"Red Hot Mamma" with Betty Boop (1934)

I’m not exactly sure of what Max Fleischer had in mind when he produced this cartoon, but it’s really quite good. It seems to involve our gal Betty trying to get some sleep on a cold winter’s night. She shivers herself to sleep; dreaming that she is surrounded by fire and warmth; only to discover that she is in hell.  

But devils and demons, along with a few dancing flames, prove no match for Betty’s cold shoulder and icy stare. And you know what? Before she wakes up, hell freezes over. About the only thing missing here is the devil ice skating.

"Dancing On the Moon" - Max Fleischer (1935)

Someone recently pointed out to me that the video link to this cartoon had been compromised. I first ran it in January 2013. For those who have never seen it, share it with a Grandchild. It's not "Frozen" but it sure is a lot of fun!

Dave Fleischer really put a lot of effort and imagination into this 1935 cartoon. I can almost hear the laughter of the audience watching this just before the weekly “Flash Gordon” serial. The rocket ship is about the same, but the cast of characters is straight out of Noah’s Ark!

The cartoon begins as all of the animals within hearing distance strive to board the “Honeymoon Express”, as it prepares to take off for a journey to the moon, and promises of connubial bliss. The only thing which goes wrong is when the tom cat’s bride gets left behind. She is furious, and he is “mooning” over her for the entire trip, even as the other guests enjoy their “special” time with one another, far away from earthly woes. The giraffes “necking” is one good example of the humor employed in this flight of fancy.

The usual fluidity is readily apparent, and even without the credits at the start, you’d have to be blind to not recognize this as a Max and Dave Fleischer cartoon. The song “Dancing on the Moon” was written by Charles Tobias and Murray Mencher; the song writing team who, along with Eddie Cantor the comedian; wrote the Merrie Melodies theme song “Merrily We Roll Along”.  Mr. Tobias also penned the popular hits “Lazy, Crazy, Hazy Days of Summer”, the World War Two staple “Don’t Sit under the Apple Tree”, and even the slightly annoying “A Hunting We Will Go.” His collaborations with his brother, as well as other songwriters, are too numerous to list here.

There’s a lot that went into these old cartoons, usually with only about 6 people working on them. The Fleischer team was typical of the era, employing less than 10 people even for a feature cartoon. Compared to today’s technically proficient releases; which usually cap out at about 1,000 people taking part in the creative process; the most amazing thing about these older gems are that they got made at all!

"Ha Ha Ha" with Betty Boop and Ko Ko the Clown (1934)

It’s hard to believe that this cartoon was once banned for drug use, but it was. In this hysterical classic, Max Fleischer is shown drawing Betty on the board, finishing just in time to quit, and leaving her alone on a blank canvas. Just as you begin to feel sad for her, out pops Koko from the ink bottle, where he was due to arrive at any time, but he just can’t wait to get out! 

When he tries a bite of Max Fleischer's half eaten candy bar, he quickly learns that life is sometimes not as sweet as it first tastes. But, Betty is there to rescue him. Jumping from the canvas out into the real world of Max Fleischer’s desk, she quickly uses the cartoonist’s own tools in a very clever bid to help her friend Koko. When the whole scheme falls apart it has some unintended consequences for the whole world!

This is one of those old cartoons which still make me laugh out loud. No gas required...

"Popeye the Sailor" with Betty Boop (1933)

What could be more entertaining than a classic cartoon featuring 2 of the most recognizable feature cartoon characters in it? In this 8 minute classic, Popeye the Sailor finds himself ashore after an ocean voyage. He elects to take Olive Oyl to the Carnival with predictable results, as he and Bluto compete in their never ending quest for her affections.

When the Hula Hula dancer (Betty Boop) makes her appearance and Popeye jumps on stage to perform with her, Bluto sees his chance and takes it; or rather, Olive; and kidnaps her with the intention of making her his wife whether she likes it or not.

By the way, while Popeye is dancing, at about 5 minutes into the cartoon, he encounters a snake on stage, and places his pipe under the serpents nose, quickly neutralizing the snake and calling into question just what was in that pipe? This is not the first time I have sensed that Popeye was a “smoker.” In several other cartoons he uses his pipe as a blowtorch to open the can and then inhales the “spinach” through the pipe.

Once Popeye realizes that Olive is gone and in danger, he jumps into “high” gear; and the chase is on to save the woman of his dreams. As in all of the old cartoons, everything works out in the end for Popeye and Olive. This is a unique cartoon in that it is the first one for Popeye and the only one in which he appears with Betty Boop. He also sings the entire theme song, which was composed by Sammy Lerner in 1933 for this cartoon. It was also a hit for Hoagy Carmichael, which I play in my car, much to most people’s disbelief.

