Even at ninety, Betty Boop is
wrinkle-free, just more colorful.
The spicy beauty is
no longer a movie star,
but she remains a
well-known personality.
Her fame has not faded and her
popularity has only grown over the years.
The whole world knows
this iconic character.
And her face is surprisingly decorated with a
t-shirt of the frontman of the band The Cure!
Her dance remains with us,
so does the legendary song
"Boopupadup".
Betty will be here forever.
She was born in the 1930s
and recently appeared
on the cover of the
New Yorker magazine,
condemning sexual harassment.
How do we see Betty Boop today?
The 1930s emerged from the
ruins of the stock market crash.
In a single day, October 24, 1929,
the American dream collapsed.
Millions of shaken people
found themselves broke.
Prosperity and carefreeness
disappeared out of sight.
But then an attractive
baby-voiced singer emerged
in the working-class
neighborhoods of New York.
The future star
of cartoons, Betty
Boop, won the
hearts of Americans.
From the beginning,
the character created
by Max Fleischer
immediately became a star.
Betty appeared in
more than a hundred
films and her name
shone until 1939.
Never before had a
cartoon female character
reached the pinnacle
of American cinema.
Her fate could have
been completely different.
She first appeared in
the movie Dizzy Dishes.
She didn't have a stage name yet.
Also her face was different.
The floppy ears and muzzle made
her look more like a bulldog than a girl!
But her sensual curves
were unmistakable.
Max Fleischer decided to
remove her from the animal
world, gradually removing
her canine appearance,
and thus the unique
Betty Boop was born!
-Betty was the first
human cartoon star.
The primacy belongs to her in many ways.
The first human
and the first female
character to star
in a cartoon series.
It's amazing that all these
long years until recently,
this century, she was the
only main female protagonist.
-The economic crisis did
not affect Hollywood too much.
It was saved by a revolutionary
technological discovery: the talking film.
The audience was fascinated by the talking film.
The glamor and sex appeal
of the stars on screen and in
private seemed to ensure a
bright future for Hollywood studios.
-In Hell's Angels Howard
Hughes started doing
from unknown actors stars.
-Betty Boop definitely fell
into the category of these stars,
which were similar in many ways.
The appearance was
typical for that time.
-Betty is hot, she looks
like a little "pin-up",
poster girl
The 1930s are the
poster girl era in America.
And she is created
in the spirit of the 30s.
She has short dresses.
I think it was a strapless dress,
although they could have had thin straps.
It was provocative at the time.
Plus it shows the garter.
That wasn't right back then!
She was forceful, daring and one
could say that she was also "catchy".
It was common for
movie actresses, but it
was something new
for a cartoon character.
-Betty Boop had nothing
to do with her one and only
cartoon competitor, Minnie
Mouse, a poor damsel
in distress, condemned
by her creator, Walt Disney
to subservience to Mickey.
Betty Boop wanted to compete
with the Hollywood goddesses.
She had voluptuous
long legs like Mae
West, dark dreamy
eyes like Clara Bow,
her clothes made men's knees
buckle, she drew
attention to herself.
Watch out for blonde
bombshell Jean Harlow!
-I think Betty is a sex icon.
He also personifies a certain cliché.
She is not very smart,
so she is an ideal girl.
"Don't talk too much,
it's better if you're sexy.
I like looking at you."
She was not responsible for this
look, it was the audience's business.
-Betty Boop viewers were
moviegoers of the time,
i.e. more mature than today's
people interested in animated films.
The name "Betty" was
also a slang term for "girl".
The "girl" was "Betty".
It was worth it.
-What's important about
Betty is that she was sexy,
but she didn't really understand.
She was a naturally sensual being.
-Betty Boop had
all the advantages
for seducing a male audience.
But wouldn't it be simplistic to limit
her to the world of male imagination?
