Ker-Choo (1933) Starring: Bonnie Poe and Gus Wicke
Director: Dave Fleischer
Rating: Eight of Ten Stars
It's the Grand Prix, cartoon-style, with all the craziness you'd expect!
"Ker-Choo" is one of those cartoons where almost anything I might say about it will ruin the fun of watching it for the first time. While it remains funny if you watch it more than once, the biggest enjoyment will come from watching the race (as well as the cartoon animals watching it in the stands) for the first time; the wacky bizarreness of it all will bring joy to even the grumpiest soul!
This is one of the Betty Boop-headlined cartoons where the entire gang is here -- with Bimbo and KoKo the Clown being among the drivers competing against Betty -- and each gets their moment to shine. In fact, I think Bimbo and KoKo between them deliver two of the funniest gags in the film, with KoKo even turning what might have just been a simple transition scene into a moment of hilarity.
While there are many reasons I think you'll enjoy this cartoon if you're into Pre-Code Era animation, the most important one is the unique place it has cinematic history: It was the first tale (and perhaps the only tale so far) of a race being won through germ warfare! Further, this cartoon may also be the true origin of "twerking"!
One word of warning: The race music may get stuck in your head for a day or so after watching this!
Barnacle Bill (1930) Starring: Billy Murray and Margie Hines Director: Dave Fleischer Rating: Seven of Ten Stars
Barnacle Bill (voiced by Murray) has a girl in every port--and nothing's going to keep him from getting it on Nancy (voiced by Hines!
"Barnacle Bill" is an early appearance of the characters that would eventually evolve into Bimbo and Betty Boop--the second for Betty, actually. You can see hints in what both characters would eventually become, but Nancy Lee/Betty is equal parts grotesque and cute in this iteration. (She still is an anthropomorphic dog, like Bimbo, but it's downplayed more here than it is in her third appearance in "The Mysterious Mose".)
Historical trivia aside, "Barnacle Bill" is worth checking out for its non-stop stream of sight gags and nifty twists on cliches that were old even at the dawn of the 1930s. It also shines as a mini-operetta, with Barnacle Bill and Nancy hilariously singing their way through their romantic interactions. Other highlights include Bill escaping his ship for shore leave against his captain's orders, the surprising love game Bill and Nancy end up playing, the gossiping neighbors, and a very cute surprise finale.
This classic cartoon is only some 8 minutes long. Check it out for the fun, or check it out to see the origin of one of the most famous cartoon characters to ever be created... but check it out!
Betty Boop, M.D. (1932) Starring: Mae Questal (voice of Betty Boop) and William Costello (voices of Bimbo and Ko-Ko) Directors: Dave Fleischer and Willard Bosky
Rating: Nine of Ten Stars
Bobo, Ko-ko, and Betty Boop are traveling snake-oil peddlers who use Betty's charms to seal their deals.
Nice music, weird plot, and even weirder cartoony results of the miracle tonic that Betty & Friends are hawking. All in all, another wildly creative and zany adventure from the Fleischer Studio. It's also one of those masterful bits of entertainment that needs to be experienced cold--I feel that any else I say about the plot and events of the film will ruin the experience.
Aside from the wild strangeness of this cartoon, I also love it because it lets me imagine Betty Boop's world a bit more clearly. There appears to be villages of humanoids like Bimbo in addition to the cities where humans like Betty live. (Heck, Betty's weird looks could be explained by her being a third kind of being... or maybe some sort of crossbreed? After all, when she was younger, she look a bit like a poodle... :) )
Betty Boop's Penthouse (1933) Starring: Mae Questel, Jack Mercer, and Billy Murray Directors: Dave Fleischer and Willard Bowsky
Rating: Six of Ten Stars
Betty Boop is enjoying a quiet day of gardening and frolicking and singing in her penthouse garden when she attracts the lecherous attention of the proprietors of a mad science lab, Bimbo and Koko, in a neighboring building. Unfortunately, while the pair admire Betty, an experiment goes awry and a monster gets loose!
