Fleischer Studios (1930)

A Bimbo cartoon (though he is still unnamed).

Bimbo is the hot dog vendor at an opera led by a Leopold Stokowski-like lion, with plenty of operatic mice. Includes a repeating gag of a hippo coming and going through the seats, displacing patrons.

Animated by Seymour Kneitel & Al Eugster

For the Fleischer brothers, the transition to sound was relatively easy. With the new contract with Paramount Pictures, and without the burden of Red Seal Pictures and Alfred Weiss, Max Fleischer was free to experiment with new, bold ideas. First he changed the name of the Ko-Ko Song Cartunes series to Screen Songs. Although the Screen Songs were successful, Fleischer felt that it wasn’t enough. Walt Disney also seemed to gain a great amount of fame through his sound cartoons. Max decided to work with his brother Dave on a new series of cartoons where the characters did more than just simply dance to the music of the “bouncing ball”. The name for the new series was to be Talkartoons. When the idea was pitched to Paramount, they leaped at the opportunity.

The Talkartoons started out as one-shot cartoons. The first entry in the series was Noah’s Lark, released on October 26, 1929. Although a Fleischer cartoon, it appeared to be patterned after the Aesop’s Film Fables of Paul Terry. In it, a Farmer Al Falfa-esque Noah allows the animals of his ark to visit Luna Park. When he brings them back into the ship, the weight is so heavy that it sinks. In the end, Noah chases topless mermaids throughout the ocean waters. Lark has very few gray tones, very much like the Screen Songs produced during the same time and the earlier Fleischer silent works. It also included copyright-free songs, mostly utilized from old 78-rpm’s.

The series began to take a new direction, however, with the arrival of Max and Dave’s brother, Lou Fleischer, whose skills in music and mathematics made a great impact at the studio. A dog named Bimbo gradually became the featured character of the series. The first cartoon that featured Bimbo was Hot Dog (1930), the first Fleischer cartoon to use a full range of greys. New animators such as Grim Natwick, Shamus Culhane, and Rudy Zamora began entering the Fleischer Studio, with new ideas that pushed the Talkartoons into a league of their own. Natwick especially had an off-beat style of animating that helped give the shorts more of a surreal quality. Perhaps his greatest contribution to the Talkartoons series and the Fleischer Studio was the creation of Betty Boop with Dizzy Dishes in 1930.

By late 1931, Betty Boop dominated the series. Koko the Clown was brought out of retirement from the silent days as a third character to Betty and Bimbo. By 1932, the series was at an inevitable end and instead, Betty Boop would be given her own series, with Bimbo and Koko as secondary characters.

Ub Iwerks (1931)

Flip the Frog is an animated cartoon character created by American animator Ub Iwerks. He starred in a series of cartoons produced by Celebrity Pictures and distributed through Metro-Goldwyn-Mayer from 1930 to 1933. The series had many recurring characters besides Flip; including Flip’s dog, the mule Orace, and a dizzy neighborhood spinster.

Flip was created by Ub Iwerks, animator for the Walt Disney Studios and a personal friend of Walt Disney in 1930, at the Iwerks Studios. After a series of disputes between the two, Iwerks left Disney and went on to accept an offer from Pat Powers to open a cartoon studio of his own and receive a salary of $300 a week, an offer that Disney was unable to match at the time. Iwerks was to produce new cartoons under Powers’ Celebrity Pictures auspices and distributed by Metro-Goldwyn-Mayer. The first series he was to produce was to feature a character called Tony the Frog, but Iwerks disliked the name and it was subsequently changed to Flip.

Iwerks’ studio quickly began accumulating new talent, such as animators Fred Kopietz, Irv Spence, Grim Natwick, and Chuck Jones. After the first two cartoons, the appearance of Flip the Frog gradually became less froglike. This was done under the encouragement of MGM, who thought that the series would sell better if the character were more humanized. Flip’s major redesign is attributed to Grim Natwick, who made a name for himself at Fleischer Studios with the creation of Betty Boop. Natwick also had a hand in changing Flip’s girlfriend. In earlier films, she was consistently a cat, but Natwick made Flip’s new girlfriend, Fifi, a human who shared distinct similarities with Betty.

The frog’s personality also began to develop. As the series progressed, Flip became more of a down-and-out, Chaplin-esque character who always found himself in everyday conflicts surrounding the poverty-stricken atmosphere of the Great Depression. Owing to the influx of New York City animators to Iwerks’s studio, the shorts became increasingly risquĂ©.

