Betty Boop in Snow White c.1933 : Cab Calloway sings

Of course Snow White and the Seven Dwarfs was always going to make this list, but let’s start with the other technically innovative 1930s animated musical adaptation of the fairy tale. This one stars two of the Fleischer brothers’ greatest creations: Betty Boop and Koko the Clown. Koko was developed in 1918 concurrently with Max Fleischer’s invention of the rotoscope technique, which allowed animators to trace over filmed reference footage to achieve fluid, uncannily lifelike motion in their characters. Betty Boop, on the other hand, was created as a send-up of Jazz Age flappers, with a character design naughty enough to match the times.

In the original Out of the Inkwell series, Koko’s filmed movements were acted out by Dave Fleischer while he was dressed as a clown. But in 1933, Fleischer Studios put Betty Boop and Koko the Clown in the seven-minute Betty Boop in Snow-White short animated by Roland C. Crandall, with a rotoscoped set piece in the middle, set to “St. James Infirmary Blues,” performed by jazz artist Cab Calloway. Watching this scene, in contrast with the Disney version of the folktale that would set the template for mainstream animated storytelling, the sheer experimentalism looks like an eerie dispatch from a different, much cooler timeline.

The film was a follow-up to Calloway’s popular Minnie the Moocher Fleischer short from the year prior, which opened with live footage of Calloway dancing before rendering him into a walrus. Here, Calloway seems to moonwalk along the animated landscape as Koko, arms out, singing a blues song about death and decay. When the witch casts her mirror over him, he becomes a ghost, at which point the rotoscoping gives seamlessly to impossible contortions. The ghost’s limbs pretzel in on themselves, turning at one point into a gold chain, echoing the lyrics. At the time, character animation — think the Fleischers’ Bimbo, Otto Messmer and Pat Sullivan’s Felix the Cat, Walt Disney and Ub Iwerks’s Oswald the Lucky Rabbit and Mickey Mouse — was often rooted in the visual language of blackface and minstrelsy. Cab Calloway’s Fleischer shorts, and their use of rotoscope, saw an musician able to voice and perform his own art. Playful and surreal, it remains artistically daring nearly 90 years later.

https://www.vulture.com/article/most-influential-best-scenes-animation-history.html