"Betty Boop's Penthouse" isn't the strongest of the Boop cartoons, but it's noteworthy for being one of a handful of times where Fleischer stars Bimbo, Koko, and Betty all appeared in the same short film. It has its moments, but the music is so-so and there's only one gag that is truly hilarious. Nothing here falls flat or is particularly bad--this just isn't as strong an effort as the best Boops.
I think Bimbo and Koko make a good pair of mad scientists, and I like the way they get their come-uppance... but the film seems to run out of steam in its final minutes, as the unleashed product of mad science goes after Betty. The ending is bad, but it lacks punch. In that way, I suppose it's matches everything else in this short--it's not bad but it's not particularly good either--but I still wanted more.
But you can take a few minutes to see whether I'm judging this cartoon too harshly by clicking below and watching it from this very post. (And if you have even more time, you can let me and everyone else know what YOU think of it, in the comments section!)
Hollywood on Parade (A-8) (1933) Starring: Eddie Borden, Bonnie Poe, Gayne Whitman, Bela Lugosi, Charlie Murray, George Sidney, Dorothy Burgess, Charles Murray, Marie Prevost, and Rex Bell
Director: Louis Lewyn
Rating: Seven of Ten Stars
Wax figures of actors in their famous roles from the late 1920s and early 1930s come to life, and comedian Eddie Borden (Borden) tries to rescue Betty Boop (Poe) after she is attacked by Dracula (Lugosi).
"Hollywood on Parade" was an anthology series produced by Paramount to be shown in theaters before the main features. Some episodes were newsreel-style mockumentaries, others were mini-variety shows, and some, like the one we're featuring today is a series of related comedy skits tied together by a fanciful central story concept. Features that were present in each and every installment, however, were actors appearing as themselves or fictionalized versions of them based on their public image or whatever character they've portrayed that was most famous. The series also relied heavily on contemporary cultural and film references that would be well-known to audiences but may be very obscure to many modern viewers.
This is the first time we're featuring a "Hollywood on Parade" episode on this blog, and we think it's perfect not only for this forum, but for this time of year. Several of the actors featured are in films that have been reviewed and/or can be viewed in posts here at the blog. Even if some of the specifics of some references in this film may not be clear in their origins to many modern viewers, the genres and foibles they are having fun with are general enough in classic films and fiction that the jokes still work. Plus, given how often Betty Boop and Dracula are featured in posts around here, this is a perfect bit of fun as the Halloween festivities here at Shades of Gray approach their high point.
Click below and sit back. We think you'll like this film... and we think you LOVE it if you're into Pre-Code films, Betty Boop cartoons, and Universal's Dracula flicks!
Screen Songs: Let Me Call You Sweetheart (1932) Starring: Ethel Merman, Billy Murray, and Mae Questal Director: Dave Fleisher and Shamus Culhane Rating: Seven of Ten Stars
After a nanny (Betty Boop, voiced by Questal) turns down his advances, a police officer (Bimbo, voiced by Murray) proceeds to rape her while putting the baby she's supposed to care for in deadly danger. Meanwhile, Ethel Merman invites viewers to join her in singing "Let Me Call You Sweetheart".
I watched "Let Me Call You Sweetheart" twice, with four days between viewings, just to make sure I hadn't been in a dark frame of mind when I viewed it the first time. I hadn't been.
The cartoon sequences are among the most disturbing I think I've ever come across... because the sense is that there's nothing wrong with the fact that Bilbo is a police officer who forces is "affection" on a clearly-not-interested Betty Boop. Also, we're clearly supposed to find it hilarious that Bilbo, while setting about to rape Betty, intentionally kicks the baby carriage she was tending, sending it careening down a hill where it and the baby ultimately plunges and sinks into a pond. Although the baby doesn't die (no one really thought that it would, did they?) and is saved via some visually amusing cartoon antics, the circumstances under which it is placed in danger are so distasteful it was hard for me to enjoy it. Just to make the Betty and Bimbo sequence as repulsive as possible, the animators later show them in a state of blissful embrace--Betty really wanted it all along, see?--where we should have seen her standing over Bimbo's broken and twisted corpse.
