That night they shelter in a cave, whereupon a ghost walrus (a rotoscoped Cab Calloway) sings the title song as ghosts and skeletons join in (see Supernatural Creatures): Minnie flees back home, having learnt her lesson. In Minnie the Moocher ( 1932) Betty is sick of being lectured by her immigrant parents, so runs away from home with Bimbo. This seems to have been made a couple of years earlier and released belatedly – Bimbo looks as he did in Hot Dog ( 1929) and his girlfriend's resemblance to Betty fluctuates (Wikipedia plausibly suggests her close-ups were new inserts). The plot involves Bimbo trying to win $5,000 at a carnival boxing match (which he does by using the robot). The Robot ( 1932), has Scientist Bimbo building a car that can transform into a Robot he has also invented closed circuit television, allowing him to view his girlfriend's bathroom from the car. He repeatedly says no, until the cult members are all revealed to be Bettys, whereupon he says yes. In Bimbo's Initiation ( 1931) Bimbo is abducted by a cult who play tricks with his environment and perspective to disorientate and so persuade him to join them. The best cartoons date from the pre-Hays Code era the animation, though variable early on (some animators clearly had difficulty getting Betty right), is often surreal and lively, using the rubber-hose style (that is, bodies and objects being very flexible). The shorts were often built round a musical number, sometimes by black performers, though not after 1934. Bimbo also disappeared clearly respectable women do not date dogs. Prior to this latter date the Betty Boop shorts were full of innuendo ("I can't open the door now, I'm in my nightie." "All right, I'll wait until you take it off.") and Fan Service (see, for example, Barnacle Bill ), with Betty often being strong-willed and feisty subsequently she became chaste, demure and modestly dressed. Bimbo, like many male cartoon leads of the early 1930s, was a dull fellow (a curious shift from the more lively previous generation – see Felix the Cat and early Oswald the Lucky Rabbit), perhaps explaining why the Fleisher Brothers eventually revived an earlier character, Koko the Clown, from their Out of the Inkwell ( 1918-1929) series, to join him and Betty.īetty's 1930s career was split in two by the Hays Code or Motion Picture Production Code, Hollywood's response to moral panic about the Cinema though imposed in 1930 it only began to be strongly enforced from mid-1934. Initially playing the romantic/sexual interest of Bimbo, an anthropomorphized dog who underwent several design changes himself, she quickly became the star of the shorts, with Bimbo relegated to a supporting role. A scantily clad, sixteen-year-old jazz-age flapper, she first appeared in Dizzy Dishes ( 1930) early on her head was dog-like, but by 1932 had joined her body in being human, albeit remaining over-sized. Though created by Max Fleisher, Betty's animators played a large part in her evolving design, in particular Grim Natwick. Black and white, with a single exception in colour. In this period Betty Boop featured in 89 short films, including cameos this excludes Yip Yip Yippy ( 1939), advertised as a Betty Boop film, in which she does not appear. Betty's voice actors include Margie Hines, Little Ann Little, Bonnie Poe and Mae Questel. Animators include Willard Bowsky, Roland Crandall, Grim Natwick and Myron Waldman.
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