Plot
After a short live action performance by the Royal Samoans, Bimbo appears on screen playing a ukelele while riding in a motorboat. The motorboat goes faster and faster, until it crashes into a tropical island. Bimbo flies into the air and lands in another boat, this one containing a topless (except for a strategically placed lei) and dark-skinned Betty Boop.
Bimbo and Betty, after nearly falling down a waterfall, are flung from the boat into a clearing surrounded by hostile trees, who torment the two. A group of savages appears, but Bimbo disguises himself by painting his face and sticking a bone in his hair. Bimbo is treated as an honored guest, and to a performance of Betty dancing the hula. A sudden rainstorm washes off Bimbo's disguise, and he and Betty make a hasty escape from the angry savages. After another rapid boat ride, Bimbo and Betty ride up the Mississippi River, where they attempt to kiss in private behind an umbrella (with a convenient hole).
The hula performance by Betty Boop was a visual high point of this episode. Betty's hula dance appears to be closely modeled on the hula dancer that appeared in the opening live action sequence (though the dancer was not "topless" as Betty is). This is one of the more apparent examples of the rotoscope technique which the Fleisher Studio used for realistic animation. The hula sequence was later reused for Betty's cameo in 1933's Popeye the Sailor and in 1934's Betty Boop's Rise to Fame.
Read more about this topic: Betty Boop's Bamboo Isle
Famous quotes containing the word plot:
“We have defined a story as a narrative of events arranged in their time-sequence. A plot is also a narrative of events, the emphasis falling on causality. “The king died and then the queen died” is a story. “The king died, and then the queen died of grief” is a plot. The time sequence is preserved, but the sense of causality overshadows it.”
—E.M. (Edward Morgan)
“If you need a certain vitality you can only supply it yourself, or there comes a point, anyway, when no one’s actions but your own seem dramatically convincing and justifiable in the plot that the number of your days concocts.”
—John Ashbery (b. 1927)
“After I discovered the real life of mothers bore little resemblance to the plot outlined in most of the books and articles I’d read, I started relying on the expert advice of other mothers—especially those with sons a few years older than mine. This great body of knowledge is essentially an oral history, because anyone engaged in motherhood on a daily basis has no time to write an advice book about it.”
—Mary Kay Blakely (20th century)