-To me, Betty Boop
represents a flapper,
i.e. a modern girl of the
20s who is free-spirited,
pretty much does what
she wants, lives her own way
and in the evening she does
things that were inappropriate at
the time and earned her the
label of a girl with free manners.
-Had a hairstyle like Louise
Brooks and liked to go to nightclubs.
She became a follower of
the flappers, a generation
of girls who broke social
and sexual conventions.
They live at night, dance
to wild rhythms, smoke,
seduce men and drink in the
era of American prohibition.
-I really like this wild time.
And if I lived in it, I'd
definitely wear garters
and stick a patch behind
them. Hundred percent!
-A fearless girl appeared,
an emancipated woman
in a short dress.
For the first time,
women showed their
legs, had short hair,
cut their hair short.
It was a time of great
freedom and Betty Boop
was born, in an era of
emancipated women.
-The era of corsets ended,
women could move freely,
enjoy your body.
They were brave, drove sports
cars and dreamed of one day
flying across the ocean in a
biplane like Amelia Earhart.
-Betty Boop, in my opinion,
embodies femininity, modernity,
power, other energy.
She was thought of
as a militant personality,
that is, with
respect to the time.
It was an era of women who
wanted to assert their rights.
In this, Betty is extremely modern.
-Women owed the first emancipation
wave in part to the suffragettes.
At the beginning of the 20th
century, when the world was rapidly
modernizing, they formed
committees to present their demands
and regularly held
protest marches.
They demanded the right to
vote, reserved only for men.
They won in 1920. That was when American
women could vote for the first time.
In 1932, the presidential
campaign reached its peak.
The fight between Hoover and
Roosevelt is going as expected.
Women do not run for office and the fearless
Betty decides to correct the inequality.
She will announce her
candidacy for president and
enter the debate between
Republicans and Democrats.
Armed with expansive,
unconventional proposals, she wins
the election and makes history
as the first female president
of the United States.
-She has her desires, her motivations - and acts accordingly.
And that is a sign of feminism.
-Several decades later,
she will repeat her success
Claire Underwood, played by
Robin Wright in House of Cards.
Unfortunately, the reality
does not yet match the fiction.
Betty Boop is a
visionary, but above all a
girl of her time, a
citizen, a New Yorker.
-But she went to work.
She had a job, she had to
take care of herself, she earned
money, no one helped her,
and she actually represented
tribute to working women.
Betty Boop truly epitomized
a period of great crisis.
And that, among other
things, was her success.
That's why she was the right
character at the right moment.
It was a relief
for people to find
something from
their lives on screen.
-Since the beginning of the Great Depression,
the government has been monitoring Hollywood.
There were no unemployed
or impoverished families on the
screen, only gangsters settling
their accounts in back alleys,
and a terrifying monster that
feeds on the blood of young people.
A metaphor for the economic
crisis can be seen in this monster.
Unlike traditional animated
productions, Fleischer openly
addressed the subject of
the American financial crash.
In the movie Ups and Downs,
Betty, like millions
of Americans,
has to leave housing
she doesn't have.
Although she was a cartoon
character, she did not leave the
real situation and authentically
portrayed the "girl next door".
solving real situations.
-It was a difficult
road full of obstacles,
but Betty always managed
it optimistically, ready to face
further challenges. And that's
what people really needed.
-Betty Boop mirrored
her creator's family.
The Fleischers were
indomitable, determined to start a
new life as soon as they
arrived in New York in 1887.
They came from Krakow and
fled the persecution of the Jews.
-William, Max's
father, arrived first.
He arranged everything
before Max's mother
Emilia arrived with
sons Charles and Max.
-Betty's Jewish roots are
only mentioned once on screen,
in Minnie from the
Moocher, Cunning Minnie.
-Jews did not appear
in Hollywood films,
so it's interesting that Fleischer
turned out to have Jewish parents.
That was a real breakthrough.
-Betty refuses to eat a
traditional meal that night,
presented by parents
we only see once.
Betty rejects family
customs, expressing
her desire to be 100% American.