For all my irritation at main animated sequence of this Screen Songs installment, I can also see a possibility that it was intended as an ironic juxtaposition of the featured song, "Let Me Call You Sweetheart", because the on-screen lyrics get really crazy type-setting wise toward the end. The animated sequence after the Ethel Merman sing-along section supports this idea, as it features a predator singing "Let me Call You Sweet-heart" while chasing down its prey. (Bimbo and Betty being shown in a loving embrace after he forces himself upon her in a brutal fashion undermines that interpretation though. Unless one assumes they were "roleplaying"...)
Although I had a very hard time enjoying this cartoon, I recognize it's well-animated with some amusing visual, quickly paced, and features a pleasant song, hence the Seven-Star rating. I just can't get past some of the messaging. (Oh... and while I can't think of a way to do rape "right", the creators of this cartoon and this one did present child endangerment in a fashion that was more amusing than troubling.)
But are the flaws of "Let Me Call Me Sweetheart" are severe as I feel they are? Take a look for yourself and let me know!
Mask-A-Raid (1931) Starring: Ann Little (Betty Boop and various voices) and Bill Murray (Bimbo and various voices) Directors: Dave Fleischer and Al Eugster Rating: Nine of Ten Stars
Betty Boop is the Queen of the Ball at a masquerade, and she becomes the object of love (and lust) by Bimbo the Bandleader and the dirty old man who's the King of the Ball. Although Betty is clearly more attracted to Bimbo, she declares they must duel tor her heart. Insane antics ensue.
"Mask-A-Raid" is a turning point for the most famous original characters to come out of the Max Fleischer-operated animation studios, Bimbo and Betty Boop.
First, this is the moment when Bimbo was permanently reduced from the headlining character to supporting character status. While he would continue to be a presence in the series for a few more years, he had been replaced as the star by Betty Boop, who had originally been introduced as a nameless supporting character with appearances like this. In some, he'd be a co-star (like he is here), but in others he'd barely be present.
Secondly, this is the point at which Betty Boop's transformation from an anthropomorphic poodle into the big-headed sexpot we all know and love. The change had been taking place over several cartoons, but this is the first time when her floppy poodle ears have been fully replaced by hoop earrings and the last vestiges of her dog snout are completely gone.
As for the content of "Mask-A-Raid", this is one of the most risque Betty Boop cartoons I've seen so far, with Betty leaving no confusion about her desire to get hot and sweaty with Bimbo, with the dirty old man leaving no confusion about his desire to get hot and sweaty with Betty, and there's no doubt that Bimbo is not particularly interested in defending Betty's virtue but rather his own desire to get hot and sweaty with her. I think it's clear that these cartoons were directed at an adult audience--or at least older teens.
All that said, there is a sense of fun about everything in this very charming cartoon. In some of the Betty Boop installments, Bimbo comes across a demented stalker (like this one) or the proceedings are tinged with horror (as illustrated here), but here Bimbo is just a horndog and Betty is willing to engage him. The sense of fun (and perhaps even joy) intensifies as the cartoon progresses and gets stranger and stranger as it goes, and the duel for Betty Boop's--um... companionship--escalates into a major brawl for no apparent reason. I think if you watch "Mask-A-Raid" without at cracking at least one smile, you're dead. Not just dead inside, but clinically dead.
In addition to lots of zany visuals and escalating craziness, "Mask-A-Raid", like many of the Boop cartoons from this period, is an animated mini-musical... and the music and songs are just as nutty as the animation. There are Betty Boop cartoons that feature better music but I've yet to see one that manages to be as completely chaotic and perfectly graceful at the same time as this one.
But don't just take my word for it. Why don't you take a few minutes to have some fun right now? Click below, sit back, and get ready to laugh! (And if I have steered you wrong, let me and the world know in the comments section.)
In 1931, as Fleischer's Betty Boop was soaring toward animated superstar status, she and her friend Bimbo co-starred in an adaptation of the "Little Red Riding Hood" story. It has some fun, surreal, and/or just plain crazy moments. The music isn't bad either.
It also makes you question Betty's taste in boyfriends. At the outset of the Betty comments to Bimbo that her mother doesn't approve of him... and as the cartoon unfolds, I think it's clear why. By the end, I think it's clear that Bimbo may be more dangerous than the wolf ever was... as well as a complete psycho. (Of course, if the assume that "Dizzy Red Riding-Hood" is a sequel to this one, we already know Bimbo isn't quite right in the head.)
