Friday Fun: Betty Boop in Tokay

The latest music video vixen is–Betty Boop! About 85 years after her first screen appearance, Max Fleischer‘s cartoon flapper is back on screens dancing her way through pop rock band Dengue Fever‘s video for their single Tokay.

No new footage of Betty has been drawn. As the group stares into 3-D View-Masters, we see what they see: scenes of Betty and her friends from classic cartoons. Betty’s antics are cut into a new adventure to harmonize with Tokay’s sounds.

Dengue Fever merge Cambodian pop and psychedelic rock. Their singer Chhom Nimol‘s birdlike vocals seductively weave through the song. Her hyperfeminine voice plausibly could emerge from busty Betty’s mouth.

Nimol’s lyrics in Khmer tell of the Tokay, a gecko of Southeast Asia, whose cries have special significance for lovers. Yearning for auspicious signs, lovers count the cries to determine if they will marry their desired ones or remain single.

Even if you can’t understand the words, the vocals and the psychedelic sounds and the beat give a trippy effect. Fans of Betty Boop will find themselves entranced.

Kudos to my friend Toni from MergingArts Productions for pointing out this video!

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For the Love of Film (Noir): The Mechanical Man of CITY THAT NEVER SLEEPS (1953)

City That Never Sleeps (1953) Poster

John H. Auer‘s CITY THAT NEVER SLEEPS is an odd hodgepodge of a film. It crosses noir with docudrama with the guardian angel film. Its villains, Hayes StewartLydia Biddel, and Penrod Biddel, are far more compelling than the lead Johnny Kelly. He’s a cop dissatisfied with his life. His hardworking wife Kathy Kelly fears he’s distant due to her higher earning potential, and that may be, but there’s a burlesque dancer Sally “Angel Face” Connors who’s stolen his attention with her shimmies, and she’s tired of sharing him. Johnny hatches a mad plan to pull one shady deal and bring in enough tainted money to run away with his honey. One side character gets drawn into all their stories, and he’s the mechanical man. He’s a great example of how a city can tear down a man, make him lose his humanity, yet offer redemption.

City That Never Sleeps (1953): Mala Powers

There’s a lot of frustration in this film. Everyone wants more than “what they got.” Sally seems like a harlot for stealing another woman’s man, but she’s not satisfied with her life, and she knows her situation isn’t right. She wants to get out of the club and be a decent girl. She once had dreams. She went to the big city to become a ballerina. She ended up a stripper. Johnny, representing law and order, must be a break from all the jerks that ogle and hassle her, but her time with him and whatever respite it offers are brief. He has to go home at some point to Kathy. She couldn’t get the career she wanted, and she doesn’t even own her own man, and she needs something to change.

City That Never Sleeps (1953): Mala Powers & Gig Young

Johnny doesn’t seem to realize that no good comes to men that romance women named Angel Face, and he can’t keep away from her, so Sally finally issues her ultimatum. He has to choose between her or Kathy. Johnny’s dissatisfied enough with his life to hatch his crazy scheme. He’s second generation cop, and he’s watched his father work hard for little payoff. Johnny’s wife works, and she likes it, but Johnny seems a traditionalist. He fantasizes about running off with his doll and being the one to save them from the city. Life elsewhere will be better despite how it’s earned or started.

City That Never Sleeps (1953): Mala Powers & Wally Cassell

Gregg Warren pines for Sally. He’s a failed actor turned mechanical man. He performs nightly and repeatedly in the club’s front window. Instead of portraying great or funny characters, he’s reduced to imitating an animated mannequin. The less human he seems the more successful he is at his job. He wants more than that. He dreams of stepping out of his glass coffin and onto the stage with Sally. He’ll save her from bumping and grinding by putting her in his comedy act, and she’ll save him. He doesn’t seem to have enough confidence or desire to do it solo, so he’ll hitch his star to Sally to get the gig. While she provides the pulchritude and presence, he’ll provide the brains behind the routine. Sally repeatedly turns him down. She prefers Johnny.

Warren doesn’t realize it, but a third triangle will affect him. Penrod Biddel is a corrupt lawyer, and he’s getting antsy about his number two, Hayes Stewart. Penrod thinks Hayes is getting too big for his britches, so he wants him out of town. Penrod hires Johnny to take care of his problem. Hayes can cool his heels in jail in another state where there’s a warrant out for his arrest. Penrod doesn’t realize his wife Lydia’s been romanced and won by Hayes. Mirroring Johnny and Sally, the two of them are planning their own new life also funded by Penrod’s money. Then their plans go awry.

The City That Never Sleeps (1953): Wally Cassell Performing Mechanically

Gregg is completely oblivious to their drama until he gets to view the second act. He witnesses a murder from his window box. All he can do is be as robotic as possible to save his own life. He needs to keep the murderer thinking that Gregg’s not a real man. The aspect of his job that has dehumanized him the most is what saves his life temporarily. He keeps performing until he can take a break. Meanwhile the murderer isn’t one hundred percent convinced that a dummy was in the window, and he’s going to hang around until he finds out.

City That Never Sleeps (1953): Gig Young & Wally Cassell

The murderer causes more trouble in the club, and this act hits close to home for Johnny. He’s angry, and he needs to catch the criminal now. Gregg isn’t willing to help until Sally explains what has happened. Then Gregg, who’s been the chump of the film until now, commits his act of heroism. He will resume his performance in the window and become live bait for the killer. Gregg needs to commit the best performance of his life in order to keep his own.

Sally finally realizes that Gregg is a good man, and her feelings for him surface. She freaks out about Gregg risking his life. She begs him to stop, to get out of the window, and to save himself. She offers to join his act. Gregg wavers between exhaustion and exhilaration. Sally cares for him! He’s overwhelmed, and he breaks character in one small, but important way. He lets tears fall down his face. His tears are noticed by a couple, and when they comment on them, the murderer overhears. He has to get rid of this witness.

You’ll have to watch the film to learn whether Gregg survives, but if you’ve enjoyed reading my piece, please consider giving to a great cause, the For the Love of Film (Noir) Blogathon hosted by The Self-Styled Siren and Ferdy on Films, which benefits the Film Noir Foundation. Your contribution will help restore another great film noir. Please click on the Maltese Falcon below to make a donation.

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Julie London, The Girl Can’t Help It

After hearing Julie London on String of Pearls, I searched for examples where her music not only intersected with film, but also the performer herself. I discovered she made over twenty films, and I found the gem below, an interlude in the Jayne Mansfield flick, The Girl Can’t Help It. London performed with a limited vocal range, but when paired with the right material, usually slow and sultry, she exuded a sensual, mesmerizing star quality. Even though her career heyday lasted only from the fifties through the sixties, her back catalog endeared her to new generations of fans thanks to the eighties and nineties lounge music revivals. In this clip the male lead Tom Ewell plays her version of Cry Me a River. Her song causes the singer literally to materialize and haunt Ewell’s character during a drunken hallucination.

String of Pearls

At Chez Gallagher, we’ve been listening to String of Pearls. Film lovers of Hollywood’s golden age will enjoy this broadcast of “music from the golden years of entertainment”. BBC Wales host Dewi Griffiths’s program could be called stream of consciousness radio.  Like a string of pearls where one pearl leads to another, one song leads to another. Griffith’s encyclopedic collection of trivia and personal reminiscences connect each song. Many featured songs were featured in classic era films, so Griffiths discusses as much film history as musical history. Selections come from the 1920s through the 1950s, making the show perfect for nostalgics even if they never lived in the eras they miss.