As if Max Fleischer was
paying tribute to his mother.
-It's Emilia's story.
The moment she boarded the
ship, she decided not only to be
American herself, but also that
her family would be American.
This is very common among first
generation immigrants to America.
-The family will experience failure.
Patriarch William cannot
face the competition of the
big textile stores and
has to close his business.
The Fleischers leave
Manhattan and settle in Brooklyn.
Max and his brother Dave
often perform acrobatic stunts
on bicycles in front of amused
passers-by for a few cents.
-Max had a sense of art and fun.
He was also an introspective
inventor and was fascinated
by how things worked and
how they could be improved.
Max made a living by illustrating
for Popular Science magazine,
Popular science.
His boss attended
a 1914 screening of
Dinosaur Gertie,
directed by Winsor McCay.
He was impressed by the
dinosaur's remarkably believable
animation, even if the
movement was still choppy.
The next day, he assigned his
young employee to fix the problem.
Max took him seriously.
-That was the spark
that ignited him.
He tried to adjust the animation to
make it smoother and more natural.
He also involved technically
savvy brothers and they
worked on the task in the
evenings for about 2 years.
And so the first rotoscope was born.
For the first test,
Dave donned a clown
costume and posed
for Max's camera.
-Rotoscopy is a technique
used to rotate footage
you redraw frame by
frame and put the colored
ultrafan foils in front
of the background.
This creates a rotoscope of the action.
-"Coco walks, dances and jumps like a human!"
-
wrote the New York Times
after the premiere in 1919.
Did the Fleischer
brothers know that they
had revolutionized
the world of animation?
-Max was a visionary, a guiding spirit.
He understood what the market
needed and how to give it to him.
-Max and Dave now ran their
own studio, Fleischer Studios.
The first King Kong enters the screen.
The Empire State Building will
become the tallest building in the world
and New York is crazy about
the musical novelty - jazz.
Were the Fleischer
brothers ahead of their time?
Controversial and
politically incorrect music has
gained fans even outside
the circle of insiders.
-Music was important
because the Betty Boop movies
accompanied by great jazz musicians.
It was a busy time and
artistic creation was intertwined.
-At a time when black and
white musicians could not play
in the same clubs,
Betty dared to invite
2 future famous
African-American jazzmen.
They were Cab Calloway
and Louis Armstrong.
-The footage with Armstrong and
Calloway is the first known footage
their performance,
and it's tremendous.
It meant introducing these artists
and introducing them to all audiences,
but primarily to a white audience.
-Betty used her
fame to promote jazz
and jazz performers and they
in turn inspired her best films.
-I really like that
bit by Cab Calloway.
It has an "answering
machine" - call and answer -
known from the penal environment.
It is similar to convict songs.
And it fits the animation, the
words in the answer are repeated.
Betty finds herself in
situations that make her afraid.
This music comes
from bars, from prisons.
And it actually draws on
everything that haunts us at night.
And at the same time it
encourages people to listen to jazz.
-Though cartoons
with a jazzy vibe
they complemented each other perfectly, they
did not always escape racial stereotypes.
However, the Fleischers refused to
use the so-called Blackface character.
It was, for example, Al Jolson
in the movie The Jazz Singer.
Caucasian actor with
black face makeup.
- It wouldn't work today.
It's a troubling image for any
dark-skinned or
African-American.
-Betty Boop has a voice - and what a voice!
Sexy voice, chirping "Boopupadup"
mischievously, coquettishly and naively.
Betty's famous "booping"
was later immortalized as
the "pupupids" in the movie
Somebody Likes It Hot.
-Then she was replaced
by Marilyn Monroe.
They have a lot in common,
although Marylin was
sexually provocative, which
is not the case for Betty.
But there is something childish
about her face, she is naive.
Her expression is understandable.
And there is also something
about her that grabs your heart.
It's - she's still really alone, she
has to arrange everything herself.
No one supports her.
And so you might
want to take care of her.
