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Questel sounds uncannily like Kane and wasn't a bad match physically, either, judging by her appearance in the wonderful Rudy Vallee short Of the other great flapper stars, the most iconic is Clara Bow.
But when Kane took her creators to court for a share of royalties, slippery tactics were employed to squeeze her out of the picture.As such, Betty remains the only cartoon character to have been seriously compromised by the institution of the Hays Code: like Mae West, she was never quite the same again.(1934), from the very end of her pre-Code golden era, because it is a useful compendium of some of her finest moments, and a fascinating example of early combined animation and live-action.The film begins with her animator Max Fleischer being interviewed by his brother Dave, who asks him to draw Betty.To this day Kane is often erroneously listed as the voice of Betty Boop.In fact, the Kane impersonation was supplied by Mae Questel, another of the legion of Kane wannabes whose existence enabled Betty's creators to renege on their obligations to her.Sometimes it is mere musical punctutation, sometimes a means of establishing any one of a dozen moods, sometimes overt euphemism, as in She is extremely funny, and while not exactly pretty - she is well-rounded and has a head not unlike Betty's in shape - is suprisingly athletic and, like Betty, she transcends her physical oddness to project a persuasive if unlikely sex appeal.
(Though I could be just speaking for myself here; I'm not sure.) (1929), if only because it is the one that gives her the fullest chance to do a bit of everything - singing, dancing, comedy and character acting.
Alas, the same cannot be said of Helen Kane, the original 'Boop-oop-a-doop Girl' (though what she actually says always sounds more like 'poo-poo-pa-do' to me) and one of the most charming talents of the late 1920's.
Kane is unquestionably the inspiration for Betty: she looks like her, sounds like her, acts like her and has the same catchphrase. Kane was a Broadway star of the twenties who enjoyed a brief burst of success in movies during the pre-Code years and had a number of hits on record (including ).
He does so, whereupon she comes to life, addressing him as Uncle Max and asking that he put her into the 'sets' of some of her favourite past films.
This he does, leading into a series of clips from The Hays Code would soon rob her of her more provocative outfits and characteristics, but it did little to dent her popularity with audiences.
In fact, the public enjoyed her early sound films just fine, but she herself was terrified of microphones and hated the restrictions imposed by the new technology.