WillSushyMedia This movie was so-so. It had it's moments, but wasn't the greatest.

Doomtomylo a film so unique, intoxicating and bizarre that it not only demands another viewing, but is also forgivable as a satirical comedy where the jokes eventually take the back seat.

SeeQuant Blending excellent reporting and strong storytelling, this is a disturbing film truly stranger than fiction

Billy Ollie Through painfully honest and emotional moments, the movie becomes irresistibly relatable

vincentlynch-moonoi 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.

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.

GManfred Tough to tell where to start with this picture as I was very disappointed. I know Betty Hutton is an acquired taste but I thought supporting performances, music and a good storyline would offset her usual over-the-top star turn.Production values were excellent and Fox spent plenty of money producing this one. Good support, especially dependable Charlie Ruggles. The male lead, Arturo DeCordoba, was lifeless and uncharismatic, his acting ranging from a pained,crestfallen look to a wan smile. I never thought I would say this let alone write it but Barry Fitzgerald was an annoying presence and spent a lot of his Irish charm in 'Going My Way". I did think the music would be a saving grace as there are many songs listed for this picture, but it was mostly incidental and background. She did sing a few songs in her inimitable style. But the worst offense was the script which created and telegraphed artificial moments, falling flat in crucial spots and playing to the crowd too often. It is a stem-winder of a family picture for viewers of all ages, and the younger the better, I suppose.This one is an 8x10 glossy for die-hard Hutton fans, all form and no substance.

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).