Dave Fleischer (1939)
Based on the novel written by Jonathon Swift, 1726.
Fleischer Studios (1933)
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)
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 (2020)
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.
Fleischer Studios (1933)
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 (1934)
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.
Max Fleischer (1923)
Out of the Inkwell was a major animated series of the silent era produced by Max Fleischer from 1918 to 1929. The series was the result of three short experimental films that Max Fleischer independently produced in the period of 1914–1916 to demonstrate his invention, the Rotoscope, which was a device consisting of a film projector and easel used as an aid for achieving realistic movement for animated cartoons. The Rotoscope would project motion picture film through an opening in the easel, covered by a glass pane serving as a drawing surface. The image on the projected film was traced onto paper, advancing the film one frame at a time as each drawing would be made. Fleischer’s younger brother Dave Fleischer was working as a clown at Coney Island, and served as the model for what was to become their first famous character that later evolved as “Koko the Clown.”
Max Fleischer (1938)
The film inspired a large variety of collectibles in the 1930s, although originals are now rare to find.
Film Daily called it “subway fun”, and gave the following synopsis:
“The exciting adventures of Betty Boop’s dog, Pudgy, who insists on following his mistress when she goes downtown in the subway. He gets on the train, and then his troubles begin. After almost disrupting the train service, he is flung off, and is forced to walk the tracks back to the station, with trains whizzing down on him from all directions. When he finally arrives safely back home, he is cured of wanting to trail around town with Betty.”
Max Fleischer (1941)
The Fleischer Superman cartoons are a series of seventeen animated short films released in Technicolor by Paramount Pictures and based upon the comic book character Superman, making them his first animated appearance.
They were originally produced by Fleischer Studios, who completed the initial short and eight further cartoons in 1941 and 1942. Production was assumed in May 1942 by Famous Studios, a successor company to Fleischer, who produced eight more cartoons in 1942 and 1943. Superman was the final animated series intitiated by Fleischer Studios, before Famous Studios officially took over production.
Although all entries are in the public domain, ancillary rights such as merchandising contract rights, as well as the original 35mm master elements, are owned today by Warner Bros. Entertainment. Warner has owned Superman publisher DC Comics since 1969.
Fleischer Studios (1936)
Popeye the Sailor Meets Sindbad the Sailor is a two-reel animated cartoon short subject in the Popeye Color Feature series, produced in Technicolor and released to theatres on November 27, 1936 by Paramount Pictures. It was produced by Max Fleischer for Fleischer Studios, Inc. and directed by Dave Fleischer, with the title song by Sammy Timberg. The voices of Popeye and J. Wellington Wimpy are performed by Jack Mercer, with additional voices by Mae Questel as Olive Oyl, and Gus Wickie as Sindbad the Sailor.
This short was the first of the three Popeye Color Specials, which were, at over sixteen minutes each, and were billed as “A Popeye Feature.” Popeye the Sailor Meets Sindbad the Sailor was nominated for the 1936 Academy Award for Best Short Subject: Cartoons, but lost to Walt Disney’s Silly Symphony The Country Cousin. Footage from this short was later used in the 1952 Famous Studios Popeye cartoon Big Bad Sindbad, in which Popeye relates the story of his encounter with Sindbad to his 3 nephews.
Producer and special effects artist, Ray Harryhausen stated in his Fantasy Film Scrapbook that Popeye the Sailor Meets Sindbad the Sailor was a major influence on his production of The 7th Voyage of Sinbad.
Popeye the Sailor Meets Sindbad the Sailor has been deemed “culturally significant” by the United States Library of Congress and selected for preservation in the National Film Registry. In 1994, the film was voted #17 of the 50 Greatest Cartoons of all time by members of the animation field, making it the highest ranked Fleischer Studios cartoon in the book.