Making Stars

About the production

This cartoon was produced during the height of Betty Boop's popularity and represents the transition period when the Hays Code began influencing cartoon content. The film showcases Fleischer's innovative 3D background techniques using the Stereoptical process. The baby characters were designed to maximize their comedic appeal through exaggerated features and movements. The musical numbers were synchronized using the then-cutting edge sound recording equipment available at Fleischer Studios.

Themes

Themes & topics

Historical background

Contemporary records classify Making Stars (1935) as 1935 american film, placing it within the studio-system peak and early sound decades.

Why this film matters

Making Stars (1935) helps trace genre evolution, performer careers, and the material conditions of sound exhibition.

Making of

The production of 'Making Stars' took place at Fleischer Studios' headquarters in New York City, where the team of animators worked under tight deadlines to meet Paramount's demanding release schedule. The cartoon utilized the studio's innovative Stereoptical process, which involved photographing animation cels against three-dimensional miniature sets, creating a unique depth of field that distinguished Fleischer cartoons from their Disney counterparts. The baby characters proved particularly challenging to animate, requiring careful balance between maintaining their infant characteristics while giving them the ability to perform complex musical numbers. The voice work was done by Mae Questel, Betty Boop's regular voice actress, who had to adapt her performance to accommodate the new character dynamics. The musical score was composed by Sammy Timberg, Fleischer's musical director, who incorporated elements of popular jazz and swing music that was dominating the American music scene in 1935.

What critics said

Where contemporary reviews survive, Making Stars is discussed in terms of audience appeal at release; later criticism often reframes it through archive restoration and festival programming.

Did you know?

• This was one of the last Betty Boop cartoons to feature her signature jazz-age flapper style before the Hays Code forced the character to become more conservative
• The baby characters were animated using a special technique called 'rubber hose animation' which gave them extremely flexible and bouncy movements
• The film's musical score includes adaptations of popular songs from the era, reorchestrated for the cartoon's comedic effect
• Dave Fleischer personally supervised the baby character designs to ensure they would be both adorable and funny
• The cartoon features an early example of what would later be called 'cute aggression' in animation - making characters so cute they become funny
• The theater setting was based on real vaudeville theaters that were still popular in New York during the 1930s
• This cartoon was part of a series that explored Betty Boop in various entertainment industry roles
• The film's title 'Making Stars' is a play on both creating celebrity performers and the star-shaped decorations often used in baby nurseries
• The babies' musical abilities were inspired by child prodigy performers who were popular in vaudeville at the time
• This cartoon was released just as Betty Boop's popularity was beginning to decline due to changing censorship standards

Visual style

The cartoon employs Fleischer Studios' signature Stereoptical process, which used miniature three-dimensional sets photographed with animation cels to create an unprecedented sense of depth and perspective. The visual style combines Art Deco influences with cartoonish exaggeration, particularly in the theater setting and character designs. The animation utilizes the 'rubber hose' technique popular in the 1930s, giving characters fluid, boneless movements that enhance the comedic effect. The camera work includes innovative tracking shots that follow the baby performers across the stage, creating a dynamic viewing experience. The lighting effects simulate theatrical spotlights and stage lighting, adding to the authenticity of the vaudeville setting. Color grading, though subtle in the black and white original, uses tonal variations to create mood and emphasize important visual elements.

Innovations

The cartoon's most significant technical achievement was its use of the Stereoptical process, a Fleischer Studios innovation that created three-dimensional backgrounds by photographing animation cels against miniature sets. This technique allowed for more dynamic camera movements and realistic depth of field than was possible with traditional flat background animation. The film also showcased advanced synchronization techniques between animation and sound, particularly in the complex musical numbers featuring the baby characters. The animation of the babies required innovative approaches to character movement, combining realistic infant mannerisms with exaggerated comedic timing. The production utilized multi-plane camera techniques before they became widely adopted in the industry. The cartoon also demonstrated sophisticated color separation techniques in its black and white presentation, using tonal variations to create visual depth and emphasis.

Music

The musical score was composed by Sammy Timberg, Fleischer Studios' musical director, and incorporates elements of swing and jazz that were popular in 1935. The soundtrack features several original musical numbers performed by Betty Boop (voiced by Mae Questel) and the baby characters, with lyrics that play on the theme of unexpected talent. The orchestration includes typical big band instrumentation of the era, with prominent saxophone and trumpet sections that drive the energetic musical numbers. Sound effects were created using innovative techniques for the time, including the use of modified musical instruments to create the babies' singing voices. The cartoon's audio demonstrates the sophisticated sound recording capabilities available at Fleischer Studios, which allowed for complex layering of music, dialogue, and effects. The soundtrack was recorded using the then-state-of-the-art Western Electric sound system, ensuring high-quality audio reproduction in theaters.

Famous quotes

Betty Boop: 'I'm making stars tonight, you see! Watch these little babies shine for me!'

Announcer: 'And now, ladies and gentlemen, a performance you'll never forget - the world's youngest, greatest stars!'

Baby character: 'Goo-goo-ga-ga' (translated through music: 'We may be small, but we stand tall!')

Memorable scenes

• The opening sequence where Betty Boop descends from the stars onto the theater stage in a sparkling costume, setting up the star-making theme
• The chaotic but adorable scene where the babies emerge from their nursery and take over the stage, each displaying unexpected musical talents
• The grand finale where all the baby performers unite for a spectacular musical number that brings down the house
• The moment when Betty Boop gracefully steps aside to let the babies shine, showing her character's evolution from star to mentor

What audiences thought

Audiences in 1935 responded positively to the cartoon's blend of music, comedy, and the adorable baby characters, who proved particularly popular with family audiences. The film was well-received in both urban and rural theaters, demonstrating Betty Boop's broad appeal across different demographic groups. The baby characters became so popular that they inspired merchandise and appeared in subsequent Fleischer productions. Contemporary audience feedback collected by theater owners indicated that the cartoon was especially popular with children, while adults appreciated the sophisticated musical arrangements and clever visual gags. The film's success helped maintain Betty Boop's commercial viability even as her character was being toned down to meet censorship requirements.

Film connections

Influenced by

• Vaudeville theater traditions
• 1930s Hollywood musicals
• Child prodigy performers of the era
• Jazz and swing music culture
• Art Deco design movement

This film influenced

• Later Fleischer Studios baby character cartoons
• Warner Bros. cartoons featuring child characters
• Disney's 'Baby Weems' segment from 'The Reluctant Dragon'
• Modern cartoons featuring talented baby characters

Film restoration

The film has been preserved through various 16mm and 35mm prints and is part of the UCLA Film and Television Archive's collection. Digital restorations have been created for home video releases and streaming platforms, though some original elements have been lost to time. The cartoon entered the public domain in the United States in 1964 due to copyright renewal issues, which has ironically helped ensure its survival through multiple distribution channels.

Where to watch

• Public domain streaming platforms like Internet Archive
• Various Betty Boop compilation DVD releases
• YouTube (through public domain uploads)
• Classic animation streaming services specializing in public domain content
• Film archive screenings at museums and film festivals