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1 out of 1 people found the following review useful:

Bety Boop fans beware!

Author: planktonrules from Bradenton, Florida
19 August 2013

Let Me Call You Sweetheart—3 Not particularly good—especially if you are Betty Boop fan. I knew when this cartoon began that I probably wouldn't like it because it was labeled a 'Screen Song' cartoon. Screen Songs was a series of shorts by the Fleischer Studio which featured music with SOME accompanying cartoon story—but the emphasis clearly was always on the song. As for the songs, they were mostly old fashioned even when the shorts were made in the very early 1930s—though there were a few exceptions (such as Cab Calloway singing "Minnie the Moocher").

"Let Me Call You Sweetheart" begins with introducing Ethel Merman. Then, the cartoon begins. It really isn't an entire cartoon—just a snippet with Officer Bimbo sexually harassing Betty Boop and Betty enjoying it tremendously. In the process, the baby she is taking care of disappears and must fend for itself—which it does very well. Then, Merman returns and leads the audience on a sing-a-long (another reason to hate this short) of the title song—a very old fashioned and out of date piece even in 1930—as it came out in 1910. Overall, you have a dull song and a dull cartoon with little to recommend it. The only noteworthy things are the wonderful Fleischer animation and the apparent endorsement of sexual harassment!

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1 out of 1 people found the following review useful:

Ethel Merman restrains herself!

Author: F Gwynplaine MacIntyre from Minffordd, North Wales
30 June 2005

This is one of a long series of shorts made by Paramount, sandwiching animation by the Fleischer studio between two wodges of live action featuring a popular musical act. In this case, we have Ethel Merman singing 'Let Me Call You Sweetheart'. In the first section, she sings only the well-known chorus. In the last section, she invites the audience to join in while she sings the verse. Nobody knows the verse to this song anymore, but perhaps it was better known in 1932.

The animation sequence features Betty Boop as a scantily-clad nursemaid, pushing a pram with a demonstrative baby aboard. Bimbo is the parkie, trying to put the make on Betty and causing her to neglect the baby. In this case, it would have been just fine with me if the pram rolled off a cliff. The Fleischer toons always had a penchant for animism -- inanimate objects sprouting eyes and hands, and developing sentience -- but there's more of that here than usual.

The last section follows the usual formula, with the live entertainer (this time, Merman) singing the chorus while a bouncing ball spotlights the lyrics superimposed on the screen. But this time there's an interesting variation for the second chorus, with the lyrics spelt out in a rebus ... so that "I'M IN LOVE" is an eyeball, a letter M, a tavern sign reading "INN" and a valentine heart. I'm not an Ethel Merman fan, but here her voice is actually more dulcet than I'd ever thought it would be, and she also looks prettier than she would be later. She manages to 'sell' the song proficiently without doing any of the trademark La Merm stuff that her fans like so much and which I loathe. More for that reason than anything else, I'll rate this toon 7 out of 10.

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1 out of 2 people found the following review useful:

Worth it for Ethel Merman

Author: Nozz from Israel
10 May 2003

Ethel Merman in her youth looks good and sounds good, not quite as brassy as in her later years. Her song, which she performs as her human self rather than in animation, has only the flimsiest relationship to the cartoon. The cartoon is a pointless and very politically incorrect story in which Betty Boop is won over by what today would be called sexual harassment.

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