokes. We understand that it’s meant to be a lighthearted tale and perhaps we’re taking things far too seriously. But, really, all we take away from Yam Yasothon 3 is that we pray for the day when Thai cinema moves onwards and upwards from slapstick comedy.