"Dizzy Red Riding-Hood" is a zany take on a very familiar story that goes to very unexpected places. No matter what meaning you assign to the original story and the events and characters within it, this version subverts them all!
Dizzy Red Riding-Hood (1931)
Starring: Ann Little (Voice of Betty Boop) and Billy Murray (Voice of Bimbo, others)
Betty Boop and the Little King (1936) Starring: Jack Mercer (voice of the Little King and others) and Mae Questel (voice of Betty Boop) Directors: Dave Fleischer Rating: Six of Ten Stars
A fun-loving king sneaks out of an opera performance and out from under the iron fist of his queen to enjoy a vaudevillian rodeo performance by Betty Boop.
In 1933, producer Max Fleischer approached Kings Features Syndicate with a proposal to turn their Popeye the Sailor comic strip character into an animated character. The Syndicate was dubious, but Popeye proved to be a far bigger hit in animation than he ever was on the printed page. After the demise of the Van Beuren Corporation, which had licensed Kings Features strip "Little King" for use in animation (and had produced a dozen shorts starring him), Fleischer decided to see if he could replicate the success he'd seen with Popeye.
"Betty Boop and the Little King" was a back-door "pilot episode" for a potential "Little King" series, just like "Popeye the Sailor" had been in 1933, and it follows the same template as that previous effort: Betty Boop is relegated to supporting-character status in her own series, as the Little King encounters her performing, joins the act, and triggers additional events and complications.
Unfortunately, the attempt to launch "The Little King" to screen stardom fizzled on the ground. The reasons for this could be many, but obvious ones are plain to see as the cartoon unfolds. First of all, Betty Boop lost her edge when the Production Code made the Fleischers feel obligated to redirect her adventures from an adult audience toward children, so the sly humor and escalating violence of "Popeye the Sailor" is nowhere to be found here. Second, where both "Betty Boop and the Little King" and "Popeye the Sailor" were structured in a way that they introduced viewers who might not be familiar with the source material to the characters, only "Popeye the Sailor" put major effort into building some new, unique, and fresh for the animated version. In fact, the Fleischer cartoon unnecessarily violates a standard of "The Little King" comic strip when they have the King speak. In the strip, he NEVER speaks... and there was no reason for him to do so here, either. Thirdly, while the story is cute and the King is equal parts funny and sympathetic (just like his more proper Queen is equal parts funny and UNsympathetic since she is trying to keep him behaving in a way that is befitting his status), it's generally a low energy affair. The animation is nice--even impressive at a couple of points--but when compared to other Betty Boop cartoons, the gags are weak and prone to overstay their welcome and there's barely enough going on to keep viewers engaged.
"Betty Boop and the Little King" isn't a terrible cartoon... it's just a little too tame and genteel.
This was the only time Fleischer used the Little King in one of his productions. It was probably for the best, since I have a feeling that he was much better suited for the type of fare that the Van Beuren Corporation put out--and with that said, I will have to seek out and watch some of those to see if I'm right or wrong. If anything, I'm fairly certain that the King didn't speak in those shorts, because most of the Van Beuren cartoons were essentially silent movies with elaborate musical scores.
But just don't take my word for whether "Betty Boop and the Little King" is good or not. I've embedded it" below, you can can check it out yourself; it's only seven or so minutes long. If you disagree with my take, I'd love to hear from you in the comments section below.
Zula Hula (1937) Starring: Jack Mercer (as the voice of Grampy) and Mae Questel (as the voice of Betty Boop)
Directors: Dave Fleischer
Rating: Seven of Ten Stars
A plane crash leaves Grampy and Betty stranded on a tropical island. Grampy puts his genius for jury-rigging to work, recreating all the comforts of civilization and even turning a hostile native tribe friendly.
"Zula Hula" first appeared in movie theaters on December 24, 1937. It was the final cartoon released by the Fleischer Studios that year. It was also the final appearance of Grampy, an occassional guest star in the Betty Boop series of cartoons, but who almost always got top billing and took the lead in most episodes in which he appeared.
