Betty Boop's Museum | 1932
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Betty Boop's Museum | 1932
Coo Coo the Magician (1933)
After Flip's girlfriend (a Betty clone) is stolen by a magician and sold to the sultan Flip must defeat him and get her back. It's a basic plot with stock Arabian gags but it's still a lot of fun. As always the animation is great and the slapstick between Flip and Coo Coo has a lot of energy.
First ‘Felix the Cat’ Film:
TW: Suicide
(When ‘Feline Follies’ first purred onto cinema screens back in 1919, distributed by the big league chaps at Paramount, audiences had no idea they were witnessing history in the making. This sprightly silent cartoon marked the debut of a certain dapper moggy who would soon set the animation world buzzing… ‘Felix the Cat’
Dreamed up at the Pat Sullivan Studio in New York, presided over by the Australian animator Pat Sullivan himself, the film has long been at the centre of a decidedly lively debate. Who truly conjured Felix into being: Sullivan, the studio boss with the business nous, or Otto Messmer, his quiet genius of a lead animator? The argument echoes other backstage legends in animation lore… a bit like when Ub Iwerks insisted he fashioned Mickey Mouse before Walt Disney took the limelight, or when Grim Natwick maintained that Betty Boop sprang from his pen rather than Max Fleischer’s. Proper backstage drama, that)
With a 1919 publishing date, this is probably one of the earliest uses of the ''jelly roll'' double entendre in a published/printed sheet. "This jelly roll is sweet. It's hard to beat. I know you want it, you can't have it and I ain't gonna give you none." But wait, there's more...the illustration was done by Grim Natwick, who, after doing a number of sheet music covers in the teens and 20s, went on to join Fleischer Studios where he designed the image of Betty Boop. He went from there to Disney, where he was responsible for most of the design of Snow White. The illustration, of course, depicts the "innocent" aspect of the jelly roll trope.
Claude McKay's Banjo (1929) left nothing at all to the imagination whenever characters (almost all part time Jazz musicians) used the term 'jelly roll.'
McKay remains one of my favorite writers from the era. Taking a hard turn from witty and ribald banter among shipmates cast ashore in Marseille is one of his more famous poems, 'If We Must Die.'
Betty Boop is an animated cartoon character designed by Grim Natwick at the request of Max Fleischer. She originally appeared in the Talkartoon and Betty Boop film series, which were produced by Fleischer Studios and released by Paramount Pictures. She was featured in 90 theatrical cartoons between 1930 and 1939. She has also been featured in comic strips and mass merchandising.
A caricature of a Jazz Age flapper, Betty Boop was described in a 1934 court case as "combin[ing] in appearance the childish with the sophisticated—a large round baby face with big eyes and a nose like a button, framed in a somewhat careful coiffure, with a very small body of which perhaps the leading characteristic is the most self-confident little bust imaginable". Although she was toned down in the mid-1930s as a result of the Hays Code to appear more demure, she became one of the world's best-known and most popular cartoon characters.
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Today marks the 95th anniversary of cartoon legend Betty Boop's debut in the Max Fleischer cartoon, Dizzy Dishes.
Grim Natwick and Gustav Tenggren Snow White and the Seven Dwarfs Poster (40" X 60") (RKO, 1937) Source
“There's rare, there's very rare, and then there's ‘Wow.’ This incredible poster definitely belongs in the latter category…That this one has survived nearly seven decades is nothing short of a miracle, especially considering the thin, glossy photo paper on which it's printed (posters of this size were usually printed on heavier stock, but Disney obviously wanted to emphasize the artwork and the colors in this beauty, leading him to use a photogelatin process that required the more fragile paper).”
A Boop to get back into the "drawing for myself" swing