Until this cartoon’s release in 1933, Popeye had only been in the funny papers since January of 1929, drawn by E.C. Segar for the Thimble Theater series. Segar had been working with King Features Syndicate since 1919. Riding the wave of success surrounding the Betty Boop cartoons, Max Fleischer decided to animate the cartoon strip, He chose a Betty Boop cartoon to do it in, figuring that if it failed to gain any traction, it wouldn’t be noticed for long.

Of course, Betty Boop may have remained a staple in the world of classic cartoons, but Popeye went on to greater success in the 1950’s when King Features re-vitalized him in a new format featuring Brutus in Bluto’s place. Those cartoons never did measure up to the “trippy” style which rolled out of the studios during the 1930’s, making them a delight to watch even today, over 80 years later.

"Popeye the Sailor" with Betty Boop (1933)

I hurt my hand and cannot blog for a few days - Please excuse me while I heal and enjoy a couple of my old favorites...

What could be more entertaining than a classic cartoon featuring 2 of the most recognizable feature cartoon characters in it? In this 8 minute classic, Popeye the Sailor finds himself ashore after an ocean voyage. He elects to take Olive Oyl to the Carnival with predictable results, as he and Bluto compete in their never ending quest for her affections.

When the Hula Hula dancer (Betty Boop) makes her appearance and Popeye jumps on stage to perform with her, Bluto sees his chance and takes it; or rather, Olive; and kidnaps her with the intention of making her his wife whether she likes it or not.

By the way, while Popeye is dancing, at about 5 minutes into the cartoon, he encounters a snake on stage, and places his pipe under the serpents nose, quickly neutralizing the snake and calling into question just what was in that pipe? This is not the first time I have sensed that Popeye was a “smoker.” In several other cartoons he uses his pipe as a blowtorch to open the can and then inhales the “spinach” through the pipe.

Once Popeye realizes that Olive is gone and in danger, he jumps into “high” gear; and the chase is on to save the woman of his dreams. As in all of the old cartoons, everything works out in the end for Popeye and Olive. This is a unique cartoon in that it is the first one for Popeye and the only one in which he appears with Betty Boop. He also sings the entire theme song, which was composed by Sammy Lerner in 1933 for this cartoon. It was also a hit for Hoagy Carmichael, which I play in my car, much to most people’s disbelief.

Until this cartoon’s release in 1933, Popeye had only been in the funny papers since January of 1929, drawn by E.C. Segar for the Thimble Theater series. Segar had been working with King Features Syndicate since 1919. Riding the wave of success surrounding the Betty Boop cartoons, Max Fleischer decided to animate the cartoon strip, He chose a Betty Boop cartoon to do it in, figuring that if it failed to gain any traction, it wouldn’t be noticed for long. 

Of course, Betty Boop may have remained a staple in the world of classic cartoons, but Popeye went on to greater success in the 1950’s when King Features re-vitalized him in a new format featuring Brutus in Bluto’s place. Those cartoons never did measure up to the “trippy” style which rolled out of the studios during the 1930’s, making them a delight to watch even today, 80 years later.

"Christmas Comes But Once A Year" - Max Fleischer (1936)

Once again I am going to post a cartoon from Christmas past in the final days leading up to the holiday. I always loved this old classic cartoon in particular, and I posted it last year. I’m posting it again because it’s a great example of the quality of the animation in the 1930's. And, Max and Dave Fleischer were two of the best.

They often worked separately on various projects, though their best works are probably the collaborations they produced with the Popeye cartoons and Betty Boop series. They also made a boatload of feature cartoons like this one, which is a wonderful little story about an orphanage on Christmas morning. If you have seen this before, I hope that you enjoy it again this year.

Note: A Very Happy Birthday to my friend Eddie Ray. He's the youngest person I know …

_____________________________

A Picture from Israel

This is a photo of the moon setting over Massada in Israel the other morning. It was taken by my daughter who is on a trip to the Holy Land. She's 26 years old, exactly the same age I was when I made my first "aliyah". Forgive me for being so proud of her...

"Snow White" with Betty Boop (1933)

One of the most remarkable things in this cartoon is the performance by Cab Calloway of “St. James Infirmary Blues.” The story is about Betty; who finds herself having to deal with her evil step-mom, the Queen. The Queen spends her time gazing into a looking glass, assuring herself that she is the most beautiful woman around. That is, until Betty shows up.

When the Queen’s magic mirror, along with all of the servants, declare that Betty is the “fairest in the land”, the Queen is horrified and orders Betty put to death. But the royal subjects all have other plans for Betty, and they fake her execution and burial, much to the delight of the Queen. But where has Betty really gone?