Watching "Zula Hula", it doesn't feel like Grampy is done at this point. Not only is Betty once again reduced to a supporting role in her own series, but it was an improvement quality-wise over "Service With a Smile" (released in November of 1937), which was already lots of fun. In fact, it almost seemed like Grampy was getting a second wind, as the two final cartoons out of his ten appearances were as amusing and cute as the very first one. This one also benefits greatly from the fact that Gramy's inventions are fun and creative. (I found the anti-crash device on his private plane, his automated fishing device, and his turning an airplane engine into a musical device particularly amusing. His failed attempt to create a water clock, and Betty's comment about it, is also a funny moment.)
A big negative in "Zula Hula", however, is Grampy behaving completely out of character from how he's been portrayed in two of the best previous entries in the series. In "A Song a Day" and "Be Human", Grampy was concerned with the health, well-being, and ethical treatment of animals to the point where I jokingly said he'd make a great mascot for PETA. I feel that the Grampy we have in this film would be targeted for an ass-kicking by the Grampy in the two above-mentioned cartoons due to the way he abuses animals here, especially the way he turns a monkey into the motor powering a gyrocopter.
I suppose the cartoon natives on the island can also be considered a negative since their design will undoubtedly cause palpitations among those with a tendency to see racism everywhere. From a 21st century perspective, the design of the natives characters does appear to be racist, although if they artists were going for full-on racism would they, yet again, have portrayed the native culture as a weird mix of African and Polynesian flavors? Personally, that annoyed me more than the physical design of the characters--but since this is the second time I've encountered this in a "Betty Boop" cartoon, I suppose this is just how jungle-dwelling natives are in her world.
I am further willing to overlook any perceived racism in the design of the native characters, because the song and dance number that closes out "Zula Hula" is one of the best to be featured in the Grampy cartoons, with a perfect mix of weird visual gags, silly cartoon dancing, and catchy music.
Take a few minutes to enjoy Grampy's final adventure right now. And feel free to leave a comment if you agree or disagree with any of my takes on it.
The Impractical Joker (1937) Starring: Mae Questel, Jack Mercer, and Pinto Colvig Director: Dave Fleischer Rating: Five of Ten Stars
Betty's peaceful day turns chaotic when prank-loving Irving stops for a visit. Grampy puts his mechanical genius to work in order to turn the tables and prank the prankster. But can even the might Grampy best the King of Pranks?
"The Impractical Joker" is a low point in the series of cartoons co-starring Betty Boop and gadget-maker Professor Grampy. The gags are barely funny, the prankster character of Irving is completely unlikeable and one wonders why Betty even lets him into her home (or why she doesn't beat him to death with a rolling pin once she does), and Grampy's inventions aren't as inspired or funny as they've been in previous outings.
The only remarkable thing about "The Impractical Joker" was the animation and design of Irving who is among one of the weirdest creatures to exist in the World of Boop. He's so bendable that even Gumby must be jealous.
Maybe this one just isn't in step with my sense of humor, or maybe it shoots for a juvenile audience that's even lower than my admittedly juvenile tastes. You can check it out below, and if you feel inclined, you share your take by leaving a comment.
Starring: Mae Questel (as the voice of Betty Boop) and Jack Mercer (as the voice of Grampy)
Directors: Dave Fleischer and Dave Tendlar
Rating: Six of Ten Stars
The day after hosting a wild birthday party, Betty Boop is hung-over, short-tempered, and she very quickly becomes frustrated with trying to clean up the mess. Grampy comes to her rescue by creating and make-shift cleaning machines.
In "House Cleaning Blues", Professor Grampy once again Does His Thing and saves Betty from house-cleaning... but in the process he pretty destroys a number of expensive household items, such as a record player, a player piano, and clock, and a bicycle. There isn't anything we haven't seen in other Betty & Grampy cartoons, but unlike those, the thought of how much property was being damaged to help Betty get out of house-cleaning kept popping into my head and so maybe I didn't enjoy this one as much as I should have.