The character eventually wore out his welcome at MGM. His final short was Soda Squirt, released in 1933. Subsequently, Iwerks replaced the series with a new one starring an imaginative liar named Willie Whopper. Flip became largely forgotten by the public in the ensuing years. However, the character would make a small comeback when animation enthusiasts and historians began digging up the old Iwerks shorts.

Fleischer Studios (1934)

Ha! Ha! Ha! is a 1934 Fleischer Studio Betty Boop animated short film featuring Koko the Clown.

This is a partial remake of the 1924 Koko animated short, The Cure. It’s also Koko’s last theatrical appearance.

Max Fleischer deployed a number of techniques in the service of his anarchic cinematic vision, among them rotoscoping, which he patented in 1917; integrating live action shots; and using still photographs as animation backgrounds to create the illusion of cartoon characters inhabiting a real-world space, as in the opening scene of the astounding Betty Boop short Ha! Ha! Ha! (1934). The most technologically ornate item in Fleischer’s toolbox was the setback camera.

The setback camera is often confused with Disney’s multiplane camera. Both systems evolved somewhat contemporaneously, and both create the illusion of dimensional depth, but functionally they have little in common. The setback rig consists of a forced-perspective, miniature set mounted on a turntable, serving as background to the cel art held in a vertical glass platen, and a horizontal animation camera. The turntable is rotated incrementally behind the cels, creating the effect of a “tracking shot” — the 2D animated character, in a side-view walk cycle, traverses a realistically proportioned (but still recognizably Fleischeresque) 3D environment which moves perspectivally across the background.

The setback camera.
The Fleischer brothers working on the setback camera.

Fleischer Studios (1930)

Seymour Kneitel along with Dave Fleischer directed this animated short film, but was uncredited.

Screen Songs are animated cartoons featuring the famous “bouncing ball” produced by Max Fleischer and distributed by Paramount Pictures between 1929 and 1938. The cartoons are sing-alongs featuring popular song hits of the day along with the ethnic stereotypes and humor typical of the era in which they were produced. In the 1930s, the series began to feature current popular musical guest stars such as Cab Calloway, Rudy Vallee, and Ethel Merman.

Fleischer Studios was an American corporation that originated as an animation studio located at 1600 Broadway, New York City, New York. It was founded in 1921 as Inkwell Studios, Inc. and Out of the Inkwell Films by brothers Max Fleischer and Dave Fleischer who ran the pioneering company from its inception until Paramount Pictures, the studio’s parent company and the distributor of its films, acquired ownership. In its prime, Fleischer Studios was a premier producer of animated cartoons for theaters, with Walt Disney Productions becoming its chief competitor in the 1930s.

Fleischer Studios characters included Koko the Clown, Betty Boop, Bimbo, Popeye the Sailor, and Superman. Unlike other studios, whose characters were anthropomorphic animals, the Fleischers’ most successful characters were humans (with the exception of Bimbo, who was a black-and-white cartoon dog). The cartoons of the Fleischer Studio were very different from the Disney product, both in concept and in execution. As a result, the Fleischer cartoons were rough rather than refined, consciously artistic rather than commercial. But in their unique way, their artistry was expressed through a culmination of the arts and sciences. This approach focused on surrealism, dark humor, adult psychological elements, and sexuality. Furthermore, the environments were grittier and urban, often set in squalid surroundings, reflecting the Great Depression as well as German Expressionism.

Fleischer Studios (1933)

Is My Palm Read is a 1933 Pre-Code Fleischer Studios animated short film starring Betty Boop, and featuring Koko the Clown and Bimbo.

Betty visits Bimbo the fortune teller for some advice, but Bimbo is only interested in making time with Betty. Bimbo’s crystal ball predicts that Betty will be shipwrecked on a desert isle (during which time she sings part of the Irving Berlin song All by Myself), and attacked by evil spirits resembling poltergeists, but rescued by Bimbo. When Bimbo reveals himself by removing his fake beard, a happy Betty embraces him. Unfortunately, a group of the ghosts from the vision burst in on this scene, and chase the two to the desert isle. Betty and Bimbo eventually escape from the ghosts by tricking them into going off a cliff into the sea.

Fleischer Studios (1934)

She Wronged Him Right is a 1934 Fleischer Studios animated short film, starring Betty Boop. This is also the first appearance of Betty’s semi-regular boyfriend, Fearless Fred.

