Let’s get all of the disclosure out of the way so we can discuss this latest adaption of “Kiss of The Spider Woman” on its own merits. I have never read the original novel by Manuel Puig, nor have I seen the original film 1986 film adaption or seen the 1992 stage production. This latest iteration is my one and only version, so I have no frame of reference of anything that came before it and this review will be absent of commentary on what was changed and what was better or worse in any of the previous works. I don’t know if that’s the best way to approach “Kiss of the Spider Woman,” but it’s all I have so it’s all I can speak on. On that basis, there’s a whole lot to enjoy in this latest film musical from Bill Condon, even if it only dazzles intermittently.
Condon is right at home in this world, drawing from his stronger works like “Chicago” and a bit of better parts – namely spectacle – of “The Greatest Showman.” He has his finger on the pulse of this challenging genre, and more than justifies the existence of another notch on his musical belt and a new version of the classic tale. With Condon at the helm, “Kiss of a Spider Woman” excels in many places where other, less capable hands would drop the ball, creating stunning production design to match the excitement of old Hollywood razzle dazzle musical numbers. There’s a prison cell number that feels ripped from “Chicago’s” famous “Cell Block Tango,” down to the spotlight lighting, costuming and sultry, seductive tone. Condon still manages to not make this feel repetitive, more like an homage to both cinema and musical, something “Kiss of a Spider Woman” consistently champions a deep, adorning love for.
The film centers on two prisoners sharing a cell during a fascist regime. Valentin (Diego Luna) is a political prisoner while Luis Molina (Tonatiuh) is a queer window dresser arrested for public indecency. As they are forced to pass the time, Molina begins recounting his favorite movie, Kiss of the Spider Woman to Valentin, and as they begin to blend the cinematic story with their own lives, their bond grows stronger. The titular character of Molina’s favorite movie is also his favorite Hollywood star, Ingrid Luna (Jennifer Lopez) who also plays two characters in the film within a film including The Spider Woman. There’s plenty of twists and turns and political thrills amid the Hollywood retelling, many of which are best experienced during a first watch of “Kiss of The Spider Woman.”
Luna and Lopez are quite good here, Luna given the least to do and Lopez given plenty of moments that appeal to her strengths. I’m a little lower on the awards talk for her, namely because it’s a challenging role that doesn’t necessarily challenge Lopez. For her, “Kiss of the Spider Woman” is comprised of everything she’s already good at, and while she proves that she is in fact great at those things, that doesn’t really qualify as a Best Actress performance. The real breakout is Tonatiuh, the glue that holds everything together and injects an unstoppable energy into every single frame. “Kiss of a Spider Woman” may be a retelling of Lopez’ story, but the film belongs to Tonatiuh. He is simply mesmerizing, elevating a role that could be easily treated as caricature and bringing out the humanity and empathy buried beneath the surface.
“Kiss of a Spider Woman” doesn’t work without Tonatiuh, and that’s kind of where it loses some steam and feels like it’s being held back. Without him shining the brightest and beneath the stunning production design and stellar cinematography by Tobias A. Schliessler, the film is bogged down by a lethargic pacing and forgettable musical numbers. I don’t know that I could hum a single jaunty tune from “Kiss of a Spider Woman,” as the music lacks an infectious ear worm of repetition even when paired with marvelous visuals and well staged numbers. Beautiful colors and stars giving their all simply aren’t enough to make the music linger in your brain, and the longer the film goes on the messier and less interested in its themes it becomes.
At over 2 hours, “Kiss of a Spider Woman” starts to feel its length and wraps itself up rather abruptly, even somewhat unceremoniously. Still, it is a bold and ambitious adaption, one that may not be without its faults but one that often gets more right than wrong. It may not blow you away and I don’t think it all works in totality, but many of the individual pieces that make up “Kiss of a Spider Woman” excel high enough to overshadow most of those shortcomings.
“Kiss of The Spider Woman” is a marvelously crafted, vibrant technicolor gilded age homage and mostly entertaining thanks to well executed direction and a powerhouse performance from Tonatiuh. It’s everything “Emilia Perez” wishes it was and everything “Wicked” wished it looked like.
It is a true movie musical of the highest order, and a reminder that in these very dark times, our favorite movies just may be what can save us all.
Rating: 3.5 out of 5 Stars
“Kiss of a Spider Woman” is in theaters Oct. 10th. You can watch the trailer below.