While this may not be the most innovative of Betty & Grampy outings, there's still a lot to like about it. Betty has one of the cutest melt-downs ever put into animation--a bit the folks at Fleischer liked so much they recycled some of it in "Service with a Smile" (1937). Everything about Grampy driving his roadster is hilarious--especially the way one has to wonder what it is he has on tap when he serves Betty her drink as they drive off at the end of the episode. Finally, there is plenty of high-quality animation to enjoy--with a pan-shot across the wreckage of Betty's home before Grampy goes to work that has a 3D quality to it standing out in particular. And, despite my very joy-killing cringing at the property Grampy converts, the bits with his machines operating are as well done as they always are.
If you have a few minutes, go ahead and check out "House Cleaning Blues" by clicking below.
Starring: Mae Questel (voice of Betty Boop) and Jack Mercer (voice of Grampy)
Directors: Dave Fleischer and Dave Tendlar
Rating: Six of Ten Stars
When Betty is overwhelmed from caring for all the patients in her animal hospital, Grampy comes up with a miracle cure.
There isn't much more story to this cartoon than what is summarized above. It's got some midly amusing jokes relating to the ailments the animals under Betty's care, some nice music, and a closing dance number (complete with the jazz hands). The best part of this installment is some very nicely done, 3D-feeling animation during the opening scenes.
"A Song a Day" isn't the best in the Betty Boop series, but it's cute and worth the eight minutes of your life it will take to watch. And since you're already here, you should go ahead and click below to do just that!
Starring: Mae Questel (Voice of Betty Boop) and Jack Mercer (Voice of Grampy)
Directors: Dave Fleischer and Dave Tendlar
Rating: Seven of Ten Stars
It's the grand opening of the Hi-Di-Ho-Tel. Front desk clerk Betty is getting overwhelmed with demands from angry guests... until Grampy saves the day with his brilliant mind and talent for make-shift mechanical engineering.
In "Service With a Smile", Betty Boop is once again relegated to second billing in her own series, and genial mechanical genius Grampy and his creations take center stage, drive most of the story, and ultimately save the day. He elevates the service provided to guests with legitimate complaints to wondrous levels while delivering well-deserved comeuppance to those who are just obnoxious.
Among the high points in this Betty Boop outing are some nice (and sometimes subtle) callbacks to some of the older entries in the series, with the name of the hotel being foremost among these. There's none of the surrealism or edgy humor that was present in those efforts from the early 1930s, but the steady stream of good-natured gags (which start with the signs outside the hotel in the opening scene and don't stop until the closing fade-out) and the assortment of odd and/or troublesome guests at the hotel manage to make this a bit of fast-paced, fun entertainment.
Since we here at Shades of Gray also like to provide service with a smile, we invite you to check out "Service With a Smile" right now, by clicking below. It's only about seven minutes long, and we promise it will brighten your day!
In observance of Veteran's Day, we invite you to taka e few minutes to watch "There's Something About a Soldier"--a tale of war, bravery, and love... not to mention lots of silliness. It's embedded at the bottom of this post!
There's Something About a Soldier (1934)
Starring: Mae Questel (the voice of Betty Boop) and Jack Mercer (the voice of Fearless Fred)
Director: Dave Fleischer
Rating: Seven of Ten Stars
Betty helps recruit the men on the country to join the army to battle an invading hoard of giant mosquitos and fights along side them on the front lines.
By 1934, the Betty Boop cartoons were losing their edge, due in large part to the now-in-full-force Motion Picture Production Code. Still, this Betty Boop outing is still a lot of fun, with gags coming fast and furious while everything from war-time melodramas, army recruiting methods and army recruits, and even war, is being lampooned.
What's most remarkable here is the animation. At first glance, it appears like the well-composed and smooth-flowing imagery we expect from this series, but a closer look reveals that an amazing amount of attention and effort was put into the details here. For example, each soldier in formations is drawn with an individual look instead of the typical method of just repeating the same character design on such insignificant characters. That extra effort on the soldiers is a big part of what makes "There's Something About a Soldier" worthy viewing on this Veteran's Day.
Betty Boop's Hallowe'en Party (1933) Starring: Bonnie Poe (as the voice of Betty Boop)
Director: Dave Fleischer
Rating: Six of Ten Stars
When a big bully crashes Betty Boop's Halloween party and threatens to ruin everyone's fun, the Spirits of Halloween come to the rescue.