Betty Boop appears in a stage play, complete with obvious theatrical backdrops. Betty doesn’t have the money to pay the mortgage, so the dastardly villain Heeza Rat threatens to foreclose unless Betty agrees to marry him. The villain threatens Betty in various ways until the handsome and muscular Fearless Fred comes to her rescue.

Directed by Dave Fleischer

Produced by Max Fleischer

Voices by Bonnie Poe

Music by Herman Hupfeld (song “Let’s Put Out the Lights (and Go to Sleep)”)

Animation by Roland Crandall & Thomas Johnson

Studio Fleischer Studios

Fleischer Studios (1933)

Snow-White, also known as Betty Boop in Snow-White, is a film in the Betty Boop series from Max Fleischer’s Fleischer Studios directed in 1933. Dave Fleischer was credited as director, although virtually all the animation was done by Roland Crandall. Crandall received the opportunity to make Snow-White on his own as a reward for his several years of devotion to the Fleischer studio, and the resulting film is considered both his masterwork and an important milestone of The Golden Age of American Animation. Snow-White took Crandall six months to complete.

The plot, such as it is, is really more a framework to display a series of gags, musical selections, and animation. Critics have cited the film as having some of the most imaginative animation and background drawings from the Fleischer Studios artists. Mae Questel performs the voices of Betty Boop and the Olive Oyl-ish Queen, and Cab Calloway is the voice of Koko the Clown, singing St. James Infirmary Blues. Koko’s dancing during the “St. James” number is rotoscoped from footage of Cab Calloway.

The film was deemed “culturally significant” by the United States Library of Congress and selected for preservation in the National Film Registry in 1994. The same year, it was voted #19 of the 50 Greatest Cartoons of all time by members of the animation field. The film is now in the public domain.

History of Fleischer Studios

Fleischer Studios was an American corporation which originated as an animation studio located at 1600 Broadway, New York City, New York. It was founded in 1921 as Inkwell Studios by brothers Ma Fleischer and Dave Fleischer who ran the pioneering company from its inception until Paramount Pictures, the studio’s parent company and the distributor of its films, acquired ownership. In its prime, Fleischer Studios was a premier producer of animated cartoons for theaters, with Walt Disney Productions becoming its chief competitor in the 1930s.

Fleischer Studios is notable for Koko the Clown, Betty Boop, Bimbo, Popeye the Sailor, and Superman. Unlike other studios, whose characters were anthropomorphic animals, the Fleischers’ most successful characters were humans (With the exception of Bimbo in the 1930s.). The cartoons of the Fleischer Studio were very different from the Disney product, both in concept and in execution. As a result, the Fleischer cartoons were rough rather than refined, commercial rather than consciously artistic. But in their unique way, their artistry was expressed through a culmination of the arts and sciences. This approach focused on surrealism, dark humor, adult psychological elements, and sexuality, and the environments were grittier and urban, often set in squalid surroundings, reflecting the Depression as well as German Expressionism.

The Fleischer Studio was built on Max Fleischer’s novelty film series, Out of the Inkwell (1919-1927). The “novelty” was based largely on the results of the rotoscope, invented by Fleischer to produce realistic animation. The first Out of the Inkwell films were produced through The Bray Studio, and featured Fleischer’s first character, “The Clown,” which became known as Ko-Ko the Clown in 1924.

In 1921, The Bray Studio ran afoul with legal issues, having contracted for more films than it could deliver to its distributor, The Goldwyn Company. The Fleischer Brothers left and began their own studio with Dave as Director and Production Supervisor, and Max as Producer. In 1924, Veteran Animator, Dick Huemer came to The Inkwell Studio and redesigned “The Clown” for more efficient animation. Huemer’s new design and experience as an Animator moved them away from their dependency on The Rotoscope for fluid animation. In addition to defining the clown, Huemer established the Fleischer style with its distinctive thick and thin ink lines. In addition, Huemer created Ko-Ko’s companion, Fitz the Dog, who would evolve into Bimbo in 1930.

Throughout the 1920s, Fleischer was one of the leading producers of animation with clever moments and numerous innovations including the “Rotograph”, an early “Aerial Image” photographic process for compositing animation with live action backgrounds. Other innovations included Ko-Ko Song Car-Tunes and sing-along shorts featuring the famous bouncing ball, a precursor to Karaoke.

Fleischer Studios (1932)

Minnie the Moocher is a  1932 Betty Boop cartoon produced by Fleischer Studios and released by Paramount Pictures. In 1994, Minnie the Moocher was voted #20 of the 50 Greatest Cartoons of all time by members of the animation field.

