China Adds Postscript to ‘Minions’ Showing Crime Doesn’t Pay

A woman wearing face mask walks by variety of Universal animation movie Minions toy figures on display for sale at the Chinese toy maker POP Mart store in Beijing, Tuesday, Aug. 23, 2022. (AP)
A woman wearing face mask walks by variety of Universal animation movie Minions toy figures on display for sale at the Chinese toy maker POP Mart store in Beijing, Tuesday, Aug. 23, 2022. (AP)
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China Adds Postscript to ‘Minions’ Showing Crime Doesn’t Pay

A woman wearing face mask walks by variety of Universal animation movie Minions toy figures on display for sale at the Chinese toy maker POP Mart store in Beijing, Tuesday, Aug. 23, 2022. (AP)
A woman wearing face mask walks by variety of Universal animation movie Minions toy figures on display for sale at the Chinese toy maker POP Mart store in Beijing, Tuesday, Aug. 23, 2022. (AP)

The latest “Minions” movie subtly reinforces a message for Chinese audiences that viewers in other countries won’t see: Crime doesn’t pay.

A postscript added to the version in Chinese cinemas says a villainous character, who ends the movie as a free man, is later jailed for 20 years.

Foreign films have long been targeted in China for references to subjects sensitive to the ruling Communist Party, such as Taiwan, the Dalai Lama and human rights. In recent years, China's film board appears to have expanded its purview to ensure that films deliver the right message, and not one deemed harmful.

That can be a challenge in a movie in which the central character is a villain. “Minions: The Rise of Gru” is a prequel that tells the story of the early years of Gru, the bumbling criminal plotter of the “Despicable Me” animated series.

The solution: Add individual postscripts about the characters, a series of them, interspersed with the credits at the end.

One says that Wild Knuckles, an older, mentor-like villain to the young Gru, was later bundled off to prison for 20 years because he tried to commit another crime. Before the credits, he simply drives off into a suburban horizon.

The postscript for Gru says he gives up evil, joins the good guys and, in his biggest accomplishment, is the father of three daughters.

The actual story, told in the original “Despicable Me” in 2010, is a bit more complicated. Gru adopts three orphan girls for his plot to steal the moon. But the adorable orphans, who see in him a dad, melt his icy heart.

Chinese movie bloggers pointed out the added postscripts in social media posts, drawing varying reactions. Some people said the additions were an overreaction to what is an animated comedy. Others said they demonstrated correct values, especially for kids.

“I think the ending with positive energy doesn’t have to exist at all,” said one cinema goer, Jenny Jian. “It’s totally unnecessary.”

Positive energy is a catch phrase that emerged in China about a decade ago and has been promoted by the Communist Party to push for uplifting messages from the media and the arts, according to the China Media Project, which monitors media trends.

The China Film Administration, which oversees the film board, did not respond to faxed questions. The distributors, China Film Co, and Huaxia Film Distribution Co., did not respond to emails.

China doesn't have a film rating system that assesses a movie's suitability for different audiences. Instead, authorities ask producers to delete or alter what they consider inappropriate before movies are approved for release.

“Minions: The Rise of Gru,” which has taken in 114 million yuan ($17 million) at the box since opening in China on Aug. 19, is hardly the first time Chinese authorities have altered a movie's end.

In “Peppermint,” a 2018 movie about a vigilante, the main character is handcuffed to a hospital bed. A sympathetic detective slips her a key and, in the final scene, the bed is empty with the handcuffs swinging open on its railing.

The truncated Chinese version ends with her still in bed, before she gets the key.



