Let's be realistic.

Bad Acting and worse Bad Screenplay

In truth, there is barely enough story here to make a film.

Easily the biggest piece of Right wing non sense propaganda I ever saw.

As splashy entertainment goes, this one is very splashy indeed, wrapped up in an abundance of Technicolor and show biz with costumes and sets that stamp it as a big-budget extravaganza centering on BETTY HUTTON.While she creates a colorful portrait of Texas Guinan, none of the other characters really stand out, not even BARRY FITZGERALD who is short changed by playing a dim supporting role as her "so Irish" father. ARTURO de CORDOVA is decent enough as the man she falls head over heels in love with, but again, his role is strictly second tier while Hutton has the spotlight. Her musical numbers are all performed with skill and given the full Hutton personality which suits the Texas Guinan character completely.For Betty Hutton fans, this is certainly one of her better films at Paramount, where she demonstrated a talent for playing wacky dames with a zest for life. She's zestier than ever here, in a colorful role that is a forerunner of things to come--mainly, her Annie in ANNIE GET YOUR GUN. She even has some tearfully dramatic moments when the script tries to dig deeper into her personal loves and fears. She handles the varied situations well under George Marshall's direction.But when it's all over, it's a bit of a disappointment that leads to a downbeat ending.

Betty Hutton is Texas Guinan in this Hollywood bio-pic that is vastly superior to others of its kind due to, number one, Betty Hutton, who always gave her all in everything she did, and number two, its almost reverential treatment and regard to its subject matter, with a very fulfilling ending that leaves the viewer wanting more and letting our imagination reflect on what is ahead for Texas Guinan. If you've never heard of Texas Guinan, then you need to catch this to see for yourself Betty Hutton at her best. She gives this movie the zest and heart that many other bio-pics lack and she is given the role of a lifetime as she lives and loves for one man. This is required Betty Hutton viewing!

Gorgeous Technicolor bio of Texas Guinan is a lot of hooey but offers Betty Hutton a great role, and she's spectacular... one of her very best performances.The films shows the rise of Guinan, a famous silent film and Broadway star of the teens and 20s, from her rise in a wild west show, through her various careers and through her failed romances. Guinan was famous for her greeting of "Hello, suckers!" and was a major "personality" of her time. Guinan's best-remembered film is Broadway THROUGH A KEYHOLE.Hutton captures the quirky Guinan perfectly and gets to sing and dance, ride a horse, act in silent films, emote, and look absolutely fabulous. Hutton also gets to wear some spectacular gowns. The sets and costumes are excellent throughout.Arturo de Cordova co-stars as the love interest. Also Charlie Ruggles, Barry Fitzgerald, Mary Philips, Eduardo Ciannelli, Maurice Rocco (ecellent) as the waiter/pianist, Bill Goodwin as the husband, Bess Flowers, Albert Dekker, Frank Faylen, Jane Jones, etc.But Hutton is front and center here and you can't take your eyes off her. This film ranks with TH PERILS OF PAULINE, THE MIRACLE OF MORGAN'S CREEK,and ANNIE GET YOUR GUN as among the best Betty Hutton films.

INCENDIARY BLONDE came somewhere in the middle of Butty Hutton's film career and there is no doubt that every moment she is on screen she is a wonder to behold. Gorgeous, funny, sexy, talented, are all words to describe Betty Hutton and without a doubt films like this are why. Like many of her better films this is a biography of a famous performer, in this case, Prohibition-era nightclub performer Texas Guinan who rose to fame starting in a Wild West Show and then onto a brief stint in Hollywood's silent films. Though this is not a lesser film in any respect (it boasts a good budget, nice color and costumes, and a good supporting cast) it fails to rise to the level of Betty Hutton's great films. INCENDIARY BLONDE begins with two equestrian policeman watching a memorial for the late performer and one of them telling the story of the woman who predicted she would die at the heights of her career as a young woman. Curiously, this device is not continued and is not used as a framing device, in fact, the film ends shortly before Texas Guinan's death. Even at close to two hours, the film zips through several career changes and because of this, we never settle in long enough for her to develop relationships with any of the other characters, nor is there much development of her own character. The always enjoyable Charles Ruggles is unrecognizable as a Buffalo Bill type of character for half the film (later clean shaven as he heads for Hollywood) and therefore he has much less impact than he normally would. The part of her family (the only consistency in the film) is kept in low profile with the exception of her father, played by the always great Barry Fitzgerald. Even though, Fitzgerald's role is small and he has no room to develop more than just a cartoon persona of a "hick" in the big city (he has no time to slow down and act as say he did in GOING MY MY.) Because his role is smaller, Fitzgerald's relationship with Hutton is not as developed either as it was in their earlier pairing in THE STORK CLUB. Hutton joins a Wild West show for a short while and we shades of a relationship between her and her boss, played by Arturo de Cordova. The film does a nice job in this area but it is eventually overshadowed by memories of the much grander ANNIE GET YOUR GUN which Hutton would make five years later. We see a little of early Hollywood as Guinan moves into silent pictures, which is also nicely done, and also overshadowed by memories of the much grander PERILS OF PAULINE. After a blink-of-an-eye career on the Broadway stage (the highlight: Hutton wears the sexiest skin-revealing costumes of her career), Texas Guinan builds a career as a nightclub performer (also nicely done, also overshadowed by memories of the much grander THE STORK CLUB). There is nothing terribly wrong with this film and Hutton fans will place this higher than her early career black-and-white low budget efforts, but the ending is a terrible let down, without any hope. Caution: If you are expecting the film to resolve it's problems, it won't. In whole, it does not reach the heights of her classics, but still there are enough parts to warm anyone who loves Betty Hutton (as long as you don't finish the film).