"Betty Boop's Hallowe'en Party" is a cute tribute to Halloween parties. It's well worth checking out for anyone who can use a little cheering because Halloween is being "cancelled" in most places this year. Even if you're lucky enough to have Halloween and are able to go to parties, you'll still enjoy the opportunity to live vicariously through Betty and her pals. (The way Betty and her odd friends work together to decorate for her party is lots of fun to watch.)
You'll also see that "fan service" is a time-honored tradition in cartoons that dates back to at least 1933.
Mysterious Mose (1930) Starring: Margie Hines (voice of "Betty Boop"/The Girl) and Bill Murray (voice of Bimbo/The Mysterious Mose)
Director: Dave Fleischer
Rating: Seven of Ten Stars
After she is harassed by the ghosts haunting her home, Betty Boop's sleepless night may be about to go from bad to worse when the notorious night-creeper known as the Mose invades her home.
There are some films that need to be experienced with as little advanced warning and spoilers from reviewers like me. "Mysterious Mose" is one such film. It's opens with with some risque weirdness brought on by a frisky ghost-- clearly establishes that the Bimbo and Betty cartoons were made for an adult audience--and it just keeps getting stranger as it goes. I guarantee that you will have a hard time predicting what's coming from one moment to the next, and you will certainly not be able to predict the film's ending. And that is what makes this bit of gothic-flavored weirdness so much fun to watch. The catchy music helps, too.
One thing I do have to mention specifically is that I've been referring to the female main character in this cartoon as "Betty Boop" for ease of reference more than anything else--like everyone else, I presume. When this cartoon was made, "Betty Boop" had yet to sport that name; her iconic look had likewise yet to be fully established. This was her fourth appearance and her design changed from film to film--as did that of Bimbo, actually--but this was the point where the "Betty" everyone recognizes began to take form. That said, she is still an anthropomorphic dog with droopy ears at this point, and she has darker skin that she would be portrayed with (for the most part) going forward. Still, this is the first time the future "Betty Boop" is clearly recognizable as Betty Boop.
But enough from me. Why don't you take a few minutes out of your day to check out this classic cartoon? It's guaranteed to entertain, as well as stir the Halloween Spirit!
Starring: Mae Questel (as the voices of Betty Boop and Junior) and Jack Mercer (voice of Grampy)
Directors: Dave Fleischer and Dave Tendlar
Rating: Six of Ten Stars
After a promised outing to a traveling carnival is cancelled, Junior throws a temper tantrum. It's Professor Grampy to the rescue, as he applies his mechanical genius to turn his home into an indoor carnival.
"Grampy's Indoor Outing" is a fast-paced, fun bit of fluff. There's not a whole lot to say about it beyond the summary above and the sentence I began this paragraph with. It's one of those things you just sit back and watch with a smile. Parents of young children may find themselves watching and wishing the had Grampy as a neighbor, what with all the lockdowns and shut-downs of the amusement parks and just plain old parks, and even the schools. It's been a year for many parents, and these next few months are probably going to feel even longer. Grampy is both the hero they need AND deserve.
Take a few minutes to enjoy "Grampy's Indoor Outing" right now. It will almost certainly brighten your day!
(One thing I observed that I found interesting is that the character design of Junior is almost identical to that of Little Jimmy, a licensed character that starred along side Betty Boop in a cartoon released earlier in 1936. I don't know if that means anything other than Fleischer was going to spend the effort to come up with an entirely new character design for a series that was sinking in popularity, or if it was something else.)
Betty and the Gang are invited to party at Grampy's house... and, BOY!, do they party!
"Betty Boop and Grampy" stars a Betty in the process of transitioning from her wild flapper days to a homemaker. Betty still favors the short skirts, but they aren't as short as they used to be... and instead of visiting Crazy Town with her boyfriend, or going to see the Old Man of the Mountain against everyone's advice, she's happily doing domestic chores around her happy home. Still, there's more than just a little spunk and wildness left in Betty, so when she gets in invitation to come to Grampy's house for a party, she picks up four total strangers while crossing town (including a fireman and a police officer) and invites them along.