It makes you feel that way.
-Yes, Betty has a soul.
She is alone, but with us.
He is in the room with us.
So it actually belongs in the family.
-The relationship between Max and the character
he created is sometimes contradictory.
Sometimes he is a caring uncle.
At other times, an impresario
associated with tabloid magazines.
In a shocking interview with
Screenland magazine, Betty claims that
if she were to write a biography,
Isadora Duncan would be next to her
she looked like a piece of ice.
-Interview in Screenland is a
bit bizarre in its emphasis on sex,
it was primarily about publicity.
It was done the same
way with real live stars.
They had fake relationships
and married and got
married, even though
they were actually gay.
And Betty also fell
into that category.
-Who is the real Brigitte.
Look at.
I have two American magazines here.
-Americans are based
on French newspapers,
and they come from
fictional sources, so
I don't care at all
what they write here.
-Initials B.B.
Before Brigitte Bardot, Betty
Boop was an ageless doll.
Max Fleischer was behind
her phenomenon, while
Roger Vadim claimed
to be Bardot's inventor.
director of And God Created Woman.
Unlike Bardot,
off screen Betty is
still dependent on
the will of her creator.
He was able to shape
her according to his
wishes much more than
a flesh and blood actress.
Betty lives alone, surrounded by
men who only care about one thing:
seize her.
-Therein lies the
danger of pop culture,
if you don't think about it.
It normalizes conditions and we
then consider them acceptable.
-The woman doesn't want to.
The man forces her and her
face suddenly shows ecstasy.
A scene seen so many
times in the film that forced
sex between men and
women has been romanticized.
-I wonder how many young
men have seen this scene,
and then they thought:
I'll go home and try it.
- They actually instilled this in us.
When a woman is interested
in you, she rejects you.
And if a man likes you, he might
hit you or throw himself at you.
This is also said to children.
I also heard it when I was young:
"He runs after you, he likes you."
But he hit me!
-It was definitely more accepted that a
man has the right to be more aggressive
or more violent and expect
certain things from a woman.
He personified that right.
But when you saw Betty
being treated like that,
it didn't seem right
to treat her like that,
and perhaps it could
be inferred from this
that no woman should
be treated that way.
-What I really like about
Betty is her carefree nature.
She doesn't really
care if she's doing great
or someone is bothering her
and the like, she will say to herself:
"Oh well, I'll do
my thing anyway."
-It seems "flushing" to us.
Nothing will touch her.
Something happens,
and she - it won't hurt her.
-Women cannot yet
fully express their opinion,
and so silence is the only
option for Betty to survive.
-How old is Betty
in those movies?
You imagine she
is maybe 18 or 19.
-I hope she's at least 25.
-I think Betty is somewhere
between twenty and thirty.
In short, Betty Boop
is a young woman.
-The young woman Fleischer's
animators like to undress.
However, when Betty invites
her friends to her birthday, we
are surprised that there are
only 14 candles on the cake!
-Maybe it was a lazy animator.
Either they didn't know how
many candles to draw, or she's 14.
And we have another
look at Betty Boop.
-Betty would then
portray hypersexualized
teenage girl.
This is an obsessively
recurring film character
that fascinates a
number of filmmakers.
Stanley Kubrick and his
Lolita, Louis Malle and the Girl,
Martin Scorsese and Iris in Taxi Driver,
and Luc Besson and Matilda in Léon.
Many women tried
to imitate Betty.
The most famous was Mae Questelová, who
devoted herself to it for several years.
-I remember talking to
Mae Questel on the phone.
I was still little and she
spoke in Betty Boop's
voice and I believed
I was talking to Betty.
I really enjoyed it and had
no idea how remarkable it was.
-Betty Boop's huge success
and fame also causes envy,
for example the actress Helen Kane.
Kane accused Betty
of plagiarizing her voice.
In 1934, she sued Fleischer
Studios and demanded $250,000.