With the help of the Queen’s knights, and even the tree to which she is bound in a snowstorm, Betty is frozen into a block of ice and placed in a coffin constructed by the Seven Dwarfs. But the Queen grows wise to the deception and goes after the culprits, which now include her mirror, which has turned against her. KoKo and Bimbo accompany her on her journey to find Betty, and destroy her for good, to the tune of “St. James Infirmary”, swung by Cab Calloway and his famous orchestra. (That's a pun, not a typo.)

A very imaginative cartoon like this, with a fantastic performance of the old blues standard by one of the greatest jazz musicians of his time, make this one worth watching; or even listening to; a real treat.

"Keep In Style" - Betty Boop (1934)

A very special hello to Aliyah and Trinity in Texas. This is an extremely funny cartoon which, in the end, pokes fun of it's own theme; keeping in style; when everybody takes Ms. Boop's advice to heart. The results are satirical as everyone from man to woman, and even beasts, attempt to "keep in style" with the latest whimsical fashion.

These old cartoons are so well made, and the messages in them still so applicable, making them all the more worth while watching. With the usual direction of Dave Fleischer and his team, the cartoon flows like no other cartoons; including Disney's "big screen" epics, ever have, or will.

With the usual combination of wit and art, along with a bit of song, Betty has everyone filling the movie house for the show; a one week engagement from May 31st through July 31st; and then afterward, trying to live out their fantasies through the "style" she has displayed. Gee, sounds like real life...

"I Heard" with Betty Boop" - Dave Fleischer (1932)

In this 1932 classic from Dave Fleischer, Betty is the waitress at a mining camp. The cartoon begins with real life band leader Don Redman and His Orchestra performing the soundtrack for this entirely musical cartoon. 

Great animation, as always with a Fleischer production, make the machinations of the mine almost life like. And, at the end of the shift, the workers all repair to Betty Boop’s Saloon for some food and entertainment.

Through the dumbwaiter, Betty finds herself down in the mine where she sees not only the workers in action, but runs across some other worldly creatures in the process. With the assistance of Ko Ko and Bimbo, along with some dynamite, she is able to escape the mine, while at the same time planting these other wordly characters back where they truly belong; in the grave and not just underground.

The delightful soundtrack of this cartoon is pure swing, with that big band sound, lending even more fluidity to Mr. Fleischer’s visual efforts. These cartoons are like gems. There is really nothing like them around anymore. That’s why I love You Tube.

"Donald's Happy Birthday" with Donald Duck (1949)

In this classic from 1949, Donald really screws things up when he takes too strict a stance with his nephews, Huey, Dewey, and Louie. When the three devoted nephews take on extra chores in order to buy him a birthday present, he thinks they are going to squander the money. So, he takes it from them, only to have them take it back. But, boys being boys, the money is recovered just in time to get Uncle Donald something special for his birthday; and Donald Duck, being Donald Duck, manages to misconstrue the whole affair, finally looking for a hole to crawl into. A great cartoon which speaks to the issue of “trust” with the ones whom you love.

"Poor Cinderella" with Betty Boop (1934)

This is the only Max Fleischer color Betty Boop cartoon. It was released in 1934. It was filmed in Cinecolor, which was a new process at the time. Max and Dave Fleischer had done several color cartoons by this time, most notably “Sinbad the Sailor” with Popeye, a cartoon which I actually own a copy of, it is that good. The biggest surprise in this cartoon is that Betty Boop is a red head! But, although I prefer her as the black haired cutie I always thought she was, in the end it doesn’t make a bit of difference - she still sings like Helen Kane.  

"Little Nobody" with Betty Boop (1935)

This 1935 Betty Boop cartoon says it all. When a little mixed breed dog finds its way into a rich woman's garden, to play with her pedigreed dog, the woman is horrified and  snatches her dog away from the little mutt. But don't worry, Betty Boop is quickly on the scene, scooping up the little outcast and making him realize that we all count for something.

Some of these old cartoons really have an effect on the way kids think about themselves, as well as others. Betty is right; we are all special; we all have some unique value to offer the world. Sometimes it just takes a bit of extra love to know it.

"Ha Ha Ha!" with Betty Boop and Koko (1934)

It’s hard to believe that this cartoon was once banned for drug use, but it was. In this hysterical classic, Max Fleischer is shown drawing Betty on the board, finishing just in time to quit, and leaving her alone on a blank canvas. Just as you begin to feel sad for her, out pops Koko from the ink bottle, where he is due to arrive at any time, but he just can’t wait to get out!

He quickly learns that life is sometimes not as sweet as it first tastes, but, Betty is there to rescue him. Jumping from the canvas out into the real world of Max Fleischer’s desk, she quickly uses the cartoonist’s own tools in a very clever bid to help her friend Koko. When the whole scheme falls apart it has some unintended consequences for the whole world!

I watched this with Aliyah and Trinity the other night. They thought it was great! Aliyah especially liked the way Max Fleischer shifted the action from “cartoon” to “real life”, and then back again. I loved watching her watching it, and actually “getting” it. It was a discovery for her, and a delight for me. Some things, just like clever cartoons, never lose their appeal.

