Stop That Noise

Plot

In this classic Betty Boop cartoon, our heroine is desperately trying to get some sleep but is constantly disturbed by the cacophony of city noises - from traffic and construction to neighbors and street musicians. Frustrated beyond endurance, Betty packs her bags and escapes to the countryside, dreaming of peace and tranquility among nature. However, she soon discovers that the country presents its own symphony of disturbances, from crowing roosters and mooing cows to chirping crickets and howling wolves. After a series of comedic attempts to find quiet in both urban and rural settings, Betty returns home with a newfound appreciation for the familiar sounds of the city she once found so irritating.

Historical Background

Released in 1935 during the height of the Great Depression, 'Stop That Noise' reflected the urban anxieties and escapist desires of American audiences. The year 1935 was significant for animation as it marked the transition from the experimental early sound era to more sophisticated storytelling techniques. The Hays Code was being strictly enforced by 1935, significantly altering Betty Boop's character from her more risqué early appearances to a more demure version. Fleischer Studios was at its creative peak, competing directly with Disney for theatrical short supremacy. The cartoon's themes of seeking peace from urban chaos resonated deeply with Depression-era audiences who were dealing with the noise and stress of crowded cities and economic hardship. This was also the year that color animation was becoming more prevalent, though this short was produced in black and white as was still common for the studio.

Making Of

The production of 'Stop That Noise' took place at Fleischer Studios' iconic headquarters at 1600 Broadway in New York City, where the team worked in cramped quarters but produced some of the era's most innovative animation. Director Dave Fleischer was known for his hands-on approach, often personally demonstrating character movements for his animators. Mae Questel, who voiced Betty Boop, would record her lines while watching rough animation sketches to synchronize her performance perfectly. The cartoon was created using traditional cel animation on paper, with each frame hand-drawn and inked by a team of artists. The sound effects team worked in a small studio, creating all the urban and rural noises manually - from using actual car horns to recording real farm animals for the country scenes. The entire production took approximately 8-10 weeks from concept to final print, which was typical for theatrical shorts of this period.

Visual Style

The cinematography in 'Stop That Noise' utilizes the Fleischer Studios' signature 'three-dimensional' effect, created through the use of rotating sets and camera movements that were innovative for the time. The animation employs dramatic camera angles, particularly in the city sequences where high angles emphasize the overwhelming nature of urban noise. The contrast between the sharp, angular lines of the cityscape and the softer, more organic shapes of the countryside creates visual storytelling that complements the audio themes. The use of shadows and lighting effects, particularly in Betty's bedroom scenes, demonstrates the sophisticated understanding of visual mood that Fleischer Studios was known for. The cartoon also features the studio's trademark 'gag timing' where visual gags are perfectly synchronized with sound effects for maximum comedic impact.

Innovations

This cartoon showcases several technical innovations that were hallmarks of Fleischer Studios, including their pioneering use of the rotoscope technique for realistic character movement. The sound synchronization was particularly advanced for 1935, with precise timing between visual gags and audio effects. The animation team employed sophisticated multi-layering techniques to create depth in both urban and rural scenes. The cartoon also featured early experiments with what would later be called 'limited animation' in certain sequences to save time while maintaining visual interest. The sound effects department developed new techniques for creating realistic environmental audio using the limited technology available in 1935. The cartoon's pacing and rhythm demonstrate the studio's mastery of timing, which was crucial for comedic effectiveness in animated shorts.

Music

The musical score for 'Stop That Noise' was composed by Sammy Timberg, Fleischer Studios' house composer, who created original jazz-influenced pieces that perfectly captured the urban energy of the cartoon. The soundtrack features a mix of diegetic music (music within the story world) and non-diegetic underscoring that enhances the comedic timing. The sound design was particularly innovative for its time, using a combination of recorded sounds and studio-created effects to build the cacophony of both city and country environments. Mae Questel's vocal performance as Betty Boop includes her signature scat singing and musical interludes that were a hallmark of the character's appeal. The cartoon makes clever use of silence in certain moments to emphasize the contrast between noisy and quiet scenes, a sophisticated audio technique for the era.

Memorable Scenes

• The opening sequence where Betty tries to sleep while being bombarded by increasingly absurd city noises, from traffic to neighbors practicing instruments
• Betty's dramatic escape from the city with her suitcase, running through exaggerated urban chaos
• The countryside montage where Betty discovers that farm animals and nature create their own symphony of noise
• The climactic scene where Betty returns home and finds new appreciation for the familiar city sounds she once hated
• The final shot of Betty sleeping peacefully with a smile, having learned to accept the sounds around her

What Critics Said

Contemporary reviews in 1935 praised the cartoon's inventive sound design and Betty's expressive animation, with The Film Daily noting it as 'another clever Betty Boop offering with plenty of laughs.' Variety appreciated the 'smart timing and excellent synchronization' between animation and sound. Modern animation historians view the short as a solid example of Fleischer Studios' urban sensibility and their ability to create relatable content. The cartoon is often cited in retrospectives as demonstrating Betty Boop's adaptability as a character during the challenging transition period following the Hays Code enforcement. Animation scholar Jerry Beck has noted that while not among Betty's most famous shorts, it effectively showcases the studio's technical prowess and understanding of comedic timing.

What Audiences Thought

Theatrical audiences in 1935 responded positively to the cartoon's relatable premise and Betty's charming performance. The short was popular enough to be re-issued several times in subsequent years, a common practice for successful theatrical shorts. Moviegoers appreciated the familiar Betty Boop character dealing with everyday frustrations, which provided comic relief during the difficult Depression years. The cartoon's humor was accessible to both adults and children, making it ideal for family audiences. In later decades, the film gained appreciation from animation enthusiasts and Betty Boop collectors, with original theatrical prints becoming sought-after items. Modern audiences discovering the cartoon through home video and streaming have praised its timeless theme of seeking peace in a noisy world.

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