But in a dramatic move, the
defense attorneys proved irrefutably
that the plaintiff was not
the first to sing "Boopupadup"
and that she even
stole the song from
a black jazz singer
called Baby Esther.
-So Helen Kane heard
Baby Esther sing in a cabaret.
Boopupadup was sung
often, it was a scat, jazz
chant known from many
African-American bars.
It wasn't just Baby Esther
or Cab Calloway singing it.
-This music, African-American
music, took off at that time
into Caucasian
entertainment only recently.
If a white man sings
a song for the first
time, it does not mean
that he is the author.
-Another challenge awaits Betty.
The powerful Catholic
National League of Decency
launched a relentless
fight against Hollywood.
There is too much debauchery,
v*olence, sex and alcohol on the screens!
The League had 20 million
members, Sunday sermons
condemned so-called indecent
films, the thr*at was serious.
It prompted the producers to
consider the concept for more films.
In 1934, the producers
decided to follow the famous
Hays Production Code to avoid
a liquidation
boycott of their films.
This code, a moral guide,
prohibited, among other things,
nudity, interracial love affairs,
h*m* and adultery.
The end of the outburst!
-In that first three-year period,
films with Betty were unusual
and funny and also - in
short, they were animated films
with Betty Boop.
And then the Hays Code came
along and ruined everything.
Thanks, Will Hays!
-Goodbye to surrealism
and subversive skits!
Betty remade herself:
curls disappeared, necklines
shrank, dresses lengthened.
The Fleischers first tried
to circumvent censorship,
for example in the film
House Cleaning Blues.
At the beginning of
the movie, the house
is a mess because
Betty threw a wild party,
which had evidently
slipped out of her hand.
Everything is upside
down so she has to clean
up, but she enjoyed
the party beforehand.
I think it managed to cover
up her usual wildness a bit.
-But Betty gets angry, frowns
and literally tears her hair.
The studio is looking for new friends for her.
First it's Grampy, the senior
conservation professor.
He invents devices that
make housework easier.
Then comes Pudgy the dog, to
whom he assigns the best gags.
Betty started out as a
puppy, and now she's
about to be robbed of
her glory by this rascal!
-Films made according to the
Hays Code are unwatchable.
They are boring and tame too.
Once they lengthened
Betty's skirt, it was as
if they suddenly didn't
know what to do with her.
-What's left?
What's left of Betty Boop then?
-When Max Fleischer
invented Betty Boop,
he created a sensual,
emancipated and sexy
naughty girl, desired by
men and admired by women.
The Hays Code didn't
protect her, it weakened her.
Should society judge women
by the length of their skirts?
In 1937, Disney's exemplary and
innocent Snow White triumphs in cinemas.
It is ironic that Walt
Disney pulled the
animator who drew the
heroine from Fleischer.
The inspiration
came from the 1933
Betty Boop fairy tale
of the same name.
-Disney's Snow White was
different, she retold the story.
Fleischer's take was a little
creepier and weirder, but it
portrayed all the surreal that
lies beneath the poisoned apple.
you can imagine.
-Disney's idyllic world and
childish humor contributed
to a sugar-coated view of America
and gained an ever-larger audience.
Fleischer's production
tried to differentiate
and adapted Popeye the sailor,
Gulliver and Superman.
They were not the original characters,
they were masculine, muscular,
giant heroes, possibly equipped
with supernatural abilities.
The rivalry raged and Betty's
patriotism did not save her.
Her adventure
ends in August 1939,
2 years before the United
States entered the w*r.
Men will head to the front, women
will replace them in production.
But after the victory, the
women return to the stove.
It's as if Betty Boop foresaw
the rise of the American
housewife of the 1950s after
the repeal of the Hays Code.
With the invention of
color television, Betty
becomes a beauty and
enters every household.
-At that time it gained a children's
audience because cartoons
after the Code, they were more
successful with younger viewers.
-Although Betty left the
film studios in the late 1930s,
televising her
stories earned her
a place in the
collective memory.