Betty Boop vs. Helen Kane - "I Want to Be Loved by You"

This is Betty Boop doing Helen Kane's hit record "I Want to Be Loved By You". Ms. Kane had introduced the song in Oscar Hammerstein's 1928 show  "Good Boy". She also recorded her version that same year, with much success. She became known as the  "Boop Oop a Doop" Girl, and also was the basis for the cartoon character who would later become known as Betty Boop.  Ms. Kane was only 5 feet tall and slightly plump, which attracted many fans.  She had a round face and big brown eyes, topped by black, curly hair; and her childish voice, with its distinct Bronx dialect, made her an instant hit on Broadway.

Max and Dave Fleischer, my two favorite animators from that era, needed something a bit different for their cartoons, and soon one of their chief animators, Grim Natwick,  created a caricature of Helen Kane. He used the persona of a dog with long ears and a squeaky voice to introduce a character in some cartoons he called he called  "Dizzy Dishes." By 1932 he had lengthened  the ears on the dog and turned her into a slender, narrow waisted woman called "Betty Boop." The cartoons were extremely successful and have endured for more than 7 decades as a staple of American culture. This didn't sit all that well with Ms. Kane, who brought suit against both Paramount and Max Fleischer in 1934 for the lofty sum of $250,000. The charge was unfair competition and wrongful appropriation of her character in the Betty Boop cartoons.

 

It was a very unusual trial, in that the judge would be listening to, and watching, recordings and films of the two litigants, one of whom was a cartoon character. Also summoned as witnesses were singers such as Ann Rotshchild, Margie Hines, Kate Wright, Bonnie Poe, and most notably Mae Questel. There was no jury. This is a photo of Helen Kane. You can see by her appearance that she very closely resembles Betty Boop, with her wide eyes, dark hair and pouting lips. Added to these similarities was the voice, high pitched, and distinctly "New York."

The witnesses all claimed to be the originator of the "Boop Oop a Doop" for which Ms. Boop was known. But further examination revealed that all of the witnesses had performed in this style during the 1920's, albeit with some different variations of the coveted phrase.

As an example, Little Ann Little testified that "Boop Oop a Doop" had begun as "ba da indeo do", which morphed into "bo do de o do" and eventually became "Boop Oop a Doop".

The case dragged on for more than 2 years before an obscure African_American singer known as "Baby Esther" was produced by the defense for "booping" before Helen Kane. Max Fleischer had found an old film of Baby Esther performing, doing a number which contained the phrase "Boop Oop a Doop". When that film was shown to the by then weary judge, he ruled against Ms. Kane, stating that she had failed to prove her singing style to be unique, and therefore Betty Boop was not imitating her in her rendition of the song. Here is Ms. Kane's version of "I Want to Be Loved by You"; you be the judge. Was the judge correct, or just tired of the 2 year lawsuit between Helen Kane and Betty Boop?
 

Mae Questel was the real voice behind Betty Boop. She got the job after winning a talent contest imitating Helen Kane when she was only 17 years old. She went on to do the voiceovers for more than 150 Betty Boop cartoons. She even sold 2 million copies of her version of "The Good Ship Lollipop". In addition to being Betty Boop, Ms. Questel was also the voice of Olive Oyl in the original Popeye cartoons of the 1930's. She also did imitations of Maurice Chevalier, Fanny Brice, Rudy Vallee and Marlene Dietrich. For more about this talented artist, hit this link;

http://www.nytimes.com/1998/01/08/arts/mae-questel-89-behind-betty-boop-and-olive-oyl.html

"Party at Grampy's House" with Betty Boop and Grampy (1936)

In this 1936 Max Fleischer production Betty is invited to Grampy's for a party.  Joining Ms. Boop are two workmen, a fireman and also a police officer, all of whom she attracts along the way. After all, she was sort of a party girl.The results are exactly what you would expect; and along with some tongue in cheek visual humor, and a bit of typical Max Fleischer ingenuity; the cartoon is a delight and everything works out in the end.

Betty Boop in "Halloween Party" by Max and Dave Fleischer (1933)

Even though this cartoon is in black and white, you can tell by the fluidity of motion that this is a Max and Dave Fleischer production. This is one of the many Betty Boop cartoons which were banned for a time, due to perceived racial streotypes, as well as drug abuse. I don't really see it in this one, so maybe someone can point it out to me.

Betty Boop - "Little Red Riding Hood" by Sam the Sham and the Pharohs.

Sue is in Texas visiting Aliyah and Trinity. I hope they get to watch this cartoon. Very imaginative thinking went into this one and that's what makes it fun to watch. It's one of my favorite cartoons, done with one of my favorite songs as background.