The cartoon opens with a live action sequence of Cab Calloway and his orchestra performing an instrumental rendition of “St. James Infirmary”. Then Betty Boop gets into a fight with her strict, Yiddish speaking, Jewish parents, and as a result, runs away from home with her boyfriend Bimbo, and sings excerpts of the Harry Von Tilzer song “They Always Pick on Me” (1911) and the song “Mean to Me” (1929).

Betty and Bimbo end up in a cave with a walrus, which has Cab Calloway’s voice, who sings “Minnie the Moocher” and dances to the melancholy song. Calloway is joined in the performance by various ghosts, goblins, skeletons, and other frightening things. Betty and Bimbo are subjected to skeletons drinking at a bar; ghost prisoners sitting in electric chairs; a cat with empty eye-sockets feeding her equally empty-eyed kittens; and so on. Betty and Bimbo both change their minds about running away and rush back home with every ghost right behind them. Betty makes it safely back to her home and hides under the blankets of her bed. As she shakes in terror, the note she earlier wrote to her parents tears, leaving “Home Sweet Home” on it. The film ends with Calloway performing the instrumental “Vine Street Blues”.

History of Fleischer Studios

Fleischer Studios was an American corporation which originated as an animation studio located at 1600 Broadway, New York City, New York. It was founded in 1921 as Inkwell Studios by brothers Ma Fleischer and Dave Fleischer who ran the pioneering company from its inception until Paramount Pictures, the studio’s parent company and the distributor of its films, acquired ownership. In its prime, Fleischer Studios was a premier producer of animated cartoons for theaters, with Walt Disney Productions becoming its chief competitor in the 1930s.

Fleischer Studios is notable for Koko the Clown, Betty Boop, Bimbo, Popeye the Sailor, and Superman. Unlike other studios, whose characters were anthropomorphic animals, the Fleischers’ most successful characters were humans (With the exception of Bimbo in the 1930s.). The cartoons of the Fleischer Studio were very different from the Disney product, both in concept and in execution. As a result, the Fleischer cartoons were rough rather than refined, commercial rather than consciously artistic. But in their unique way, their artistry was expressed through a culmination of the arts and sciences. This approach focused on surrealism, dark humor, adult psychological elements, and sexuality, and the environments were grittier and urban, often set in squalid surroundings, reflecting the Depression as well as German Expressionism.

The Fleischer Studio was built on Max Fleischer’s novelty film series, Out of the Inkwell (1919-1927). The “novelty” was based largely on the results of the rotoscope, invented by Fleischer to produce realistic animation. The first Out of the Inkwell films were produced through The Bray Studio, and featured Fleischer’s first character, “The Clown,” which became known as Ko-Ko the Clown in 1924.

In 1921, The Bray Studio ran afoul with legal issues, having contracted for more films than it could deliver to its distributor, The Goldwyn Company. The Fleischer Brothers left and began their own studio with Dave as Director and Production Supervisor, and Max as Producer. In 1924, Veteran Animator, Dick Huemer came to The Inkwell Studio and redesigned “The Clown” for more efficient animation. Huemer’s new design and experience as an Animator moved them away from their dependency on The Rotoscope for fluid animation. In addition to defining the clown, Huemer established the Fleischer style with its distinctive thick and thin ink lines. In addition, Huemer created Ko-Ko’s companion, Fitz the Dog, who would evolve into Bimbo in 1930.

Throughout the 1920s, Fleischer was one of the leading producers of animation with clever moments and numerous innovations including the “Rotograph”, an early “Aerial Image” photographic process for compositing animation with live action backgrounds. Other innovations included Ko-Ko Song Car-Tunes and sing-along shorts featuring the famous bouncing ball, a precursor to Karaoke.

Fleischer Studios (2020)

Betty Boop made her silver screen debut on August 9, 1930
and she has been booping her way into our hearts ever since!

This Saturday, August 9, we can all sing “Happy Birthday” to our favorite cartoon sweetheart, Betty Boop! Created by legendary animator Max Fleischer, Betty Boop made her first appearance in the 1930 animated short called “Dizzy Dishes,” which was part of Fleischer Studios’ Talkartoon series. Set in a nightclub, the cartoon introduces Betty Boop as a cabaret singer. She only makes a brief appearance, but it is long enough to captivate Bimbo the waiter and the big star of the film.

Interestingly, Betty never speaks in her first appearance. Instead, she sings I Have to Have You.

