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Oct. 2, 2004 “Boop-Oop-A-Doop,” are words that don’t make sense until you’re exposed to the worldwide phenomena of Fleischer Studio’s Betty Boop. She was not a counterpart meant to be put down by a male, but instead represented a type of feminism in the early 1930’s. Her wide-eyed innocence, mixed with a cartoonish sensuality, she is the animation world’s first Leading Lady. Max Fleischer Studios, in the 1930’s, hot on the heels of competition with Walt Disney Studio’s and their cute animals, especially Mickey Mouse, came up with a character that started out as a sidekick, became a world wide headliner. Betty started out as a canine, cabaret singer, sidekick to “Bimbo.” “Bimbo” was a small dog that was very much Fleischer Studio’s response to “Mickey Mouse.” “Betty,” still without a name, appeared with “Bimbo,” in “Dizzy Dishes,” August 8, 1930, and her femme charms were never- before-seen. She evolved right along with Fleischer’s development of the “Talkatoon,” series, i.e. “Any Rags,” circa 1932 when her floppy dog-ears changed to large hoop earrings, and she was the world’s first female character who wasn’t a stick figure. Instead she had chick pump shoes on and although playing behind a male lead, she was unique, i.e. not an “Olive Oil.” Her baby-face and little girl voice combined with an independent attitude and womanly charms. She had changed from the dog into a human being – even though “Bimbo,” was still around as her beau/still a dog. Her unique, almost hypnotic effect, in being able to fend off the lecherous, yet maintain a degree of naivete, won many over. Example: in “Boop-Oop-A-Doop,” her cartoon boss demands, “Do you like you your job!” while stroking her thigh. It catches her off-guard, then makes her mad and she responds, with “don’t take my Boop-Oop-A-Doop, away!” She even slaps him and singsongs after: “You can feed me bread, and water, or a great big bale of hay, but don’t take my Boop-Oop-A-Doop, away!” Her creators lived in Times Square, New York, and by studying the women on the street practicing the “oldest profession in the world,” she achieved a realism of femme motion through careful observation by her creators. Detailed silhouettes of her femme form as they had her pass in front of an animated light form, revealed her creator’s in-depth knowledge of the female form. Betty was on the rise at the same time as Mae West, and Fleischer created the “rotoscope,” still being used today, which allows tracing of live action film to create life-like movement amongst the animated. (Example, Fleischer Studios with this tool created the first bouncing ball sing-a-long.) With sound techniques to enhance character appeal, they also developed a multi-plane camera, which allowed character’s to be photographed and appear as if moving against three-dimensional backgrounds. Competing heavily with Disney, for Depression- era moviegoers Fleischer used gritty, city type scenes – New York City type – including poor immigrants instead of just the cute animals of the Disney world. Fleischer studios were morphing the animated and Betty was one of the first long before computer techniques would become de rigor. Betty’s taste in Music: Jazz…seems she had a penchant for it. She had guest stars to include: Maurice Chevalier, Rudy Vallee, Ethel Merman, Louis Armstrong, and Cab Calloway. Her embracing such a wide-range of musicians, especially black jazzers, drew threats from the KKK against the studio. Huge in Europe and Asia, Betty appeared in “A Language All My Own,” and to make her more real, New York City Asian students were studied and asked questions so she would speak fluent Japanese and fit into the cultural motif with ease. This was shot in 1935 and depicts her flying to Tokyo and Booping her way around in Japanese. It is to be noted, French philosopher, Paul Sartre is noted to have been a big fan and also Gertrude Stein. Seems Boopsters can be found just about anywhere. London and America in the 1970’s and a Betty resurgence of appeal with her headlining in colonized and re-released Fleischer cartoons occurred. In the US, bumper stickers reading: “Beep if Ya Boop,” are not uncommon. New music was also added to Betty as she demonstrated to her dad that “a woman can do anything a man can do.” From there in 1984, Van Halen mentions her in a song, and The Rolling Stones put her in a video collage of desirable women, in their “Voodoo Lounge,” tour promo. She is also seen and told in “Who Framed Roger Rabbit,” where she is told, “Betty…ya still got it.” It would seem Betty Boop is one of the first feminist cartoons, who also has been honored in a line of clothing by Bob Mackie – mostly responsible for Cher’s costuming, and Betty is quite obvious at the MGM Grand Hotel and Casino and also at Universal Studios. She is a phenomenon no one expected, and no one seems willing or able to hide. So “Beep if ya Boop!” Dedicated to my friend, Cris, who turned me onto something new. ------------ About the author: Phoenix Morric is a published poet, working on first novel and has some ezine articles/reviews up to peruse. Currently she is working on her first novel and shopping for an agent. All queries, comments, please direct to: PMorric88@msn.com. Serious only, please. http://profiles.myspace.com/users/7934995 is also a site with my poetry and an interview of The Indigo Girls I recently did in July. Tell a friend about this site! ------------ |
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