Review
AI
Character
Culture
Film & TV
4 min read

The utter humanity of Wallace and Gromit

Choices in front of and behind the camera tame technology.
A still from a claymantion film shows three characters, Wallace, Gromit and a robot garden gnome marching out a garden shed.
AI: here to help.
Aardman Animations.

In 1993, Aardman Animations released Wallace & Gromit: The Wrong Trousers. It follows hapless inventor Wallace and his long-suffering dog Gromit as they rent out their spare room to a penguin, Feathers McGraw, who is subsequently revealed to be a master criminal, narrowly pipping Anthony Hopkins’ Hannibal Lecter and Javier Bardem’s Anton Chigurh to the title of cinema’s most sinister villain. (Trust me: you will never look at a red rubber glove the same way after The Wrong Trousers). 

At the film’s climax, perpetual good-boy Gromit chases McGraw through the house via a series of increasingly convoluted model railway tracks, even as he has to build the very tracks he’s riding on. There is a strong argument to be made that it is best scene in cinematic history.  

Fast forward to Christmas, 2024, and Wallace and Gromit: Vengeance Most Fowl is shown on BBC One on Christmas Day. It tells the story of Feathers McGraw – who has lost none of his quiet menace – plotting revenge on the eponymous duo, this time by taking over a series of technologically advanced garden gnomes Wallace has invented.  

While nothing in Vengeance Most Fowl tops the train chase from The Wrong Trousers – indeed, how can one improve on perfection? – it is another magnificent addition to the Wallace and Gromit oeuvre.  

Moreover, it is a remarkably prescient tale about the dangers of technology, and the beauty of humanity. It is the perfect antidote to much of modern cinema and almost single-handedly restored by faith in film as an artistic medium. Vengeance Most Fowl is such a success because it oozes humanity in every single frame. However, this humanity appears most clearly in three distinct ways.  

First, in its story. The inciting MacGuffin of Vengeance Most Fowl is the new garden gnomes Wallace has concocted. Feathers McGraw takes control of Wallace’s gnomes by hacking into its software and switching it from ‘good’ mode to 'evil’ mode. (Like everything in life, this is a joke The Simpsons got to first: in 1992’s “Treehouse of Horror III,” Homer accidently buys Bart a Krusty the Clown doll accidently set to ‘evil’ mode rather than ‘good’ mode.) 

Vengeance Most Fowl offers a more nuanced take on technology than most. It’s neither straightforwardly good nor straightforwardly bad; it depends entirely on the user. We see the benefits of the gnomes as they help people with their gardening. But put them in the hands of the wrong person – or penguin – and they become tools for evil. Vengeance Most Fowl is not an anti-technology film, then, but is realistic about the fact that some humans – and, indeed, penguins – will inevitably seek to use technology for nefarious ends. 

Second, in its voice acting. Vengeance Most Fowl is the first Wallace & Gromit film released following the death of long-standing Wallace voice actor Peter Sallis. It is genuinely remarkable, then, that no AI was used by Aardman to replicate his voice. Instead, this is left to Ben Whitehead and the results are certainly worth it. 

Where many film studios or production companies would have used technology to offer a ‘fake’ Sallis performance – think Peter Cushing in Rogue One: A Star Wars Story, for example, or even the use of AI to reconstruct John Lennon’s voice for the lost Beatles single “Now and Then” – Aardman did not. Instead, they made a very conscious decision to have Whitehead offer a deeply human performance as Wallace. When (SPOILER ALERT) at the end of the film Wallace tells Gromit that he can live without inventing, but he can’t live without his dog, the emotional pay-off is so genuine because it is real. Because it is a thoroughly human moment. 

Third, in its cinematography. Claymation is a medium only adopted by artists who hate themselves. That’s the only reason I can think for making an entire film using such a slow, tedious process. It is also a deeply human art form. It is the result of tens of thousands of hours of painstaking and repetitive work. It is yet another conscious choice by the team at Aardman to create something that is thoroughly and unmistakably human. 

All of this, I think, says something about how Wallace & Gromit manages to feel like such a breath of fresh air. It has not been committee-d to death, or market research-ed into beige-ness. It is full of stupid little jokes (like Gromit reading Virginia Woof) and localised references (“Yorkshire Border: Keep Out!” followed by “Lancashire Border: No, Your Keep Out!”).  

The cost of making Wallace & Gromit films is too costly for them to be cheap, mass-produced disappointments churned out at an increasing rate of knots. They are lovingly hand-crafted works of art and, given the current state of much cinema and TV, they are nothing short of minor miracles.  

