Dizzy Dishes

Plot

In a frantic, high-energy restaurant, a clumsy canine waiter attempts to serve a variety of bizarre dishes to demanding patrons while a jazz band plays in the background. The waiter becomes increasingly distracted by a cabaret performance featuring a poodle-like singer with long ears and a distinctive squeaky voice, who performs a scat-filled rendition of 'I Have to Have You.' As the waiter attempts to balance a massive stack of plates while dancing to the music, chaos ensues throughout the kitchen and dining area. The short concludes with the waiter's frantic efforts to satisfy a particularly hungry and angry customer, leading to a surreal and explosive finale typical of the early Fleischer style.

Historical Background

Released in 1930, 'Dizzy Dishes' arrived during the Great Depression when audiences sought escapist entertainment in movie palaces. It was a pivotal year for the animation industry as studios raced to master the new 'talkie' technology. The Fleischer Studios were the chief rivals to Walt Disney at this time, representing a more adult, jazz-influenced, and urban sensibility compared to Disney's pastoral and moralistic tales. This era was also the 'Pre-Code' period of Hollywood, allowing for the suggestive designs and flirtatious behavior that defined the early incarnation of the female lead.

Making Of

The creation of the female character in 'Dizzy Dishes' was somewhat accidental; Grim Natwick was tasked with creating a girlfriend for Bimbo and drew a humanoid figure with long, floppy dog ears that resembled earrings. Dave Fleischer encouraged the animators to push the boundaries of surrealism, leading to the kitchen scenes where food items take on lives of their own. The recording of the audio was done using the Western Electric sound-on-film system, which was cutting-edge for 1930. The animators worked closely with the musical director to ensure that every 'squash and stretch' movement landed on a musical beat, a process known as 'Mickey Mousing' (though pioneered equally by Fleischer).

Visual Style

As an animated short, the 'cinematography' involves hand-drawn backgrounds with high-contrast ink washes. The use of perspective is often distorted for comedic effect, and the 'camera' remains mostly static while the action moves frantically within the frame. The lighting is represented through stark black-and-white shading, creating a noir-like atmosphere in the kitchen scenes.

Innovations

The film demonstrates advanced sound-synchronization for 1930, particularly in the way the character's mouth movements match the scat-singing. The Fleischers' use of the 'Rotoscope' (though used sparingly here) and their unique approach to rhythmic timing set a technical standard for the industry. The 'rubber hose' animation technique is seen here in its highly developed form.

Music

The soundtrack is a lively jazz score featuring the song 'I Have to Have You' (written by Leo Robin and Richard A. Whiting). The music is central to the film, dictating the pace of the animation. The voice work by Margie Hines (the first voice of Betty) established the high-pitched, squeaky vocal archetype that would define the character for decades.

Memorable Scenes

• The debut of the poodle-version of Betty Boop on the cabaret stage, where she performs her signature dance and song.
• The kitchen sequence where the waiter battles various sentient food items and kitchen utensils.
• The final scene where the waiter attempts to serve a giant roast to a customer, only for the roast to come to life.

What Critics Said

At the time of release, trade publications like 'The Film Daily' noted the clever synchronization and the high energy of the Fleischer shorts. Modern critics and animation historians view it as a fascinating 'missing link' in character design, often commenting on the surreal and slightly grotesque nature of the early character designs. It is highly regarded today for its fluid animation and historical importance rather than its narrative complexity.

What Audiences Thought

Contemporary audiences were captivated by the 'Talkartoons' because of their innovative use of sound and popular music. The character of the poodle-singer was an instant standout, leading to a flood of fan mail asking for more appearances of the 'girl' character. Today, animation fans view it with a mix of curiosity and reverence as the starting point for a cultural phenomenon.

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