bkoganbing Texas Guinan was so much a symbol of the Roaring Twenties and the Prohibition Era it seems almost poetic that she died just as alcohol became legal again in the USA.As performer the real Guinan was not as good as Betty Hutton at putting over a song. But Guinan made her reputation as the raucous high living host of one of New York's most well known speakeasy. Everyone who was anyone came to her place for a good time in the Twenties and Texas Guinan knew how to throw a party.Betty Hutton perfectly captures Guinan's infectious spirit infusing and channeling Guinan into her own infectious style. Of course a lot of fact, most prominently two husbands before the character that Arturo DeCordova plays. Her parents did in fact survive her. Barry Fitzgerald who plays her rascal of a father does his usual scene stealing business. Mary Phillips is on ever so briefly as her mother and according to Wikipedia, Guinan's mother lived to be 101. She was very much alive when Incendiary Blonde was made and I believe the script was purposefully vague about her character.Betty sings several old standards during the film and they are the highlight. I particularly liked It Had To Be You, Row Row Row, and Ragtime Cowboy Joe, all of those numbers suit her perfectly. You can see the real Texas Guinan in a couple of films, Queen Of The Nightclubs which was shot in New York and in which George Raft had a prominent bit and also Broadway Through A Keyhole which had Russ Columbo in one of his few films. I think you'll agree if you ever do see those films and they aren't shown often at how well Betty Hutton did with Texas Guinan. As Texas Guinan used to say "Hello Suckers". But you'll be no sucker if you see Incendiary Blonde.

edwagreen Absolutely fabulous Betty Hutton vehicle where she portrays the life of Texas Guinan, rodeo queen, actress, Broadway starlet and nightclub entertainer, whose personal life was such a heartbreak. This is definitely one of Hutton's better films and finer performances. It was as if the part were written for her.She had wonderful support from Arturo de Cordova, a business person falling in with gangsters and who had horrible tragedies with the loves of his life.Barry Fitzgerald provides some comic relief as her spud investing father who found himself on Broadway instead.The singing and dancing routines are marvelously staged, but it's Miss Hutton's vehicle all the way. What stamina and true grit she gave to the part.The picture begins in an interesting way, not often tackled that way by Hollywood. Of course, it works its way back to depict her tragic, but exciting life.

JLRMovieReviews 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!

SanDiego 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).