'Shrek' Director Tackles Taboo in Netflix Fairy Tale 'Spellbound'

(L-R) US actress Jenifer Lewis, US-Australian actress Nicole Kidman, US actor Tituss Burgess, US actress Rachel Zegler, Spanish actor Javier Bardem and US actor Nathan Lane arrive for the New York premiere of Netflix's animated film "Spellbound," on November 11, 2024. (Photo by Yuki IWAMURA / AFP)
(L-R) US actress Jenifer Lewis, US-Australian actress Nicole Kidman, US actor Tituss Burgess, US actress Rachel Zegler, Spanish actor Javier Bardem and US actor Nathan Lane arrive for the New York premiere of Netflix's animated film "Spellbound," on November 11, 2024. (Photo by Yuki IWAMURA / AFP)
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'Shrek' Director Tackles Taboo in Netflix Fairy Tale 'Spellbound'

(L-R) US actress Jenifer Lewis, US-Australian actress Nicole Kidman, US actor Tituss Burgess, US actress Rachel Zegler, Spanish actor Javier Bardem and US actor Nathan Lane arrive for the New York premiere of Netflix's animated film "Spellbound," on November 11, 2024. (Photo by Yuki IWAMURA / AFP)
(L-R) US actress Jenifer Lewis, US-Australian actress Nicole Kidman, US actor Tituss Burgess, US actress Rachel Zegler, Spanish actor Javier Bardem and US actor Nathan Lane arrive for the New York premiere of Netflix's animated film "Spellbound," on November 11, 2024. (Photo by Yuki IWAMURA / AFP)

Animated films tackling parent separation and divorce are few and far between.

While live-action kids' classics like "The Parent Trap" and "Mrs. Doubtfire" have used the concept as a launchpad for humorous antics, animation has tended to steer entirely clear of the issue.

"Isn't that funny... you can kill off a parent in a movie like 'Lion King,' or 'Bambi,'" said Vicky Jenson, best known for co-directing "Shrek."

"Disney moms are often dead -- the only time anyone remarries is because the other spouse is dead. This topic of separation, of parents not being able to live together... it's taboo."

But in Jenson's new film, "Spellbound," a princess's parents have been transformed by a dastardly spell into literal monsters.

It is an allegorical device that forces young Ellian to try to "fix" her mother and father, and their broken family.

"We encountered some resistance when we were looking for someone to help bring the movie to the world, a partner to distribute the movie," Jenson told AFP.

"They all reacted the same way, like: 'What a beautiful movie, what a great message.' And then they ghosted us!"

The movie went through a number of different studios, including Paramount and Apple TV+, before ultimately landing at Netflix, which will release the film Friday.

"I credit Netflix for stepping up bravely and partnering with us on this," said Jenson.

"In this environment, it does feel like stories that push the boundaries are more accessible on streaming.

"Theaters are kind of filled with superheroes right now... the big safe bets."

- 'Monsters' -

As the film starts, tenacious teen princess Ellian (voiced by Rachel Zegler) is desperately seeking a cure for the mysterious spell that has transformed her parents, Queen Ellsmere (Nicole Kidman) and King Solon (Javier Bardem).

To make matters worse, she must hide the whole mess from the oblivious citizens of Lumbria.

When the secret gets out, and panic spreads throughout the kingdom, Ellian is forced on a dangerous quest to undo the curse.

But even if she succeeds, she soon learns that her family may never go back to the way it once was.

To make Ellian's reaction to her -- literally -- monstrous parents believable and accurate, filmmakers employed the consulting services of a family psychologist and therapist who specialized in divorce.

"Kids feel like it's their responsibility to fix this. They don't understand that something happened to their parents -- they're acting like monsters," explained Jenson.

The director, and cast and crew, also drew on their own experiences, "because we all know our parents are monsters at one point -- and as parents, we're all monsters at one point," she joked.

- An inverse 'Shrek'? -

The end result is a thoroughly contemporary parable, set in a magical fairytale kingdom.

That has clear echoes of Jenson's smash-hit directing debut "Shrek," but with cause and effect reversed.

"'Shrek' was the modern take on fairy tales. This was a fairy tale take on a modern story," she said.

For Jenson and the filmmakers -- including legendary composer Alan Menken, of "The Little Mermaid,Beauty and the Beast" and countless more -- it was important to bring this "truth about family life" to the screen.

It "is there for so many of us, but hadn't been approached as a myth or as a new fairy tale before," said Jenson.

"Now, a new fairy tale is out there for that experience that so many kids, so many parents, so many families need help through."