Original Airdate: November 9th, 2016 on CBBC
Aardman Animations had been cranking out stop-motion claymation cartoons since the 1970s—you may recognize their work with Peter Gabriel—but they only really hit the big time when director Nick Park’s short film Creature Comforts won an Oscar. That same year saw the debut of A Grand Day Out with Wallace and Gromit at the Bristol Animation Festival. This was the beginning of a franchise of lucrative and beloved Wallace and Gromit cartoons, including a feature-length film in 2005. Aardman also brought us the classic kids movie Chicken Run, and, yes, a movie based on Shaun the Sheep. Shaun first appeared in A Close Shave, a Wallace and Gromit adventure that won an Oscar of its own in 1996. Aardman is like the Pixar of Plasticine, except they’ve been out in these streets for a hell of a lot longer than John Lasseter and company. Since 2007, Aardman’s been cranking out scads of 7-minute cartoons about Shaun for the BBC’s children’s programming channel. How does it compare to other animated short subjects?
- Animation style. Okay, the aesthetics haven’t changed much since Comforts, but the animation looks better than ever. One of these shorts entails more than 10,000 individual frames, which means hours and hours of painstaking work, and the folks at Aardman didn’t skimp on the details. You can never see the strings here and it’s surprisingly easy to disappear into the pastoral world of Shaun despite the admittedly distinctive array of bulbous heads, thick brows, gapped teeth and ridiculously huge noses on dogs.
- Cute. So anything with dogs and other domestic animals gets brownie points from me right out of the gate, but this is one of those purportedly comic affairs where the comedy comes from the most gentle of observations and decidedly sedate hijinks. This short involves an escaped convict posing as a sheep to avoid scrutiny from the police. He walks on all fours and uses pilfered socks to imitate the black ears of a sheep and it looks pretty silly. A small child might find the whole enterprise intrinsically amusing for this reason.
- Dialogue-free. It’s an interesting move by the people at Aardman to have each episode of Shaun offer a soundtrack with music, sound effects and absolutely no talking. Sure, there’s baa-ing, and barking, and grunting, all of which makes perfect sense if the protagonists are sheep and dogs. Strangely, even the humans don’t speak, though they emote in a kind of nonsense language akin to the dialogue voiced by the characters in The Sims. This makes the show more accessible for international audiences or for pre-verbal children, and it’s a welcome change of pace from the hackneyed or too-clever-by-half dialogue that pours out of lesser children’s fare. Of course, there are trade-offs…
- Insubstantial, even for something seven minutes long. There’s not a lot happening here in terms of story. A jailbird escapes to the farm, poses as a sheep and gives himself up when he realizes that the nameless farmer might eventually kill him for food. Of course, the farmer isn’t going to kill anyone—I feel fairly confident that this is the kind of farm where sheep are only used for wool—but the convict doesn’t know that. You could get a lot of comedy and story out in seven minutes, but it looks like Shaun doesn’t have that kind of stamina 143 episodes in, if it ever did.
Final Episode Judgment: 7/10. It’s light-hearted, sweet and very hard to dislike, but it’s also not very memorable and it doesn’t have much of the distinctive wit that made Comforts and Wallace & Gromit so successful.
NEXT TIME: Did you know that The Mary Tyler Moore Show had three separate spin-offs? Did you know that these include a wildly successful drama starring Ed Asner, pictured here trapped deep inside the uncanny valley? That’s right, baby—come back later for Lou Grant! It won 13 Emmys!