Betty Boop Coloring Pages
Betty Boop is accepted as the aboriginal and one of the a lot of acclaimed sex symbols on the activated screen; she was a attribute of the Depression era, a admonition of the added airy canicule of Jazz Age flappers. Her acceptance was fatigued abundantly from developed audiences, and the cartoons, while acutely surrealistic, absolute abounding sexual/psychological elements, decidedly in the “Talkartoon”, Minnie the Moocher, featuring Cab Calloway and his orchestra. Minnie the Moocher is conceivably the one action that authentic Betty’s actualization as a jailbait of a avant-garde era at allowance with the old apple agency of her parents.
Betty is at allowance with her parents and opts to run abroad from home, alone to get absent in a apparitional cavern with her admirer Bimbo. A apparitional walrus (rotoscoped from live-action footage of Calloway), sings Calloway’s acclaimed song “Minnie the Moocher”, accompanied by several added ghosts and skeletons. This addictive achievement sends the abashed Betty and Bimbo aback to the assurance of “home, candied home”. “Minnie the Moocher” was a huge success on two levels. It was a tremedous advance for Calloway’s consecutive date appearances, and aswell accustomed “Betty Boop” as a action star. The eight Talkartoons that followed all starred Betty, arch her into her own alternation alpha in 1932. With the absolution of Endlessly the Appearance in August of 1932, the Talkartoons were replaced by the Betty Boop series, which connected for the next seven years, with Betty accepting one of Paramount’s top stars.
Betty Boop is important to action history for accepting the aboriginal action actualization to absolutely represent a beastly woman. Added changeable action characters of the aforementioned period, such as Minnie Mouse, displayed their underwear or bloomers regularly, suggesting accouchement or absurd characters, not absolutely authentic in a woman’s form. Abounding added action “girls” were alone clones of their macho co-stars, with alterations in apparel with the accession of eyelashes and a changeable voice. Betty Boop wore abbreviate dresses, top heels, and a accolade belt. Her breasts were appropriate with a low, contoured bodice that showed cleavage. (In Any Rags she looks out the window and her dress briefly avalanche down absolute her cleavage.) In her cartoons, macho characters approved to bastard peeks at her while she’s changing, or artlessly walking forth absorbed her own business. In Betty Boop’s Bamboo Isle, she does the hula topless, cutting alone a lei and a grass skirt, which she afresh in her adornment actualization in the aboriginal Popeye cartoon, Popeye the Sailor (1933). Her “Bamboo Isle” achievement was aswell included in the abbreviate Betty Boop’s Acceleration to Fame, featuring a staged quasi-interview with flat head, Max Fleischer.
There was however, a assertive boyish aloft to the character. She was fatigued with a arch bigger than accustomed for an adult, but accustomed for a baby. This appropriate the aggregate of girlishness and adeptness abounding bodies saw in the “flapper” blazon which Betty Boop was declared to represent. While compromises on Betty’s advantage were consistently a challenge, the animators kept her “pure” and girl-like, on screen, anyway. The studio’s 1931 Christmas agenda featured Betty in bed with Santa Claus, winking at the viewer. Aswell in 1931, the Talkartoons The Bum Bandit and Dizzy Red Benumbed Hood were accustomed audibly “impure” endings. Officially, Betty was alone 16 years old according to a 1932 annual with Fleischer (although in The Bum Bandit  she’s portrayed as a affiliated woman with abounding accouchement and aswell has an developed woman’s voice, not the accepted “boop-boop-a-doop” voice).
Attempts to accommodation her virginity were reflected in Chess-Nuts (1932) and a lot of importantly, Boop-Oop-A-Doop (1932). In this cartoon, Betty is a highwire aerialist in a circus. The awful Ringmaster lusts for Betty as he watches her from below, singing “Do Something,” a song ahead performed by Helen Kane. As Betty allotment to her tent, the Ringmaster follows her axial and sensually massages her legs, surrounds her and threatens her job if she doesn’t submit. This is conceivably one of the ancient portrayals of beastly aggravation on the screen, and was actual adventuresome at a time if such accountable amount was advised taboo. Betty begs the Ringmaster to cease his advances, as she sings “Don’t yield my Boop-Oop-A-Doop Away.” Koko the Clown is alfresco of the tent, practicing his bamboozlement and hears the attempt from axial the tent. He leaps in to save Betty’s virtue, disturbing with the Ringmaster who endless him into a cannon, battlefront it, cerebration that he has beatific the hero away, bedlam with self-satisfaction. But Koko is ambuscade axial the cannon, and strikes the Ringmaster out algid with a mallet, abiding with “the endure laugh.” If Koko expresses affair about Betty’s welfare, she answers in song, “No, he couldn’t yield my boop-oop-a-doop away!”
Betty Boop’s Big Boss (1933), however, wrong-foots the audience. Afterwards the accepted alarming advances, there is a all-inclusive mobilization of affronted citizens, the Army, the Navy etc. to accomplishment Betty. The rescuers breach in and ascertain Betty and the Big Boss appropriately all-embracing – it seems she brand this one afterwards all! The action closes with abashed exclamations of disgust.