Grampy, a bald, white-bearded inventor of weird gadgets with a talent for jury-rigging devices on the spot that puts MacGyver to shame, joins Betty Boop's supporting cast with this installment. With Fleischer having to tone down the more mature aspects of their popular "Betty Boop" cartoons, they were trying different things and wacky Grampy was one of them.
"Betty Boop and Grampy" is an entertaining bit of nonsense. It's got excellent music (starting with the "Betty Boop Theme", which Betty hums while tending to household chores; continuing through "Over at Grampy's House", which is sung by Betty and the guys she picks up while heading to the party; and "The Tiger Rag", which the characters sing and dance to, as it is played by a makeshift mechanical orchestra that Grampy constructs out of his kitchen appliances. The animation is up to the usual high standards to the Fleischer studio, and the gags are all well timed. It's not a high point in Betty's catalogue, but it's well worth your time.
The only real complaint I have is that Betty shouldn't have been picking up random strangers in response to Grampy's invitation. It would have been nice to see Koko and Bimbo at the party, since they're actually "the gang" mentioned in the letter. I know that Fleischer had removed the anthropomorphic elements of Betty's world by now, but it still would have made the Continuity Geek in me happy.
As is my habit with most of the short films I review, I invite you to take few minutes to brighten your day by watching the subject I've discussed.
Trivia: In addition to working in animation, Dave Tendlar also illustrated comic books. I edited and wrote some material for a collection of his "Ginger and Snap" stories from NUELOW Games.
Starring: Mae Questal (voice of Betty Boop) and Jack Mercer (voices of Grampy and Neighbor)
Directors: Dave Fleischer and Myron Waldman
Rating: Eight of Ten Stars
Outraged at the extreme abuse her neighbor heaps upon pets and farm animals alike, Betty (Questel) calls animal shelter operator and animal rights champion Professor Grampy, who knows exactly how to deal with such a human monster.
In 1935, the Motion Picture Production Code forced the Fleischer Studios to tone down the adult humor that once given their Betty Boop cartoons a sharp edge, and they subsequently became less popular with movie-goers. Naturally, steps were to reverse the downturn.
As a character, Betty made made to leave her wild days behind and become a responsible career woman and/or a homemaker. As a commercial property, producer Max Fleischer tried to rekindle Betty's dwindling popularity by shifting her appeal to a younger audience. Despite everyone's best efforts, Betty's star continued to fade. I don't think there's a clearer sign of this than today's subject. As the instrumental version of Betty's long-time theme plays, viewers are shown a title card that reads "Grampy in Be Human" in large type and "A Betty Boop Cartoon" in a much smaller typeface that almost blends into a graphic element on the left side of the screen. Not only is Betty given less marquee space than a member of her supporting cast, but she is almost rendered invisible.
Once the cartoon really gets going, however, things are little different. Betty leads off singing a song that spells out the story's theme--be kind to animals. Her hateful neighbor then engages in a string of terrible acts of animal abuse, up to beating a chicken to death for not laying eggs on command. Betty is then the driving force in bringing Professor Grampy onto the scene... although it's all Grampy when it comes to making the animal abuser pay, all while harnessing the power of his punishment to make animals happy.
"Be Human" is squarely focused on a strong message opposing animal abuse, and it makes its points without subtlety. I suppose those who fear they may be "triggered" by cartoon scenes of animal abuse should give this film a pass, as should those who think animal abusers shouldn't just be rounded up and tossed in torture pits. Personally, I think the only ones who would take issue with this cartoon would be those who are prone to abuse helpless creatures... and there are apparently many people out there, since when the Betty Boop cartoons were syndicated to television in the mid-1950s, "Be Human" was pulled from rotation due to complaints that it encouraged vigilantism.
Personally, I think any non-psychopath is going to get a kick out of Prof. Grampy's creative way of making Betty's nasty neighbor pay for his cruelty while generating a benefit for the animals housed at his sanctuary. Although Betty may have been in decline as a commercial property when "Be Human" was released, I think it ranks among the best in the series, and I highly recommend that you take a few minutes to check it out right now.
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