-It was an extraordinary
idea to create a little character,
but at the same time seductive and sexy.
And she had such a big head!
-The disproportion of the head
to the body impresses everyone,
because that's what babies look like.
So something draws you to the
bigger head and smaller body.
And she is simply
cute, so she is also
attractive to children,
children like her.
-They created a truly original
character. You will remember it.
The audience clung to her.
-Betty Boop has always
been a sweetheart.
So she is surrounded by a
certain tenderness and fondness.
-And the peculiarity of her
personality is childlike or is she sexy?
Is it like this or different?
It cannot be precisely defined.
He has a lot of fans among
bikers and also among gays.
Different communities
draw from it
and it is related to
what is essential,
because you feel
good the way you are.
-Betty Boop charmed not
only the American audience.
In Japan, the creator of manga
comics, Osamu Tezuka, discovered
Betty Boop as a teenager
at the local movie theater.
The large eyes of his Princess
Knight and Astro Boy testify
to the author's admiration
for their distant relative.
-I remember that sometime when I was
fifteen, Betty Boop was the first for me,
who embodied femininity.
And it was the portrayal of femininity in a
cartoon character that caught my attention.
It expressed sensuality.
In my fashion designs
since 1982, I have created a
historical overview of
intangible Hollywood icons,
i.e. the cartoon ones.
I immediately thought of Betty
Boop, so I placed
her on this sweater,
where I pretend to be
a Hollywood actor, a
Marlon Brando-style rebel
in the movie On the Waterfront.
And Betty reads about
her adventures, about
"celluloid heroes",
heroes that last forever.
-Betty Boop
definitely inspired me.
And not just the garter.
When I was younger, I
don't do that anymore,
I used to wear mini
skirts or short dresses
and she was showing a decorative garter.
I have closets full of those dresses.
I don't wear them anymore.
But at that time it was
an inspiration for me.
-Truthfully, when I was younger,
I didn't care about that figure.
She meant nothing
to me growing up.
Such a pretty poster girl.
But when I was preparing my
video, my director Saam Farahmand
thought it would be interesting to
make me into a cartoon character
based on Betty Boop, because we
were making a
movie about pop icons,
both real and fictional,
and their impact on society.
Being a strong woman in the
modern age means being able
to use everything, all your
superpowers, all your tools.
And I found out how femininity,
elegance, sexuality work.
That slightly more
old-fashioned feminine appeal.
And it fascinates me.
I like this.
How the power of that attraction
was portrayed back then.
-Betty returned to the
screen again in 1985
the movie
The Romance of Betty Boop
This comedy was based on the
usual scheme about a dirty prince.
This time it's a rich man
whom Betty wants to marry.
-The problem with upgrading
Betty was the removal
her best features.
That was not a good solution.
-Yet 5 years later, at
the request of Max's son,
Hollywood director
Richard Fleischer, Lili Zanuck
and her husband took on
the production of a new film
with Betty Boop.
They entrusted the direction to the
young talented animator Steve Moore.
-In the film, you can see the influence
of Fleischer's first films here and there.
Betty works as a waitress in
an unattractive establishment.
She falls in love with Johnny.
But the main theme
of the film is Betty's
quest to find her
lost comedian father.
I don't know how the
separation happened.
-Snow White has no
mother, only a stepmother.
This is how it starts for both of
them, they don't have a mother.
I don't know if the authors have the impression
that those who have a mother are not in danger.
I don't know.
It feels weird to me, and it
felt weird to me at the time.
It's just a regular pattern.
So Betty Boop is understandably
looking for a father, not a mother.
-A couple of guys help her find
her dad and she gets married. End.
Come to think of it, it's
not exactly a feminist
story if you're wondering
if Betty is a feminist.
You would have to hire
some women for that.
Well, seriously! We
miss that, don't you think?
When you put a couple of guys in
charge of figuring out how to write a
feminist female character, it's not
going to work. They will screw it up.
