Incendiary Blonde (1945)

Excellent adaptation.

Bad Acting and worse Bad Screenplay

It's entirely possible that sending the audience out feeling lousy was intentional

Funny, strange, confrontational and subversive, this is one of the most interesting experiences you'll have at the cinema this year.

Having always found Betty Hutton a tad manic in lieu of talented I've just watched two of her movies that caused me to revise my opinion, first off, Here Come The Waves, in which she pulled off a dual role as twins and then Incendiary Blonde, an alleged bio-pic of Texas Guinan that fits where it touches. Hutton was a natural and probably the only choice to portray the larger-than-life personality but it's as if once the producers realized Hutton was made for the role they threw out the facts of Guinan's life, gave Hutton her head and stood back to count the take so that instead of the three times married real Guinan we get Hutton as a one-woman man who waits nun-like for her true love to claim her - which he never does. In 1945 no one was going to let out a squawk about facts as long as the leading lady delivered which she did in spades. Recommended.

I wasn't really expecting much out of this film, but I watched it because I think Betty Hutton (and all that happened to her in later life) was quite interesting, and I always enjoy seeing Charles Ruggles. After a slow start, I was quite pleasantly surprised. It's a pretty good movie.Technically, the Technicolor is beautiful, if in some places a bit gaudy.The basically true story is of an early performer named "Texas" Guinan, who started her life as an entertainer in a wild west show, moved on to national vaudeville, and was an influential entertainer during Prohibition. The film seems somewhat realistic in portraying her story, which is intriguing.Whether or not you enjoy the film will probably depend on how you feel about the cast. Boisterous Betty Hutton as Texas Guinan is fine...a role seemingly made for her! She was a decent singer and had real pizazz. Arturo de Cordova is another matter; he plays the love interest. I've probably seen him in other films, but he's pretty forgettable as a leading man; his American career was rather short (and I can see why), after which he returned to Mexican films. Charles Ruggles is as "fun" as ever, although you'll hardly recognize him early in the film as a Buffalo Bill type character, and his importance in the film fades as it progresses. And then there's a character actor I truly dislike -- Barry Fitzgerald -- as Texas' father.I'm glad to have watched it. It was interesting. I have no desire to watch it again, mostly because of the presence of de Cordova and Fitzgerald.

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).