Dizzy Dishes

Dizzy Dishes is an animated cartoon created by Fleischer Studios in 1930, as part of the Talkartoon series. It is famous as the first cartoon in which Betty Boop appears, though she is not known as such until her appearance in Stopping the Show in 1932.

Fleischer Studios (1933)

An action figure of Betty Boop drops in on a small toy shop. The other toys come to life and crown her their queen. But there’s a big rag doll of King Kong. Based on the titular classical music Written by Rod Crawford.

Animated by Seymour Kneitel & William Henning.

A large factory complex struggles to produce a single package, which is rushed to a toy store. The box opens, and out steps a Betty Boop doll. The other toys come to life, parade around to the music of Parade of the Wooden Soldiers and crown her their queen. But a large stuffed toy of King Kong begins breaking things up by kidnapping Betty. Eventually, the big ape is defeated, and the somewhat damaged toys resume their parade, and afterwards fall still on a counter in a store selling damaged toys.

The instrumental title theme, Parade of the Wooden Soldiers (also known as Parade of the Tin Soldiers), was composed by Leon Jessel.

Fleischer Studios (1932)

Boop-Oop-a-Doop is an animated short film created by Fleischer Studios on January 16, 1932 as part of the Talkartoon series.

“Don’t Take My BoopOop-A-Doop Away” is a song, written by Sammy Timberg. It was first recorded for the short film Musical Justice (1931), with vocals by Mae Questel. It was then used in the 1932 Betty Boop Talkartoons cartoon Boop-Oop-a-Doop. The chorus follows as:

You can feed me bread and water,

Or a great big bale of hay,

But don’t take my boop-oop-a-doop away!

You can say my voice is awful,

Or my songs are too risqué.

Oh, but don’t take my boop-oop-a-doop away!

The word “boop-oop-a-doop” is considered nonsensical, but it can have a risquĂ© meaning. For example, in the Boop-Oop-a-Doop cartoon, it is thought that the word is used as a substitute for “virginity”.

Fleischer Studios (1934)

Red Hot Mamma is a 1934 Fleischer Studios Betty Boop animated short, directed by Dave Fleischer.

It’s a snowy winter’s night, and a shivering Betty is trying to sleep. Shutting all the windows isn’t enough, so she lights a roaring fire in the fireplace and falls asleep on the hearthplace rug. The heat of the flames soon turns two roosting chickens into roasted chickens, and causes Betty to dream that her fireplace has become the gate to Hell itself. Betty explores the underworld, and sings “Hell’s Bells” for Satan and his minions. When Satan tries to put the moves on Betty, she fixes him with a (literally) icy stare, freezing him and all of Hell. When she falls through a hole and onto an icy surface below, Betty wakes up to find the fire out with the windows open and her bed frozen, and she goes to bed, this time under a pile of warm quilts.

Animated by Willard Bowsky and David Tendlar.

Fleischer Studios (1933)

Popeye the Sailor with Betty Boop is a 1933 animated short produced by Fleischer Studios and distributed by Paramount Pictures. While billed as a Betty Boop cartoon, it was produced as a vehicle for Popeye the Sailor in his debut animated appearance.

In 1933, Max and Dave Fleischer’s Fleischer Studios adapted the Thimble Theater characters into a series of Popeye the Sailor theatrical cartoon shorts for Paramount Pictures. These cartoons proved to be among the most popular of the 1930s, and Popeye at one time rivaled Mickey Mouse for popularity among audiences. It was for this short that Sammy Lerner’s famous “I’m Popeye the Sailor Man” song was written. I Yam What I Yam became the first entry in the regular Popeye the Sailor series.

A Betty Boop Cartoon

Fleischer Studios (1932)

Stopping the Show is a 1932 Fleischer Studios animated short, directed by Dave Fleischer. While it is not the first appearance of Betty Boop, it is the first short to be credited as a “Betty Boop Cartoon.”

Betty Boop appears on stage in a vaudeville theatre. Her act consists of imitations of real-life singers, including Helen Kane, Fanny Brice and Maurice Chevalier. The cartoon audience enthusiastically cheers and applauds.

When the short was originally released, it contained a scene showing Betty singing Helen Kane’s song “That’s My Weakness Now.” Kane, who was involved in a lawsuit over Betty’s resemblance to her, complained, and the studios were forced to remove the scene from future prints.

Clips from this short were later reused in 1934’s Betty Boop’s Rise to Fame.