-The project did not materialize in the end.
In addition to the
black-and-white skit in Roger
Rabbit, where Betty plays
a battered nightclub hostess,
her artistic career dies.
Over the years, new
interpretations of both her look
and spirit have replaced
the original Betty Boop.
She became the muse of designers,
the face of large commercial
brands, the queen of souvenirs.
Betty Boop is everywhere!
The working girl of the
1930s has improved.
As an icon, it is worth
several million dollars today.
-I'm sorry that the world didn't
develop further in her career.
But she lives on,
like many icons.
And she is doing well because she
is perhaps more popular than before.
-It's actually a shame that people
don't know how it all happened,
because it's not just
a Betty Boop story.
It's about the history of our understanding of
women's role in entertainment and in the world.
It's about our view of society.
All of this can be
traced to this character
trying to keep his place
throughout the period.
-On November 27th of 2017,
this sexy brunette from the 30s
storms back to the front pages
and becomes a feminist icon.
- Is it supposed to be Harvey Weinstein?
Yes. Ok then.
-New Yorker magazine
cover featuring Betty Boop...
It was such a wonderful
surprise because we had no
idea what was coming.
Suddenly she appeared.
-The Weinstein
affair just broke out.
Harvey Weinstein,
still untouchable, the
last mogul of independent
American cinema,
a pampered Oscar-winning
producer, is accused of sexually
harassing and assaulting
ten admirably brave women.
New Yorker editors
and cartoonist
Barry Blitt put Betty
Boop on the cover,
to condemn his wrongdoing.
-The illustration is great,
mainly because Betty is in it
bigger than that bastard.
-I like it very much.
It is the unification of women who
have become victims of such persons.
People like Weinstein were
suddenly so small because
you can't deny the facts
and face women united,
which present true claims
and evidence-based facts.
-And Betty looks disgusted
and amazed at the matter,
as if she is sabout to say,
"Is this still happening?
Didn't I warn you?"
This should not be
happening, and yet
it is happening, even
after ninety years.
-Betty could probably
handle the situation.
Looking at her development,
Betty would know how
to handle herself if she
was in that situation.
-This scene takes
place in 1932 in a circus
and it is undoubtedly
the first instance
of sexual harassment
by a superior in film.
-It's so modern and no-nonsense.
And I like the slap.
Some objected: "He is
acting so aggressively!"
And I'm thinking:
Well, yes, she's being
aggressive because
he's aggressive!
The sad part is how
we know it right away
because we know it's
happening all the time.
-I wonder what she
would think of Tr*mp today,
because she had an
opinion on everything.
For her generation,
she was a woman
who was proactive
and thoughtful.
-She would probably
demonstrate with other women,
I can imagine it.
-Women have been organizing
protest marches for more than a century
and they fight for their rights.
-I was 12 when I
made Leon, my first film.
After the premiere, at the age
of thirteen, I was very happy.
I excitedly opened the
first letter from a fan.
He wrote to me imagining
that he would r*pe me.
-The "Me Too" movement
is spreading in society today
and empowering women to
express themselves like never before.
-I say to people of every
gender: let's find the space,
where our mutual pleasure
will be based on consent.
Let the vast limitless range
of desire manifest itself.
Let's make a revolution of desire!
-Betty Boop would also
believe in the Me Too movement.
Through her actions in the films,
she proved that her body belongs to
her, that she knows how to set a
boundary, who can touch her and when.
I would emphasize that the most.
Her body belongs to her!
-Fighting, sexy,
working or at home,
object and independent woman,
best friend and
feminist pioneer.
From the suffragettes to
the women's marches of the
1930s to today's protests,
not all women have it in them
something from betty boop?
-A woman's self-confidence can
also include that a woman is sexy,
wears suspenders and says
things like "Boopupadup." Why not?
I want to live in such a world.
Betty Boop Forever (2022)
Moderator: Maskath3