My nearly six-year-old couldn't get enough of "that little girl.") (This is not to say kids can't enjoy them, too. As animation historian Leonard Maltin and others have pointed out, where Disney exploited the natural fears of children, the Fleischers' cartoons explore the darker psychology of adults. Betty never lost her charm, however, and soldiered on through the end of the 1930s, often with Betty playing a supporting part in her own cartoons (she's not even in the very last "Betty Boop"), though her image can still be found on merchandise everywhere, all over the world.īut Betty's best, the two-dozen or so cartoons from 1932-34, and even many of those made later on, positively ooze the Fleischer house style, one more adult and surreal than his rivals, with imagery at times more Dali than Disney.
BETTY BOOP HALLOWEEN PARTY BLURAY CODE
Indeed, so sexy was "The Queen of the Animated Screen" that like Mae West and Maureen O'Sullivan's Jane in the early Tarzan films, Hollywood's Production Code eventually insisted Betty "put more clothes on," and forced her to assume a subtly degrading, housewifey demureness, no matter that she was single. Max and Dave Fleischer's trifecta of classic animation series, one that included the black and white and early color "Popeye" cartoons and the first screen appearance of "Superman," began with a uniquely hallucinatory series of one-reel cartoons eventually starring Betty Boop, the innocent but sexy jazz baby, a throwback to the risqué Roaring Twenties.
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