![]() Betty Boop, it seems, continues to dance across the stages of media, makeup, and memories alike. Last month, Posen also unveiled two new dresses inspired Betty Boop, one a flounce-hemmed mini ($250) and the other a floor-length mermaid gown ($550), both in Betty Boop Red MAC Cosmetics released a sultry red lipstick on Valentine’s Day also named Betty Boop Red the March issue of Woman’s Day features “Heroine of Hearts,” a comic by King Features starring Boop that promotes women’s health and the famous flapper even stars in a new American play, Collective Rage: A Play in Five Boops, featuring five different versions of the Jazz Age character, the very title of which evokes her signature catchphrase, “Boop-oop-a-doop.” The play, which made its West Coast premiere in Pasadena’s Boston Court Theater in February and is running through March 19, focuses on gender and sexuality, but also evokes race, as one of the Betty Boops is black. The new cartoon is part of what Jennifer Wolfe of Animation World Network called “a larger Betty Boop campaign,” signaling that the character is experiencing a cultural resurgence. “When Max Fleischer dipped his pen into the inkwell,” Caruso continued, evoking the Viennese-American animator who created the legendary cartoon character, “out came a masterpiece that would influence generations of artists, animators, musicians, and fashion designers.” “As a cartoonist, I consider Betty Boop the eighth wonder of the world,” Frank Caruso, the vice-president of comics and cartoons syndicate King Features, said in February when asked about the surreal new animated short, Betty Goes A-Posen, a three-part collaboration with the fashion designer. She’s sexy, independent - and well aware of both, something that has made her iconic since her debut as a character 87 years ago. She rescues the designer Zac Posen - who is ensnared in monstrous vines - with nothing but a glare, and turns men arguing on the sidewalk into grinning fools with a wink and a smile. It has novelty, true, but of the old days.In her first cartoon in nearly three decades, which appeared online in February, Betty Boop steps out of a car into a windy street, her short black dress flaring. This entrant will do nothing to make any exhibitor regret the company's decision. ![]() Motion Picture Exhibitor (May 1, 1938): "The Boops will not be distributed by Paramount next year. Betty watches the porter tire at his work and then hypnotized him into doing the work at a speedy clip." He brings the pen to life with an unaided drawing of Betty Boop. There is a colored porter, who picks up hypnotism from a book lying on a cartoonist's desk. ![]() That popular Max Fleischer animated stunt is used here, but their results are far from effective. At the end, Betty Boop leaps into a bottle of black ink.īoxoffice (March 24, 1938): "Mostly juvenile appeal. Before that, he was sleeping on his broom and sweeping dirt under the carpet. Fraught with racial innuendo, one of her tricks includes turning the black man white for a split-second, after which he begins cleaning in overdrive. After waking from the spell, Betty manages to work a few more spells. She in turn is able to control a small dog. In a sequence of animation mixed with live-action, he uses his new powers to control the white animated Boop. ![]() He manages to conjure Max's pen into drawing Betty Boop. The title and concept for the film were a tribute to the Out of the Inkwell series of films that Max Fleischer had produced during the 1920s.Ī live-action black janitor, played by Oscar Polk, best known for his portrayal as the servant "Pork" in the 1939 film Gone with the Wind, studies hypnotism from a book while cleaning Max Fleischer's desk at the Fleischer studio. Out of the Inkwell is a 1938 Max Fleischer/ Betty Boop live-action and animated short film.
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