
"Betty Boop's Madcap Adventure Through the Looking Glass!"
Betty Boop falls asleep while working on a jigsaw puzzle and magically transports through the looking glass into a surreal, urban version of Wonderland. In this modernized dreamscape, she encounters bizarre characters including a walrus-like creature and various anthropomorphic objects. Betty discovers a 'Shrinkola' dispenser that serves as the shrinking potion, allowing her to navigate this strange world. When the various peculiar characters assemble, Betty cheerfully sings 'How Do You Do' to them, showcasing her trademark charm. However, the menacing Jabberwock character suddenly appears and kidnaps Betty, creating tension before the dream sequence concludes with her awakening back in her room.

This cartoon represents one of the transitional Betty Boop shorts where the character was being toned down due to the Hays Code enforcement. The animation features the distinctive Fleischer 'rubber hose' style and includes innovative 3D background effects. The urban interpretation of Wonderland reflects the contemporary 1930s American cityscape, a hallmark of Fleischer's approach to adapting classic stories.
1934 was a pivotal year in American cinema, marking the full enforcement of the Hays Production Code which dramatically altered the content of films, particularly animated shorts. Betty Boop, once known for her flapper sexuality and adult humor, had to be sanitized for family audiences. This cartoon was produced during the Great Depression, when escapist entertainment was crucial to American audiences. The Fleischer Studios, based in New York rather than Hollywood, brought an urban, East Coast sensibility to their animations that contrasted with Disney's more pastoral approach. The film's modernization of Alice in Wonderland reflected 1930s American culture's fascination with urban life, technology (like the 'Shrinkola' dispenser), and jazz-age entertainment.
'Betty in Blunderland' represents an important artifact of animation history, showcasing the transition from pre-Code to post-Code animation and the evolution of one of animation's first female stars. The cartoon demonstrates how classic literature was adapted for contemporary audiences, a practice that would become standard in animation. Betty Boop's transformation in this film from a jazz-age flapper to a more innocent character mirrors broader societal changes in 1930s America. The urban interpretation of Wonderland influenced subsequent animated adaptations that modernized classic stories. This short also serves as an example of the distinctive Fleischer style that competed with Disney during animation's golden age, preserving an alternative aesthetic vision of what animation could be.
The production of 'Betty in Blunderland' took place during a crucial transitional period for Fleischer Studios and the Betty Boop character. The Hays Code had just begun strict enforcement in 1934, forcing the studio to significantly tone down Betty's previously risqué persona. This cartoon represents one of the early attempts to make Betty more wholesome while maintaining her charm. The animators faced the challenge of adapting Lewis Carroll's complex fantasy world into a 7-minute format while incorporating Fleischer's signature urban aesthetic. The voice work by Bonnie Poe was particularly notable as this was among her final performances as Betty, with the studio transitioning to Mae Questel as the permanent voice. The technical team employed the Fleischer patented 'Stereoptical Process' for certain background elements, creating a 3D effect by animating characters on glass plates placed over miniature sets.
The cartoon features the distinctive Fleischer visual style with 'rubber hose' animation where characters have fluid, boneless movements. The backgrounds utilize the patented Stereoptical Process, creating depth through 3D miniature sets with 2D characters animated on glass plates. The color palette, though limited by the technology of the time, uses bold contrasts to distinguish the dream world from reality. The urban interpretation of Wonderland incorporates Art Deco elements and 1930s industrial design, creating a unique visual fusion of fantasy and contemporary life.
The cartoon showcases several technical innovations characteristic of Fleischer Studios. The Stereoptical Process creates remarkable depth in the Wonderland scenes, particularly when Betty shrinks and navigates oversized environments. The animation team employed rotoscoping techniques for some of Betty's more fluid movements, ensuring naturalistic motion despite the cartoon style. The shrinking sequence demonstrated advanced perspective animation techniques that made the size changes convincing. The integration of musical numbers with animation was particularly sophisticated, with characters' movements precisely synchronized to the jazz-influenced score.
The musical score was composed by Sammy Timberg, Fleischer Studios' primary composer. The centerpiece song 'How Do You Do' was written specifically for this cartoon and showcases Betty's vocal talents in a cheerful, welcoming number. The soundtrack incorporates jazz elements typical of the Fleischer style, with syncopated rhythms accompanying the surreal visuals. The sound design uses exaggerated cartoon effects that enhance the comedy, particularly during the shrinking sequence and the Jabberwock's appearance. The musical arrangement follows the standard Fleischer formula of integrating songs directly into the narrative action.
Betty singing: 'How do you do, how do you do, I'm so glad to meet you all!'
The Shrinkola dispenser jingle: 'Just one drop and you'll shrink down pop!'
Betty's exclamation upon entering Blunderland: 'Oh my! What a curious place!'
The Jabberwock's menacing laugh as he captures Betty
Contemporary reviews in 1934 praised the cartoon's inventive visuals and clever modernization of the Alice in Wonderland concept, though some critics noted the toning down of Betty's character. The Motion Picture Herald called it 'a delightful romp through a modernized fairy tale' while Variety noted 'the usual Fleischer inventiveness but with a noticeably tamer Betty'. Modern animation historians view the film as an important transitional work, with Leonard Maltin describing it as 'a charming example of Betty's post-Code reinvention'. Animation scholar Jerry Beck has highlighted the cartoon's innovative use of urban imagery and its role in documenting the evolution of censorship in animation.
The cartoon was well-received by 1934 audiences who appreciated the familiar Betty Boop character in a new adventure format. Children enjoyed the Wonderland setting while adults appreciated the clever modernization and musical elements. The film performed solidly in theatrical packages, though some longtime Betty Boop fans noted the absence of her more risqué humor. Modern audiences discovering the cartoon through home media and internet archives often praise its surreal imagery and historical significance as an example of pre-Disney animation style.
The film survives in good quality and has been preserved through various formats. Original 35mm nitrate prints exist in film archives, and the cartoon has been transferred to safety film and digital formats. It is part of the UCLA Film and Television Archive's collection and has been included in several Betty Boop compilation releases. The color elements (if any were produced) may be lost, as most surviving versions are black and white.