Wallace & Gromit is an utterly human series of films. It isn’t perfect. And that’s what makes it perfect. 

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Article
Culture
Death & life
Digital
Easter
4 min read

Do you have a right to be remembered?

Our desire to be in control might not survive our demise.

Jack is a graduate of Peterhouse, University of Cambridge and Blackfriars, University of Oxford. He writes, and also works in local government.

A composite show a smiling woman next to a small illustrate of someone walking off into the distance.
Kristyna Squared.one on Unsplash .

“Madam, those that are about to die salute you.”  

Words attributed to Roman captives and criminals fated to die before the emperor, were used (ironically) by Councillor Kieron Mallon at the last Council meeting of this term of Oxfordshire County Council last week. ‘Madam’ was the Council’s Chair, wishing everyone well. Elections are on the way. 

Easter is also on the way, and in the period leading up to the commemoration of the resurrection of Christ from the dead, nearly 2,000 years ago, Christians are invited to think about their own mortality. ‘Remember that you are dust, and to dust you will return’ were words my priest intoned to me as he marked a cross with ashes on my forehead on 5 March, Ash Wednesday. 

Ash already emblemizes a belief in rebirth, even before the power of the story of the Christ’s resurrection is considered. I for one felt immensely hopeful on Ash Wednesday this year. Having just secured a new place to call home, and one year into my job as Democratic Services Officer to Oxfordshire County Council, looking after the likes of Councillor Mallon, life felt pretty swell. 

My priest and I spoke about the ways in which death and hope are joined at the hip. The ancient Greeks believed that a phoenix obtains new life by rising from the ashes of the one before it. So do we. I have found myself, so far this year, visiting people and places I strongly associate with former lives, from friends I lived with as an undergraduate to a town I went on holiday as a child to the beach where my late Granny’s ashes were scattered. ‘Ashes to ashes, dust to dust.’ 

More specifically, the Christian believes that ‘whoever loses their life for [Christ’s] sake will find it’, in the sense that true self-discovery arises when we let go of the ego, when we allow ourselves to be changed. Thinking about mortality, therefore, changes life, in so far as we are better equipped to surrender and salute the Saviour. That worldview has shaped public servants in years gone-by. 

An overwhelming majority of people in the course of human history have been forgotten.

I recently heard Dr Ian McGilchrist, the psychiatrist, describe the desire to control everything in life as the ‘besetting sin’ of the age in which we live. The desire to be remembered, rather than reborn, captures it better in my mind. Mankind has always wanted to remain in control. Souls will always be reluctant to surrender. However, what we have now is a world in which people feel uniquely entitled to make impact. 

People feel that they have a right to be remembered, but it is not so. An overwhelming majority of people in the course of human history have been forgotten. Moreover, the past can be especially compelling when we have a window into a world in which people did not necessarily expect to make any kind of worldly impact whatsoever. Theirs was a happier place. 

The twentieth century was described by Philip Rieff in 1966 in terms of the ‘Triumph of the Therapeutic’. He wrote, ‘Religious man was born to be saved’, but ‘psychological man is born to be pleased.’ ‘Psychological man may be going nowhere, but he aims to achieve a certain speed and certainty in going’. Therapy enables that objective. But therapy to what end? 

Counselling can be construed as a device to regain control. The counselled, if fixed, can go about trying to change the world, trying to make an impact, resuming the rather pleasing but never-ending mission to be remembered. For anyone of a religious sensibility, however, that is not the objective. Rather, new life is given only for the whole resurrection story in our own lives to be repeated. 

Around the time that Rieff wrote his book, the historian Herbert Butterfield, a Christian, wrote this. ‘Those who lived when the world was static – when the silhouette of the ploughman against the horizon hardly changed in the passage of a thousand years – may have something to teach us, who only know a breathless, rapidly changing world and who seem to be having to pluck what we can from life while running at full speed.’ 

Social media has surely exacerbated this condition because it connects us to others at the cost of contemplation about what life – and death – really entails. It is a place where we try to evidence to others the impact we are having, where we write our own eulogies and our own epitaphs and have access to the whole world whom we expect to read the same. 

Life changes to a much greater extent these days, in this place, than it did for the ploughman in the passage of a thousand years, or captives and criminals in the Roman world, including Jesus Christ who was identified as one such. However, if we can somehow create conditions to focus less on having impact in and on a volatile world, and being someone who ought to be remembered, we will find that we have more hope. 

In turn, we will change the world for the better, but despite ourselves, and for me that is what this period leading up to Easter is all about. We may find that others who are about to die salute us too, for the good deeds we have done that may well be forgot. 

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