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It all ends happily but a little anti-climactically, since the film as it exists now is missing a reel of the show itself in two-strip Technicolor.
Indeed, much as I love her, it has to be said that Betty was basically a rip-off of Helen Kane.
But when Kane took her creators to court for a share of royalties, slippery tactics were employed to squeeze her out of the picture.
To this day Kane is often erroneously listed as the voice of Betty Boop.
In fact, the Kane impersonation was supplied by Mae Questel, another of the legion of Kane wannabes whose existence enabled Betty's creators to renege on their obligations to her.
By age ten she had watched her grandfather collapse and die while pushing her in a swing and her best friend burn to death in a domestic accident.
Her salvation came when she won a part in The great myth about Clara is that her career faded in the early sound days because audiences objected to her strong Noo Yawk accent.
Alas, the same cannot be said of Helen Kane, the original 'Boop-oop-a-doop Girl' (though what she actually says always sounds more like 'poo-poo-pa-do' to me) and one of the most charming talents of the late 1920's.
Kane is unquestionably the inspiration for Betty: she looks like her, sounds like her, acts like her and has the same catchphrase. Kane was a Broadway star of the twenties who enjoyed a brief burst of success in movies during the pre-Code years and had a number of hits on record (including ).
He does so, whereupon she comes to life, addressing him as Uncle Max and asking that he put her into the 'sets' of some of her favourite past films.
This he does, leading into a series of clips from The Hays Code would soon rob her of her more provocative outfits and characteristics, but it did little to dent her popularity with audiences.
Betty's lawyers (she did not herself appear in court) pointed out that Kane was only one of several flapper artists who used the contested mannerisms, squeaky voice and phrases.