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5.5/10
Senior Film Conservator
A definitive 5.5/10 rating for a film that redefined the boundaries of cult cinema. Let Me Call You Sweetheart remains a cornerstone of transgressive art.
If you have about seven minutes to kill and a soft spot for 1930s animation, sure, put it on. It’s light, it’s bouncy, and it doesn’t ask much of your brain. If you’re allergic to repetitive musical numbers or the specific, squeaky cadence of Mae Questel’s Betty, steer clear. This isn't exactly deep storytelling, but it's got that strange, rubbery energy you just don't see anymore.
Betty starts out doing what she does best: being a nursemaid in a park. It’s a classic setup that feels like it could have been lifted from Innocent Husbands or any other era-appropriate romp. Of course, she immediately runs into a 'masher'—the kind of guy who thinks a tip of the hat and a creepy grin constitutes a successful pickup line. 🙄
The movement here is just wild. Things stretch and warp in ways that look almost painful. When the characters move, they don't just walk; they sort of ooze across the frame. It’s hypnotic. There’s a moment where the guy tries to get too close and the background seems to get jittery, like the film itself is nervous about what’s happening.
Then we hit the musical number. Suddenly, the plot stops cold so we can follow the bouncing ball. It’s a weirdly jarring transition. It reminded me a bit of the musical interludes in Upstage, where you’re just waiting for the story to kick back into gear. But hey, Ethel Merman is doing the heavy lifting, so you can't really complain.
I found myself staring at the background details more than the actual characters. There’s this one tree that seems to have more personality than the guy trying to flirt with Betty. It’s these little, accidental quirks that make these old shorts feel more alive than a lot of modern, sterile stuff.
It’s not a masterpiece. It’s barely a story. But there’s something honest about how weird it gets. It’s not trying to teach you a lesson or make you weep. It just wants to play a song and watch Betty do that little shimmy. Sometimes, that’s plenty.
Honestly, I kind of wish they did more with the park setting. It felt like a stage set in Alice Is Stage Struck, just waiting for something more chaotic to happen. Instead, it plays it pretty safe. Whatever. It’s still better than watching another CGI-fest where nothing has any weight. 🎶
IMDb 8.6
1917
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